Conexões, Connessione, Conect
27.56 x 19.69 in
This piece is included in the New Impressions Exhibition on display at the museum April 17-June 30, 2018. There are a limited number of these prints available.
Graphic artist, typographer and letterpress printer. He concluded his studies at Rudolf Steiner, a german school in São Paulo (Waldorfschule) with a course in graphic arts and has a Bachelor's Degree in Visual Arts from Fundação Armando Alvares Penteado (FAAP) and a post-graduation course in Graphic Design from Faculdade Belas Artes de São Paulo. He has a Master's Degree in Education, Art and Culture History from Faculdade Presbiteriana Mackenzie and a Ph.D. in Social History from University of São Paulo (USP). He is currently a Design lecturer at Escola Superior de Propaganda e Marketing (ESPM) and at the Graphic Design post-graduation course at FAAP. He is a founding partner at Oficina Tipográfica São Paulo, a NGO dedicated to researching brazilian graphic memory, courses and projects in typographic language. His work reflects his interest in the urban landscape and its various textures and writing forms. He uses collagraphy to represent and question space. Reusing materials, the artist dimensions and works with rereadings, new meanings and the objects' functions. His work in graphic design and visual arts focuses on experimental typography. In his atelier, he develops letterpress and graphic design projects.
The poster “Conexões, Connessione, Conect” (70 x 50 cm) means to discuss the connectivity of the letterpress language, reflecting the connection between the Italian and the Brazilian cultures. The project began in Treviso, Italy, in 2017, with the composition and printing using the collection of wood types at Tipoteca Italiana, and was finished in Brazil in 2018, with types owned by Oficina Tipográfica São Paulo (OTSP). Technically, the printing was planned with 18 passes in the press for the artwork and the color division. Wood types, metal types and clichés (to replicate the outline of the drawings of the wood types) were used for the composition, and typographic furnitures were used for the lines. The colors were studied in order to use overprinting allied with the concept applied to the composition by the fitting and the register of the letters, which emphasize the meaning of connectivity. The posters were first printed on a Universal III Vandercook and the final art was made on a “Minerva” platen press adapted for larger prints.