editorial
2006

Client: João Maria Gusmão + Pedro Paiva

Publication that accompanied the homonymous show by artist duo João Maria Gusmão + Pedro Paiva. This was a project that stemmed from Victor Hugo’s book The Man who Laughs, focusing on the description of a meteorological phenomenon whose manifestation is beyond human understanding and communication.

“We try to explain all things by the action of wind and wave; yet in the air there is a force which is not the wind, and in the waters a force which is not which is not the wave. That force, both in the air and in the water, is effluvium”. Victor Hugo, The Man who Laughs.
The book also contains texts by Alfred Jarry, Friedrich Nietzche and Andrei Tarkovsky.

Editors: João Maria Gusmão + Pedro Paiva
Art Direction and design:
António Silveira Gomes

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editorial
2009

Client: Teatro Praga

Attention! This is not a programme, but rather a publication created for the collective actions of the neo-fake artists from Teatro Praga. Each issue pretends to establish a parallel between the texts, the performance experiences and the very specific traits of each play. This publication is sold at the entrance of the venues where the shows take place, during intervals, in a small, improvised “kissing stall” sort of thing.
Props 1 and 2 were published together for the play entitled Demo. The first comprehended a series of texts related to the play, similar to the classical Al Jafee’s Mad fold-ins, and with a insert of spam ads. The second is a inside out magazine with the portfolios of 4 artists involved in the show: Gabriel Abrantes, Pedro Lourenço, Vasco Araújo and Kevin Blechdom.

Editor: Susana Pomba
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designers and spam collectors: Patrícia Maya and Alexandre Castro

Produced materials: publication and brochure

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Props #1 - Cover

editorial
2008

Client: Ellipse Foundation

Editorial support for the creation of small brochures of the Ellipse Foundation education services, whose main points were the use of color, special hand lettering and theme-related illustrations.

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

Produced materials: graphic identity, invitations, brochures, support materials.

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editorial
2008

Client: Ellipse Foundation

Editorial project for an installation by artist Filipa César, a semi-documentary on illegal immigration and frontiers during the Salazar regime in Portugal. The invitation consists of a map of the locale discussed on the artwork; the very support’s material (paper) is evocative of the frontier’s dichotomy: only when the spectator holds the paper against the light he can see, through its transparency, the two sides coalescing the complete map information. The bookzine’s cover uses a lined blue sheet of paper (reminiscent of an official and obligatory type of paper used in that era’s Portuguese bureaucracy and its political police).

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

Produced materials: invitation and booklet

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editorial
2009

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

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editorial
2009

Client: Confraria dos Enófilos e Gastrónomos de Trás-os-Montes e Alto Douro

The “Confraria” are brotherhoods that share a common interest. Originally religious cults that worshiped a specific Saint. The Magazine bebes.comes is the voice of the Trás-os-Montes Gourmand and Enophile “Confraria”. This brotherhood is dedicated developing and maintaining the Culinary patrimony of the Alto Douro region… and always the ideal excuse to organize opulent, festive banquets.

Editor: António Manuel Monteiro
Art direction: António Silveira Gomes
Graphic Designers:
Sílvia Prudêncio, Patrícia Maya, Alexandre Castro

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editorial
2010

Attention! This is not a programme, but rather a publication created for the collective actions of the neo-fake artists from Teatro Praga. Each issue pretends to establish a parallel between the texts, the performance experiences and the very specific traits of each play. This publication is sold at the entrance of the venues where the shows take place, during intervals, in a small, improvised “kissing stall” sort of thing. Props 3 – dedicated to the catastrophy. Props 4 – is just a bag.

Editor: Susana Pomba
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
Graphic designers and spam collectors: Patrícia Maya and Alexandre Castro

Produced materials: publication and bag

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Client: Galeria zdb

A collective art show that stood out as a political response to the impact of the Expo’98 World Fair that was taking place in Lisbon. Issues such as identity crisis, human rights, freedom of expression, unemployment, war, racism and social exclusion under discussion by 20 young artists. Paulo Mendes, Filipa César, António de Sousa, Inês Carolina, Paulo Scavullo, Tiago Batista, Rui Toscano, Miguel Soares, Alexandre Estrela, Miguel Palma, Ruy Otero, Pedro Amaral, Rita Ferrão, Patrícia Garrido, Heitor Fonseca, Marina Reker, Eva Mota, António Nascimento, Ana Pinto.

