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Orientador
Profº. Drº. Rafael Antonio Cunha Perrone
Tese apresentada a
Faculdade de Arquitetura e Urbanismo de São Paulo
para obtenção do título de doutor
em arquitetura e urbanismo
Área de Concentração: Design e Arquitetura
São Paulo, 2009
O Panorama do design gráco contemporâneo:
a construção, a desconstrução e a nova ordem

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







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umário

6

7


8


12


17

22
6.1

25

28
7.1

35
7.2

42

46

50
9.1

52

57
9.2

58

59

61

61
S
1
2
4
5
6
6
7
7
7
8
9
9.1.1
9.2.1
9.2.2
9.2.3
9.3

62

63

65
9.4

66

69
9.5

71

74


76

84

88
13.1

91

94
14.1

95
14.2

99
14.3

101
14.4

102
14.4.1

102
14.5

105
9
9
9
9
9
9
10
11
12
13
13
14
14
14
14
14
14
14
9.3.1
9.3.2
9.4.1
14.5.1

105
14.5.2

106
14.5.3

107
14.6

108
14.7

109
14.8

110
14.9

111
14.9.1

112
14.9.2

114
14.9.3

116

118

119
16.1

121

124
17.1

125
17.2

132
17.3

133
17.4

134
15
16
16
17
17
17
17
17
14
14
14
14
14
14
14
14
14
14
17.5

135
17.6

136
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umário
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

7
6
Tomando o design gráco como eixo de observação, foram analisados os
caminhos traçados na prossionalização dessa atividade e os fatores
que levaram a mensagem a alcançar a forma gráca atual. Nessa análise,
foram consideradas as mudanças decorrentes não só da introdução da
tecnologia digital, mas também das transformações de tendências e
padrões culturais que determinaram o período estudado.
Como ponto de partida foram utilizados os princípios modernistas,
sistematizados pela Bauhaus e seqüenciados pelas diretrizes da Escola
Suíça, que determinaram o papel do design gráco como um transmissor
neutro e cuja proposta era a claridade, a objetividade e a funcionalidade,
por meio de formas universais e livres de valores regionais.
O objetivo central foi analisar a perda da supremacia desses valores,
acompanhada pela introdução da tecnologia digital, com novos equipa-
mentos oferecendo novas ferramentas, possibilitando novos enfoques
para a idealização dos projetos.
Taking graphic design as an observation axis, the course followed
in the professionalization of this activity and the factors that led
the message to take its current graphical form were analyzed. In this
investigation, not only the changes brought about by the introduction
of digital technology were considered, but also the transformation of
cultural trends and patterns which determined the period studied.
Modernist principles were used as a starting point, as systemized by
Bauhaus and arranged by the guidelines established by the Swiss School,
which determined the role of the graphic design as a neutral transmitter
and whose proposal was clarity, objectivity and functionality, through
universal forms and freed of regional values.
The main objective was to analyze the loss of supremacy of these values,
accompanied by the introduction of the digital technology, with new
equipments offering new tools, which enabled new approaches in the
conceptualization of projects.
98
O primeiro manual , de 1522, “La Operina da Imparare a Scrivere Littera
Cancellaresca”, de Ludovico degli Arrighi, em que faço uma restauração do
procedimento formal da escrita caligráca, de onde foram originados os
primeiros caracteres de imprensa.
O segundo manual, de 1818, “Manuale Tipograco”, de Giambattista Bodoni,
começa a estabelecer uma sistematização para os procedimentos da escrita
impressa, valorizando a regularidade, de acordo com a tecnologia e o
espírito da época.
O terceiro manual, de 1928, “Die Neue Typographie” de Jan Tschichold tira
partido dos meios técnicos de produção, e do impacto gráco da palavra
impressa, acentuando a expressão funcional da escrita, iniciando o processo
de canonização do desenho gráco.
O quarto manual, de 1967, “Typographie”, de Emil Ruder, dá continuidade aos
princípios funcionais e racionais da tipograa, apresentados no manual
anterior, consolidando o conceito do desenho gráco.
Desta maneira, foram estudadas as origens conceituais estabelecidas para a
comunicação visual e gráca.
V
V
V
V
1-La Operina2- Manuale Tipograco3- Die Neue Typographie4-Typographie
           
        
   
          

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         
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

          


         
       
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
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
         
 





            


            
             



10
signica, o “espírito
do tempo” refere-se às
tendências culturais e
gostos característicos de
uma época determinada.
Os hábitos, as crenças,
as ferramentas, a ciência,
as técnicas e as relações
sociais são partes de um
processo que determina
o ideal de beleza de cada
época e lugar.
Phillip Meggs (1991)


          


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

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           


        
           
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

        


“Conhecer signica apreender espiritualmente um objeto. Essa
apreensão, via de regra, não é um ato simples, mas consiste em
uma multiplicidade de atos. A consciência cognoscente deve, por
assim dizer, rondar seu objeto a m de realmente apreendê-lo.
Ela relaciona seu objeto com outros, compara-o com outros, tira
conclusões e assim por diante.” Johannes Hessen, 1999: 97














      


11
13
“Qualquer letra, e em
especial a tipograa,
é principalmente e em
primeiro lugar expressão
da sua própria época,
da mesma maneira que
qualquer homem é símbolo
de seu tempo… Se Didot
fez algo diferente de
Fleischmann, foi porque
os tempos mudaram,
não porque procurava
produzir algo “especial”,
“pessoal” ou “único.”
Jan Tschichold, 1928: 79


             

       







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       
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y
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


Estilos e Tendências:
Cada época é um exemplo de seu padrão de gosto
4
.



12

14 15 16 17
5- Vinhetas Peter, Behrens, 1907 • 6- Aphonse Mucha, anúncio de papel de cigarro, 1898 • 7- John Baskervill, “Virgil”, 1757 • 8- Bíblia de Gutenberg, 1455 • 9- “The Times”, Stanley
Morisson, 1932 • 10- April Greiman ,Cartaz para California Institute of the ArtsPhotography, 1978 • 11- Rudolph Koch, tipo Neuland, 1922 • 12- Vinhetas , Eugène Grasset •
13- Esquema construtivo do alfabeto Romano, Luca Paciolli, 1509 • 14- William Morris, Marca Kelmscott, 1892 •
15- Charles Rennie Mackintosh, cartaz, 1896 • 16- Milton Glaser, Cartaz, “Dylan”, 1966 • 17- Herb Lubalin, jornal U&lc, 1974 •
12
15
14








“O gosto, que julga se uma obra é bela ou não, tem pretensão de que o seu juízo é universal, sem que possa
demonstrar racionalmente a exatidão do seu juízo. Por isso, não pode haver uma regra de gosto objetiva,
que determine através de conceitos, aquilo que é belo, porque qualquer juízo que derive do gosto é estético;
por outras palavras, a sua causa determinante é o sentimento do sujeito, não o conceito do objeto. Procurar
encontrar um princípio de gosto que seja um critério universal do belo mediante conceitos determinados é um
trabalho inútil, porque o que se procura é impossível em si mesmo contraditório. Não existe uma ciência do belo
mas apenas a sua crítica, e não existem belas ciências, mas apenas belas artes.” Lionello Venturi
1984: 164
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               


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





“Não queremos armar que
o bom e o mau gosto não
existem, mas sim que o valor
positivo e negativo do gosto
não depende de um absoluto.
Cada gosto é ótimo desde
que adaptado à criatividade
do artista. Os princípios de
gosto que foram bons para
Rafael foram tão bons para
Ingres e foram os mesmos,
em algumas obras perdidas
contrários à criatividade
de Renoir. Isto é: a medida
de valor de cada gosto
encontra-se apenas na
personalidade do artista que
adotou determinado gosto.”
Lionello Venturi, 1984: 25
18
20
21
19 22
23
24 26 27 28 2925
18- B .Mclean, cartaz , 1967
• 19- Theo van Doesburg, 1921 • 20- Cranbrook, página, 1977 • 21- Wolfang Weingart, 1980 • 22- Wolfang Weingart, 1984 • 23- Otl aicher, Olimpíadas de munique 1972 •
24- Rudy VanderLans, Revista “Emigre”, 1989 • 25- A.M.Cassandre, Cartaz, 1927 • 26- David Carson, Beach Culture, 1990 • 27- Neville Brody, revista fuse, 1991 • 28- Edward Fella, 1988 • 29- April Greiman, 1986
y



“uma obra não pode viver nos séculos futuros se não nutriu
dos séculos passados.” Milan Kundera
(apud Salles, 2006: 42)




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








“Somos duplamente prisioneiros: de nós mesmos e do tempo
em que vivemos.” Manuel Bandeira
(apud Salles, 2006: 37)

“Se a vida moderna está de fato tão permeada pelo sentido do fugidio, do
efêmero e do contingente, há algumas conseqüências. Para começar, a
modernidade não pode respeitar sequer seu próprio passado para não
falar do de qualquer ordem social pré-moderna. A transitoriedade das
coisas diculta a preservação de todo o sentido de continuidade histórica.
Se há algum sentido na história, há de descobri-lo e deni-lo a partir de
dentro do turbilhão da mudança, um turbilhão que afeta tanto os termos
da discussão como o que está sendo discutido”. (Harvey, 1993: 22)
5. 
Um novo espírito acompanhado por uma nova tecnologia
           







       





              
 












            

16 17
“Seja nas mentes,
através de processos
mnemotécnicos, no bronze
ou na argila pela arte do
ferreiro ou do oleiro, seja
sobre o papiro do escriba
ou pergaminho do copista,
as inscrições de todos
os tipos – em primeiro
lugar a própria escrita
– desempenham papel de
travas de irreversibilidade.
Obrigam o tempo a passar
em apenas um sentido;
produzem história, ou
melhor, várias histórias
com ritmos diversos.”
(Levy, 2000: 76)
“A história recente viu o advento da comunicação de massa em
que McLuhan pregava que o ; a segmentação
e a diferenciação de audiência nos anos de 1980, através das
novas tecnologias de informação, demonstraram que a mensagem
era o meio. Os anos de 1990 trouxeram as redes digitais de
comunicação, interligando o mundo e as pessoas, possibilitando
o acesso simultâneo a diversas mensagens, individualizadas,
através de diversos meios. É a interatividade potencializando o
poder da audiência: . Nas palavras de
Castells, 

 (Correa, 2001: 109)


 





    



        
      

     



18
19





     

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
          
        

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


          

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         
modem



@
sec XI I
sec XIV
sec XIV
sec XV
143 6
145 0
145 6
146 3
146 7
1470
148 0
148 5
149 0
sec XVI
15 09
152 0
152 2
152 4
152 5
152 9
154 0
154 5
15 62
15 69
sec XV I
16 09
16 92
sec XVI I
1722
1737
1751
178 5
178 8
178 9
179 1
1796
sec XIX
18 03
18 14
18 15
18 16
18 18
18 19
182 1
183 0
183 9
187 9
18 86
187 0
18 84
18 85
18 86
18 89
18 91
18 92
18 93
18 94
18 95
18 96
sec XX
19 03
19 05
19 07
19 09
19 12
19 11
19 14
19 16
19 16
19 17
19 18
19 19
192 0
192 1
192 4
192 7
192 8
192 9
193 0
193 1
193 2
193 3
193 6
193 9
194 0
19 53
19 55
19 56
19 57
19 57
19 58
19 59
19 60
19 61
19 65
19 67
197 0
197 2
197 3
197 4
19 81
19 83
19 84
19 85
19 86
19 87
19 90
19 92
19 91
19 94
19 95
19 96
19 97
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V cent F gg ns pr me ro desenho de eg pc a 1815
V cent F gg ns pr me ro et a sombreada1815
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Henri Van de Ve de 19 08
F ank L oyd Wr ght Casa Robie 1 909
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garamond
John Ba kerv e V rg o 1757
Baskerville
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designer desconhe ido 1888
Stan ey Mor son Jo nal The Times de Londres 1932
Times New Roman
Rev sta Bazaar de 1929 193 5
A M Cassand e Cartaz pa a Dubonnet 1932
Verdana
Ma thew Ca ter fon e Ve dana 1994
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capa e pag na do manua 1818
M quina de L not pia
1893
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1889
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La Revue B anche 1894
Aub ey Bea dskey
Mor e de Ar hur 1893
Char es Renn e Mack ntosh
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Juan G is
Co agem 1914
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“Le Nu De cend Esca er” 1912
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Rudolf Kock
e ra Neu and 1922 23
Fam a Goudy 1923
Freder c W Goudy capa 1911
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John He rtfie d 1917
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Bruce Roge s 1915
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An onio Sant El a 1914
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A fabe o un versa 1925
Mapa me ro de Lond es 1933
Henry C Beck
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Cap s da Rev s a Vogue 1924 27
A M Cassand e 1927
Car az-Es rada de Fer o do Norte
Gill Sans
E ic Gi l 1933
“London & Nor h Eas em Ra way”
“Kunstk ed t” 1 976 7
Wo gang Weing rt Ca tazes
“Das Schwe zer P akat” 1984
Rev sta “Fuse”1991
Capa Rev s a “The Face” 1983
C anbrook Pr ntm king 1987
And ew B u ett
Tibor Kalman 1991
Capas pa a a rev sta Colour
Em gre n 23 1992
Rudy Vander ans Zuzana L ko
Front sp c o
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Aldo Manu io 1500
Walbaum
Bell
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In cial Bodoni 1737
C is oph P at n 1572
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Pe er Beh ens Fábr ca AEG 1908
Nico as Jenson etra Jenson 1 470
Soc mpresso es Ve ez ano
S mbolo 1481
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A b rt Dürer Monogr ma
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Summe Stone 1985
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Didot
“Spec men de Nouve es Carac eres”
Fachada Neo C áss ca p oje ada por J B Papworth 1825
Fust and Schoef er
Psa ter n La n 1457
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Helvética
MaxM ed nger He vétc a 1957
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Palatino
Melior
Optima
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Banco
Mistral
Choc
Roger Ex offon Let as Banco 1948
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Roger E coffon Let as Choc 1955
Paul Renn r T po Fu ura 1928
Futura
Ca taz-Ru a E e r ficat on Adm n st at on
Lester Bea l 1937
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1957
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Mehemed Fehmy Agha
Mi ton G aser 1 967
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Saul Bass 1955
The man w th the go den arm
s mbo o para fi me
Capa da rev sta N ue Graph k
Car o V vare 1958
osef Mu ler Bro kmann
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osef Mu ler Bro kmann
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1953
Mass mo Vigne li
Car az pa a o P co o Tea ro d M ano 1965
Emil Ruder 1967
Typograph e”
Car az 1967
B Mc ean
V c or Moscoso
Car az 1967
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M chae Eng sh e N ge Waymou h 1967
Fe ix Bel ran 1970
“V a e an versár o de 26 de u o”
Ca taz
He b Luba in
capa U& c 1974
A an F etcher Pape ar a 1968
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Car az de pro esto 1970
T pos da In erna ional T peface Co pora ion
( TC) 1974
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Herb Luba in 1970
20
21
      
