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The Portuguese school of graphic design has been at the forefront of the international book cover design since the early 20th century. The Portuguese design, has developed a unique identity, it is a design that is self-taught, versatile and almost always operated in one way or another in a challenging socio-political environment.The enormously self-confident Portuguese design professionals such as Victor Palla, João da Câmara Leme, Otelo Azinhais, Sebastião Rodrigues, Figueiredo Sobral, Manuel Baptista, Luis Filipe, Júlio Pomar, Paulo Guilherme, as well as many others created a unique vocabulary of symbols and innovative compositions that defined the Portuguese school. Such achievement is truly remarkable for a country that its formal introduction to graphic design started relatively late. In fact, the first design courses in Portugal was offered in 1969, and design as an academic discipline was introduced in Portuguese universities in Lisbon and Porto in 1975. IADE - which opened in 1969 under the name Institute of Art and Decoration, and is now the largest private school of design in the country - , which will complement the schools of arts and crafts existed since the beginning of the century
In Portugal the design of book cover has been always treated as one of the most intriguing areas of visual communication. The book cover designer needs to think about the complexity of an art object that belongs to the universe of ideas which should be represented by a visual composition in association with a concrete object which would be mass produced in a commercial world. As João Bicker, of Ferrand, Bicker Associados explains: "We worked on the ideas expressed by others and try to interpret them visually. What is essential is the search for understanding of the text, the way that gives the best read. A suitable choice of typography, the shape of the book and page, the process of putting words and images in the form that best serve. " "there is nothing more important than the choice of typography, the letters that will read the text. Each font carries in its design characteristics that influence both formal and historical reading because they influence the shape of the text."
Contemporary Portuguese design is largely “international” in style, world class in caliber and sophisticated in its execution, regardless of medium—as such, it’s notable for its plurality, agility and openness to outside influences. Design instructor Luísa Ribas suggests that Portuguese design is particularly known for “articulating strong conceptual approaches with a sensibility to formal rigor, notable in the effective use of typography.” The Portuguese heightened visual sensitivity is represented by knowledge, skill, planning and vision. From a technical perspective a typical Portuguese designer shows sensitivity that his design would be printed on a particular type of paper of various weights, with choices of different printing processes, binding techniques, and a mixture typography, illustration and color. Within such criteria, the graphic artist always try to understand the main idea of a book and convey it in an honest and efficient way to the reader. It is argued that "in Portugal it seems that necessity truly is the mother of invention. Forced to work with limited means and resources, it seems that Portuguese designers have become frugality experts by “doing a lot with a little,” being exceptionally creative and “doing it all, on call.”
Born in Lisbon, Victor Manuel Palla e Carmo (1922-2006), architect, photographer, painter, ceramic artist, graphic designer, publisher, translator, gallery owner, and a man of many ideas; was the son of a theater make-up artist and amateur photographer, At age seventeen he began his studies in architecture and was graduated in Porto, in 1948. While in Porto, he ran the Galeria Portugália. After his return to Lisbon, in 1947, he participated in many Art Exhibitions until 1955, showing drawings, paintings, decorative art work, sculpture and photography.
Palla published theoretical articles in magazines such as "Arquitectura", which he directed in 1952, and designed innovative architectural projects in partnership with Joaquim Bento d' Almeida, an architect with whom he shared a studio for 25 years. Graphic design and editing were other areas in which Victor Palla had distinguished himself early in his life. In 1949, Palla created the famous collection of Os Livros das Três Abelhas-- the Three Bees books with José Cardoso Pires, and in 1952, he attended a Publishing and Book Production Course in London, applying some of his new skills to the Three Bees books and the Folio editions. In 1992, the Modern Art Centre of the Calouste Gulbenkian Foundation, in Lisbon, dedicated a retrospective photography exhibition on the artist and, in 1999, the Portuguese Photography Centre, in Porto, awarded him the National Photography Prize.
