Helena de Barros
Professora adjunta de design de comunicação na ESDI UERJ. Doutora, mestre e bacharel em Design pela mesma instituição, designer e pesquisadora. Tese vencedora do Prêmio CAPES 2019 (categoria Arquitetura, Design e Urbanismo) e da 32º edição do prêmio Museu da Casa Brasileira (tese de doutorado, 2018). Experiente em projetos de design gráfico, principalmente impressos, projetos editoriais e de exposição na área cultural. Especialista em imagem digital, pré impressão e produção gráfica, atua também em fotomontagens publicitárias, painéis cenográficos de fotomontagem de grande formato para ambientações de exposições, além de restauração digital de acervos fotográficos. Consultora em identificação de técnicas de impressão de imagens por método microscópico, pesquisa sobre linguagem visual, cultura material, técnicas gráficas, impressos efêmeros e memória gráfica brasileira. Dedica-se especialmente às técnicas de impressão colorida, com ênfase na cromolitografia do séc. XIX e impressão de arte digital atual. Artista digital de fotomontagens com autorretratos através do alter ego Helenbar (www.helenbar.com), participou de mostras individuais e coletivas nacionais e internacionais.
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This article deals with the permeable technology used in the first stencil duplicating apparatuses that gave rise to the Risograph duplicator. It is proposed a historical review of the technologies that were the genesis of stencil duplicating, structured through bibliographic research and review and patents under a critical perspective on printing processes by the authors. We will detail the technical processes used in the Papyrograph, File Plate Process, Electric Pen, Cyclostyle, Mimeograph and Neo-Cyclostyle until the first Risograph. Contrary to what common sense may indicate, Risograph did not emerge as an isolated invention, it is, in fact, an improvement of the stencil duplicating technology, present in equipments that have been participating in the graphic history for about 140 years.
Palavras chave: Aura. Original. Reprodução. Impresso. Simulacro. Efême-ros.
palavras-chave: cromolitografia, rótulos, memória gráfica brasileira, cultura material, identidade nacional.
This paper presents the first part of a research, which studies chromolithographic labels of Brazilian products, emphasizing technical and projectual strategies on their execution. We will first present Ephemera and Brazilian Graphic Memory – areas of study in connection with this research, and also describe the chromolithography technique. We will identify two institutions in the city of Rio de Janeiro that hold this kind of artifact – Fundação Biblioteca Nacional and Arquivo Nacional – describing their collection of chromolithographed labels. A selection of 100 labels, based on the graphic elaboration of the material, constitutes the research corpus. A first approach of this corpus is based on the identification of two sets: labels for luxury consumption and labels for popular consumption. By this framing, we will develop preliminary analysis of the graphic-technical approach – emphasizing their color construction – and their iconographic strategies, highlighting the presence of Brazilian's iconographic elements on the labels for popular consumption and European themes on the ones for luxury consumption.
chromolithography, labels, Brazilian graphic memory, material culture, national identity.
Artigo selecionado para publicação na Revista InfoDesign: RevistaBrasileira de Design da Informação (www.infodesign.org.br)
ABSTRACT This research is about the technical strategies adopted in Brazil for the elaboration of commercial color prints produced by means of chromolithography – historical printing technique, where the image attributes were conditioned by manual and empirical color construction, in opposition of the objectiveness of the photomechanical process in practice since early XX century to nowadays. The analysis of the study corpus from the label collection of Fundação Biblioteca Nacional and cross-‐ reference with theory would propitiate the investigation of the major graphic resources, formal strategies and technical concepts in use by the early national production of color prints. We will develop specific color construction methods of analysis based on microscopic observation.
o discurso do conteúdo informacional da imagem. Apontamos também as consequentes transformações sociais e culturais determinadas pelo aumento qualitativo e quantitativo das imagens impressas do século XV aos dias de hoje.
palavras-chave: original; reprodução; imagem impressa; fac-símile; retícula.
abstract: We will deal with matters of interpretation related to the reproduction of original images in printed copies and how the technology of reproduction limits resulting in visual translations and paraphrases, restricting, distorting or transposing the image information content. We also comment on the consequent social and cultural transformations generated by the increasing quantity and quality of printed images, from the XVth century to present times.
keywords: original; reproduction; printed image; facsimile; halftone.