           
        
          
    
         
         





  
  


           
           


          
 



         
         

30- Linha do tempo da Tipograa
Para o capítulo seguinte (capitulo 6),
“Os períodos de transformação da linguagem
visual”, a periodização foi estabelecida
de acordo com a pesquisa desnvolvida no
meu trabalho de mestrado, “Manuais de
desenho da escrita” (2004), conforme o
desenvolvimento da linha do tempo, cuja
elaboração permitiu-me obter, por meio da
análise do percurso histórico do desenho
da escrita, um diagnóstico mais preciso
dos momentos que foram essenciais para a
formulação dos conceitos do design gráfcio.
Grotesk
22
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
           
        









6.
sinais sumérios



Hieroglífos egípicios letra romana
24
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



         




      


          


          

          
         
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
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
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           
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1988
25
         
       
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       
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








6.1
32-Desenhos da idade da pedra na espanha
33- Toulouse Lautrec , cartaz, 1891
31-Sumner Stone, curva bezier: vetor da letra “stone”, 1985
27
• O design visual ocupa-se de imagens que têm a função de dar uma comunicação visual e uma informação
visual: signos, sinais, símbolos, signicados das formas e das cores, relações uma com as outras.
• O design industrial ocupa-se de projetar objetos de uso, segundo regras de economia, estudo dos
meios técnicos e dos materiais.
• O design gráco atua no mundo das estampa, dos livros e dos impressos publicitários, qualquer
lugar onde apareça a palavra escrita, seja em uma folha de papel ou em uma garrafa.
• O design de investigação realiza experiências de estrutura, tanto no campo plástico ou visual,
em várias dimensões, provando as possibilidades combinatórias de diversos materiais, tentando
interferir nas imagens e no campo tecnológico.... (Munari, 1976: 24)



            



, 


,
            


       


               



         


     
 
,
   


,Design Gráco:
durante o
desenvolvimento
deste trabalho, será
o nome adotado
para denominar a
prossão, visto que
os mais conceituados
dicionários da
língua portuguesa
absorveram a palavra
Design em seu léxico.
26

          


            





          
         












           
         
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
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

36- Organização de trabalho fábrica AEG, 1912
35- Linhas de montagem carros 34- ford modelo “T”
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       
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   

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38- Frank Lloyd Wright- “Wood and Plaster House, 1904
7.
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              
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 


40-Charles Rennie Mackintosh
41- Logotipo AEG, 1912
42- Fábrica AEG, Peter Behrens, 1908
1901
     
39- Monogramas pessoais dos sócios da Secessão de Viena, 1902

37- William Morris, 1892
det. Página do “Chauser”,
             
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


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
         







45- Hlavack, Capa “Ruzové Viry”, 1927
46- Theo Ballmer, 1928
30
DADA
Constr
Cubismo
Futurismo
31


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               

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           
            
             
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          

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

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
    

          


47-Oskar Schlemmer, Logotipo da Bauhaus,1924
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            
            
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







  


          
         

        

        



          

 
“Tipograas clássicas como Walbaum, Didot, Bodoni, não servem
como tipos de uso diário. Sua composição possui associações românticas que desviam
a atenção do leitor para determinadas associações emocionais e intelectuais que
pertencem claramente a um passado com que não temos conexão.” Jan Tschichold, 1928: 78
             
             


            

48-László Moholy-Nagy, Folder Bauhaus, 1927
49- El Lissitzky, cartaz p Pelikan, 192450- El Lissitzky, capa, Alexander Kusikov,
1922
Typographische Mitteilung sonderheft
51-Jan Tschichold, 1925
Capa “Die Neue Typographie”
52-Jan Tschichold, 1928
53- Jan Tschichold
34 35
7.1



           

             


“Este ímpeto revolucionário modernista foi diminuindo,
ocorrendo uma sistematização do processo criativo, com a idéia de catalisar uma sociedade honesta e
democrática. Rejeitou-se os clichês artísticos de auto-expressão e da intuição pura.” (Lupton, 2006: 125)


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
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   
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           
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









54- Jan Tschichold





    

  
            
          









             


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

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36
símbolo, Exibição Nacional da Suíca
60- Otl Aicher, sistema de signos para olimpíada de Munique, 1972
55- Arminn Hofmann, 1964
59- Karl Gerstner, símbolo Clicheria Schwitter & Co, 1965/66
58- Hans neuburg, Folder, indüstria Farmacêutica, 1967
57- Arminn Hofmann, cartaz,196256- Ernest Keller, cartaz, 1935
          
       
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          
          
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            
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






38
“A idéia Braun reete o conceito
da escola de Ulm, descrito por
Charles Jencks como um design sem
metáforas, frio, asséptico e objetivo.
O fato de ter sido apropriado por
uma indústria característica do
neo-capitalismo alemão não signica
o surgimento de um styling desse
neocapitalismo. Mas demonstra
as limitações, como disse Tomás
Maldonado, do velho conceito de
‘gute Form’, que prevaleceu dentro
da escola de Ulm.” (Souza, 2000: 72)
39
Os anos de guerra foram um período de
grandes avanços tecnológicos como o
radar, a bomba de hidrogênio, e também
de progressos menos conhecidos, como
a produção de motores, plásticos,
equipamentos eletrônicos e outros
componentes, propiciando uma grande
expansão industrial em vários países,
mas principalmente pela indústria
americana. Um dos fenômenos mais
notáveis do pós guerra foi o crescimento
das Multinacionais, acarretando em uma
internacionalização econômica que
foi decisiva para o desenvolvimento
mundial do design
(Denis, 1999: 147-143)
Capa da revista Neue Graphik
61- Carlo Vivarelli, 1958
62- Página dupla, revista Neue Graphik
1958-1966
63-“Modern Achitecture”, 1932
65- secador de cabelo Braun, 1964
64- Dieter Rams, símbolo Braun, Ulm, 1960
Catálogo Exposição Internacional
40
            
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   
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        
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          
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Linha Áurea
Linha Áurea
41
66- Alexey Brodovitch, página dupla revista “Portfolio”, 1950-1
67- Esquema da Divina Proporção
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




     





        





      



       






       


       






“O sistema de grid supõe a vontade de
sistematizar e esclarecer, a vontade de penetrar
nos princípios essenciais… a vontade de cultivar
a objetividade, e não a subjetividade.”
Josef Müller-Brockmann
       





       




7.2
43
42





       





     





       
    








    
      


        

       








44
Em 1977, como parte do Programa
Federal de Melhoria do Design,
o governo americano contratou
Massimo Vignelli para desenvolver
um sistema de unicação das
publicações do Departamento
nacional de Parques. Este sistema
chamado Unigrid, estabelecia
um grid modular dividido por
faixas horizontais que abrangia
doze formatos e poderia caber
em uma única folha de papel
padronizado. Essa ordenação
reduzia o desperdício de papel e
o tempo de produção, permitindo
que os designers dentro e fora do
departamento se concentrassem
nos aspectos criativos da
comunicação da peça gráca.
(Samara, 2002: 20-21)
45



75- Paul Rand, Logo e símbolo Westinghouse,1961
77- Massimo Vignelli, sistema de unicação da publicações do Departamento nacional de Parques, Unigrid, 1977
76 -Paul Rand, Logo IBM, 1956
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47

         
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          

        

            







         
            



          

        







8.
      
     
 
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ª 
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
46
“Uma época aproxima-se de seu m quando sua convicção fundamental começa a enfraquecer
e não mais inspira entusiasmo entre seus defensores.”
Albert Borgmann (1992)
78 - Emil Ruder, páginas livro “Typographie”, 1967
79 -Herb Lubaliin, Logotipo Grumbacher
76 -Paul Rand Logo IBM, 1956
80- Herb Lubalin, Cartaz VGC Competition
82- Milton glaser, 1975
81-O logo da Nike, criado por Carolyn Davidson,
estudante de design da Portland State University, 1971
48
A crise do Movimento Moderno fez com que os designers fossem atrás
          
       
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




            






Katherine McCoy alertou também para o fato de que em várias ocasiões, os ensinamentos e as soluções projetuais apresentavam-se como
“porta-vozes sem opinião de mensagens de um cliente ventríloquo. Devolvamos aos designers sua capacidade
de falar e contribuir mais plenamente para construir o mundo que o rodeia.”
(Newark, 2002: 44)













83- Rosmarie Tissi, folder Anton Schöb, 1981
49
84-Steff Geissbuhlre, 1965
Capa de um folheto para a indústria farmacêutica Geigy
Det. capa revista show
1970
86- Victor Moscoso, Cartaz, 1967
87- Henry Wolf, 1963
88- Fletcher, Forbes & Gill
89-Tissi e Odermatt, 1992

.

            

          

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                



Bonsiepe propõe uma interpretação do design fora do referencial da boa forma e de suas tendências:








O termo design refere-se a um potencial ao qual cada um tem acesso e que se
manifesta na invenção de novas práticas da vida cotidiana. (Bonsiepe, 1997: 15)














50 51









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

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             
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            
          
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          
         
            
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
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“Os fatores sociais, políticos e econômicos
deram lugar à experimentação em diversas
áreas de criação. Em nossa pequena área
do design tipográfico, essas influências
trouxeram a preparação do que constitui,
em minha opinião, o começo de uma tradição
americana na tipografia. Sempre fomos
fortemente influenciados pelos tipógrafos
e designers europeus e pelas escolas que
eles representam. Creio que agora, pela
primeira vez, emergimos com a tipografia
que é característicamente amrericana e que
contribui e influencia o resto do mundo.”
Herb Lubalin, 1959
(Bierut, 2005: 157)
“Se é que em realidade existe a “nova
tipografia americana”, sem dúvida ela fala
com sotaque estrangeiro. E provavelmente
fala em demasia. Grande parte do que diz é
obviamente um disparate. Muitas vezes soa tão
pouco que parece um disparate, ainda que se
alguém escuta com atenção não é … de todo.
Simplesmente é complicado até o excesso.
Quando o traduz ao idioma anterior à guerra,
não é mais que óbvio”. William Golden, 1959
(Bierut, 2005: 151)
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45 46 47 48
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91- Max Miedinger, Tipo Helvética, 1954
92- Adrian Frutiger, Tipo Univers, 1954
94- Paul rand, livro infantil, 1953
96- Saul Bass, 1955
98- Saul Bass, Cartaz Filme ”Anatomy of murder”, 1959
100-Seymour Chwast, Milton Glaser, cartaz
marca do filme “The man with Golden Arm,
99- Push Pin Studio
97- Entrada do filme “The man with Golden Arm, 1955
93- Paul rand, cartaz IBM, 1956
95- Paul rand, 1951
“Thoughts on design”
54
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





            
             
            
              


            
            

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
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



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           
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           
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            
         

         


         
           



55
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
101 Alexey Brodovitch, páginas de revista
102- Alexey Brodovitch, página de revista, 1956
105- Gene Frederico, anúncio “Woman’s day” 1953
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

        
 
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
   









107- Hermann Zapf, estudo da letra medici cursiva, 1960
108- filme de fotocomposição
109- folha de Letraset
106- Hermann Zapf, 1958
esudo da letra optima
58


59
O COnjuntO
dOs mOvimentOs
Pós-mOdernOs

114- Lou Dorfsman, Tom Carnase eHerb lubalin, Parede de cafeteria, prédio CBS
Desenhos, 1966
115-Lou Dorfsman, Tom Carnase eHerb lubalin, Parede de cafeteria, prédio CBS, 1966
119- Milton Glaser, cartaz
Columbia Records, “Dylan
Roy Lichtenstein
116- Andy Wahrol, sopas campell’s,
1968
112- Ivam Cermayeff, logo Chase Manhattan, 1960
113- Aplicação da identidade na arquitetura
110- Ivam Cermayeff, 1960
Símbolo exposição
111- Ivam Cermayeff, 1959
Capa livro Henry Muller
118- Andy Wahrol, “Marlyn”, 1967,
           

          

          


              
       


         




            
            

          
   
           




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




Todas as mudanças tecnológicas, desde os sistemas de fotocom-
posição, e máquinas elétricas de escrever, até as letras transfe-
ríveis, abriram caminho para uma ampla investigação sobre o
desenho, surgindo uma reação contra o consumismo americano
dos anos cinqüenta, denominada de Pop Art, que se apropriou de
grande parte do patrimônio visual dos desenhistas grácos (eti-
quetas, frascos, embalagens, rótulos, objetos de consumo, vinhe-
tas cômicas), incluindo na obra de arte elementos da tipograa e
grasmo popular. (Satué, 1992: 284)
Quando os componentes do grupo Push Pin Studio reuniram-se,
boa parte da sua produção era mais uma atitude inuenciada
pela cultura pop aplicada à comunicação visual, sempre abertos
a novas experiências e novas idéias. (Raimes, 2007: 120) Desta
maneira designers grácos como Milton Glaser foram altamente
inuenciado pela Pop Art, que por sua vez foi inuenciada pela
cultura popular comercial.
Os representantes deste movimento na Inglaterra foram Eduardo
Paolozzi e Richard Hamilton, e, nos Estados Unidos, Andy Warhol,
Roy Liechtenstein e Robert Indiana. (Blackwell, 1992 pg158)
A publicidade norte-americana e o design gráco também explo-
raram o potencial visual e conceitual da tipograa, repercutindo
nos trabalhos dos ingleses Alan Fletcher, Colin Forbes e Bob Gill,
surgindo daí mais tarde o grupo Pentagram, em meados dos anos
setenta, sob a direção de Fletcher, Forbes e Theo Crosby, expan-
dindo-se através dos trabalhos para as empresas Pirelli e Olivetti.
(Blackwell, 1992: 160).