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| Victor Palla, 1 9 4 7, William Saroyan, Atlântida Editora. |
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| Victor Palla, 1 9 5 9 , Um homem na América, André Bay, Editora Arcádia. |
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| Casa da Malta, Fernando Namora, Coimbra, Cover by Victor Palla, 1945 |
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| Montanha Russa, Tomaz Ribas, Coimbra, Cover by Victor Palla, 1946 |
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| In 1949, Palla created the famous collection of Os Livros das Três Abelhas-- the Three Bees books with José Cardoso Pires. |
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| O QUE É A FICÇÃO CIENTÍFICA? WHAT IS SCIENCE FICTION? by Victor Palla Atlântida (Coimbra), Cover by Victor Palla, 1959 |
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| Os Melhores Contos de João de Araújo Correia, The Best Stories of João de Araújo Correia, Cover by Victor Palla, 1960 |
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| Antologia do Conto Moderno, the Anthology of Modern Short Story dedicated to American writer Erskine Caldwell (1903-1987), Atlântida, Cover Victor Palla, 1960 |
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| O Homem e o Sardão, Garibaldino De Andrade, Arcadia, Cover by Victor Palla, Lisboa, 1960 |
Born and raised in Dafundo, Sebastião Rodrigues (1929 - 1997) worked in Lisbon. Eearly in his life, Rodrigues learned the craft from his father, for whom he was doing various graphic errands in the advertising department of newspaper A Voz. At the tender age of sixteen, while working for Atelier de Publicidade Artística (APA), the Advertising Arts Workshop, he met Manuel Rodrigues, his future business partner, who accompanied him for 30 years. Rodrigues worked with virtually all the Portuguese pioneers of graphic design sharing experiences and knowledge.
In 1959, while he was in charge of the graphic design of monthly Almanac, Rodrigues traveled to the northern Portugal for half a year, with a grant from the Calouste Gulbenkian Foundation, to research various aspects of the traditional Portuguese graphic design, which deeply influenced his style, grounding it firmly in the country's folkloric design. Being a perfectionist, Sebastião Rodrigues engaged himself thoroughly and with the utmost rigor in the entire process of design from the initial conceptualization to final execution, combining capabilities of offset printing with the traditional inspiration. He integrated harmoniously the typography the cover in the composition of the image.
During his one year tenure at Almanac, under its editors José Cardoso Pires and Figueiredo Magalhães, Rodrigues worked with many contemporary artists, such as Abel Manta. After leaving Almanac, he was commissioned by publishers Sá da Costa and Arcádia, first project in 1961, and Editorial Verbo, first project in 1979. Rodrigues designed numerous posters, leaflets, books, catalogs, and other graphic materials. He was graphic designer for the Calouste Gulbenkian Foundation since the 1960's. In 1954, he was commissioned to design Portuguese pavilions in Sao Paulo and continue to design Portuguese Pavilion 1956 (Rome), 1957 (Lausanne) and 1958 (Brussels).
Rodrigues received numerous awards and honors throughout his life, including the "Award of Excellence" by ICOGRADA (International Council of Graphic Design Associations) in 1991 and the Medal of "Grand Officer" of the Order of Merit, awarded by the President of the Republic in 1995.
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| Agostinho, Alberto Moravia, Cover by Sebastião Rodrigues with a photograph by Sena da Silva, Ulises, Lisboa 1959 |
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| Almanaque, Cover by Sebastião Rodrigues. June 1960 |
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| O Apelo do Mar, Alexandre Grine, Arcádia Limitada, Cover by Sebastião Rodrigues Lisboa, 1961 |
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| Aparição, Vergilio Ferreira, Portugália Editora, Cover by Sebastião Rodrigues, Lisboa, 1960 |
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| Almanaque, Cover by Sebastião Rodrigues, Lisboa, 1960. |
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| Almanaque, Cover by Sebastião Rodrigues, Lisboa, November 1960. Casa Portuguesa. |
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| Os Condenados Da Terra, Frantz Fanon, Ulisseia, Cover by Sebastião Rodrigues, Lisboa, 1961 |
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| Terra Morta, Castro Soromenho, Sá da Costa, Cover by Sebastião Rodrigues, Lisboa, 1979 |
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| Complete Poems of António Gedeão, Sá da Costa, Cover by Sebastião Rodrigues, Lisboa, 1983. |
João da Câmara Leme (1930-1984), illustrator and graphic designer, was born in Moçambique in 1930 he died in Lisboa. Leme was the main cover artist and graphic designer for Editora Portugália during the 1960s, where he illustrated some of the most important books in various genres.
With a gentle warmth and erudition João da Câmara Leme, utilized black lines, solid or textured, to delineate an organic geometry of surfaces covered various shades of pastel, in a composition that was exquisitely balanced, accentuated by stylized figures with evocative tone.that made him one of the most talented and esteemed designers of the Portuguese School. João da Câmara Leme created a remarkable body of work that is conceptually imaginative, communicatively powerful and aesthetically remarkable.