This article deals with the permeable technology used in the first stencil duplicating apparatuses that gave rise to the Risograph duplicator. It is proposed a historical review of the technologies that were the genesis of stencil duplicating, structured through bibliographic research and review and patents under a critical perspective on printing processes by the authors. We will detail the technical processes used in the Papyrograph, File Plate Process, Electric Pen, Cyclostyle, Mimeograph and Neo-Cyclostyle until the first Risograph. Contrary to what common sense may indicate, Risograph did not emerge as an isolated invention, it is, in fact, an improvement of the stencil duplicating technology, present in equipments that have been participating in the graphic history for about 140 years.
Palavras chave: Aura. Original. Reprodução. Impresso. Simulacro. Efême-ros.
palavras-chave: cromolitografia, rótulos, memória gráfica brasileira, cultura material, identidade nacional.
This paper presents the first part of a research, which studies chromolithographic labels of Brazilian products, emphasizing technical and projectual strategies on their execution. We will first present Ephemera and Brazilian Graphic Memory – areas of study in connection with this research, and also describe the chromolithography technique. We will identify two institutions in the city of Rio de Janeiro that hold this kind of artifact – Fundação Biblioteca Nacional and Arquivo Nacional – describing their collection of chromolithographed labels. A selection of 100 labels, based on the graphic elaboration of the material, constitutes the research corpus. A first approach of this corpus is based on the identification of two sets: labels for luxury consumption and labels for popular consumption. By this framing, we will develop preliminary analysis of the graphic-technical approach – emphasizing their color construction – and their iconographic strategies, highlighting the presence of Brazilian's iconographic elements on the labels for popular consumption and European themes on the ones for luxury consumption.
chromolithography, labels, Brazilian graphic memory, material culture, national identity.
Artigo selecionado para publicação na Revista InfoDesign: RevistaBrasileira de Design da Informação (www.infodesign.org.br)
ABSTRACT This research is about the technical strategies adopted in Brazil for the elaboration of commercial color prints produced by means of chromolithography – historical printing technique, where the image attributes were conditioned by manual and empirical color construction, in opposition of the objectiveness of the photomechanical process in practice since early XX century to nowadays. The analysis of the study corpus from the label collection of Fundação Biblioteca Nacional and cross-‐ reference with theory would propitiate the investigation of the major graphic resources, formal strategies and technical concepts in use by the early national production of color prints. We will develop specific color construction methods of analysis based on microscopic observation.
o discurso do conteúdo informacional da imagem. Apontamos também as consequentes transformações sociais e culturais determinadas pelo aumento qualitativo e quantitativo das imagens impressas do século XV aos dias de hoje.
palavras-chave: original; reprodução; imagem impressa; fac-símile; retícula.
abstract: We will deal with matters of interpretation related to the reproduction of original images in printed copies and how the technology of reproduction limits resulting in visual translations and paraphrases, restricting, distorting or transposing the image information content. We also comment on the consequent social and cultural transformations generated by the increasing quantity and quality of printed images, from the XVth century to present times.
keywords: original; reproduction; printed image; facsimile; halftone.
Palavras-chave: Impressão de imagem. Gravura. Matriz de impressão. Resolução espacial. Resolução de cor.
Abstract: Image printing and the concepts of original and printing plate; quantitative and qualitative production parameters; manual and technical device recording methods; image construction dynamics. Panoramic view of image printing techniques and their relation with visual information from the 15th to the 21st century. Considerations about the symbolic value of the original and the serial (re)production based on concepts of aura and simulacrum. Spatial modulation strategies for continuous-tone simulation in manual, photomechanical and digital plates. Main engraving and lithographic tonal gradation techniques. Halftone amplitude modulation screening processes and frequency modulated screening development. Color composition strategies in the 18th and 19th centuries; the influence of photography and the transformations of digital processing in the 20th century. Manual color interpretation techniques in ‘printed pictures’, chromoxilography, Baxter prints and chromolithography. Photomechanical interpretation of color in trichromatic and standard CMYK processes. Digital transformations of color management, HiFi color attempts and giclée. Presentation of printed image samples showing construction dynamics. Commentary on the technical evolution of printed image and its symbolic aspects.
Keywords: Image printing. Engraving. Printing plate. Spatial resolution. Color resolution.