117-”Crying Girl“- 1964
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






61
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        



       


      
      







       



      

          





Os trabalhos do Push Pin Studio também marcaram
as raízes do design pós-moderno. A rejeição deste
grupo à funcinolidade e neutralidade do Estilo Inter-
nacional deu-se por meio de um grasmo lúdico e
eclético, resgatando pedaços da história, utilizando
imagens e recursos do estilo Vitoriano, Art Nouveau
e Art Deco, com cores luminosas, formas sinuosas e
exageradas. Da mesma maneira, Herb Lubalin, mais
ou menos na mesma época, utilizou-se de elemen-
tos da linguagem vernacular especíca de um perío-
do, abandonando os padrões modernistas e desen-
volvendo um estilo alfabético que marcou os anos
de 1970.
O resgate destes estilos decorativos com a incorpora-
ção do vernacular viriam, mais tarde, a inuenciar ou-
tros movimentos como o Retro, reconhecível nos tra-
balhos de Paula Scher e Luisi Filli na década de 1980.
A linguagem gráca do cotidiano foi explorada pela
polêmica obra dos arquitetos Robert Venturi e Deni-
se Scott Brown, através do livro “Learning from Las
Vegas” de 1972,


O COnjuntO
dOs mOvimentOs
Pós-mOdernOs

1965
120- Herb lubalin
121- Push pin studio, 1965
122- Push pin studio
124- Push pin studio
123- Victor Moscoso
1964
62


As tendências do desenho que foram etiquetadas como pós-modernismo, para Philip Meggs (1991)
“Ser moderno foi um valor fundamental, porque existia uma fé no progresso cujas raízes se fundem com a noção
da história concebida como um processo linear em que o futuro entendia-se como superação do presente.”





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O “revival
verna
cular
retrO
63
O COnjuntO
dOs mOvimentOs
Pós-mOdernOs
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








A “New Wave” foi mais uma das reações contrárias ao Estilo
Internacional, e seu principal instigador foi o desenhista suíço
Wolfgang Weingart, que integrou o corpo docente da Escola de
Desenho da Basiléia, onde já havia estudado. Opunha-se às idéias
da tipograa suíça, representada naquela instituição por Emil
Ruder e Armin Hofmann. Foi convidado a participar da escola em
1968, atuando no curso de Design Avançado, na àrea de tipograa.
Suas contribuições reergueram a tipograa suíça, aumentando
o léxico do design gráco, e mais tarde esses recursos seriam
adotados como maneirismos contemporâneos. (Heller, 2007: 272)
Segundo Poynor, os designers mais experimentados e que
seguiam a risca os conceitos do Estilo Internacional, acostumados
a eliminar o estritamente pessoal, começaram a se preocupar com
a expansão da subjetividade de Weingart, que acreditava que o
design poderia ser uma forma de arte. Eles acreditavam que os
elementos e os efeitos estilísticos da New Wave impediam a clara
transmissão da mensagem, e rejeitaram estas experiências, que
qualicaram como uma moda passageira. (Poynor, 2003: 26)
Alunos como April Greiman, Willi Kunz e Dan Friedman, após
estudarem com Weingart na Basiléia, retornaram aos Estados
Unidos para ensinar e trabalhar. A expansão desse espírito de
exploração que Weingart iniciou, foi consolidada como uma nova
onda nos Estados Unidos.(Heller, 2007: 273)


124- Push pin studio
127- Detalhe, cartaz Wolfgang Weingart, 1979
125- Chermayeff & Geismar, edifício 9, West 57, NY
126- Herb lubalin, 1970
128- Herb Lubalin
Logo U&l, 1974
      

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            
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         
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

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
            


O COnjuntO
dOs mOvimentOs
Pós-mOdernOs

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
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
         
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        
          
            
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       
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           

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              



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65


129- Wolfgang Weingart, exposição Kunstkredit, 1978
132- Barney Bubbles
(face 2)1979
133- Peter Saville, Cartaz 1978

capa de disco Elvis Costello
131- Barney Bubbles (face 1)



No começo da década de 1970, a sensibilidade underground deu
lugar ao movimento Punk, que também torna-se uns dos expoentes
do conjunto pós-moderno no campo do design gráco. Nele os
designers se mostraram anti-artísticos e introduziram as letras
recortadas. Da mesma maneira que o resgate das imagens do passado
e do desenho vernacular foi atribuído ao Push Pin e a Herb Lubalin,
a transformação do conceito de legibilidade é atribuído a Weingart,
com a quebra da noção de clareza e de ordem. O movimento Punk
assimila o ruído como um recurso gráco, e seus representantes
mantiveram as bases para continuar uma ofensiva contra os métodos
ordenados e convencionais do design gráco. Richard Hollis arma
que o dadaísmo foi contra a arte e o Punk foi antidesign. O estilo
Punk tornou-se uma representação de parte da cultura das drogas
e da música pop. Com o propósito de chocar, utilizavam imagens e
textos recortados de jornais populares, escritos à mão e à máquina
de escrever, tudo colado e sobreposto formando um original, que era
reproduzido por serigraa ou fotocópia. Seu início ocorreu nas ruas
de Londres, direcionado ao público jovem. (Hollis, 2001: 203)
O desenho Punk não foi reconhecido pela corrente dominante do
design prossional, nem foi aceito como forma válida de desenho até
o princípio dos anos de 1980, quando alguns designers já aceitavam
e utilizavam os mesmos recursos e estratégias
A transformação das limitações da nova tecnologia em atributos
positivos, segundo Hollis, foi uma atitude essencialmente punk.
(Hollis, 2001: 306)
Os designers britânicos constituíram um movimento que estava
intimamente ligado a um estilo de música rock que surgiu no nal
dos anos de 1970. Como Neville Brody, outras guras-chaves eram
Barney Bubbles, Peter Saville e Malcom Garrete. Seus trabalhos
pouco se assemelhavam com os trabalhos realizados paralelamente
nos Estados Unidos. Os ingleses não queriam seguir nenhum modelo
preestabelecido, eram ecléticos e pluralistas em suas aplicações.















66
          





         
          
        


  















        

“Não temos um estilo
coletivo. Temos estilos
distintos e trabalhamos
intuitivamente, enquanto
outros o fazem de forma
controlada. Tampouco
costumamos descartar
material e aproveitamos
grande quantidade de
elementos. Neste sentido,
somos bastante agressivos.
Misturamos qualquer
cor e tipo de letra. Na
revista, não nos preocupa
seguir as regras, ou
seguir o grasmo que
se supõe correto. Nossa
preocupação não se centra
na legibilidade ou na
funcionalidade, mas sim na
imagem total, mesmo que
esta imagem seja ilegível.
Hard Werken, 1985
(apud Poynor, 2004: 43)
capas revistas i-D, 1981
136- Neville Brody, Página da revista “The Face”, 1982
135-Terry Jones
139- luise Fili, marcas retrô












     
   


     


   

     
      

 
      




67

138- Paula Scher, folheto, 1984

137- Neville Brody, “The Face”, 1985
Capa
         
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
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

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




O conceito de deconstrução foi introduzido por Jacques Derrida em seu livro “De la
Grammatologie”, publicado na França em 1967,e traduzido para o inglês em 1976.
O deconstrutivismo tornou-se a vanguarda literária para os intelectuais da década
de 1970 e 1980 nos Estados Unidos, colocando em foco os sistemas lingüísticos e
institucionais que sustentavam a produção. (Lupton e Mieller, 1996: 7)
“Desconstrução pertence ao amplo campo
crítico conhecido como pós-estruturalismo,
e entre as guras-chave desse estão os
pensadores Roland Barthes, Michael
Foucault e Jean Baudrillard. Cada um
desses escritores entendeu os modos
de representação – desde a convenção
da literatura e fotograa ao design
de escolas de design e prisões –
como poderosas tecnologias que
constroem e recriam o mundo
social. O ataque da desconstrução
à neutralidade dos sinais, também
está presente nas mitologias
do consumidor de Barthes,
na arqueologia institucional
de Foucault e na estética
simulativa de Baudrillard.”
(Lupton e Mieller, 1996: 7)



139- “Emigre”, nª 4, Capa e página, 1986


141-Logo “Emigre”, 1985
142- Cartaz, “Cranbrook Printing Making”
Andrew Blauvelt, 1987
  

         
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             
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 
        


        





    


         
   

70

      
      


As formas
de tipos não são intrinsecamente
legíveis. É antes a familiaridade
do leitor com a forma da letra que
resulta em sua legibilidade, e elas
se tornam mais legíveis por seu
uso reiterado, pois a legibilidade
é um processo dinâmico
”
.

      


“Se lê melhor o que mais se lê.”

suas
tipograas se tornem
mais fáceis de ler e
arma que as letras e
seus suportes não são
inerentemente legíveis,
mas sim, que se
tornam mais legíveis
pelo seu uso reiterado.
E que a legibilidade é um processo
dinâmico.
(Revista “Emigre” nº 15 , 1991)


           

         
        
         
       

        



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         
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        
         


144-Michael Vanderbyl , material promocional, estudio “Memphis”, 1985
William Longhauser, 1983




71

Michael Vanderbyl, Simpson paper, Cartaz

145- “The Language of Michael Graves”
146- “Connections”, 1983
72
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
        
        
        
        

        











“Nunca aprendi o que não se deve fazer, simplesmente ponho em prá-
tica o que tem mais sentido (…)”. “Não existe grid, não existe formato.
Creio que no nal se consegue um resultado mais interessante do
que aplicar meramente as regras formais de desenho.”
(Poynor, 2003: 13)

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















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
73
147-- Neville Brody, Capas revista “Fuse”
151-David Carson, Campanha da “Nike”1994
Capa revista “Ray Gun”nº 14
150- David Carson, “Federal Bank”, 1995
149- Páginas revista “Ray Gun”
148- David carson, 1993
74
 
          



             
          





             





“Diagramação gurada, diagramática ou icônica das estruturas da informação e dos
comandos (por oposição a representações codicadas abstratas);
O uso do mouse, que permite ao usuário agir sobre o que ocorre na tela de forma intuitiva,
sensório-motora e não através do envio de seqüências de caracteres alfanuméricos;
Os menus que mostram constantemente ao usuário as operações que ele pode realizar;
A tela gráca de alta resolução”. (Levy, 2000: 35)




         




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
10.

A medida que passamos da ideograa
ao alfabeto e da caligraa à impressão,
o tempo torna-se cada vez mais linear,
histórico. A ordem seqüencial dos signos
aparece sobre a página ou monumento. A
acumulação, o aumento potencialmente
innito do corpus transmissível
distendem o círculo da oralidade até
quebrá-lo.“ (Levy, 2000: 94)
152-O efeito
anti-alias, suaviza
as bordas de uma
imagem ou tipo. O
efeito mistura os
pixels da borda com
os pixels do fundo.
Por exemplo, se a
borda está na cor
preta e o fundo
na cor branca, o
anti-alias coloca
na borda uma
gradação de tons
de cinza. Assim, o
contorno da imagem
alcança uma maior
resolução.
(lupton,2006: 55)
75
153- O símbolo da Apple criado em 1976
por Rob Janoff.
O arco-íris foi utilizado até 1998.
Ícones Digitais

Tradições e Mutações da Linguagem visual
            
       
         
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

















         

           
      
           
          

 

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
           
          

  



        
     
          
          

          
      
       
           




           
    

         


        

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Podemos traçar paralelos entre épo-
cas historicamente bem denidas em
termos de mudanças tecnológicas.
 os tipógrafos enfrentaram pro-
blemas para acertar o correto manuseio
do metal ou as correções no corte do
tipo, pois seu desenho estava diretamen-
te vinculado às características formais
que a pena caligráca impunha.
 durante o período da Revolução
Industrial, com o advento de novas tec-
nologias a vapor, surgiu a necessidade
da adaptação do homem à máquina, acar-
retando problemas técnicos criados pelo
novo sistema mecânico, para depois gra-
dativamente o processo projetual entrar
em sintonia com o executivo.
   com a introdução da foto-
composição, a qualidade gráca da com-
posição dos elementos decaiu, em parte
devido a problemas técnicos criados por
um novo sistema e também pela inexperiên-
cia dos operadores, que haviam sido trei-
nados por um pessoal técnico na utiliza-
ção da máquina da fotocomposição e não
por conhecedores da forma tipográca.
11.
79
78
              
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             
               
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






“essencialmente utilitária e só acidentalmente estética”
um modo de interpretação
para Ellen Lupton
para Stanley Morison
Relembrando:
Os primeiros passos do processo
tipográco no século XV
foram guiados pela técnica
dos calígrafos, para no século
seguinte inverter-se a situação,
quando os calígrafos se
aproveitaram dos avanços da
tipograa para delinear um novo
conceito racional e pessoal, com
caráter estritamente didático,
ocasionando o surgimento dos
Manuais de Caligraa. Estes se
limitam a apresentar amostras
caligrácas, prevalecendo
o critério técnico manual,
propiciando uma sistematização
do processo caligráco,
que nos fornece elementos
sintéticos do referencial inicial
do processo de reprodução do
sistema de impressão. Neste
momento, esses conceitos
da escrita manual já haviam
sido esquematizados e
racionalizados, depois de
inúmeras metamorfoses
e simplicações,
proporcionando a idéia
esquemática de sua dinâmica,
demonstrando as principais
características estéticas e
tecnológicas desta habilidade
manual da representação do
signo. (Bomeny. 2004: 27)
Morison 1957: 15
Lupton 2006: 73
154- Edward Tufte
          









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

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As palavras são mais fáceis de serem identificadas com os espaços entre elas.
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



“que o objetivo de todo texto é o de provocar em seu leitor um certo estado de excitação da grande rede
heterogênea da memória, ou então orientar sua atenção para uma certa zona de seu mundo interior, ou
então disparar a projeção de um espetáculo de multimídia na tela de sua imaginação” Pierre Levy, (1993)


             






81
“A tipograa é uma
ferramenta com a
qual o conteúdo
ganha forma, a
linguagem ganha
corpo físico e as
mensagens ganham
um uxo de
compreensão social.”
Ellen Lupton
(Lupton, 2006: 8)
Lupton 2006: 67
82
               







terra cognita




 



“o que, quem, quando, como e por que”.