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Felizmente há luar!, Luís de Sttau Monteiro, Portugália Editora, Cover by João da Câmara Leme, Lisboa, Setembro de 1961 |
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| Andorra, Max Frisch, , Portugália editora, Cover by João da Câmara Leme, 1961 |
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| A feira, John Updike, Portugália Editora,, Cover by João da Câmara Leme, 1961 |
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| O Barão, Branquinho da Fonseca, Portugália Editora, Cover by João da Câmara Lisboa 1962 |
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| Uma Abelha na Chuva , Carlos de Okiveira A, Portugália Editora, Cover by João da Câmara Lisboa, 1963 |
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| Hora Di Bai , Manuel Ferreira, Portugália Editora, cover by João da Câmara Leme, Lisboa, 1963 |
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| Barco sem âncora. Front Cover. José Loureiro Botas, Portugália editora, capa de João da Câmara Leme, 1963 |
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| Apelo da Noite, Vergílio Ferreira, Portugália editora, capa de João da Câmara Leme, 1963 |
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| As noites de Salomão Fortunato; contos, Maria da Graça Freire, Portugália editora, capa de João da Câmara Leme, 1964 |
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| O rosto da inocência, William Sansom, Portugália editora, capa de João da Câmara Leme, 1965 |
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| O Deserto , Fèlix Cucurull , Portugália editora, capa de João da Câmara Leme, 1965 |
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| No Rasto do Corsário , Branquinho da Fonseca, Portugália editora, capa de João da Câmara Leme, 1968 |
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Contos Tradicionais Portugueses, Branquinho da Fonseca, Portugália editora. Cover by João da Câmara Leme,1968. |
Júlio Pomar was born in Lisbon in 1926. He attended Escola de Artes Aplicadas "Antonio Arroyo", the Antonio Arroyo School of Applied Arts and Escolas de Belas Artes, the Schools of Fine Arts of Lisbon and Porto. In 1945, he was the graphic designer for “A Tarde” a journal in Porto. He was also collaborating with articles and drawings in various literary magazines, as well as paintings.
As WW2 ended Pomar became influenced by the Communist party and writers such as Redol and Alves. He joined a politico-student group called the Independentes. He perceived his art to be a socio-politico vehicle for intervention. His first group exhibition in 1945 at the Anteneu Comercial do Porto was an exhibition of anti-regime art, refusing cooperation with the Salazar regime. His oppositional stance restricted his access to the School of Fine Art and on his return to Lisbon he was imprisoned for four months. In 1950 Pomar moved to Spain and studied the work of Goya which greatly influence his painting in this period. In the following years he paints portraits of prominent political and social intellectuals including Maria Lamas and Mário Dionísio.In the 1960’s Pomar participated in the French student riots and painted a series of works on insurgency.
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| Terra com Sede, Papiniano Carlos, Livraria Portugália, Cover by Júlio Pomar, 1946 |
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| Companhia dos Homens, Sidónio Muralha, Cover by Júlio Pomar, 1946 |
José Maria de Figueiredo Sobral (1926- 2010) was born in Lisbon, where he attended the Escola de Artes Decorativas "António Arroio", António Arroio School of Decorative Arts. Sobral studied under Lino António, Paula Campos and Rodrigues Alves. He was a painter, graphic, illustrator, designer and poet, and his extensive body of work, consisting of drawings, engravings, watercolors, collages, ceramics, tapestries is spread over numerous collections.
Figueiredo Sobral was a co-founder and contributor to the journal Revista Minotauro. He also contributed to the graphic art of Diário de Notícias E. N. P. Being a dissident in the Salazar regime, Sobral was arrested several times for his political views. In 1975, he moved to Sao Paulo, Brazil, where he created a sculpture for the entrance of the city at the invitation of former Mayor Ralph Biasi.His murals and monumental sculptures integrate public urban spaces in Portugal and Brazil.
