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Advisor(s)
Abstract(s)
A Poesia Experimental veio reinventar o ato de leitura e interpretação de um
poema. Deste modo, aquando do confronto com uma nova obra, o próprio leitor foi
desafiado a reagir sob uma nova perspetiva sequencial: primeiramente contemplar a
forma como os elementos se dispõem no suporte, em seguida ler o poema e por último
interpretá-lo como um todo, tendo em consideração a reunião de componentes disposta
e a própria simbologia das palavras.
Este estudo tem como objetivo elevar as potencialidades da Poesia
Experimental, nomeadamente quando esta se relaciona com o Design Gráfico, com as
suas ferramentas e com a sua capacidade criativa. Assim, procura-se compreender de
que forma um designer gráfico, fruto da sua formação específica, pode interpretar e
desenvolver de forma impar, um conjunto de poemas experimentais, tendo em conta as
suas vicissitudes, técnicas e culturais, bem diferentes das de um poeta.
A presente investigação assume-se como qualitativa, experimental e encontra-se seccionada em três fases distintas.
Numa primeira efetuou-se uma revisão literária, onde se procurou perceber as
origens e influências da Poesia Experimental, desde os seus múltiplos estados e
movimentos vanguardistas, que determinaram uma poesia mais livre, experimental e
solta de regras, como hoje a conhecemos.
Numa segunda fase, caracterizaram-se os Estudos de Caso, onde se reuniram e
escrutinaram registos de Ana Hatherlv e Ernesto de Melo e Castro.
Numa terceira fase, para se concretizar na pratica o projeto e, no mesmo sentido,
se expor os resultados obtidos, materializou-se um objeto editorial. Reuniu-se um
conjunto de provérbios portugueses, habitualmente ouvidos e não lidos/interpretados,
com a capacidade expressiva que se considerou ser a ideal para a metamorfose em
poemas experimentais. Neste segmento procedeu-se à escolha tipográfica, baseada em
estudos focados na hierarquização tipográfica, no posicionamento do texto na página, na
utilização do espaço em branco, no sentido de enaltecer indubitavelmente a palavra.
Concluiu-se com a impressão e encadernação do objeto e posterior registo fotográfico.
Os resultados demonstram que a tipografia pode atingir níveis infindáveis de
multiplicidade visual. Esta opção pelos adágios portugueses, tão populares na nossa cultura, afirmou-se como primorosa para a conversão da imaginação pretendida com a
exploração gráfica.
E factual com esta investigação concluir, que a Poesia Experimental e a
tipografia podem constituir uma presença bem mais ativa na pratica do Design Gráfico.
Por outro lado, com a seleção dos provérbios apresentados, verifica-se uma capacidade
para que estes se tornem grandes promotores da nossa cultura, dentro e fora de portas.
Experimental Poetry has reinvented the act of reading and interpreting a poem. In this way, when confronted with a new project, the reader himself was challenged to react from a new sequential perspective: firstly, to contemplate the way in which the elements are arranged in the support, then to read the poem and, finally, to interpret it, considering the assembly of components arranged and the very symbology of the words. This study aims to raise the potential of Experimental Poetry, namely when it relates to Graphic Design, its tools, and its creative capacity. Thus, we seek to understand how graphic designers, as a result of their specific training, can uniquely interpret and develop a set of experimental poems, taking into account their vicissitudes, techniques and culture, which are considerably different from those of a poet. The present investigation is qualitative and experimental, and it is divided into three distinct phases. In the first one, a literary review was carried out, which sought to understand the origins and influences of Experimental Poetry, from its multiple states and avant-garde movements, which determined a more free, experimental and free of rules poetry, as we know it today. In a second phase, the Case Studies were characterized, where records by Ana Hatherly and Ernesto de Melo e Castro were gathered and scrutinized. In a third phase, to put the project into practice and, in the same sense, to expose the results obtained, an editorial object was materialized. A set of Portuguese proverbs, usually heard and not read/interpreted and with the expressive capacity that was considered to be ideal for metamorphosis into experimental poems, was gathered. In this segment, the typographic choice was made, based on studies focused on typographic hierarchy, on the positioning of the text on the page, and on the use of white space, with the purpose of undoubtedly enhancing the word. lt ended with the printing and binding of the object and subsequent photographic record. The results demonstrate that typography can reach endless levels of visual multiplicity. This choice of Portuguese adages, so popular in our culture, proved to be exquisite for the conversion of the intended imagination with graphic exploration. It is factual with this investigation to conclude that experimental poetry and typography can constitute a much more active presence in the practice of Graphic Design. With the selection of the proverbs presented, there is an ability for them to become promoters of our culture, both domestically and abroad.
Experimental Poetry has reinvented the act of reading and interpreting a poem. In this way, when confronted with a new project, the reader himself was challenged to react from a new sequential perspective: firstly, to contemplate the way in which the elements are arranged in the support, then to read the poem and, finally, to interpret it, considering the assembly of components arranged and the very symbology of the words. This study aims to raise the potential of Experimental Poetry, namely when it relates to Graphic Design, its tools, and its creative capacity. Thus, we seek to understand how graphic designers, as a result of their specific training, can uniquely interpret and develop a set of experimental poems, taking into account their vicissitudes, techniques and culture, which are considerably different from those of a poet. The present investigation is qualitative and experimental, and it is divided into three distinct phases. In the first one, a literary review was carried out, which sought to understand the origins and influences of Experimental Poetry, from its multiple states and avant-garde movements, which determined a more free, experimental and free of rules poetry, as we know it today. In a second phase, the Case Studies were characterized, where records by Ana Hatherly and Ernesto de Melo e Castro were gathered and scrutinized. In a third phase, to put the project into practice and, in the same sense, to expose the results obtained, an editorial object was materialized. A set of Portuguese proverbs, usually heard and not read/interpreted and with the expressive capacity that was considered to be ideal for metamorphosis into experimental poems, was gathered. In this segment, the typographic choice was made, based on studies focused on typographic hierarchy, on the positioning of the text on the page, and on the use of white space, with the purpose of undoubtedly enhancing the word. lt ended with the printing and binding of the object and subsequent photographic record. The results demonstrate that typography can reach endless levels of visual multiplicity. This choice of Portuguese adages, so popular in our culture, proved to be exquisite for the conversion of the intended imagination with graphic exploration. It is factual with this investigation to conclude that experimental poetry and typography can constitute a much more active presence in the practice of Graphic Design. With the selection of the proverbs presented, there is an ability for them to become promoters of our culture, both domestically and abroad.
Description
Trabalho de projeto
Keywords
Poesia experimental Provérbio português Tipografia experimental Design editorial Publicação Experimental poetry Portuguese proverb Experimental typography Editorial design Publication