      







             

 
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
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
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   

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

        
         




“Porém toda a leitura continua sendo feita de forma linear, e
nessa tão falada era da sobrecarga de informação, as pessoas
continuam a processar só uma mensagem por vez. (ibid: 68)


       



“O microcomputador fora composto por interfaces sucessivas em um
processo de pesquisa cega, no qual foram negociados, aos poucos
acessos a redes cada vez mais vastas, até que um limite fosse rompido
e a conexão fosse estabelecida com os circuitos sociotécnicos da
educação e do escritório. Simultaneamente, estes mesmos circuitos
começavam a se denir em função da nova máquina. A ‘revolução da
informátca’ havia começado”. Pierre Levy, (2000: 48)
Mas os ícones e o mouse não bastam para explicar o relativo sucesso
do Macintosh. que estabeleceu outras características da interface que
interagem umas às outras, e que foram em pouco tempo absorvidas por
outros fabricantes de computadores.
“Entre todas as características da interface, é preciso levar em conta
a velocidade de cálculo do computador, seu tamanho, sua aparência, a
independência do teclado , o desenho dos ícones e das janelas etc., sem
esquecer do preço da máquina (que remete por sua vez à elegância de
sua concepção e portanto à facilidade de fabricação. Os mais ínmos
detalhes, desde aspectos aparentemente mais “técnicos” até o que
poderia ser visto como sendo oreios estéticos indignos de uma
discussão entre engenheiros, passando pelo próprio nome da máquina
(o de um tipo de maçã), tudo isto foi discutido apaixonadamente pela
equipe que concebeu o Macintosh”. Pierre Levy, (2000: 59)
83
12


 
moderno, modernismo e modernidade       


             


“Moderno” 



           




“Modernismo”            

     





“Modernidade”, 




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

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
      
        
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
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

           
            



    
  

    
        




“Os ambientes e experiências modernos
cruzam todas as fronteiras da
geograa e da etnicidade, da classe
e da nacionalidade, da religião e da
ideologia; nesse sentido, pode-se
dizer que a modernidade une toda
a humanidade. Mas trata-se de uma
unidade paradoxal, uma unidade da
desumanidade; ela nos arroja num
redemoinho de perpétua desintegração
e renovação, de luta e contradição de
ambigüidade e angústia”.
(Harvey, 1993: 21)




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
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

          
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    
            
           







          
           



86
“Pós-moderno”


          





A maioria dos escritores
modernos reconheceu
que a única coisa segura
na modernidade é a sua
insegurança, e até a
sua inclinação para o
caos totalizante”.
(Harvey, 1993: 22)
87
89





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


13.
O pós-moderno
88
157-Robert Venturi, Vanna Venturi, 1961-64
“Rejeitando a idéia de progresso,
o pós-modernismo abandona todo
o sentido de continuidade e memória
histórica, enquanto desenvolve uma
incrível capacidade de pilhar a
história e absorver tudo o que
nela classica como
aspecto do presente”.
(Harvey, 1993: 58)

90


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


“...embora as raízes dessa transição sejam, evidentemente, profundas e complicadas, sua consistência com
uma transição do fordismo para a acumulação exível é razoavelmente clara, mesmo que a direção (se é que
há alguma) da casualidade não o seja. Para começar, o movimento mais exível do capital acentua o novo, o
fugidio, o efêmero, o fugaz e o contingente da vida moderna, em vez dos valores mais sólidos implantados na
vigência do fordismo. Na medida em que a ação coletiva se tornou, em conseqüência disso, mais difícil - tendo
essa diculdade constituído, com efeito, a meta central do impulso de incremento do controle do trabalho,
o individualismo exacerbado se encaixa no quadro geral como condição necessária, embora não suciente,
na transição do fordismo para a acumulação exível.”( Harvey,1993: 161)

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             


           








           
       




  
           


               



13.1
O design pós-moderno
91
159- Demolição do prédio “Pruit - Igoe”



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         
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

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14. Wolfgang Weingart:
uma nova perspectiva da Escola Suíça
            
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
95
94
14.1 O percurso Experimental
de wolfang weingart
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    

160- Wolfgang Weingart
Capa: Typography: My Way to Typography, 2000
97
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








             

“Olhar, ver, entender
meu mundo de
imagens como
reflexo do tempo
em que surgiram”
(Weingart, 2000: 16)
Você continua a escrever ou
imprimir alguma coisa no
papel, não importa se está
usando a mão ou o computador.
Todo texto impresso é para ser
lido, não importa se foi impresso
em off-set ou de qualquer outra
forma. Por isso é importante
aprender os princípios antes de
tentar trabalhar com máquinas
complexas, com as quais,
como em qualquer atividade
humana podemos fazer coisas
maravilhosas ou horrorosas.
Portanto, os elementos básicos
são necessários: a distância
entre as letras, espaço, tamanho,
os tipos de impressão, o lettering,
os diferentes sistemas de
composição. Tudo é importante
para se obter um bom resultado
em tipografia. E, sobretudo,
entender a relação entre todos
esses elementos.”
Wolfgang Weingart, 2004: 73
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96
“Para mudar o
design é preciso
primeiro conhecer
seus fundamentos e
suas regras
(Weingart, 2004: 13)
161- Experiências com tipos da gráca da escola
Wolfgang Weingart, 1962



           
       
         
 
          
         




     




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


            




           




14.2 diretrizes conceituais




     


 






           



           


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            
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
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


Steven Heller, 2007
9998
de wolfang weingart
164-Wolfgang Weingart, Experiências letras talhadas em madeira, 1962
163- Wolfgang Weingart, Cartaz exposição Kunstkredit, 1977
165- Wolfgang Weingart, Capa, Design Quartely
nº 130, 1985
166- Letra F de 6 corpo 6 à 20pt, rigidez da forma
101
14.3 Trabalho técnico e
tipografia elementar
Técnicas de composição de tipos e os problemas relacionados.
       
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


        



      




         
         
        
          
         


          
          




100
de wolfang weingart
168- Composição tipográca impressa em Zurique, 1902
169- Wolfgang Weingart, Reorganização dos tipos, 1971
171- Estudos de legibilidade, texto de Hitoshi Koizumi, 1992-1993
170- Em que ponto a mensagem se torna irreconheciível?
Exercício essencial no curso da basiléia, 1970 à 1992
167- Wolfgang Weingart, Estudo de cor para impressão
14.4 Relações semânticas, sintáticas e pragmáticas
  
             

             



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          
            
         
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14.4.1 


            

         

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



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

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102
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




(Bierut, 2005: 208)

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
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      
          

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

          


         
          

103
172- Wolfgang Weingart, Composição com a letra “M”, 1965
104
105
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
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          


A tipograa é linguagem visível
A tipograa é visível linguagem
A linguagem da tipograa é visível
É visível a linguagem da tipograa
A tipograa da linguagem é visível
A visível tipograa é linguagem
Visível é linguagem da tipograa
A linguagem visível é tipograa.


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



linguagem 
É

tipograa da linguagem
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




14.5 Manifesto Tríplice proposto por Weingart:
14.5.1 
A conexão dos elementos tipográcos uns com os outros e com seu ambiente.



            





        


sintaxe
(cs ou ss) [Do gr. sWntaxis,
pelo lat. tard. syntaxe.]
Substantivo feminino. E.
Ling.
1.Parte da gramática que
estuda a disposição das
palavras na frase e a das
frases no discurso, bem
como a relação lógica
das frases entre si;
construção gramatical:
“Aqui misturam-se com
os artigos píos, cuja
sintaxe temos de arranjar,
raspando-lhes os
solecismos” (Coelho Neto,
Turbilhão,: 11).
2.Essa disposição.
3.Conjunto de aspectos da
sintaxe de uma época ou de
um autor.
Páginas para um calendário
americano, diferenciando a tipograa
de cada mês com o máximo uso de
material sintático
Anúncos da Swissair para um jornal diário,
empregando todas as interpretações
contidas no texto e no plano de vôo. Esses
exercícios demonstram o contraste e a
tensão do material tipográco utilizado.
173- Exercícios para trabalhar ar dimensão sintática em tipograa
sintático
[Do gr. syntaktikós, ‘que
põe em ordem’.]
Adjetivo. 1.Relativo ou
pertencente à sintaxe.
2.Que está de acordo com
as regras da sintaxe. ~ V.
análise —a, contaminação
—a, cruzamento —,
função —a e haplologia —
Função sintática. 1. E.
Ling. Relação existente
entre uma forma e a
estrutura gramatical de
um enunciado.
sintática [Do gr.
syntaktiké, fem. do adj. gr.
syntaktikós.] Substantivo
feminino.
1.Semiol. Parte da
semiologia que se
interessa especicamente
pelas relações entre os
signos [v. signo (5)].
106
107
14.5.2 
O signicado dos elementos tipográcos e do seu ambiente.
           




         
         






          











         



           
      

14.5.3 
a formação de signos como um processo sintático














         


semântico
[Do gr. semantikós, ‘que
assinala’, ‘que indica’.]
Adjetivo.
1.Relativo à signicação;
signicativo.
2.Relativo à, ou próprio da
semântica (2).
1. Ponto de partida

2. Conceituação

3. Design


semântica
[Do gr. semantiké, i. e.,
téchne semantiké, ‘a arte da
signicação’.]
Substantivo feminino.
1.E. Ling. Estudo das
mudanças ou translações
sofridas, no tempo e no
espaço, pela signicação
das palavras; semasiologia,
sematologia, semiótica.
2.E. Ling. O estudo da
relação de signicação nos
signos [v. signo (4 e 5)] e da
pragmático
[Do gr. pragmatikós, ‘relativo aos atos que se
devem praticar’, pelo lat. pragmaticu.]
Adjetivo.
1.Referente ou conforme à pragmática.
2.Relativo ao pragmatismo; pragmatista.
3.Suscetível de aplicações práticas; voltado
para a ação:
medidas pragmáticas. ~ V. competência —a.
pragmática
[F. subst. do adj. pragmático.]
Substantivo feminino.
1.Conjunto de regras ou fórmulas para as
cerimônias da corte ou da Igreja.
2.P. ext. O conjunto das normas formais e
rigorosas da etiqueta.
3.E. Ling. Estudo dos fatores contextuais que
determinam os usos lingüísticos nas situações
de comunicação.
4.Semiol. Ramo da Semiologia que se interessa
especicamente pela relação entre o signo e o
usuário deste.
Qual a característica visual
mais típica e necessária para o
reconhecimento da letra “O”. Qual o
limite desta identicação
O valor semântico do “h” pode
ser mudado? De que modo seu
signicado desenvolve-se por
meio da diferença de peso e
proporção do material de linha
tipográca?
O processo de construir idéias livres e Brincar
com a fantasia é transferido para a utilização
consciente e aplicação destes tipo-signos
descobertos como marca e logotipo
174- Exercícios para trabalhar ar dimensão semântica em tipograa 175- Exercícios para trabalhar ar Pragmática semântica em tipograa
108
109
“Pedagogicamente, Weingart explora um novo terreno. Ao invés
de uma educação industrializada, que, em um primeiro momento,
poderia parecer mais adequada à nova tecnologia, ele reutiliza
uma forma tida como antiquada:
o princípio do mestre e do aprendiz.
Com seus estudantes, ele produz trabalhos com o intuito de servirem
como modelo para uma nova tipografia. O que ele tenta, e que tempos
atrás foi definido pela profissão como a regra fundamental para se
ensinar, é produzir trabalhos com o estudante no local de trabalho.
Ele então reconheceu o significado de escola.”
Armin Hofmann (Weingart, 2000: 139)
14.7.Os Valores tipográficos para Weingart (1972)




          



       

179- Página Dupla da revista
Typographische Monatsblätter
executada pela estudante Liza
Pomeroy, que explora as variações
tipográcas geradas pelo
computador. A tipograa mantém-se
constante, enquanto os outros
elementos mudam, como as linhas e
os planos, 1972





     





14.6 Wolfgang Weingart + tipografia suíça








             
     