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A oeste nada de novo, Erich Maria Remarque, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa, 1957 |
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| A abadia do pesadelo. Thomas Love Peacock, Portugália Editora, Cover by Figueiredo Sobral, Lisboa, 1958 |
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| Deus Dorme Em Masúra, Hans Helmut Kirst, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa: 1958 |
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Queres Ouvir? Eu Conto, Irene Lisboa, Portugália. Cover by Figueiredo Sobral, Lisboa, 1958. |
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| A Terra foi-lhe Negada, Maria da Graça Freire, Contemporânea da Portugália Editora, Cover by Figueiredo Sobral, Lisboa, 1958. |
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| Chora Terra Bem Amada! Alan Paton, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa, 1958. |
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| O Covil, Frantz Kafka, Editorial Inquérito, Cover by Figueiredo Sobral, Lisboa, 1963. |
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| A Morte Dum Caixeiro Viajante, Arthur Miller, Colecção Três Abelhas, Cover by Figueiredo Sobral, Lisboa, 1963. |
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| Torre De Vigia, Luís Cajão, Editorial Minerva, Cover by Otelo Azinhais, Lisboa, 1954 |
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| Mercurio. Os melhores contos dos melhores , Mercurio - Agência Jornalística e Editorial, Cover by Otelo Azinhais, 1955? |
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| Tempo para Amar e Tempo para Morrer, Erich Maria Remarque, Publicações Europa-América, Cover by Otelo Azinhais, Lisboa, 1962 |
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| O Crime de Aldeia Velh, Ática, Bernardo Santareno (pseudonym of playwright António Martinho do Rosário) Cover by Otelo Azinhais, Lisboa 1966. |
Paulo Guilherme d’Eça Leal (1932-2010) was born in Lisbon. He was the eldest son of the painter Olavo d’Eça Leal. a contributor to almost all newspapers and periodicals of Lisbon. He directed graphic design departments of various literary magazines, created numerous book covers and has won many awards for graphic arts and advertising. He was a stage designer in Paris, Rome, Madrid, Lisbon, a painter, a draughtsman, and an architect. He designed shopping centers, banks and restaurants, among his most important projects include the Banco Pinto & Sotto Mayor, in Oporto, Lisbon Airport and the Museum of Macao Cultural Centre in Lisbon.
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| Gigi, Colette, Estúdios Cor, Cover by Paulo-Guilherme, Lisboa, 1958 |
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| A Mulher Infiel, Jules Roy, Estúdios Cor, Cover by Paulo-Guilherme, 1959 |
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| A Gata, Colette, Estúdios Cor, Cover by Paulo-Guilherme, 1959 |
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Um Homem não Chora, Luis de Sttau Monteiro, Ática, Cover by Paulo-Guilherme, 1963 |
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| O Dia Marcado, Domingos Monteiro, Sociedade de Expansão Cultura Lisboa, Sociedade de Expansão Cultural, Cover by Paulo-Guilherme, 1963 |
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| A Erva Canta, Doris Lessing, Ulisseia, Cover by Paulo-Guilherme, 1965 |
Manuel Baptista was born in Faro in 1936. In 1957, he enrolled in Architecture course, but soon abandoned it to devoted himself solely to painting. He took Curso Complementar de Pintura, Complementary Course in Painting in Escola Superior de Belas-Artes, ESBAL. In 1962, with a grant from the Calouste Gulbenkian Foundation, Baptista left for a one year study in Paris in 1962. In 1964 he landed a job in ESBAL as an assistant in painting which lasted until 1972. In 1968 he was grant holder from Instituto de Alta Cultura in Ravenna, Italy. After a number of exhibitions influenced by Miro and Klee he moved to abstract in 1959 with agglomerations of rough panels glued, modulation reliefs in positive / negative cut geometric brackets, boxes, and basic bonding layers. In 1966, he exhibited a series of monochromes at the Gallery Quadrant. After 1977 he travelling regularly to Lippstadt and Schmallenberg in Germany, where he created tapestries for the Falke Factory.
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| Queda Livre, E.M. de Melo e Castro, Colecção Pedras Brancas, Cover by Manuel Baptista, Lisboa, 1961. |
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| Queda Livre, E.M. de Melo e Castro, Colecção Pedras Brancas, Cover by Manuel Baptista, Lisboa, 1961. |
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| Itinerário, Liberto Cruz, Colecção Pedras Brancas. Cover by Manuel Baptista, Lisboa, 1962, |
Luis Filipe de Abreu (1935 – ) was born in Torres Novas. He graduated from the escola Superior de Belas Artes, School of Fine Arts in Lisbon, where he later lectured. In addition to painting, he also worked as a graphic designer. He produced several designs for tapestry since 1967.
