graphic design
2010

Client: MNAC - Museu do Chiado
Translation not available
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graphic design
2010

Client: MNAC - Museu do Chiado
Translation not available
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graphic design
2012

Client: Guimarães 2012 CEC

Using “wikipedian” ideologies as it´s main reference, Transclusor is an editorial bot created by Barbara Says… as a response to the Curators’ Lab invitation (a curatorial project held at the European Culture Capital event in Guimarães, Portugal). Tranclusor was a platform and sculpture that integrated editorial content into a database. It is an experimental editing machine that reads information and orders it according to a set of simple algorithmic instructions, using ideological principles defined by contributing editors operating within the Wikipedia community it is an attempt to focus on the positive and negative effects of automation and publishing. During three months the sculpture was fed raw information regarding the events and conferences at the Lab. As the information is collected and processed, it is printed by a robust dot-matrix printer, one of the last commercially available. The raw texts and images are sequenced and spewed out on continuous paper, like a waterfall. An occasional performance with students was set up as a happening, where new variables could be introduced in order to measure the impact that these ideas impose on content. Thus “wikideologic” principles such as Inclusionism, Deletionism, Delusionism, Mergism and or Vandalism were used as a new set of variables to test strategic methods for editing the content.

Curators: Gabriela Vaz Pinheiro and Lígia Afonso
Concept/Art Direction:
António Silveira Gomes
Graphic Designers:
António Silveira Gomes, Mariana Veloso and Alexandre Castro (web)

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graphic design
2013

Client: Marta Wengorovius

Book jacket design for “Um, Dois e Muitos” — a self-contained drop-library with 60 different books selected by 20 people invited by the artist Marta Wengorovius. The proposal comprised of creating a book loan system and identity. Inspired by the famous Burda pattern templates we devised a 60-in-one blueprint poster to cut out and line each book. Simultaneously the template sheet worked as a library catalog.

Art direction: António Silveira Gomes
Production: Cláudia Castelo
Graphic Designers:
António Silveira Gomes com Mariana Veloso e Carlos Trancoso
Print production:
Maiadouro
Photos: Mariana Veloso
Dates: October 2012(Concept) – January 2013 (Guimarães) – Sep/Nov 2013(Lisbon)

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oversize design
2005

Client: Câmara Municipal de Lisboa
Translation not available
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Client: Catarina e Rita Almada Negreiros

This blown up Anti-aliased mural is an headache for the elderly to read, but a contemporary interpretation for a man ahead of his time.
This was a project done in collaboration with architects Rita and Catarina Almada Negreiros, who use in their work a renewal of the Portuguese tilery art.

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oversize design
2005

Client: Câmara Municipal de Lisboa

Corporate identity and billboards for Lisbon’s Book Fair. We carved the lettering directly on the main ephemeral structures created for the effect of the fair, setting off an idea of fragmentation that contrasted heavily with the building’s intense and bulky red form. The project’s own drawings were reworked and mixed up with this architectural forms-based lettering.

Feira do Livro Director: Paula Moura Pinheiro
Architecture: Marcosandmarjan architecture
Art direction and graphic design: António Silveira Gomes
Graphic designers: Mafalda Anjos, Francisca Mendonça

Produced materials: typography, exhibitions signs and 3D lettering.

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oversize design
2009

Client: Joana Bagulho

Motiongraphics and CD for a solo concert. “Acção” is a project developed by composer and interpreter Joana Bagulho. It is a harpsichord re-interpretation of Carlos Paredes Portuguese guitar compositions and performances.
We looked into the construction and history of the harpsichord and learned that in the XVII century some instruments were decorated with a landscape scene or a phrase in the interior lid. This can be seen in numerous Vermeer paintings. We drew upon this and other visual aspects related to the instruments sound properties, like – scratching and pinching on lacquer surfaces – to create a visual score and lettering for the different themes throughout the concert.

Alphabet and drawings: António Silveira Gomes
Vídeo and animation: Alexandre Castro
Software: Video Projection Tool by H.C. Gilje

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Client: EXD 09

Proposal for the rehabilitation project of Santos garden in Lisbon.