“Meu trabalho e o de meus alunos descrevem um caminho em tipografia que só pode
avançar logicamente quando, com a ajuda de nossas experiências e conhecimentos
adquiridos, pudermos reformar o sistema educacional e seus métodos de ensino. As
idéias sobre tipografia tais como as que tentamos desenvolver em Basiléia, contêm
mais do que a simples expansão do vocabulário sintático e semântico. Não queremos
produzir a “nata do design” para ser aproveitada pelas agências. (Weingart, 2004: 13)
176- experiência com a impressão cilíndrica
177- Wolfgang Weingart, Detalhe, Cartaz exposição Kunstkredit de 1978
178- Cartaz exposição “Kunstkredit”, 1980
Detalhe
110
14.8. A “Arte Design” de Wolfgang Weingart
                 










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










Para Weingart tudo que é escrito tem a ver com tipografia; tudo que tem a ver
com tipos, mesmo que seja pintura ou uma carta escrita a mão é tipografia.
São sempre mensagens representadas através dos 26 símbolos do alfabeto, de
A a Z. Podem estar mal escritos, ou podem não ser boa tipografia, coisas que
quase que não se consegue ler, para ele não há limite.
Os tipos modernos são expressões típicas da era da industrialização.
Os tipos são mais produtos de seu tempo do que de seus países de origem.
14.9. Discípulos de
Wolfgang Weingart

          




        
   






        




       
          



        







111
180- imagem trabalhada com
camadas de lme

181- “SwissPoster”, 1900-1984”, 1983

188- capa suplemento trabalhos
de Weingart de 1969 a 1976
187- capa revista Idea, nº 156, 1979






det. cartaz, 1983-84
                




















“Os designers gráficos deveriam
tentar superar algumas
posições um tanto ingênuas.
Pode ser pura ilusão achar
que a mais nova tendência da
tipografia seja automaticamente
melhor e tenha mais níveis de
significado que as experiências
anteriores e que estavam mais
ou menos preocupadas com as
possibilidades formais. Também
pode ser ilusão o fato de que a
nova tecnologia digital tenha
maior autoridade e represente
uma forma de progresso,
considerando que o progresso
tecnológico tem freqüentemente
causado alguma erosão nos
valores humanos.”
(Heller, 2007: 283)
14.9.1 






          
 




   
  


     






         
       






112
190-Dan Friedman, Logo Citybank, 1975
Logotipo, campanha contra a Aids
194- Dan Friedman,
113

191-Dan Friedman, Cartaz, 1973
192-Dan Friedman, “Typograsche Monatsblätter, capa



193-Dan Friedman, Cartaz promocional para revista
189- Dan Friedman, capa do livro “Radical Modernism”, 1995
14.9.2 






         


  
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           
           



197- April greiman e Jayme Odgers, “California Institute of the ArtsPhotography”, 1978
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








        



            


198-April greiman, “Design Quartey” nº 133, 1986
115
195- April Greiman, capa folder
196- April Greiman, capa Jornal, 1979
14.9.3 
           
         


        





      
   


         







         
        






116
    
         





         




117

199- Willi Kunz
200- Willi Kunz, Páginas da revista “Abstract”
202- Willi Kunz, Logotipo da revista “Abstract”
205- Willi Kunz, Capas da revista “Abstract”
201- Willi Kunz, Cartaz, exposição “Frederic Cantor,” 1978
204- Willi Kunz, Cartaz “Columbia University,” 1996
203- Willi Kunz. Cartaz “Columbia University”, 1995
As idéias culturais que aoraram dos trabalhos de Friedman, Greiman e Kunz estende-
ram-se a outros âmbitos, mesmo que os designers grácos não quisessem adotá-las.
118
O Suporte teórico para o experimental

           
           

           
          


:“Sou mais favorável a vitalidade desordenada
do que a unidade óbvia. Incluo o
non sequitur
e proclamo a dualidade”.



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          
         

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


         

         
  


15.
119
207- Muriel Cooper, 1994 para o MIT
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O conceito
da Desconstrução

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16.




  

“O desconstrucionismo é menos uma
posição losóca do que um modo de pensar sobre textos e de ‘ler’ textos”.








desconstruir
            
          
“a do fragmento
incorporado a um novo todo, a uma totalidade distinta”











            

     “ductus”
  


O termo ”ductus” vem da palavra
“digitus”, que signica dedo.
O “ductus” pode ser denido
como sendo um número, a ordem
de sucessão e o sentido dos
traços que formam uma letra. O
estudo do “ductus” não se limita
simplesmente a decompor o signo
em um certo número de traços, mas
o estabelecimento da ordem na qual
estes traços são desenhados e seus
sentidos em relação ao instrumento
da escrita: nenhum traço horizontal
pode ser executado da direita para
a esquerda, como também não se
pode traçar na vertical de baixo
para cima. Para evitar a confusão,
tem-se o costume de colocar sobre
as pranchas de estudo números
e echas que correspondem à
ordem e ao sentido do traçado.
(Mediavilla, 1993: 21)
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121

             
         
 
             
          













A inuência da Desconstrução no
design GRÁFICO




                 





sintomas de uma impureza reprimida.”

16.1
1
2
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123

           










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

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
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
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


209- Neville Brody, fragmentação progressiva do logotipo da página de índice da revista “The Face” , 1984”
208- Neville Brody, anúncio para revista “Torchsong”, 1984
124
Os McCoy E
Cranbrook Academy
of Arts









         

            
             



o que era chamado de “conteúdo pessoal” e “histórias ocultas”      

                


“a morte do autor”,          




de “provedor de conteúdo”



125
O programa
Da Cranbook Academy of Arts




“O Programa de Cranbook foi acusado de
ter uma atmosfera enclausurada, poluída pelas suas próprias liberdades”, mas certamente
esteve no topo da crítica do design gráco no nal da década de 1970 até 1990.(Heller, 2007: 274)













1971 a 1979 A expansão da linguagem formal do modernismo
1980 a 1981 Uma rápida fase intermediária caracterizada pelo alto formalismo
1982 a 1995 Fase pós-estruturalista




 
       


17.1
17.
210-: Scott Makela, tipograa “Dead History”, 1990
211- Cranbook Academy of Arts, Cartaz, 1991
212- Cranbook Academy of Arts, Cartaz, 1989
forma versus conteúdo.
126

“parte colônia de artistas, parte escola, parte museu e parte laboratório de design”.











“A forma não é inimiga do conteúdo, a forma pode se transformar em conteúdo; assim como recipiente dele.”
           
         

   

         

         
          


        
         
          


Katherine McCoy (Heller, 2007: 275)
127





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         
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
        
       
        



primeria
fase
213- Katherine McCoy, Cartaz, Programa Cranbook Academy of Arts
217- Allen Hori, Cartaz ,“First Yers of Cranbrook Design”, 1989
214- Parte capa livro, “Learning from Las Vegas”
215- Edward Fella, Cartaz de Exposição “Detroit Focus Gallery”, 1987
216- Jeffery Keedy, Cartaz, 1989
1989
Cranbook Academy of Arts
128
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           
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





    





“Mas com o quê isso se assemelha? Como você pode fazer isso funcionar como ferramenta de design?”






 
           






terceira fase.
Conceitos como multiplicidade, camadas de
informações incorporadas, imagens e textos
controlados pelo observador e progressão
não-linear, que eram característicos do design
experimental realizado na Cranbrook no nal da
década de 1980, tornaram-se locuções de multimídia,
a nova fronteira do design gráco. McCoy via o
design gráco como uma atividade pluralista, na
qual os componentes do modelo de Shannnon
& Weaver ainda se aplicavam, porém não mais de
maneira linear. O fundamental era a integração e a
interfuncionalidade de todos os elementos.
219- “Emigre Type Specimen Series, folheto Jeffery Keedy, 2002
218- Estudantes de Cranbook Academy of Arts
, V La a , 1978
131
130
            

  

            
      




“As idéias emergentes colocavam em destaque a construção do significado entre o público e a peça gráfica, uma
transação visual paralela à comunicação verbal. Partindo da teoria lingüística sobre semiótica porém rejeitando a
crença em uma transmissão de significado previsível cientificamente, essas idéias começaram a exercer sua influência
nos trabalhos dos estudantes de grafismo. As novas experiências exploravam a relação do texto e a imagem com os
processos de leitura e percepção, mediante textos e imagens que pretendiam ser lidos detalhadamente, decodificando
suas mensagens. Os estudantes começaram a descobrir a dinâmica da linguagem visual e entendê-la como um filtro
que manipula inevitavelmente a resposta do público.” Katherine Mcçoy
(apud Poynor, 2003: 50)
         







Ex- alunos:
Allen Hori
Edward Fella
Jeffery Keedy,
Lorraine Wild,
Lucille Tenaza,
Nancy Skolos,
Tom Wedell,
221-Nancy Skolos e Tom Wedell, 1987 223- Allen hori. 1989
225-Lorraine Wild, 1992
222- Jeffery Keedy, promocional Keedy sans, 1990
224- Edward Fella, 1987
220- Katherine McCoy,: Scott Makela e Mary Lou Kroh, página do livro “The New Discourse”, 1990
Edward Fella
         
           
        
        

             
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
           
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         
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           
      
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
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 
           
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




132
17.2
133
Inuência direta de Cranbrook
“a desconstrução é uma forma de expor a cola que mantém unida a cultura ocidental.” Edward Fella (Sesma, 2004: 194)

          
         


      





Jeffery Keedy

          





        

      
         
        
     



Inuência direta de Cranbrook
17.3
228- Edward Fell, Caligraas
226- Edward Fella, Cartaz de Exposição “Detroit Focus Gallery”
227- Edward Fella, California Institute of Arts, (CalArts), 1989
229- Jeffery Keedy, Página dupla “Fast Foward”(CalArts), 1993
“Na realidade não são necessárias muitas normas
para proteger o público”. (Poynor, 2003: 55)

          




      “A intenção contradiz a
expectativa”        


Barry Deck
         
         





         


  





17.4
134
135
          
        

         
         
 

          



          

    




Inuência indireta de Cranbrook
Inuência indireta de Cranbrook
Why Not Associates
17.5
230- Jeffery Keedy, “Keedy Sans”1989
232- Studio Dumbar, Cartaz “Holland Festival”, 1987
233- Why Not Associates, Capa, “Sensation”, 1997
234- Why Not Associates, Capa, “Next Directory”, 1991
231- Barry Deck, “Template Gothic, 1990
231- Tibor Kalman Capa revista “Colors”,1991
237- Tibor Kalman, Cardápio do restaurante Florent
238- Tibor Kalman, Postal para o restaurante Florent
236- Tibor Kalman Capa revista “Colors”,1994
17. 6
Tibor Kalman
          
            








         

           

           
        
          
          


            



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         

          

       
            
         

“a diferença enTre algo maravilhoso e horrível é muiTo pequena”



        

       
       
   
           

“nuance é a palavra-chave”.
Tibor Kalman
          


138
139
Emigre:
uma nova referência tipográca




           
           

Rudy VanderLans






Zuzana Licko
        
 



            




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            
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




1985
Emigre
Matrix
1986
Modula
1985
1997
Base
1989
Elektrix
1996

1996

1985
Emperor
239- revista “Emigre” nº 1 e nº2, 1984 e 1985
240- Logotipos da revista “Emigre”
241- Fontes desenhadas por Zuzana Licko
1984
2001
1990
243- revista “Emigre” nº14, 1990
242- revista “Emigre” nº 11, 1989
244- Universal Eight e Universal Nenieteen, fonte bitmap, 1986
245- diferença de nalização Emigre fourteen e da Matrix
Emigre Fourteen, 1985
Matrix, 1986
Matrix, 1988
246- A fonte variex foi concebida como linha. Cada caracter é denido por
uma linha central de peso uniforme, tendo a possibilidade de 3 variações
18.

            

  
       





“mesmo que você venha
fazer alguma coisa contemporânea, vai
sempre esbarrar em velhas tipograas.”
          
“cada forma tipológica e suporte não convencional carrega
em si o estigma de ser menos legível do que outras com os
quais o olho humano já se acostumou. As formas de tipos
não são intrinsecamente legíveis. É antes a familiaridade do
leitor com a forma da letra que resulta em sua legibilidade,
e se tornam mais legíveis pelo seu uso reiterado, pois a legi-
bilidade é um processo dinâmico
        
   











 

       
      



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     
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
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247- “Emigre” nº 12, 1989, capa e pagina
248- “Emigre” nº 19, 1991, capa e pagina
249- “Emigre” nº 21, 1992, capa e pagina
250- “Emigre” nº 23, 1992, capa e pagina
251- “Emigre” nº 69, 2005, último número
252- logotipos da página da web: fontes e ensaios disponíveis
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142
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
            

“Os designers abusam da história quando a utilizam como via rápida, como uma maneira de dar legitimidade instantânea à sua
obra e alcançar o êxito comercial… A alusão histórica e a cópia são substitutos baratos da falta de idéias” (Poynor. 2003: 79)
           








         


 
e
      
          

253-Paula Scher, cartaz CBS Discos, 1979

256- Tibor Kalman e Alexander Isley, convite “American Institute of graphic Design”, 1986
257- Tibor Kalman e Alexander Isley, 1986
259- Paula Scher, capa CD, 1980
258-Paula Scher, selos de identicção dos autores das obras em cartaz no “Public Theater of New York”
Postal Promocional, Restaurante Florent

145
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

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
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            

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     
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


Badhouse
(artigo cult of the ugly, publicado pela primeira vez na revista
inglesa Eye No. 9, Vol. 3, 1993.) e pode ser encontrado no site
http://www.typotheque.com/site/article.php?id=68
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


“Sabemos agora que um texto não é feito de uma linha de palavras, libertando
um sentido único, de certo modo teológico (que seria a «mensagem» do Autor-
Deus), mas um espaço de dimensões múltiplas, onde se casam e se contestam
escritas variadas, nenhuma das quais é original: o texto é um tecido de citações,
resultante dos mil focos da cultura.” (Barthes, 2004: 62)





