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

TEMIN, Wilma Ruth
Figure 12. Cover and internal pages of fliers published at sale time in 1932
and 1933. Museu Paulista da USP
On the other hand, the fliers created for Christmas were even freer
from graphic standards or direct influences. They had different
sizes and folds; the colors – black and a second or third color
– were lighter colors than the red for sales. Christmas graphic
motifs looked like candles, gift wrapping bows, stars. Mappin’s
building again appeared on covers as a graphic symbol. In this
example, it is possible to see the photographic reproduction,
closer to a more modern style, cleaner and with unusual cuts in
images (see Figure 13).
Figure 13. Cover and internal pages of folder for 1938 Christmas. Museu
Paulista da USP
The folder printed for 1933 Christmas made an interesting use
of the diagonal line in its layout. The title, products and reference
texts are in angle, a reminder of the straight and synthetic lines
of constructivism. The cover features a montage of photographic
images. Mappin Stores’ building rises powerful over the city. On
the back cover, it appears illuminated, seen from an upper angle,
in the middle of the city. The products offered were printed in clichés
based on photos, not on trace drawings, which resulted in
halftone images (see Figure 14).
Figure 14. Folder for 1933 Christmas. Museu Paulista da USP
The folder that announced the Carpet Fortnight features on its
cover the image of a carpet valuing the decoration of a room. A
clean and modern image. Opening the vertical fold, there was a
text about the qualities of the angora carpet and the large inventory
of the store. Opening the horizontal fold, there was not one
space of the page that was not covered by carpets, or lists of
prices and sizes, on white rectangles with a similar shape to that
of carpets, as if playing with the theme of the fortnight. From the
formerly prevailing sans serif typography, now “Mappin Stores”
started to appear as if handwritten, which would become the
store’s logotype in the 1950’s (see Figure 15).
Figure 15. Cover and interior of folder for the Carpet Fortnight, 1930’s. Museu
Paulista da USP
6. Final Considerations
When observing the examples of the printed production of Mappin
Stores between 1913 and 1939, it is possible to note, especially
in the covers of catalogues, a high technical printing
standard in the delicate transition of color nuances. The clean
and refined language is valued by the refined technique. There
Design Frontiers: Territiories, Concepts, Technologies 484