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| Andanças do Demónio, Jorge de Sena, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1960 |
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| Os Insubmissos, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by Luís Filipe de Abreu, Lisboa, 1961 |
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| As Máscaras Finais, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by Luís Filipe Abreu, Lisboa, 1963 |
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| A Minha Universidade, Máximo Gorki, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1963 |
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| Uma Aventura Inquietante, José Rodrigues Miguéis, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1963 |
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Páscoa Feliz, José Rodrigues Miguéis, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1965 |
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| O anão, Pär Lagerkvist, Editorial Cosmos, Cover by António Vaz Pereira, Lisboa, 1958 |
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| A Noite Roxa, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by António Vaz Pereira, Lisboa, 1959 |
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| As Boas Intenções, Augusto Abelaira, Livraria Bertrand, Cover by José Cândido, 1963 |
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| O cônsul honorário, Graham Greene, Livraria Bertrand, Cover by José Cândido, 1977 |
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| Fotomontagem, Artur Portela, Edições António Ramos, Cover by José Cândido,1978 |
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| O Crime de Kyralessa, C. Virgil Georghiu, Livraria Bertrand, Cover by José cândido, 1978 |
A sample of 20th century cover designs
O bandido chinês, Harman Long, Edições Gleba, design João Carlos, 1947
O Exército ao serviço de quem?, Prelo Editora, design Dorindo Carvalho, 1974
Psicologia da maturidade e da velhice, Mário Gonçalves Viana, Porto Editora, 1968
O Homem, Irving Wallace, Clássica Editora, design Paulo-Guilherme, 1967
Portugal-Brasil, orações de fé, Paulo de Brito Aranha, ed. autor, design Armindo José Rodrigues, 1925
Epopeia de Salazar, 3.ª ed., Santos Cravina, ed. autor, 1949
Tortura da carne, Leão Penedo e Gentil Marques, Editora Argo, 1957
Tentações de San Frei Gil, António Correia de Oliveira, 1907
Textos malditos, Luiz Pacheco, Edições Afrodite, design Henrique Manuel, 1977
O aborto a bem da criança, Dr. Frans Wong, Liber, design João Salvador, 1977
Os homens do mar, Victor Hugo, Guimarães & Ca., design Roberto Nobre, 1935
Um drama no Oceano Pacífico, Emilio Salgari, Romano Torres, design Alfredo Moraes, 1927
Rosas de sangue!, Carlos Caváco, 1920
Sidónio na lenda, D. António D’Albuquerque, Lumen, 1922
Zilda, Alfredo Cortez, Companhia Portugueza Editora, design Alice Rey Colaço, 1921
Musa Hysterica, Mercedes Blasco, Livraria Editora Viuva Tavares Cardoso, design Francisco Valença, 1908
A gaivota e O cerejal, Tchecov, Presença, design A. Dias, 1963
A novela n.º 13, W. Fernández Flórez, Civilização, design Júlio Amorim, 1942
Tundavala, A. Rego Cabral, SEC, design A. Rego Cabral, 1971
Out, Pierre Rey, Livraria Bertrand, design Henrique Ruivo, 1978
Linha quebrada, Augusto da Costa, Oficina Gráfica, Lda., design Piló, 1935
Enquanto existir o Mundo-2, Henri Troyat, Clássica Editora, design Paulo-Guilherme, 1974
Ares da minha serra, Campos Monteiro, Civilização, design ARS (Adalberto Sampaio), 1933
A decapitada, Oscar Richmond, Henrique Torres Editor, design Fonseca, 1927
Maldita seja a guerra, Ribeiro de Carvalho, Editora Lumen, 1925
D. João e a máscara, António Patrício, design Almada Negreiros, 1924
Sangue e prisão, Curzio Malaparte, Livros do Brasil, design Bernardo Marques, [1960]
O trigo e o joio, Fernando Namora, Arcádia Editora, design Victor Palla, 1960
Metamorfose, Franz Kafka, Livros do Brasil, design Infante do Carmo, 1962
William Saroyan, Atlântida Editora, design Victor Palla, 1947
A cidade à beira-mar, Jon Svensson, 1930
O nó apertado, Vladimir Tendriakov, Arcádia Editora, design Sebastião Rodrigues, 1963
5.º Gula, 2.ªa ed., Saléma Vaz, design Alfredo Cândido, 1931
Salazar, António Ferro, Empresa Nacional de Publicidade, 1933
Novo Mundo, Mundo Novo, António Ferro, Editora Portugal-Brasil, design Bernardo Marques, 1930
9 Novelas de antecipação americanas, Estúdios Cor, design Miguel Flávio, 1964
Levanta-te e caminha, Hervé Bazin, Publicações Europa América, design Sebastião Rodrigues, 1962
Deserto com vozes, Urbano Tavares Rodrigues, Seara Nova, design Henrique Ruivo, 1976
Discos voadores, Desmond Leslie & George Adamski, Livros do Brasil, 1954
Coca-cola killer, António Victorino D’Almeida, O Jornal, design João Segurado, 1981
Avatar, Teófilo Gautier, Editorial Enciclopédia, 1945
O ditador da violência, Carvalhão Duarte, Editorial República, design Fernando Bento, 1933
O 411 está inocente!, Campos Coelho, design João Carlos, 1937
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O canto no ocaso, Rui Nunes, Edições Rolim, design João Carlos Albernaz, 1984
O amor e a lama, A. Tomé Vieira, Casa Editora Nunes de Carvalho, design Quim, 1932
O porco triunfante, Livraria Popular de Francisco Franco, design Moura, 1946
O triunfo dos porcos, George Orwell, Perspectivas & Realidades, design José Brandão, 1980
O automóvel, 2.ª edição, João de Almeida e Vasconcellos, Livraria Simões Lopes, design Maria Vasconcellos, 1938
A execução, Júlio Moreira, Prelo Editora, design Júlio Moreira, 1966
Arte de furtar, Padre António Vieira, design J. David, s.d.