“Uma vez o autor afastado, a pretensão de «decifrar» um texto torna-se totalmente inútil. Dar um autor a um
texto é impor a esse texto um mecanismo de segurança, é dotá-lo de um signicado último, é fechar a escrita. Esta
concepção convém perfeitamente à critica, que pretende então atribuir-se a tarefa importante de descobrir o Autor
(ou as suas hipóstases: a sociedade, a história, a psique, a liberdade) sob a obra: encontrado o Autor, o texto é
«explicado», o crítico venceu; não há, pois, nada de espantoso no fato de, historicamente, o reino do Autor ter sido
também o do Crítico, nem no da crítica (ainda que nova) ser hoje abalada ao mesmo tempo que o Autor. Na escrita
moderna, com efeito, tudo está por deslindar, mas nada está por decifrar; a estrutura pode ser seguida, «apanhada»
(como se diz de uma malha de meia que cai) em todas as suas fases e em todos os seus níveis, mas não há fundo; o
espaço da escrita percorre-se, não se perfura; a escrita faz incessantemente sentido, mas é sempre para o evaporar;
procede a uma isenção sistemática do sentido; por isso mesmo, a literatura (mais valia dizer, a partir de agora,
a escrita), ao recusar consignar ao texto (e ao mundo como texto) um «segredo», quer dizer, um sentido último,
liberta uma atividade a que poderíamos chamar contraideológica, propriamente revolucionária, pois recusar parar
o sentido é anal recusar Deus e as suas hipóstases, a razão, a ciência, a lei.” (Barthes, 2004: 63)
           
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
“É por isso que é derrisório ouvir condenar a nova escrita em nome de um
humanismo que se faz hipocritamente passar por campeio dos direitos do leitor.
O leitor, a crítica clássica nunca dele se ocupou; para ela, não há na literatura
qualquer outro homem para além daquele que escreve. Começamos hoje a deixar
de nos iludir com essa espécie de antifrases pelas quais a boa sociedade recrimina
soberbamente em favor daquilo que precisamente põe de parte, ignora, sufoca ou
destrói; sabemos que, para devolver à escrita o seu devir, é preciso inverter o seu mito:
o nascimento do leitor tem de pagar-se com a morte do Autor.” (Barthes, 2004: 64)
             

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


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
           

      
             
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
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           
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

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
            





Os designers orientados nesta direção estão menos preocupados com
persuasão e mais com informação, menos com a categoria econômica e mais com a siologia, menos
com o gosto e mais com a eciência, menos com a moda e mais com comodidade. Estão interessados
em ajudar as pessoas a encontrarem seu caminho, em compreender o que necessitam, em entender
novos processos e em usar os instrumentos e as máquinas mais facilmente.” (Pelta, 2004: 71)
“A Morte do Autor” publicado em Português na coletânea de textos de Roland Barthes “O Rumor da Língua”, Lisboa, Edições 70, 1987.
149
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        
    


  
        
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First things first, 1964
Primeiro, o mais importante
Ken Garland


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

              
               


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

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




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





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



















A atualização de 1999 do
manifesto “First things rst”
foi realizada por sugestão
do designer Tibor Talman
pelos editores da revista “Adbusters”
com a colaboração
do jornalista Rick Poynor.
Foi publicado quase
simultaneamente nas revistas
“Adbusters” (Canadá),
“Emigre” (EUA),
“AIGA Journal of Graphic Design” (EUA),
“Eye Magazine”,
“Blueprint” (Inglaterra) e
“Items” (Holanda),
com as assinaturas de:


155
154

         

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          
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         
           
        

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Os novos direcionamentos para o design gráfico
       

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272- Adjaye Associate, Sunken House, londres, 2007
158 159



existem cem maneiras diferentes de trabalhar, todas
elas modernas, e seria um erro concentrar-se somente
em uma delas. Neville Brody
(revista Eye nº 6, 1992: 11)






 
            





“as normas constitutivas
que regem qualquer atividade prossional não são externas a ela.
Essas normas constituem a atividade: lhe outorgam sua própria
lógica interna, que o prossional deve seguir e que, tomadas em
conjunto, formam um corpo de conhecimento. Desligá-las da
atividade implicaria em destruí-las.”

 


      




“O valor das experimentação
de desenho não se deve medir
só pelo seu êxito, visto que
muitas vezes as falhas são
constantemente passos para
os descobrimentos.
A experiência é o motor do progresso,
e seu combustível é uma mistura de
intuição, inteligência e disciplina,
não esquecendo que cada novo
meio de representação gera
novos sistemas e portanto
novas leituras.
 

         




          
           











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


A RETORNO ÀS REGRAS
         
           
     

Willi Kunz“Tipografia: macro e microestética”,


Bob e Maggie Gordon “O guia completo do Design Gráco Digital”

Phil Baines e Andrew Haslam,“Tipografia, Función, Forma y Diseño” 
Ellen Lupton “Pensar com Tipos”,


      


David Jury, “About Face: Reviving The Rules Of Typography”

“What is Typography”, 
Timothy Samara, Making and Breaking the Grid”, 

“Typography Worbook”, Elementos
del diseño: Manual para diseñadores gráficos”

 Ellen Lupton, Jennifer Cole Phillips,
“Os novos fundamentos do design”,




25.
160
161
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
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      
    
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            
    
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          





“uma beleza fria e fascinante”. 
Porém
,




            

“Um trabalho de desenho
tipográco obedece a duas
exigências: a aplicação dos
conhecimentos técnicos
adquiridos e a mentes aberta
a novos aspectos. É fato
conhecido que o já adquirido
degenera, com demasiada
freqüência, na auto
complacência. Por esta razão
a formação em tipograa experimental que
signique converter a ocina em laboratório
e lugar de ensaios, é mais que nunca necessária
se a tipograa não quiser petricar-se sobre
conceitos estabelecidos desde há muito tempo.
O rme desejo de criar uma
obra viva que seja um reexo
do espírito dos tempos não
deve esmorecer nunca; a
dúvida e a inquietação são
as melhores armas contra a
tentação de deixar-se levar
pela lei do menor esforço”.
Emil Ruder, 1967, 1983: 7)

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


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 


 
    
          

            



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

           
          

            

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
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






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
            
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                    



FORMA






FORMA E ESPAÇOFIGURA
E FUNDO      



PERCEPÇÃO VISUAL.
           
FORMA CONTRAFORMA

FORMATO.


PONTOLINHAPLANO

IMAGENS
ÍCONESSÍMBOLOSTEXTURAS, PADRÕES, DIAGRAMAS, ETC. 



EQUILÍBRIO,
RITMO, MOVIMENTO, CONTRASTE. COR





ESCALA





165

           


        
        







 

é que hoje temos o poder da escolha.

   





            



            
    


164
“No contexto do conhecimento mais profundo da tipograa, as regras e fórmulas são simples práticas,
realistas e sensatas. Desde que essa informação seja do senso comum e, se for apresentada nos contextos
da função, da história e da tecnologia, é plenamente ecaz e adequada. O conhecimento necessário
para se ser perito nas matérias da maior parte dos ofícios é normalmente complexo, e a transmissão de
conhecimentos de uma pessoa para outra se faz mais facilmente por meio da demonstração e do ensino
organizado. As regras e convenções são um ponto de partida natural.” (Jury, 2007: 43)
O processo do design, segundo David Jury, “requer uma atitude curiosa e generosa e a oportunidade de
experimentar com a técnica deverá ser incluída no processo de aprendizagem, com rigor intelectual,
a compreensão das conseqüências. Os designers não podem seguir tendências, sem as modelar nem
compreender, pois não chegaram a ter normas próprias e delas se desprenderem. A inevitabilidade
da mudança sugere que a prática do design tenha, como já havia armado Emil Ruder, uma procura
constante. Porém o ponte de partida tem que se basear em alguma coisa mais do que uma reação de
uma geração contra o trabalho da geração anterior. Hoje em dia parece natural que cada geração
procure fazer ouvir a sua voz.” (Jury, 2007: 18)
“As regras podem ser quebradas, mas nunca ignoradas.”







         

         
         
        

“ALGUÉM QUE CRIA IDÉIAS, MANIPULA PALAVRAS OU IMAGENS E EM GERAL RESOLVE PROBLEMAS DE COMUNICAÇÃO VISUAL.”

.Glossário
Glossário: na Idade Média e Renascença,
reunião, na parte nal de um manuscrito
ou enfeixada num volume próprio, de
anotações, antes interlineares (glosas),
sobre o sentido de palavras antigas
ou obscuras encontradas nos textos •
dicionário de palavras de sentido obscuro
ou pouco conhecido; elucidário • conjunto
de termos de uma área do conhecimento e
seus signicados; vocabulário • pequeno
léxico agregado a uma obra, principalmente
para esclarecer termos pouco usuais e
expressões regionais ou dialetais nela
contidos; vocabulário
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





O debate contemporâneo sobre
a pós-modernidade vem de
uma percepção de uma série de
mudanças que afetaram direta ou
indiretamente a sociedade, mesmo
que não tenha se chegado a um
acordo sobre o seu signicado e o
impacto causado.
Vários foram os discursos teóricos
que afetaram diversas áreas
até que atingissem o campo do
design gráco. Serão citados os
personagens que inuenciaram
este pensamento, sem ter a
intenção de se aprofundar na
essência losóca da questão.
172 173
As influências teóricas
dO pós-moderno
Apêndice 2
Jean Baudrillard         






  “reversibilidade”                

 

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efemeridade comunicabilidade instantânea 
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
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


Michel Foucault

                    

   




                     
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

 Jean François
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Lyotard,                 


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                   

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David
Harvey
                  
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              
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instantaneidade          descartabilidade  

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
 FrEDeRIC JAMeSoN,
                   
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

 “lógica cultural do capitalismo tardio”, 
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         

 Roland, Barthes







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                  
          
 


                  
 
Zygmunt Bauman,
     “Modernidade Líquida”          



 






Jacques Derrida









“desconstrução”,




Charles Jencks







                  
 


179

a
toda minha família,
especialmente a minha mãe, André, Luiza, Julio, Nanette e Marcia
aos meus amigos
especialmente a Reni, Mauro, Luis e Bia
ao goud
ao meu orientador, Rafael Antonio Cunha Perrone

aos meus lhos Guilherme e Diana, por toda a paciência e apoio
178
1
Detalhe capa “La Operina”
Ludovico Vincentino
“La Operina”
2
Detalhe “Manuale Tipograco”
Giambattista Bodoni
TYPE Typography An Encyclopedic
Survey of Type Design and Techniques Throughout History
3
Detalhe “Manuale Tipograco”
La Nueva Tipograa
4
Detalhe “Typographie”
, Typographie,
5
Peter Behrens, vinhetas tipográcas
História del Diseño Gráco
6
Aphonse Mucha, 1898
 História del Diseño Gráco,
7
Bíblia de Johannes Gutenberg, 1455
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
8
John Baskerville “Virgil”, 1757
História del Diseño Gráco
9
Stanley Morrison, “The Times”
 La Tipograa del siglo XX
10
April GreimanCartaz para “California Institute
of the Arts Photography”, 1978
A History of Graphic Design, 
11
Rudolph Koch, tipo Neuland, 1922/23
História del Diseño Gráco
12
Eugène Grasset, vinhetas tipográcas
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días
13
Luca Paciolli, Esquema construtivo alfabeto
Romano, 1509
La Composicion en Artes Grácas,
14
William Morris, Marca Kelmscott, 1892
 Typographic Design: Form and Comunication,

15
Charles Rennie Mackintosh, cartaz, 1896
A Century of Graphic Design
16
Milton Glaser, cartaz para Columbia Records,
“Dylan”
A Century of Graphic Design,
17
Herb Lubalin, U&lc, 1974
A History of Graphic Design,
18
B. Mclean cartaz “ The Doors”, 1967
La Tipograa del siglo XX
19
Theo van Doesburg, anúncio, 1921
A History of Graphic Design, 
20
Cranbrook, página, 1977
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
21
Wolfgang Weingart, 1980
Typography: My Way to Typography

180
181
22
Wolfgang Weingart, 1984
Typography: My Way to Typography
23
Otl Aicher, Olimpiada Munique 1972
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días,
24
Revista “Emigre”, capa de Rudy VanderLans,
1989
A Century of Graphic Design,
25
A.M.Cassandre, cartaz 1927
A Century of Graphic Design,
26
David Carson, revista “Beach Culture”, 1990
La Tipograa del siglo XX
27
Neville Brody, revista “fuse”, 1991
La Tipograa del siglo XX
28
Edward Fella, 1988
No Mas Normas: Diseño Gráco Pósmoderno 
29
April Greiman, 1986
A Century of Graphic Design,
30
Linha do tempo M.H.W.Bomeny
Os Manuais de Desenho da Escrita 
31
Desenho vetorial do tipo Stone
A History of Graphic Design, 
32
Figuras da idade da pedra
Tipograa
33
Toulouse Lautrec, cartaz 1898
História del Diseño Gráco
34
Carro Ford, modelo T


35
Linha de montagem Ford


36
Fabrica AEG, linha de montagem
Cultura e Indústria: Peter Behrens e la
AEG1907-1914,
37
William Morris
 Typographic Design: Form and Comunication

38
38- Frank Lloyd Wright, “Wood and Plaster
House, 1904
Frank Lloyd Wright: Drawings 1887-
1959