Curators: Carlos Roque, Pedro Cabral Santo
Graphic design: José Albergaria, Nuno Horta Santos, António Silveira Gomes

Produced materials: Catalogue/brochure

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editorial
2010

Attention! This is not a programme, but rather a publication created for the collective actions of the neo-fake artists from Teatro Praga. Each issue pretends to establish a parallel between the texts, the performance experiences and the very specific traits of each play. This publication is sold at the entrance of the venues where the shows take place, during intervals, in a small, improvised “kissing stall” sort of thing. Props 5 – is an archive of 12 projects with technical information, credits, sinopses, press reviews and social network hullabaloo.

Editor: Susana Pomba
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (project manager)
(Props Typeface by Change is Good)

Produced materials: A5 screenprinted Card Folder + 12 project cards in 2 colour offset

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File cover

editorial
2010

Client: Museu Colecção Berardo

The catalogue of this exhibition attempts to emphasize the wide choice of authors made by the curator, creating a possible panorama of almost a century of Portuguese comics production. The alphabetic order, arranging both the artists and the essay writers, underlines the nature of the book as a sort of national comics reader. The splitfountain cover tries to restore the plasticity and gestuality of this discipline.

Curator: Pedro Vieira de Moura
Art direction: António Silveira Gomes (designer) e Cláudia Castelo (projecto manager)
Graphic design: Patrícia Maya
Produced materials: catalogue
Printing: Maiadouro

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editorial
2010

Client: MNAC - Museu do Chiado

This catalogue mimics an illustrated history book, aiming for an organic relationship between text and image, and compiling the work’s descriptions and captions on a separate, technical section. The book’s cover is a speculation on a specific shade of green that Columbano used for the idealization of the Portuguese Republican national flag, still in use today.

Curator: Maria de Aires Silveir
Art direction: António Silveira Gomes (designer) e Cláudia Castelo (projecto manager)
Graphic design: Patrícia Maya
Produced materials: catalogue, invitation, poster and exhibition signs

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Client: MNAC - Museu do Chiado

First catalogue of a series of 3 on the art collection of the Museu Nacional de Artes Contemporâneas – Museu do Chiado (National Museum of Contemporary Arts). Classic structure of a two-part catalogue: essays and works, with these occupying the full area of the page, independently of its life-size. The endpapers comprise a pattern fashioned from a selection of favourite works.

Curator: Maria de Aires Silveira and Pedro Lapa
Art direction: António Silveira Gomes (designer) and Cláudia Castelo (projecto manager)
Graphic design: Patrícia Maya
Produced materials: catalogue

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Translation not available
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Client: MNAC - Museu do Chiado
Translation not available
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Client: João Maria Gusmão + Pedro Paiva

João Maria Gusmão + Pedro Paiva

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Client: Mattia Denisse

Right After the Comma (english version)

As a child while playing in his father’s old trailer, young Mattia Denisse imagined an heroic voyage that would span four regions of the globe: Lisbon, the Cape Verde Archipelago, Amazonia, and the Namib Desert. Between 2009-11 the artist Mattia Denisse (b.1968) now residing in Lisbon journeyed between these regions revisiting his childhood imaginary voyage and producing a number of drawings and philosophical reflexions. By crossing his thoughts with literary giants such as Balzac, Victor Hugo, Fernando Pessoa, René Daumal, Jorge Luis Borges, Roberto Bolaño and others. Denisse came up with Right After the Comma, a probing travel book, a narrative laden with bibliographical references, captions, comments and various forms of footnotes that required a very specific vis-à-vis approach to the conventional text/image dualism.