Terra de ninguém, Manuel de Seabra, edição de autor, design Victor Palla, 1959
O punhal sangrento, Max Fred, Editor Henrique Torres, 1934
Peça em um acto, Luís de Sttau Monteiro, Minotauro, 1966
Areias de Portugal, Hipólito Raposo, Livraria Civilização, design ARS, 1935
Praça da Concórdia, António Ferro, Empresa Nacional de Publicidade, design Bernardo Marques, 1929
Um crime a bordo, Dennis Wheatley, Editora Marítimo-Colonial, design Stuart de Carvalhais, 1945
Vão matar meu marido!, Philip Barnner, Romano Torres, design Júlio Amorim, 1952
Corpo e alma, MAnuel de Campos Pereira, design Alfa, 1943
A boceta de Pandora, Robert Dundee, Agência Portuguesa de Revistas, design Carlos Alberto Santos, 1966
Como o Homem se tornou gigante, M. Iline e E. Segal, Livros do Brasil, design Infante do Carmo, 1963
Olivia, Olivia, Editora Ulisseia, design Sebastião Rodrigues, fotografia Sena da Silva, 1959
O Barão, Luís de Sttau Monteiro, Ática, 1974
O disfarce, Álvaro Guerra, Prelo, 1969
Virginia Woolf, Atlântida Editora, design Victor Palla, 1951
Cela 27, Joaquim Paço D’Arcos, Guimarães Editores, 1965
O cerco, Mário Braga, Colecção Centauro, Editora Atlântida, design Victor Palla, 1960
Toda a Verdade, Morris West, Clássica Editora, design Paulo-Guilherme, 1966
O cônsul honorário, 2.ª edição, Graham Greene, Livraria Bertrand, design José Cândido, 1977
Jantar mundano, Claude Mauriac, Publicações Europa América, design Sebastião Rodrigues, 1962
PIDE, a história da repressão, 1975
Os guardas da casa, Shirley Ann Grau, Publicações Dom Quixote, design Lima de Freitas, 1965
Os passos em volta, Herberto Hélder, Editorial Estampa, design José Brandão e Keith Trickett, 1970
No fundo deste canal, Alfredo Margarido, Arcádia Editora, design Victor Palla, 1960
Os mistérios da Polícia Secreta, Jean Galtier-Boissière, Livraria Clássica Editora, 1937
O mistério da aranha vermelha, Herbert Gibbons, Edição Romano Torres, design Júlio Amorim, 1946
A Viúva Negra, Ed McBain, Colecção Enigma 81, Edições DêAgá, design A. Andrade Albuquerque, 1965
Espionagem (2.ª volume), Adolfo Coelho, Livraria Clássica Editora, design Mário Costa, 1933
A fugitiva, J. L. Sanciaume, ed. desc., design Roberto Santos, 1944
Claudelle, Erskine Caldwell, Livraria Bertrand, Design Bartolomeu Cid, 1968
Coração de Barro, Nuno de Montemor, ed. desc., design Raquel Roque Gameiro, 1935
Gémeas, Manuel de Campos Pereira, Editorial Império, design António Domingues, 1942
O Incêndio, Eugénio Vieira, Novela Contemporânea, design Bento Correia, 1924
Leviana, 3.ª edição, António Ferro, design António Soares, 1927
Sensuais, Helena Maria, Edições Momento, 1933
Hitler o vagabundo, Carvalhão Duarte, Seara Nova, 1946
A máscara do criminoso, Max Fred, Henrique Torres Editor, design Alfredo Moraes, s.d.