39
Monogramas
História del Diseño Gráco
40
Peter Behrens, Logotipo AEG
La Tipograa del siglo XX
41
Charles Rennie Mackintosh
A Century of Graphic Design
42
Peter Behrens, Fábrica AEG
Cultura e Indústria: Peter Behrens e la
AEG1907-1914,
43
Alexander Rodchenko, capa de revista, 1923
A Century of Graphic Design,
44
Theo van Doesburg e Kurt Schwitters
La Tipograa del siglo XX
45
Hlavack, capa “Ruzové Viry”, 1927
La Tipograa del siglo XX
47
Theo Ballmer, 1928
La Tipograa del siglo XX
47
Oskar Schlemmer, logotipo Bauhaus,1924
La Nueva Tipograa
48
László Moholy-Nagy, folder Bauhaus, 1927
A Century of Graphic Design,
49
El Lissitzky, cartaz para Pelikan,
A Century of Graphic Design,
50
El Lissitzky, capa Alexander Kusikov
A Century of Graphic Design,
51
Jan Tschichold, Typographische Mitteilung,
capa, 1925
Typographische Mitteilung sonderheft 
52
“Die Neue Typographie” capa, 1928,
La Nueva Tipograa
53
Jan Tschichold
La Nueva Tipograa
54
Jan Tschichold
El objeto ineludible: el libro impresso, 
55
Arminn Hofmann, 1964
História del Diseño Gráco
56
Ernest Keller, cartaz, 1935
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
57
Arminn Hofmann, cartaz,1962
História del Diseño Gráco
58
Hans Neuburg, folder para indüstria
Farmacêutica, 1967

59
Karl Gerstner, símbolo Cliché Schwitter & Co,
1965/66
Signet, Signal, Symbol, 
60
Otl Aicher, sistema de signos para Olimpíada de
Munique, 1972
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días,
61
Carlo Vivarelli, 1958
Hisória de la Comunicação Visual, 
62
Página dupla da revista “Neue Graphik”
La Tipograa del siglo XX
63
Catálogo exposição
Mies in América
64
Dieter Rams, Símbolo Braun, Ulm, 1960
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días, 
65
Secador de cabelo Braun, 1964
O Design do século, 
182
183
66
Alexey Brodovitch, página dupla da revista
“Portfolio”, 1950-1
A Century of Graphic Design,
67
Esquema da Divina Proporção
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días
68
Herbert Bayer, catálogo Bauhaus, 1925
Sistemas Reticulares, 
69
El lissititzky, “The isms of Art”, 1923
Sistemas Reticulares,
70
Massimo Vignelli, 1979
Sistemas Reticulares, 
71
Karl Gerstner, “Boîte à musique”, 1964
Pensar com Tipos
72
Josef Müller Brockmann, Sistema de Gride,
1962
Making and Breaking the Grid, 
73
Otl Aicher realizado na Escola de Ulm, símbolo
Lufthansa, 1960-1970
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días 
74
Win Crouwel, Cartaz “formGivers”, 1968
74 a-b-c
Detalhe cartaz, Win Crouwel


75
Paul Rand, logo e símbolo Westinghouse,1961
Design Gráco, Uma História Concisa
75 a
Paul Rand, logo e símbolo Westinghouse,1961
Design Gráco, Uma História Concisa
76
Paul Rand, logo IBM, 1956
Design Gráco, Uma História Concisa
77
Massimo Vignelli, sistema de unicação da
publicações do Departamento nacional de
Parques, Unigrid, 1977
Making and Breaking the Grid, 
78
Emil Ruder, páginas livro “Typographie”

79
Herb Lubalin, logo Grumbacher
Herb Lubalin: Art Director Graphic Designer
and Typographer
80
Herb Lubalin, cartaz
Herb Lubalin: Art Director Graphic Designer
and Typographer
81
Carol Davidson, Símbolo da Nike, 1971

82
Milton Glaser. Símbolo NY, 1975
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días ,
83
Rosmarie Tissi, folder “Anton Schöb”, 1981
A History of Graphic Design, 
84
Steff Geissbuhlre, capa folheto, indústria
farmacêutica Geigy, 1965
A History of Graphic Design, 
85
Siegfried Odermatt, logo Companhia Union,
1966
A History of Graphic Design, 
86
Victor Moscoso, cartaz, “The Steve Miller
Blues Band”. 1967

87
Henry Wolf, 1963 capa revista “Show”

88
Fletcher, Forbes e Gill, 1970
La Tipograa del siglo XX
89-90
Rosmarie Tissi e Siegfried Odermatt

91
Helvética, Max Miedinger, 1954
La Tipograa del siglo XX,
92
Univers, Adrian Frutiger, 1954
La Tipograa del siglo XX,
93
Paul Rand, cartaz IBM, 1956

94
Paul Rand, capa livro infantil, 1953
História del Diseño Gráco
95
Paul Rand, “Thoughts on Design”, 1951

96
Saul Bass, marca do lme “The man with Golden
Arm”, 1955
História del Diseño Gráco
97
Saul Bass, entrada do lme “The man with
Golden Arm”,
História del Diseño Gráco
98
Saul Bass, cartaz para o Filme ”Anatomy of
murder”
A Century of Graphic Design,
99-100
Push Pin Studio

101
Alexey Brodovitch, páginas de revista

102
Alexey Brod0vitch, página de revista, 1956
A Century of Graphic Design,
103
A Bradbury Thompson, “Westvaco
Inspirations”, 1949.

104
A Bradbury Thompson, “Westvaco
Inspirations”, 1953.

105
Gene Frederico, anúncio, “Woman’s day” 1953
História del Diseño Gráco
184
185
106
Hermann Zapf, estudo da letra Optima, 1958
, Hermann Zapf, and his Design Philosophy, 
107
Hermann Zapf, estudo da letra Medici cursiva,
1960
, , Zapf, and his Design Philosophy, 
108
Filme de fotocomposição
 Tipograa, Funión Forma y Diseño 
109
Folha de letraset

110
Ivan Chermayeff, símbolo para exposição, 1960
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días 
111
Ivan Chermayeff, capa livro de Henry Miller
A Century of Graphic Design,
112
Ivan Chermayeff, Logo Chase Manattan, 1960
 El Diseño Gráco, Desde los Origens Hasta Nuestros Días 
113
Aplicação logotipo na arquitetura
Archigraphia: Arquitectural and Environmental Graphics, 
114
Lou Dorfsman, Tom Carnase e Herb Lubalin,
cafeteria do prédio da CBS, 1966
Archigraphia: Arquitectural and Environmental Graphics, 
115
Lou Dorfsman, Tom Carnase e Herb Lubalin,
desenhos, 1966
Herb Lubalin: Art Director Graphic Designer
and Typographer
116
Andy Wahrol, sopa “Campebll’s”, 1968

117
Andy Wahrol Marlyn, 1967

118
Roy Lichtenstein


119
Milton Glaser, cartaz para “Columbia
Records”, “Dylan
A Century of Graphic Design,
120
HerbLubalin, projetos
Herb Lubalin: Art Director Graphic Designer
and Typographer
121
Push Pin Studio,” Elektra Records”, 1965
A Century of Graphic Design,
122
Push Pin Studio

123
Victor Moscoso
La Tipograa del siglo XX
124
Push Pin Studio

125
Chermayeff & Geismar, edifício 9, West 57, NY
Archigraphia: Arquitectural and Environmental Graphics, 
126
Tipo Avant Gard, Herb Lubalin, 1970
Herb Lubalin: Art Director Graphic Designer
and Typographer
127
Wolfgang Weingart, Detalhe, cartaz 1979
Typography: My Way to Typography
128
Herb Lubalin, logotipo U&l, 1974
História del Diseño Gráco
129
Wolfgang Weingart, exposição Kunstkredit,
1977
Typography: My Way to Typography
130
Jaime Reid, “God Save the Queen, Sex Pistols”
No Mas Normas: Diseño Gráco Pósmoderno, 
131
Barney Bubbles, capa de disco Elvis Costello
(face 1)
No Mas Normas: Diseño Gráco Pósmoderno, 
132
Barney Bubbles, capa de disco Elvis Costello
(face 2)
No Mas Normas: Diseño Gráco Pósmoderno, 
133
Peter Saville, Cartaz, 1978

134
Jamie Reid, logo Sex Pistols, 1977
No Mas Normas: Diseño Gráco Pósmoderno, 
135
Terry Jones, capas revistas i-D, 1981
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
136
Neville Brody, Página da revista “The Face”,
1982
No Mas Normas: Diseño Gráco Pósmoderno, 
137
Neville Brody, Capa da “The Face”, 1985
A Century of Graphic Design,
138
Paula Scher, folheto promocional, 1984
A History of Graphic Design, 
139
Luise Fili, marcas
A History of Graphic Design, 
140
“Emigre”, nª 4, Capa e página, 1986

141
Logo “Emigre”

142
Cartaz de “Cranbrook Printing Making”
A Century of Graphic Design,
143
Jim Cherry, Capa do disco “Vertigo” 1981
No Mas Normas: Diseño Gráco Pósmoderno, 
145
Michael Vanderbyl , material promocional para
estudio Memphis, 1985
A History of Graphic Design, 
146
William Longhauser, 1983, “The Language of
Michael Graves”
No Mas Normas: Diseño Gráco Pósmoderno, 
147
Michael Vanderbyl, cartaz, “Connections”,
1983
No Mas Normas: Diseño Gráco Pósmoderno, 
148
Capas revista “Fuse”

186
187
149
David Carson, Capa e página revista “Ray Gun”,
19
The End of the Print, 
150
David Carson, “Federal Bank”, 1995
The End of the Print, 
151
Campanha da “Nike”1994
The End of the Print, 
152
O efeito anti-alias
Pensar com Tipos
153
Símbolo Apple

154
Edward Tufte

155
Mies van der Rohe,“New National Gallery”,
1962-68
 Mies in América
156
Ópera de Sydney, Jorn Utzon
The Language of Post-modern Architecture, 
157
Robert Venturi, Vanna Venturi, 1961-64

158
Frank Gehry, Museu Guggenheim, Bilbao,
1993-97

159
Demolição do prédio “Pruit, Igoe”, 1972


160
Capa: Typography, My Way to Typography, 2000
Typography: My Way to Typography
161
Experiências com tipos da gráfica da escola
Typography: My Way to Typography
162
Wolfang Weingrt, Experiências de impressão,
composição redonda ,1963
Typography: My Way to Typography
163
Wolfgang Weingart, Cartaz exposição
Kunstkredit de 1977
Typography: My Way to Typography
164
Wolfang Weingrt, Experiências em xilogravura
e linóleo
Typography: My Way to Typography
165
Wolfang Weingrt, Capa Design Quartely Nº 130,
1985
Typography: My Way to Typography
166
Letra F de 6 corpo 6 à 20pt, rigidez da forma
Typography: My Way to Typography
167
Wolfang Weingrt, Estudo de cor para
impressão
Typography: My Way to Typography
168
Composição tipográfica impressa em Zurique,
1902
Typography: My Way to Typography
169
Wolfang Weingrt, Reorganização dos tipos,
1971
Typography: My Way to Typography
170
Em que ponto a mensagem se torna
irreconheciível?
Typography: My Way to Typography
171
Estudos de legibilidade, texto de Hitoshi
Koizumi, 1992-1993
Typography: My Way to Typography
172
Wolfang Weingrt, Composição com a letra “M”,
1965
Typography: My Way to Typography
173
Exercícios para trabalhar a dimensão sintática
em tipografia
Como se Pode Fazer Tipograa Suíça
174
Exercícios para trabalhar a dimensão
semântica em tipografia
Como se Pode Fazer Tipograa Suíça
175
Exercícios para trabalhar a dimensão
pragmática em tipografia
Como se Pode Fazer Tipograa Suíça
176
Wolfang Weingrt, experiência com a impressão
cilíndrica
Typography: My Way to Typography
177
Detalhe, cartaz exposição Kunstkredit de 1978
Typography: My Way to Typography
178
Detalhe, cartaz exposição Kunstkredit de 1980
Typography: My Way to Typography
179
Exercício de aluna Liza Pomeroy, 1972
Basilea: la computadora y sus conscuencias
 
180
Wolfang Weingrt, Detalhe cartaz, imagem
trabalhada camadas de filme, 1983-84
Typography: My Way to Typography
181
“SwissPoster”, 1900-1984”, 1983
Typography: My Way to Typography
182
Filme distorcendo a tipografia, 1976
Typography: My Way to Typography
183
Montagem de filme para catálogo, 1981
Typography: My Way to Typography
184
Cartaz, “!8 th Ditacta/Euroditact”, 1980-81
Typography: My Way to Typography
185
Anúcio: concurso de design, 1974
Typography: My Way to Typography
186
Blocos de tipo em curva
Typography: My Way to Typography
188
189
187
capa revista “Idea” nº 156, 1979
Typography: My Way to Typography
188
capa suplemento trabalhos de Weingart de
1969 a 1976
Typography: My Way to Typography
189
Dan Friedmann, capa do livro “Radical
Modernism”, 1995

190
Dan Friedman, logotipo “Citybank” , 1975
A Century of Graphic Design,
191
Dan Friedman, cartaz, 1973
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
192
Dan Friedman, “Typografische Monatsblätter”,
capa, 1971
No Mas Normas: Diseño Gráco Pósmoderno, 
193
Dan Friedman, cartaz promocional para revista,
1976
No Mas Normas: Diseño Gráco Pósmoderno, 
194
Dan Friedman, logotipo campanha contra aids,
1987
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
195
April Greiman, capa folder
Diseñando con Tipograa: Libros, Revistas, Boletines,

196
April Greiman, capa Jornal, 1979
No Mas Normas: Diseño Gráco Pósmoderno, 
197
April greiman e Jayme Odgers, “California
Institute of the Arts Photography”, 1978
A History of Graphic Design, 
198
April greiman, Design Quartey, nº 133, 1986
A Century of Graphic Design,
199
Willi Kunz


200
Willi Kunz, páginas da revista Abstract
Diseñando con Tipograa: Libros, Revistas, Boletines,

201
Willi Kunz, Cartaz, exposição “Frederic
Cantor”, 1978
No Mas Normas: Diseño Gráco Pósmoderno, 
202
Willi Kunz, logotipo da revista “Abstract”
Diseñando con Tipograa: Libros, Revistas, Boletines,

