Portfolio

t h i s

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w h e r e I p u T // s h o w

T o y o u ,

m y

w o r k ×

2009-2012

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Dear Reader,

A l l t h e w o r k s t h a t I ’ m s h o w i n g i n t h i s p o r t f o l i o a r e s c h o o l a s s i g n m e n t s.

VAsCo zimbArrA Veloso

The motivation for the works I do is simple, I want to be happy and have

a lot of fun with what I’m doing.

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Works i like to do:

>Brand/identity development>Graphic design>Illustration>Editorial Design>Photography>Typography

>Packaging

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 I was born in 1991 in Lisbon, Portugal, and was

inspired to take on graphic design as a result of my life-long passion for surf and drawing.

I started developing my skills only when I made eighteen and decided to apply in 2009 to the course of Communication design at the Faculty of Fine Arts of the University of Lisbon (FBAUL). From that point on I started to grow artistically and in one initial stage influenced by Swiss Graphic Design and then by the “ugly” design, the way Steven Heller characterized the experimental design made by Ed Fella and Jef-fery Keedy. Combining my passion for surfing with the new one, graphic design, the result is an artist that likes to do work with big impact, using typography with photography and trying crazy things. 

My work style is very positive, transmits a good vibe and it is always well founded. Sometimes I have an intention to pass a message even though that is not always visible at first glance. I like to convey the idea that all work is simple and easy to do, but behind that conception are hours of work.

> w e a p o n sΔ

sketch Book, A5 (148mm x 210mm),

96 pages (170 gsm)

ΔBlack Pen

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Canon AE-1,with Canon LensFD 50mm 1:18 s.C.

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WesC Headphones

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Δiphone 4

magic mouse

macBook Pro

> L i b r a r y

( M y p r i v a t e b o o k c o l l e c t i o n )

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1st year

/ I m a g i n a r y M u s e u m // E x h i b i t i o n p r o j e c t/ M u l t i p l e o b j e c t s i n K r a f t p a p e r a n d c a r d b o a r d // v a r i o u s s i z e s/ D i g i t a l p r i n t , t r a n s f e r , c o l l a g e s a n d s t e n c i l

/ W h a t i t i s t o b e a d e s i g n e r ?/ F o l d a b l e ( 8 4 0 m m x 1 4 8 m m ) / D i g i t a l p r i n t

> Palimpsesto

> Les Fauves

/ I l l u s t r a t i o n/ E i g h t A 3 p a g e s ( 2 9 7 m m x 4 2 0 m m ) / D r y t r a n s f e r r a b l e l e t t e r i n g

/ C a r d a n d F o l d a b l e/ ( 8 6 m m x 5 4 m m ) a n d ( 1 5 0 m m x 1 5 0 m m ) / D i g i t a l p r i n t

/ S p e c i a l e d i t i o n o f t h e b o o k , “ B o o k ” / M u l t i p l e o b j e c t s i n p a p e r a n d c a r d b o a r d // v a r i o u s s i z e s/ D i g i t a l p r i n t a n d T r a n s f e r

/ A t r i b u t e t o t h e p o e t e s s / W o o d e n c h e s t ( 9 5 m m x 1 0 0 m m x 1 0 0 m m ) a n d F o l d a b l e ( 2 4 0 m m x 8 0 m m )/ C a r p e n t e r p r o j e c t , D i g i t a l p r i n t a n d T r a n s f e r

> Words

> Library FBAUL

> “Livro”, by José Luís Peixoto

> Sophia de Mello Breyner Andresen

> Miguel Bombarda

> “Cântico dos Cânticos”, by José Tolentino Mendonça

/ N e w s l e t t e r/ J o u r n a l p a p e r ( 2 0 0 m m x 2 2 0 m m ) , 1 2 p a g e s / D i g i t a l p r i n t

/ B o o k I l l u s t r a t i o n/ ( 1 0 5 m m x 1 5 0 m m ) , 43 p a g e s/ D i g i t a l p r i n t

2nd year

3rd year

> Milton Glaser

> New Wave

> A Day in a Life - “Revolução dos Cravos”

/ F o l d a b l e p o s t e r/ ( 2 9 7 m m x 4 2 0 m m )/ D i g i t a l p r i n t

/ B o o k l e t/ ( 1 5 0 m m x 2 1 0 m m ) , 2 8 p a g e s/ D i g i t a l p r i n t

/ M a g a z i n e/ ( 1 9 5 m m x 2 8 2 m m ) , 3 6 p a g e s // ( 3 9 0 m m x 5 3 0 m m ) 1 2 p a g e s / D i g i t a l p r i n t

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Pal-imP-sesto

 What it is to be a designer? corresponds to the

creation

of an leaflet which exposes my opinion about what it is l i k e t o b e

a designer and where I explain the

> > differences < < between communication,

This is a text creation with influences of

malcolm Grear and Peter Bilak

based however on the quotation of,

Ellen Lupton

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W h a t i t i s t o b e a d e s i g n e r ?

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Δgraphic and equipment design.