Manual do… perfeito escroc, Ch. Fleurigand, José Bastos & Ca., 1908
Escrava… ou rainha?, Delly (A. Augusto dos Santos), Livraria Progredior, 1939
Domingo à tarde, Fernanndo Namora, Editora Arcádia, design Victor Palla, 1962
Gigi, Colette, Estúdios Cor, design Paulo-Guilherme, 1958
Vietnam, segunda resistência, Wilfred G. Burchett, Seara Nova, design Rogério Ribeiro, 1966
Um homem na América, André Bay, Editora Arcádia, design Victor Palla, 1959
Lápis de côr, António Pereira, design Roberto Nobre, 1937
A cultura do nabo, Ministério da Economia, design ETP, 1942
Lenine, F. A. Ossendowski, Edições Europa, 1933
Os grilhetas do Kaiser, Theodor Plivier, Livraria Bertrand, 1931
Edna Ferber, Editora Atlântida, design Victor Palla, 1945
Vingança, Alfredo Marques, Editorial Hércules, 1933
O Luís, Paulo Cantos, edição e design Paulo Cantos, 1951
Pide, a história da repressão, Jornal do Fundão Editora, 1974
Peyton Place: amar não é pecado, Grace Metalious, Editora Arcádia, design Victor Palla, 1958
A Gata, Colette, Estúdios Cor, design Paulo-Guilherme, 1959
Mrs. Dalloway, Virginia Woolf, Editora Ulisseia, design Luiz Duran, 1982
O Baile dos Assassinos, Eugénio Vieira, Minerva Lisbonense, Ltd., design B. Correia, 1924
As moscas, Jean-Paul Sartre, Editorial Presença, design A. Dias, 1965
Memória, Álvaro Guerra, Editorial Estampa, design Soares Rocha, 1971
Para além da bruma, Fernando Morgado de Andrade, Coimbra Editora, design Victor Palla, 1945
O homem que encontrou a felicidade, René Baer, Livraria Progredior, design Carlos Carneiro, 1946
Terra de neve, Yasunari Kawabata, Publicações Dom Quixote, design Lima de Freitas, 1968
Alemanha ensanguentada, Aquilino Ribeiro, Livraria Bertrand, design Roberto Araújo, 1934
Um herói do nosso tempo, Vasco Pratolini, Editora Arcádia, design Victor Palla, 1959
Ariane, rapariga russa, Claude Anet, Editorial Organizações, design Paulo-Guilherme, 1960
Vindima de Sangue, Alves Redol, ed. de autor, design Lima de Freitas, [1950]
Caminhada, Leão Penedo, Realizações Artis, 2.º edição, 1956
Inferno, August Strindberg, Assírio & Alvim, design Manuel Rosa, 1988
Nada de novo na Rúœssia, Paul Thomas, Editora Argo, design F. A., 1940
A peregrina do Mundo Novo, Ferreira de Castro, Edição ABC, design Jorge Barradas, 1926
Harry Dee, F. Finn, Livraria Apostolado da Imprensa, 1947
A Severa, Júlio Dantas, Editora Portugal-Brasil, design Alberto Souza, 1921
Fotomontagem, Artur Portela, Edições António Ramos, 1978
O tojo também floresce, António Mendes Moreira, Editorial Argus, 1956
A feira, John Updike, Portugália Editora, O livro de bolso 28, design João da Câmara Leme, 1961
Palavras cínicas, Albino Forjaz de Sampaio, Empresa Literária Fluminense, 1924
A planície Heróica, Manuel Ribeiro, Livraria Editora Guimarães e C.ia, design Bernardo Marques, 1927
Garibaldina, Elio Vittorini, Portugália Editora, O livro de bolso 25, design António Charrua, 1961
Servidão, 2.ª ed., Assis Esperança, Guimarães & C.ia Editores, design Roberto Nobre, 1946
Salão dos Novíssimos, catálogo, SNI, design Sebastião Rodrigues, 1959
Portugal Alcatifado, canções anormais, Lello, Brito & Irmão, Editora & etc, design Fernando Brito, 2012
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Pela estrada fora, Jack Kerouak, Editora Ulisseia, design Paulo-Guilherme, 1960
O visconde cortado ao meio, Italo Calvino, Portugália Editora, design João da Câmara Leme, 1961