Drawing upon “tree carving”, this intervention forsees inscriptions painted on the tree´s bark by using a mixture of iron phosphate and calcium oxide (materials commonly used in horticulture to protect the tree´s bark). The contents include, information about the tree, simple orientations or fragments of visual poetry.
The tattoo artist is a Modern Shaman, a protective divinity and an ally to the tree nymphs, (The Hamadryads); by casting a spell he helps protect the tree with an inscription. Whoever harms this tree is cursed.

Project coordination: Experimenta Design
Landscape architecture: João Gomes da Silva
Product design: Fernando Brízio, Pedrita
Sound design: Rui Gato
Lighting: José Álvaro Correia
Graphic design: António Silveira Gomes (barbara says)

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Tree Carving on a Populus Alva Tree

Client: EXD 09

Proposal for the rehabilitation project of a garden in Lisbon.
A modular system of cast iron manhole covers with variable labyrinth patterns, allowing for numerous combinations. These covers can be used as playground equipment allowing children to explore it with small scale toys, marbles and dye-cast cars, and Lord of the rings action figures. The return of the garden labyrinth.

Project coordination: Experimenta Design
Landscape architecture: João Gomes da Silva
Product design: Fernando Brízio, Pedrita
Sound design: Rui Gato
Lighting: José Álvaro Correia
Graphic design: António Silveira Gomes (barbara says)

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Drainage and manholes: Intervention areas

oversize design
2007

Space design for an exhibition on contemporary avant-garde comics.
Five international artists working on the edge of comics and fine arts present their work within the 18th International Comics Festival of Amadora: Ilan Manouach (Greece), Frédéric Coché (France), Warren Craghead III (USA), Aerim Lee (South Korea) and Fábio Zimbres (Brazil). Amidst kid’s comics and commercial drivel, this white cube of experimental comics looked like an UFO: a white cube space with strange oozing lettering and comics on the walls.

Curator: Pedro Vieira de Moura
Graphic designer:
António Silveira Gomes
Produced materials:
exhibition design.

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oversize design
2011

Poster triptych designed for an apartment installation in lisbon.
The Ritz Club was a mythical nightspot for the Lisbon Bohemian crowd. Found at Rua da Glória (approximately 20 meters from the aforementioned apartment block), it began as a cabaret during the old regime. After the Revolution in 1974, it became one of the most eclectic spaces in the city, featuring pop/rock, jazz, Portuguese and African music concerts. The Ritz club has been closed since 2000 for refurbishing.
This series of fictitious posters aim to evoke the memory of such a place, within the framework of Lisbonaire/Experimentadesign.

Client: Lisbonaire/Experimenta design
Graphic Design: António Silveira Gomes, Claudia Castelo
Foto creds: (cc) ottoman lego by dunechaser; tesselation
by origamijoel, particle Mask by Marshall Astor – Food Pornographer
Text: Portuguese translation exerpt of Lewis Carrol’s poem – “Jabberwocky” by Augusto de Campos.
Screenprinting: Mike Goes West
Poster man: Gustavo Sumpta

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self-publishing
2009

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

Ken Jacobs (US), Werner Nekes (DE), Franz Zwartjes (NL), Gunvor Nelson (US)

Curator: Alexandre Estrela
Graphic Design:
António Silveira Gomes
Screenprinting:
Mike Goes West

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Poster - Ken Jacobs

self-publishing
2007

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

Darragh Reeves (UK), Patrick Jolley and Reynold Reynolds (US), Peter Wiehl (US), Lutz Mommartz (DE)

Curator: Alexandre Estrela
Graphic Design:
António Silveira Gomes
Screenprinting:
Mike Goes West

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Poster - Daragh Reeves

self-publishing
2008

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

John Smith (UK), Charlemagne Palestine (US), Craig Baldwin and Negativland (US), R.Steevie Moore (US)(, John Behrens (US), Joel Singer (US), Vasco Lucena (PT),

Curator: Alexandre Estrela
Graphic Design:
António Silveira Gomes
Screenprinting:
Mike Goes West

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Poster - John Smith

self-publishing
2004

Client: António Silveira Gomes

Part of an experimental thesis project made during a post-graduation course at FA-UTL. “Pão” is bread in portuguese. By working with wall-newspapers, confectionery wrapping paper, cultural probes and pervasive computing concepts we tried to create a locally based publication that fed information about cultural habits in a popular Lisbon neighbourhood. This example shows amounts of alcohol consumption and Utopian floor plans.