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“Design is art people use.”

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The imaginary museum is a project of an extreme complexity developed within a group.

The objective of each group was to create a museum and an exhibition for this museum; the thematic would be a typogra-phy by choice.

At the end,

lesFauves

imaginary museum

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both the museum and the exhibition should be shown to the public.

>>>>>>>>h e r b e r t M a t t e r

The name of my imagi-nary museum group was Les Fauves. We’ve set up a mu-seum without walls which, in a simple but irreverent way, intended to show the way of thinking of some vanguard artists. The main objective was leading people to think. Les Fauves were inspired by several artistic vanguards as the Fauvism, which at that time accomplished a rupture in the world of art, the Fu-turism with its ideas facing the future, the Constructiv-ism with a simple and very straight kind of language and

the surrealism that empha-sized the role of the uncon-scious in creative activity.

Les Fauves were aware to everything that was going on around them. When the right time came, they slowly began revealing themselves to the world, showing their claws, trying to awake and free the society from predefined ideas and skepticisms concerning art. Wassily Kandinsky, Jean Basquiat, Banksy, sexpistols, iRA and Ípsilon newspaper were the artists, musical ten-dencies and social acts that influenced our pieces of work.

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>In a first stage, we wanted to make the Great Typographer, Herbert Bay-

er, known to the public and captivate people in such a way that they might

become interested in attending Les Fauves exhibition.

>>In a second stage, we revealed the exhibition poster which would dis-

play every other activities. Along with the poster, we have already exhibited

one of Herbert Bayer’s fonts.

>>>In a third stage, we added two additional fonts and demonstrated the

usability of Herbert Bayer’s fonts in the magazines “Die Neue Linie”.

>>>>In a fourth stage, we’ve proved that not even typographers resist

industrialization and betray their ideals on behalf of having work as it can be

proved by the font with serif that Herbert Bayer created to be used (and that

today is still used) in Vogue magazine.

>>>>>In a fifth and last stage, to close Herbert Bayer exhibition, other

of his non-typographical pieces of work were exposed and we’ve presented

the exhibition catalogue.

1º—In the first phase we created a LoGo and a RULeS MANUAL STATING how the logo could be applied, then a manifest with the basic regulations of the Museum and a b l o g where we posted all our work updates.

This was also the site online where les Fauves could be known.

2º— Afterwards we organized our first exhibition based on H e r b e r t m a t t e r, made up of five stages, each one of them with a different interaction with

the public.

In the third and last phase of this project we’ve exhib-ited to the public our finished Imaginary Museum along with //another group.// We had to conceive every possi-ble element for the framework of the exhibition like a room sheet, subtitles and a good space organization. In this last phase of the project, in addition to Herbert Mat-ter’s exhibition, we’ve also displayed a

temporary photography exhibition named ruins.

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A work that has the purpose of illustrating the meaning of eight words just through the way they were presented using

t y p o g ra p h y. It was an experimental exercise in which I could only use dry transferrable lettering.

Words

Abstracto < a b s t ra c tSinceridade < s i n c e r i t yFrieza < C o l d n e s sConcreto < C o n c r e t eObstinação < o b s t i n a c yHipocrisia < H y p o c r i s yIncerteza < u n c e r t a i n t yTernura < t e n d e r n e s s

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This work consisted in reshaping the graphic identity of the card and the User’s Guide of the Library of the Faculty of Fine Arts, University of Lisbon.

t H e u s e r ’ s g u i d e is a functional object that can be distributed in various ways and that is easy to carry. it doesn’t take the form of a typical user information guide, which people read, understand and throw away, but an object of worship and inspiration, that people keep in their portfolios and carry around with them to show to other people and to spread throughout the school and beyond, so that others become inter-ested in knowing our library.

library Fbaul

Since the library is a place of knowledge that comes from books, I translated that Knowledge coming out of the book by opening it and drawing a form coming out of it in a fluid manner, rep-resented by an amorphous form that spreads across the entire C a r d and a part of the user’s guide, just like knowledge and wisdom spread through the library’s shelves.

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The guide should be read in a clockwise direction.

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This project involved the c r e a t i o n of a special edition of a book that gets to the consumer with a packaging that contains > the book itself, > a leaflet, > a pen and > a pencil.

Later we added a poster advertising a circle of three lectures about the given book.

The book I worked on was “Book” written by portuguese writer José Luís Peixoto.The story of “Book” is a one that deals with the question of emi-gration, which led me to portray it with an illustration of a

flock of birds p a s s i n g through the cover.

“livro”, by José luís Peixoto

s p e c i a l e d i t i o n o f t h e b o o k , “ B o o k ”

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> s p e c i a l e d i t i o n <

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A tribute to the poetess

This was a special project, where the aim was to create “some-thing” which was a tribute to the poetess sophia de mello Brey-ner Andresen.

i always liked the poetry of sophia, there was something “there” that i started hearing about from a young age by my mother, and then i associated this memory with the dream and the mo-ments before sleep...