Most of the groundwork with the artist was based on a collaborative process, sharing foster admiration for the Dicionaire Historique et Critique, a precursor of the first encyclopaedias. Published in the end of the seventeenth century by French Philosopher Pierre Bayle, this book was composed in a compact layout, a single or double column, justified text and dozens of left weighted footnotes compressed into its page margins. Like most encyclopaedias it is fragmented, almost hypertextual. Seemingly, Mattias’ text had footnotes and three more possible reading levels, namely metafootnotes and meta-metafootnotes and Bibliographical comments. The structure of the narrative, being essentially linear, was constantly being challenged by these paratextual aspects, escape hatches and contemplative meandering passages.

Right after the Comma starts where Mount Analogue ends, an incomplete masterpiece about an epic non-voyage to a mythical island, written by French philosopher Rene Daumal. This author tragically died, leaving the original script in mid-chapter, ending in a mysterious comma.

Author: Mattia Denisse
Typefaces:
Wedge Gothic & Jannon serif & Sans Serif.
Art Direction:
António Silveira Gomes
Editors:
Barbara says… (Claudia Castelo and António Silveira Gomes) Lígia Afonso and Mattia Denisse
Graphic Designers:
António Silveira Gomes and Patrícia Maya

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education
2005

Client: ESAD.Cr - Comunicar Design

A workshop dedicated to issues regarding intellectual property, copyright, fair use, creative commons, culture jamming, sampling and appropriation. Loosely based on a text by David Reinfurt where the 4 directives of open source are proposed for reviving extinguished dot-com company logos.

Produção: Comunicar Design (Cristiana Pena)

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Copy Left or Right - by Lara Esse

Client: ESAD

A workshop experimenting with the basic principles of electronics and graphic design techniques mixing LEDs with pre-computer colour proofing techniques such as Xerography, Omnichrom and Letraset transfers. Electronic pizza, hummm!
For: 12 students. Difficulty: medium level. Costs: low. Time: 2 days. Low in calories and high in fibre and energy.

Ingredients:
24 Large size empty pizza boxes
12 assorted LEDs
2 Metres of electric cable
1 piece of electric wire
1 black marker
1 Set of Letraset for electrical engineers.
1 Isolating tape
2 Hansa N10 attaches
1 Assorted Letraset Omnicrom strips
2 1.5v Batteries
1 UHU Stick

In collaboration with: Tiago Borges and João Decq. At ESAD.CR

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education
2012

Jornadas is a series of debates dedicated to under-researched figures that are widely unknown. It is a event celebrating design-research and it is expandable to diverse areas of knowledge, yet it began with publishing arts circles.

This first edition was called “Cantiana” [as in Cantos, (in Portuguese Cantos is a paronym meaning both “corner” and / or “epic poem, it can also be confused with the illuminist philosopher Emmanuel Kant”)]. Ultimately it is dedicated to Paulo de Cantos (1892-1979), an illustrious lover of books, wild acrostics and crazy typography, a schoolmaster and gerontologist who self-published an incredible array of awkward publications between 1920s and 1950s. He is known only in Portuguese Bibliophile circles and, as of yet, no one has ever actually “pinned him down”.

The two days of debates used his publications as a starting point, around which guest speakers openly presented first-hand empathies, analogies and possible references from their cultural and intellectual universes. For the first time, his work was presented in an exhibition, in an attempt to address the authors main chimeras and motivations. The editions were under scrutiny together with other analogous works, some of which directly relate to the invited speakers. As a biographic extension, on display were the author’s epistolary material, original drawings and mockups, amongst other documental objects.

Credits:

Invited Speakers: Olga Pombo, Massin, Jan Middendorp, Uta & Thilo Von Debschitz
Organization:
Barbara says…
Art Direction:
António Silveira Gomes, Cláudia Castelo and Alexandre Estrela
Editing and Research:
António Silveira Gomes, Filipa Cordeiro
Production:
Filipa Cordeiro
Designers:
António Silveira Gomes, Patrícia Maya, Mariana Veloso and Alexandre Castro (web)
Catering:
Inês Milagres

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