Prototype:
Graphic Design and Research:
António Silveira Gomes
Acknowledgements: Monica Mendes, José Brandão and Tereza O. Cabral.
Screenprinting: Mike Goes West

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wall-newspaper - overprinted

self-publishing
2001

Client: Galeria zdb

Assorted flyers and promotional material for ZDB – Galeria Zé dos Bois.

Graphic Design: Nuno Horta Santos, José Albergaria, António Silveira Gomes

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self-publishing
2010

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

John Latham (uk), Pat O´Neill (us), Liliane Lijn (us), Jesse Stead (us)

Posters screen printed: Mike Goes West
Edition: 18

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self-publishing
2011

Oporto is a studio and a non-profit screening room located in Lisboa. Occupying the former Merchant Sailors Union headquarters, Oporto presents from time to time a single unique experimental video or film. The space is directed by artist Alexandre Estrela, in cooperation with ourselves and artist Miguel Soares. The screenprinted posters are created specifically for the invited artists and galerists and are also sold at each venue. The flyers are produced in various media from offset printing, fotocopies, letterpress and Riso Print Gocco.

Lewis Klahr (us), Shana Moulton (us), Phill Niblock (us)

Posters screen printed: Mike Goes West
Edition: 18

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Client: Ministério da Cultura - IPPAR (Instituto Português do Patromónio Arquitectónico)

A contemporary art exhibition commemorating the 600th aniversary of a well known portuguese love tragedy. “The name engraved in thy bosom” derives from the 1572 Luís Vaz de Camões’ epic poem “Os Lusíadas” (“The Lusiads”), from the section evoking the tragic love of Inês and King Pedro I of Portugal. The catalogue’s typography, materials and colours make reference to the local Portuguese traditional popular confectionery, creating a recognizable iconography. An additional reference is made to the epistolography of the two lovers by mimicking the envelope lining patterns on the book’s inner dustjacket.

Curator: Alexandre Melo
Art director and designer: António Silveira Gomes

Produced materials: catalogue, invitation and sticker

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Cover - Dust jacket (off-set)

Client: Museu do Chiado

Movement and optics. These were the key-concepts taken from Kinetic Art. The catalogue’s cover has an engraving in holographic film, which forces you to rotate the book in order to read the title; diverse papers were used, creating tactile transitions for each concept chapter; a typographic interpretation of the Manifesto Jaune, Kinetic Art’s own manifesto, was done in an “almost” facsimile which forced the reader to turn it around in all directions in order to read it; lastly, the grid, the format and the very proportions were elaborated according to a reinterpretation of the principles set by Karl Gerstner (one of the artists represented by the exhibition).

Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya

Produced materials: catalogue, invitation and exhibition signs

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Client: Direcção Geral das Artes / Ministério da Cultura

Catalogue for the exhibition of artist duo João Maria Gusmão + Pedro Paiva, as the official Portuguese representation at the Venice Biennale 2009. The project’s title is borrowed from the Joseph Priestley’s book in which the author presents a series of scientific experiments on air and gas, namely his discovery of oxygen.
The book’s colophon justifies some of the formal options: “The primary font used throughout this book is John Baskerville Text, in a version digitalised in 2001 from a collection of rare books originally printed by John Baskerville circa 1750. This typeface exudes the original spirit of Baskerville’s creations, reinforcing the strongly contrasted strokes, fine serifs and exquisitely fluid lines, enhancing the rhythm of the italics. The main physical characteristics of his typeface are the open loop of the lowercase “g”, a swash-like tail on the “Q”, the pointed apex of the “A” and a distinct cursive uppercase “J”. John Baskerville (1706-1775) was a headstone engraver, atheist and anti-clerical, master of calligraphy, typographer and printer in Birmingham, home city to the Lunar Society, an informal group of industrialists, natural philosophers and intellectuals whose ranks included Joseph Priestley whose work gives its name to this exhibition, and Erasmus Darwin, Charles Darwin’s grandfather. There is no record of these gentlemen ever having met; however, Benjamin Franklin, an associate of the Lunar Society, did meet Baskerville and greatly preferred his innovative print work to the Caslon typeface that predominated in that era. Baskerville drew upon his knowledge of printing inks and paper production to manufacture improved black ink and perfect the quality of paper. He made the most of blank space within his book layouts, and tried to keep ornament to a minimum, in his quest for austere and elegant books.”