So I made a wooden chest and decorated it with the poetry of Sophia. Inside the chest’s drawer is a foldable print with my favorite poem, “Poetry,” a biography of the artist and the list of all her books.

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soPHia de mello breyner andresen

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The Psychiatric Hospital miguel Bombarda was one of the places in Portugal with more history, from the nineteenth century to the present day, and was closed in 2010 in order to build a private apartments building. For this reason, the challenge was to create an object that brought to light the importance of that place and those who lived there as patients.

miguel bombarda

My Newsletter tells the story > of that building, > of the doctor who was honored by giving his name to the hospital, Dr. Miguel Bom-barda > and of the specific architecture, thought to meet the function of the building.

I also present > the vast photographic ar-chive, I analyze one of the photographs from that archive, > I talk about innovative treatments they did at that time > and I show the artwork of many of the patients, with particular emphasis on J a i m e F e r n a n d e s, a big portuguese name in Art Brut, Â n g e l o d e l i m a, a poet, and v a l e n t im b a r r o s, a dancer.

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“Cântico dos cânticos” was a project devel-oped in the illustration class, in which we were asked to ilustrate and edit >

the new “Cântico dos cânticos”, written by José Tolentino mendonça.

The illustrations were created using only two squares, one blue and one red, blue re-prenting the man and red representing the woman.

The original book has a great sexual character, represented here by linking the squares, giving life to the idea of “sex between squares”.

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CÂntiCo dos CÂntiCos

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H o W t o t e a C H , Milton Glaser is a

foldable // poster

that was intended to portray and illustrate an interview with Milton Glaser, published in Eyemagazine, by Steven Heller.

>My

“Well, i try to be very specific and propose that every problem starts with the same questions: “Who am i talking to? Who are these people? What do they know? What are their prejudices? What are their expectations?” etc. the three cardinal rules of De-sign are: Who is the audience? What do you want to say to them? How do you say it effectively? if you don’t follow this sequences, you’re always going to make some terrible mistake.”

m i l t o n g l a s e r —

foldable // poster focuses on HoW Milton Glaser teaches:

miltonglaser

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This exercise was about, in first place, the critical reading of some theories on graphic design.

Regarding this, I had to develop an analysis to con-textualize the specificity of each text (time, author, theme, etc..) and amplify their potential meaning through crossing them with other references that might be relevant. The final objectives were drafting a theoretical synthesis and design to illustrate an editorial proposal and apply the concepts of inter-textuality and deconstruction.

The article analyzed was “The Cult of the Ugly”, by steven Heller (1993), and i crossed it with Ed Fella’s interview to Emigré #30 (1994), and with Jeffery Keedy and the article “Graphic Design in the Post-modern Era” (1998). I also used other references, such as an interview with Steven Heller to Emigré #30 (1994), “My Way to Typography” by Wolfgang Weingart (2000), “Good Design is Goodwill” by Paul Rand (1987), the Punk movement, Cranbrook Acadmy, Emigré, “War of Legibility” and other american designers.

neW Wavemixing messages

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The aim of this project was to create a publication, in groups, framing the metaphor behind “A Day in the Life”, the famous Beatle’s song.The theme chosen for this publication was the

“Carnation revolution”, the name given to the portuguese revolution on April 25, 1974.The project was conducted along with a colleague and had two phases. > The first one, where we had to present all the research done on the subject, showing how Portugal was influenced by other cultures around the world at that time, the history of the revolution, the days of revolution and post-revolution.

> The second phase was the production ofthe magazine itself.

The magazine actually consisted of two magazines, a smaller one, that told the story before the revolution and after the revo-lution. And the second one, larger, showed the day of the revo-lution as portrayed by the work of three major portuguese pho-tographers, emphasizing the stories and episodes from which we have testimonies of those who lived through those exciting days in the history of Portugal.

a day in a liFe“revolução dos cravos”

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Dear Reader,

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Don’t hesitate to contact me. Feel free to add me on facebook or ask for a submission, a collaboration or an assignment. I like meet and work with new people.

email: [email protected]

facebook:http://www.facebook.com/profile.php?id=1039271296

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> c o v e r i m a g e

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m y W

o r k:

1st year

> Palimpsesto

> Les Fauves

2nd year

> Words

> Library FBAU

L> “Livro”, by José Luís Peixoto> Sophia de M

ello Breyner Andresen

> Miguel B

ombarda

> “Cântico dos Cânticos”, by José Tolentino M

endonça

3rd year

> Milton G

laser> N

ew W

ave> A D

ay in a Life - “Revolução dos Cravos”

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I ’ M M a k I n g “ t h i s ” b e c a u s e I w a n T T o a p p l y T o e r a s M u s a n D b e c o M e a b e T T e r g r a p h I c D e s I g n e r .

B U T

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r e a l l y , w h a T D o e s a g r a p h I c D e s I g n e r

?

m y G R A n D m o T H E R D o e s n ’ T k n o w ,

b u T s h e s a y s T o M e

T h a T i d o “ p r e t t y t h i n g s ” w i t h L e t t e r s .

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