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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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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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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