Curator: Natxo Checa
Artists: João Maria Gusmão + Pedro Paiva
Editor: Mattia Denisse
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya
Produced materials: catalogue, posters, invitations and press ads

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Portuguese and English versions

editorial
1998

Client: Galeria zdb

“Flirt is: a fax machine, a computer and a camper van”. That’s what the editorial for its fist issue (no. 0) stated. Flirt was an editorial project that brought together Zé dos bois gallery and Barbara says and that lasted for 27 issues. In the years of plenty and with Expo’98 then just around the corner, Flirt acted as a sort of pièce de résistance for the underground, a proof that there was still some cultural life at the other end of the city.
The first six issues, a classic of both graphic design and national journalism, had marvelous sections such as “The greatnesses and miseries that made up the 20th century”, a series of chronicles written by António Pocinho, mostly about recreational drugs, as the TV or the automobile; a central pages poster featuring non-dirty pictures, by contemporary artists (Alexandre Estrela, Rui Toscano, Fernando José Pereira + Miguel Leal, Rigo 23, Miguel Leal) ; the classical section “Ócios” (“Leisurely time”); and selected guides on apparently unexpected subjects, such as the best wino bars in town (by Gilberto Gouveia), how to shop around Martim Moniz, the best cheap shoe stores and the best foot doctors in the city.

Editor: Cláudia Castelo
Flirt’s hardcore: António Pocinho, Gilberto Gouveia, Pedro Moura, Mário Cameira, Francisca Bagulho, Natxo Checa, Manuel Henriques, Kika, José António Moura, Pedro Santos, Nuno Carvalho
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
1999

Client: Galeria zdb

With a goodby to the Escudos and a hello to the Euro, Flirt kept on its conqueror’s stance, although it become even more engagé where national cultural politics were concerned: publishing a wide-ranging survey on the production and the financial backing policies of contemporary art; the strikers António Pocinho and Gilberto Gouveia maintained also their positions; two of the best “Ócios” ever were created in this era: one on the best WCs and the other on the best zones for quick lays (cars, hidden corners, etc., by Pedro Moura) in Lisbon; also, a series of chronicles about Portuguese cities who were green with jealousy for not having a Flirt of their own, written by their better hosts: JP Simões (Coimbra), Pedro Mesquita (Porto), Alberto Pereira and Miguel Calvete (Caldas da Rainha), Alexandre Pascoal (Ponta Delgada); Braga (Zé Bernardo); Tavira (Vítor Pomar).

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editorial
2000

Client: Galeria zdb

Special anniversary issue, augmented and improved.
An interview with Paul Virilio, the city of Santarém as seen by Fernando Brito (one of the Homeostéticos artists) and the importance of sound in object by designer Gonçalo Falcão.

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editorial
2001

Client: Galeria zdb

With the turn of the millennium the section “Ócios” was kept, again with two great lists: a special on beaches and semi-fresh fish, and a guide for 5-star restaurants (without ever eating there!). also, interviews with Pierre Bourdieu, Jean Baudrillard, Guillermo Gomez Peña and a Roy Ascott glossary.
A special section was done for all Super8 lovers: how to create a homemade laboratory.

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editorial
2002

Client: Galeria zdb

Now in a smaller format and put out every three months, Flirt begins to experiment with theme issues: Conspiracy, with a key text by António Pocinho called “The heretics of AIDS”; Paranormal phenomenon, discussing David Hoffos’s work and Rudolf Steiner’s anthroposophy; Tourism and leisure: an interview with Angolan curator/artist Fernando Alvim and a fiction about Trafaria. In other issues, Jack Smith vs. Pokémon vs. Isabel Carvalho.

