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Authors
Advisor(s)
Abstract(s)
Ler uma obra, procurar percorrê-la na interioridade e na profundidade dos seus
mecanismos constitutivos, instaura um percurso sinuoso na processualidade eleita
campo objetual.
Constrói-se uma parcelar visão analítica através de uma discursividade onde o
que se presentifica se situa sempre aquém do proposto, do implícito até, na vastidão
inerente à natureza e especificidade do desafio ao qual o novo leitor é desafiado sob uma
nova perspetiva sequencial: numa primeira fase a contemplação da composição sob o
seu suporte e, só num segundo momento, a leitura do mesmo. Desta forma, se deixa a
sua interpretação para o último momento, obtendo aqui uma própria e individual
simbologia que é percetível no objeto que o enfrenta.
O presente trabalho procura interligar as potencialidades da Poesia Concreta, na
área do Design Gráfico, com as suas ferramentas e explorações visuais. Assim, objetiva se compreender de que forma um designer gráfico, resultando da sua sensibilização para
com esta tipologia, pode interpretar e desenvolver um conjunto de poemas concretos,
tendo em conta as suas vicissitudes, técnicas e culturais, bastante diferentes das de um
poeta.
Numa primeira fase, efetuou-se uma revisão literária, onde se procurou perceber
as influências da Poesia Concreta e datar o seu restabelecimento no pós-Segunda Guerra
Mundial, analisando, a nível europeu, os movimentos vanguardistas e os seus manifestos,
que a determinaram como hoje a conhecemos.
Numa segunda fase, apresentam-se estudos de caso onde são escrutinados
registos de poemas de Fernando Pessoa, comparando tendências modernistas com uma
nova geração de Poetas Concretos que viu o seu despertar nos anos seguintes ao pós guerra.
Numa terceira fase, para a concretização da prática projetual e contemplação
dos subsequentes resultados, foi concebido um objeto editorial. Por sua vez, este ganha
forma através de uma hipernarrativa assente sobre excertos retirados do primeiro
volume da Revista Orpheu, consagrando assim o ponto de partida temático. A escolha da
Orpheu, pela sua importância na cultura portuguesa, afirmou-se primorosa para a
conversão de experiências visuais num objeto físico.
Deste modo, os resultados demonstram que o objeto editorial desenvolvido e as
composições tipográficas nele empregue podem atingir níveis infindáveis de
multiplicidade e cumplicidades.
Conclui-se com esta investigação que a Poesia Concreta em forma tipográfica
pode constituir uma presença mais ativa na prática do Design Gráfico, devido ao seu
dinamismo e capacidade de explorar novas formas de expressão visual. Para além disso,
é importante realçar o seu valor académico e educativo, incentivando uma compreensão
mais profunda das interseções entre a linguagem visual e literária, e promovendo uma
abordagem mais sensibilizada e, consequentemente, inovadora e crítica ao design
contemporâneo.
Reading a work, attempting to go through it in the interiority and depth of its constitutive mechanisms, establishes a tortuous path in the processuality of the chosen object field. An analytical installment view is constructed through a discursive process in which what is present always falls short of what is proposed, even implicitly, in the vastness inherent in the nature and specificity of the challenge to which the new reader is challenged under a new sequential perspective: in the first phase, the contemplation of the composition under its support and, only in a second moment, the reading of it. In this way, its interpretation is left to the last moment and it acquires its own individual symbolism, perceptible in the object in front of it. This work seeks to combine the potential of concrete poetry in the field of graphic design with its visual tools and explorations. The aim is to understand how a graphic designer, as a result of his awareness of this typology, can interpret and develop a series of concrete poems, taking into account their technical and cultural vicissitudes, which are quite different from those of a poet. In the first phase, a literary survey was carried out in order to understand the influences of concrete poetry and to date its re-establishment in the post-war period, analysing, at a European level, the avant-garde movements and their manifestos that defined it as we know it today. In a second phase, case studies are presented that examine the records of Fernando Pessoa's poetry, comparing modernist tendencies with a new generation of concrete poets that emerged in the post-war years. In a third phase, an editorial object was conceived to implement the design practice and reflect on the results. This in turn takes shape through a hypernarrative based on extracts from the first volume of the magazine Orpheu, thus consecrating the thematic starting point. The choice of Orpheu, due to its importance in Portuguese culture, proved to be an excellent choice for translating visual experiences into a physical object. In this way, the results show that the editorial object developed and the typographic compositions used in it can reach infinite levels of multiplicity and complicity. This research concludes that concrete poetry in typographic form can have a more active presence in graphic design practice due to its dynamism and ability to explore new forms of visual expression. Furthermore, it is important to highlight its academic and educational value, encouraging a deeper understanding of the intersections between visual and literary language, and promoting a more sensitive and, consequently, innovative and critical approach to contemporary design.
Reading a work, attempting to go through it in the interiority and depth of its constitutive mechanisms, establishes a tortuous path in the processuality of the chosen object field. An analytical installment view is constructed through a discursive process in which what is present always falls short of what is proposed, even implicitly, in the vastness inherent in the nature and specificity of the challenge to which the new reader is challenged under a new sequential perspective: in the first phase, the contemplation of the composition under its support and, only in a second moment, the reading of it. In this way, its interpretation is left to the last moment and it acquires its own individual symbolism, perceptible in the object in front of it. This work seeks to combine the potential of concrete poetry in the field of graphic design with its visual tools and explorations. The aim is to understand how a graphic designer, as a result of his awareness of this typology, can interpret and develop a series of concrete poems, taking into account their technical and cultural vicissitudes, which are quite different from those of a poet. In the first phase, a literary survey was carried out in order to understand the influences of concrete poetry and to date its re-establishment in the post-war period, analysing, at a European level, the avant-garde movements and their manifestos that defined it as we know it today. In a second phase, case studies are presented that examine the records of Fernando Pessoa's poetry, comparing modernist tendencies with a new generation of concrete poets that emerged in the post-war years. In a third phase, an editorial object was conceived to implement the design practice and reflect on the results. This in turn takes shape through a hypernarrative based on extracts from the first volume of the magazine Orpheu, thus consecrating the thematic starting point. The choice of Orpheu, due to its importance in Portuguese culture, proved to be an excellent choice for translating visual experiences into a physical object. In this way, the results show that the editorial object developed and the typographic compositions used in it can reach infinite levels of multiplicity and complicity. This research concludes that concrete poetry in typographic form can have a more active presence in graphic design practice due to its dynamism and ability to explore new forms of visual expression. Furthermore, it is important to highlight its academic and educational value, encouraging a deeper understanding of the intersections between visual and literary language, and promoting a more sensitive and, consequently, innovative and critical approach to contemporary design.
Description
Trabalho de projeto
Keywords
Design editorial Design em crise Orpheu Poesia concreta Publicação Tipografia experimental Design in crisis Editorial design Experimental poetry Experimental type Publication