Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

CAVALCANTE, Sebastião A. / QUEIROZ, Malthus O. / LIMA, Clara S. / BARRETO CAMPELLO, Silvio
Figure 6. (1) Back cover Cri-Cri # 1, (2) Headpiece Cri-Cri # 12, (3) Circular masking Cri-Cri # 8 (FUNDAJ collection of rare books); Table 1.4 Types of elements surrounding
the photogravures.
a graphic resource for the printed page became a reality reflected
in the early 20th century, changing the scenario of the production
of newspapers and periodicals.
It is possible to recognize throughout the data how the techniques
and photographic development processes are inserted as resources.
These were used as a language for distinction without
necessarily establishing patterns across the issues. Experimentalism
and finishing of edges and shapes emerge as a novelty in
the composition of the printed page. Possibly, this relates to the
figure of the photoengraver, that in cases like that of B. Teles Jr.
had featured in the social milieu of his time. They possessed the
knowledge of photofinishing techniques, and should probably sell
them as resources. So, how would these professionals have influenced
the choices and language of photographic images? Had the
clicherists a differential role around the use of these resources, or
did they only reproduce the printers and publishers will? These are
questions for further research.
It is also possible to see how the picture becomes eventually the
main piece of information, taking in its surroundings other graphic
elements such as vignettes, which makes it even more distinct
among the whole page. Associated with this emphasis, we have
the result that 60% of the photogravures found have as a theme
pictures of personalities and persons said to be distinct, compared
with 19% devoted to everyday images, also of commom citizens.
It is recognizable what type of use a magazine like Cri-Cri made of
photographic images, giving us clues of what kind of visual culture
would be interesting to the social group that consumed it. We realized
that the advent of the cliché matrix allowed the general use
of photography, establishing a more diverse graphical dialogue between
texts and images. The cliché introduction in the printing industry
of Pernambuco during the turn of 20th century also allowed
the practice of experimentations in order to establish a specific
graphic language, resulting from this new technology.
Acknowledgment
Thanks to Design and Graphic Practices discipline students Alexandre
Amorim, João Vitor Menezes and Marcela Reis who helped
in the survey.
References
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About the author(s)
Sebastião Antunes Cavalcante is a Master’s student in the PPG
Design at UFPE. Research interest in history of Graphic Design
in Pernambuco.
Design Frontiers: Territiories, Concepts, Technologies 408