Editor: Cláudia Castelo
Flirt’s hardcore: António Pocinho, Gilberto Gouveia, Pedro Moura, Mário Cameira, Francisca Bagulho, Natxo Checa, Manuel Henriques, Kika, José António Moura, Pedro Santos, Nuno Carvalho, Susana Pomba
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
2003

Client: Galeria zdb

2001 was, at one time, the highest peak and the beginning of the downfall for flirt. Some of the issues were thematic, some were not. Maturity set in, in a project that was condemn to be adolescent forever.
One of the issues was dedicated to abandoned houses cum squats, with a how-to-guide by bone fide squatters, a text exploring the artistic takeover of the Tercenas do Marquês building, and yet another article that remains up-to-date (8 years after being written), on the empty houses and apartments in Lisbon.
Also: Angela Davis; interview with Kalle Lasn (editor for Adbusters), the republishing of the “First Things Firts” manifesto, Critical Art Ensemble, Manuel de Landa, Geert Lovink and Negative Land.

Editor: Cláudia Castelo and Pedro Ornelas
Flirt’s hardcore: António Pocinho, Gilberto Gouveia, Pedro Moura, Mário Cameira, Francisca Bagulho, Natxo Checa, Manuel Henriques, Kika, José António Moura, Pedro Santos, Nuno Carvalho, Sofia Oliveira
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
2006

Client: Câmara Municipal de Mirandela

Magazine published by the Mirandela Museum of The Olive Tree and Olive Oil. A magazine that explores the concept of “Oleosofia” the culture of olive oil and other pleasures of life. Olive oil, art, poetry, photography, recipes, olive oil bottle’s labels, geography, geology and tips on how to kill the parasitic olive fly.

Editor: Roger Teixeira Lopes

Graphic design: António Silveira Gomes
with Francisca Mendonça and Mafalda Anjos

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editorial
2001

Client: Ordem dos Arquitectos

Art Direction for the Ordem dos Arquitectos (Portuguese Architcture’s Guild).

Editor: Manuel Graça Dias
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
2002

Client: Ordem dos Arquitectos

Art Direction for the Ordem dos Arquitectos (Portuguese Architcture’s Guild).

Editor: Manuel Graça Dias
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
2003

Client: Ordem dos Arquitectos

Art Direction for the Ordem dos Arquitectos (Portuguese Architcture’s Guild).

Editor: Manuel Graça Dias
Graphic design: António Silveira Gomes, Nuno Horta Santos and José Albergaria

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editorial
2005

Client: Direcção Geral das Artes / Ministério da Cultura

Catalogue and corporate identity for the official Portuguese chapter of the Venice Biennale of Architecture 2008.
This project was inspired on the Letraset sets used in Architecture, prior to computer use. Each studio selected an image that was then changed into a transfer, at the same time that same texture was used to create a mutant Lettering that would change on each declination.

Curators: Pedro Gadanho, Luís Tavares Pereira
Art direction and graphic design: António Silveira Gomes (designer)
Graphic designer: Francisca Mendonça and Mafalda Anjos

Produced materials: Exhibition Design, catalogue, invitation, poster and press ads.

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Poster

editorial
2003

Client: João Maria Gusmão + Pedro Paiva

Catalogue of the exhibition, presenting each piece as if in an industrial catalogue of volatile products.

Art direction and graphic design: António Silveira Gomes, Nuno Horta Santos

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editorial
2009

Client: Angelo Cirimelle

Art direction of the 50th issue of Magazine, a publication of Parisian art and fashion. We have chosen the work by three Portuguese female photographers: Patrícia Almeida, with a work on the Portuguese coast’s flora and fauna, that has been brutally destroyed by the urban development policies underway since the 80s; Susana Pomba, with her obsessive snapshots of Lisbon’s nightlife; and Catarina Botelho, in a more intimate tone.

Magazine Director: Angelo Cirimelle
Art Direction and Graphic Design: António Silveira Gomes (designer), Claudia Castelo (Project Manager)
Acknowledgements: Change is Good

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editorial
2009

Client: Galeria zdb

The cover, that looks like out of a Z-movie, may tilt the reader in the wrong way. The actual subject of this book is Abyssology, a parascience of the indiscernible, a term appropriated by artistic duo JMG and PP and explored here via an array of texts by scientists, poets, writers, philosophers and art critics. The book presents a text/image combination in which there is no distinction whatsoever between the artists’ own work and images from other sources.

Artists: João Maria Gusmão e Pedro Paiva
Curator: Natxo Checa
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designer: Patrícia Maya

Produced materials: book

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