203
Willi Kunz. “Columbia University”, 1995

204
Willi Kunz. “Columbia University”, 1996

205
Willi Kunz, Capas da revista “Abstract”
Diseñando con Tipograa: Libros, Revistas, Boletines,

206
Páginas da revista “Doublespace Fetisk”, nº 2,
1980
No Mas Normas: Diseño Gráco Pósmoderno, 
207
Muriel Cooper, para o MIT, 1994
A Century of Graphic Design,
208
209- Neville Brody, anúncio para revista
“Torchsong”, 1984
No Mas Normas: Diseño Gráco Pósmoderno, 
209
Neville Brody, fragmentação progressiva do
logotipo da página de índice da revista “The
Face” , 1984
No Mas Normas: Diseño Gráco Pósmoderno, 
210
P. Scott Makela, tipografia “Dead History”,
1990
No Mas Normas: Diseño Gráco Pósmoderno, 
211
Cartaz,Cranbook Academy of Arts, 1991
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
212
Cartaz,Cranbook Academy of Arts, 1989
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
213
Katherine McCoy, Cartaz Programa Cranbook
Academy of Arts
No Mas Normas: Diseño Gráco Pósmoderno, 
214
ref. capa livro, “Learning from Las Vegas”
“Learning from Las Vegas” 
215
Edward Fella, cartaz de exposição “Detroit
Focus Gallery”, 1987
No Mas Normas: Diseño Gráco Pósmoderno, 
216
Jeffery Keedy, cartaz, 1989
No Mas Normas: Diseño Gráco Pósmoderno, 
217
Allen Hori, cartaz “First Yers of Cranbrook
Design”, 1989
A Century of Graphic Design,
218
Estudantes de Cranbook Academy of Arts,
“Visible Language”, 1978
No Mas Normas: Diseño Gráco Pósmoderno, 
219
Jeffery Keedy, “Emigre”Type Specimen Series”,
folheto, 2002
No Mas Normas: Diseño Gráco Pósmoderno, 
190
191
220
Katherine McCoy, Scott Makela e Mary Lou
Kroh, página do livro “The New Discourse”,
1990
No Mas Normas: Diseño Gráco Pósmoderno, 
221
Nancy Skolos e Tom Wedell, 1987
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
222
Jeffery Keedy, promocional, Keedy sans

223
Allen Hori. 1989
No Mas Normas: Diseño Gráco Pósmoderno, 
224
Edward Fella, 1987
No Mas Normas: Diseño Gráco Pósmoderno, 
225
Lorraine Wild, 1992
Typography An Encyclopedic Survey
of Type Design and Techniques Throughout History
226
Edward Fell, cartaz de Exposição “Detroit
Focus Gallery”

227
Edward Fella, California Institute of Arts
(CalArts, 1989)

228
Edward Fell, caligrafias

229
Jeffery Keedy, página dupla “Fast Foward”
(CalArts), 1993
No Mas Normas: Diseño Gráco Pósmoderno, 
230
Jeffery Keedy, “Keedy Sans”1989

231
Barry Deck, “Template Gothic, 1990

232
Studio Dumbar, cartaz “Holland Festival”, 1987
No Mas Normas: Diseño Gráco Pósmoderno, 
233
Why Not Associates, capa, “Sensation”, 1997
A Century of Graphic Design,
234
Why Not Associates, capa, “Next Directory”,
1991
No Mas Normas: Diseño Gráco Pósmoderno, 
235
Tibor Kalman capa revista “Colors”,1991
A Century of Graphic Design,
236
Tibor Kalman capa revista “Colors”,1994
A Century of Graphic Design,
237
Tibor Kalman, cardápio do restaurante Florent

238
Postal para o restaurante Florent

239
Revista “Emigre” nº 1 e nº2, 1984 e 1985

240
Logos da revista “Emigre”

241
Fontes desenhadas por Zuzana Licko

242
Revista “Emigre” nº 11 e nº14, 1989 e 1990

243
Universal Eight e Universal Nenieteen, fonte
bitmap, 1986
“Emigre”, 
245
Diferença de finalização “Emigre” fourteen e
da Matrix
“Emigre”, 
246
Fonte Variex
“Emigre”, 
247
“Emigre” nº 12, 1989, capa e pagina

248
“Emigre” nº 19, 1991, capa e pagina

249
“Emigre” nº 21, 1992, capa e pagina

250
“Emigre” nº 23, 1992, capa e pagina

251
“Emigre” nº 69, 2005, último número

252
Logotipos da página da web: fontes e ensaios
disponíveis

253
Paula Scher, cartaz, CBS Discos, 1979

254
Herbert Matter, cartaz, 1934
No Mas Normas: Diseño Gráco Pósmoderno, 
255
Paula Scher, cartaz, relógios Swatch, 1986
No Mas Normas: Diseño Gráco Pósmoderno, 
256
Tibor Kalman e Alexander Isley, convite
“American Institute of graphic Design”, 1986
No Mas Normas: Diseño Gráco Pósmoderno, 
257
Tibor Kalman e Alexander Isley, 1986, postal
promocional, Restaurante Florent
No Mas Normas: Diseño Gráco Pósmoderno, 
258
Paula Scher, selos que identificam os autores
das obras em cartaz no “Public Theater de New
York
Mi Mejor Cliente 
259
Paula Scher, capa CD, 1980
No Mas Normas: Diseño Gráco Pósmoderno, 
260
Zuzana Licko, Fonte Mrs Eaves, Revival da
Baskerville, 1996

261
Zuzana Licko, Fonte Filosofia, Revival da
Bodoni, 1996
192
193
262
Traços da fonte “Beowolf”, Just van Rossum e
Erik van Blokland, 1990
“Carácter”,  
263
Fonte Badhouse, da House Industrie
El Innovador Dúo del Diseño Holandés
 
264
Just van Rossum, Fonte JustLeftHand, 1991
El Innovador Dúo del Diseño Holandés
 
265
Just van Rossum, Fonte JustLeftHand, 1991
El Innovador Dúo del Diseño Holandés
 
266
Estudantes de Cranbrook Academy of Art, 1992
No Mas Normas: Diseño Gráco Pósmoderno, 
267
Fonte Trixie, desenhada por Erik van Blokland,
1991
El Innovador Dúo del Diseño Holandés
 
268
Michael Worthington, revista “Emigre” nº 35,
1995
No Mas Normas: Diseño Gráco Pósmoderno, 
269
Denise Gonzales Crisp, “Emigre”, nº 35, 1995
No Mas Normas: Diseño Gráco Pósmoderno, 
270
Página da publicação do “First Things First” no
jornal “The Guardian”, 1964

271
271- Frank Gehry, Ed. Nationale Nederlanden,
Praga, 1991-1996
Supermodenismo: Arquitetura na era da globallização, 
272
272- Adjaye Associate, Sunken House, Londres,
2007


El Mundo como Proyeto


Tipograa



Sistema de Signos en la Comunicación Visua



Fundamentos de la Tipograa


El Passado en el Presente - El Revival en las Artes Pláticas,
Arquitetura, el Cine y el Teatro


A Century of Graphic Design


A
n d r e w
Tipograa, Funión Forma y Diseño



Comunicación Visual de la Teoría a la Práctica


O Rumor da Língua


O mal-estar na Pós-Modenidade




Fundamentos del Diseño Gráco


La Tipograa del Siglo XX



The End of the Print



G1 Subj: Contemp. Design, Graphic



Os Manuais de Desenho da Escrita.


Design do Material ao Digital


194
195
194

Crossing the Postmodern Divide


Elementos do Estilo Tipográco


The Graphic Designer and His Problems
         


História de la Comunicação Visual


Paul Renner Maestro e Tipógrafo


Arte? Desenho



Typographic Design: Form and Comunication


Diseñando con Tipograa: Libros, Revistas, Boletines


Experimental Typography


Arte Contemporânea: Uma Introdução


Conceitos Chaves em Design


Cultura Pós-Moderna: Introdução às Teorias do Contemporâneo


Guia de Artes Grácas: Design e Layout,


Uma Introdução à uma História do Design


Sintaxe da Linguagem Visual


Signet, Signal, Symbol



Typographie, du Pomb au Numérique


Cultura de Consumo e Pós-Modernismo


Design Now


A Tradição do Moderno: uma Reaproximação com Valores Fundamentais do
Design Gráco a partir de Jan Tschhichol e Emil Ruder – 


Diseño Gráco y Comunicación



Pensamiento Tipográco




Typography: An Encyclopedic Survey of Type Design and Techniques
Throughout History


En Torno a la Tipograa


Sinais e Símbolos. Desenho, Projeto e Signicado


O Mundo Codicado


A Herança Escultórica da Tipograa


Diseñar Programas


Review of 5 x 10 Years of Graphic Design etc.


An Essay on Typography


A História da Arte


Making Digital Type Look Good

196
197


Guia completo do Design Digital


Reticulas para Internet y Otros Soportes Digitales


Bauhaus: Novarquitetura


A Imagem da Palavra


Condição Pós-moderna: Uma Pesquisa Sobre as Origens da Mudança Cultural


História Social de la Literatura y el Arte.vol I - II - III


Linguagens do Design: Compreendendo o Design Gráco



Escrito a Manodiseño de letras Manuscritas en la Era Digital

, 
O Design do Livro


Archigraphia: Arquitectural and Environmental Graphics


Teoria do Conhecimento


Design Issues


Design Gráco, Uma História Concisa


Layout da Página Impressa


Supermodenismo: Arquitetura na Era da Globallização


Postmodernism or The Cultural Logic of Late Capitalism


The Language of Post-modern Architecture
, 

Arquitectura Deconstructivista


O que é Tipograa?


Grids: The Structure of Graphic Design




Type & Typographers


Sistemas Reticulares


Design Gráco Cambiante


Tipograa: Macro e Microestética


Mies in América


Tecnologias da Inteligência



Emigre: Graphic Design into Digital Realm



Emigre


Pensar com Tipos



El abc de la Bauhaus y la Teoria del Diseño



Design Writing Research: Writing on Graphic Design



Novos Fundamentos do Design Gráco


A Condição Pós-Moderna

198
199

As Leis da Simplicidade


Escritas Espelho dos Homens e das Sociedades


La Composición en Artes Gráca


Ensayos sobre diseño, tipograa y lenguage


Typography



Os Meios são as Massa-gens


Calligraphie


História de Diseño Gráco


A History of Graphic Design


Designer’s Guide to Typography



Revival of the Fittest - Digital Versions of Classic Typefaces -


Principios Fundamentales de la Tipograa


Arte e Técnica


Arte y Sociedad Industrial


Princípios Fundamentales de la Tipograa (seguidos de El Arte de Imprimir)


Ensayos sobre Diseño: Diseñadores Inuentes de la AIGA


Artista y Designer


Diseño y Comunicación Visual


Qué es Diseño Gráco


Diseñar Hoy



The Complete Typographer


Tipos e Graas


Os Pioneiros do Desenho Moderno


Informação Linguagem Comunicação


Después de la Arquitectura Moderna


No Mas Normas: Diseño Gráco Pósmoderno


Design Form and Chaos


El Arte de la Tipograa


Manual de Diseño Tipográco


Typographie


Gesto Inacabado


Los Elementos del Diseño


Making and Breaking the Grid


Typography Worbook

200
201

El Diseño Gráco, Desde los Origens Hasta Nuestros Días


El Diseño del Livros del Pasado, del Presente,
y Talvez del Futuro


Curso de Lingüística Geral


Calligraphy The Rhythm of Writing


Tipograsmo


Señal de Diseño



Herb Lubalin: Art Director graphic designer and typographer



Pensamiento tipográco



Notas para uma História do Design


Pioneiros de la Tipograa Moderna



O Design do século


A Forma do Livro


La Nueva Tipograa


Typographische Mitteilung sonderheft (nºespecial)
Elementare typograhie 


?Qué es el Diseño Gráco?


Type Detective Story


Utopia e Disciplina


Emigre: Graphic Design into the Digital Realm


História da Crítca da Arte


Complexidade e Contradição na Arquitetura





Aprendiendo de Las Vegas: El Simbolismo Olvidado de la Forma Arquitetónica.


The Crystal Goblet, Sixteen Essays on Typography


Typography: My Way to Typography


Como se Pode Fazer Tipograa Suíça


Conceito Fundamentais da História da Arte


The Graphic Language of Neville Brody


About Alphabets Some Marginal Notes in Type Desig


Hermann Zapf, and his Design Philosophy


Manuale Typographicum


Histórias de Alfabetos: a Autobiograa e a Tipograa de Hermann Zapf

202
203
Catålogos


Cultura e Indústria: Peter Behrens e la AEG1907-1914

 IBM bodoni manual


Frank Lloyd Wright: Drawings 1887 - 1959



Paestum and the Doric Revival 1750-1830

 
Artigos
 Modernity and Tradition

Historia de una fuente nueva, 

 As Razões da Pós-modernidade

A arquitetura estratégica no horizonte da terra congnita da informação digital.
Revista USP

Modernidade Líquida, comunicação concentrada
Revista USP

The Cult of the Ugly,


Graphic Design in the Postmodern Era


El Innovador Dúo del Diseño Holandés
 


Zuzana Licko, entrevista por Ronda Rubinstein


“Carácter”,
 

En todas las épocas, las corrientes estileisticas han inuido formal y
conceptualmente a tipograa. No obstante, una buena práctica tipográca no
depende del estilo de los signos sino del correcto manejo de su esencia.
 

Basilea: La Computadora y sus Conscuencias
 

Mi Mejor Cliente
 

O discurso gráco como ferramenta de produção de signicação na comunicação
organizacional – UNIrevista
 Estilos y tendencias  

A Pós-modernidade e a Sociologia



El objeto Ineludible: el Libro Impresso


Fallout,
 Entrance by motion. Seduced by stilness 
Sites













204











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