Sangue na madrugada, Rogério de Freitas, Editora Arcádia, design Victor Palla, 1960
Espaço e Tempo, Josué da Silva, ed. autor, design Paulo-Guilherme, 1961
Comédia sentimental, Augusto da Costa, design Piló, 1935
Os filhos do Pai Tomás, Richard Wright, Editora Arcádia, design Victor Palla, 1958
Djamília, Tchinghiz Aitmatov, Portugália Editora, O livro de bolso 16, design João da Câmara Leme, 1961
Rosa do Adro, M. M. Rodrigues, Companhia Portugueza Editora, design Jorge Barradas, 192_
A salamandra, Morris West, Clássica Editora, design Paulo-Guilherme, 1974
A porta dos limites, Urbano Tavares Rodrigues, Editora Arcádia, design Victor Palla, 1960
A bailarina negra, Guedes de Amorim, Empresa Nacional de Publicidade, design Paulo Ferreira, 1931
Serioja, Vera Panova, Portugália Editora, O livro de bolso 5, design Paulo-Guilherme, 1960
Maigret e o ladrão preguiçoso, Simenon, Livraria Bertrand, série Inspector Maigret 20, design José Cândido, 1966
O pregador, Erskine Caldwell, Portugália Editora, Contemporânea 4, design Paulo-Guilherme, 1960
Os dentes do dragão, Ellery Queen, Colecção Xis 27, Editorial Minerva, design Edmundo Muge, 1953
Ópio, cocaína e escravatura branca, Adolfo Coelho, Livraria Clássica Editora, design Mário Costa, 1934
A Fronteira, Uwe Johson, Editora Arcádia, design Sebastião Rodrigues, 1963
Cal é coisa? Cal é ela?, Maria Valverde, Livraria Clássica Editora de A. M. Teixeira, design Mutapa, 1920
11 de Março, Decibel Edições, 1975
Kyoto, Yasunari Kawabata, Publicações Dom Quixote, design Lima de Freitas, 1969
As fraudes contabilísticas, G. Tuillet, Clássica Editora, 1973
O Mestre, Ana Hatherly, Editora Arcádia, design Sebastião Rodrigues, 1963
O meio-maluco, Gino Saviotti, Edições Gleba, design João Carlos, 1944
Feira de Amostras, Luís Teixeira, Empreza Nacional de Publicidade, design Fred Kradolfer, 1931
Clea, Lawrence Durrell, Editora Ulisseia, design António Garcia, 1970
Elói ou romance numa cabeça, João gaspar Simões, Editora Arcádia, design Victor Palla, 1959
O último moicano, Fenimore Cooper, Portugália Editora, Biblioteca dos Rapazes 10, design João da Câmara Leme, 196_
Frente Argelina, Herbert Steinhouse, Editora Ulisseia, design Sebastião Rodrigues, 1962
A derrocada do Império Vátua e Mousinho d’Albuquerque, Francisco Toscano e Julião Quintinha, Editora Portugal Ultramar, 1930
O selvagem, Tchekhov, Editorial Presença, design F. C. E., 1968
Oh Chico… não sejas azelhudo!, A. Sanches de Castro, O Volante, design Fred Kradolfer, 1933
Jamba, A. Rego Cabral, Sociedade de Expansão Cultural, design A. Rego Cabral, 1972
Esta cidade, Irene Lisboa, ed. autor, design Ilda Moreira, 1942
O pão da mentira, Horace McCoy, os livros das três abelhas 5, Editorial Gleba, design Victor Palla, 1957
Eles e elas, Júlio Dantas, Editora Portugal-Brasil, design Stuart, 1921
Cavalgada do sonho, Julião Quintinha, Portugal-Brasil Editora, design Bernardo Marques, 1924
Os caminhos de Katmandu, Barjavel, Portucalense Editora, design Dario Alves, 1970
Montedor, Rentes de Carvalho, Prelo Editora, design Pilo da Silva, 1968
Sobre o fogo, William McGivern, Colecção DH 70, design Andrade Albuquerque, 1964
Céus de fogo, Campos Monteiro Filho, Civilização Editora, design ARS-Adalberto Sampaio, 1933
Um anjo no trapézio, Manuel da Fonseca, Prelo Editora, design Pilo da Silva, 1968
Páginas de sangue, Sousa Costa, Editora Portugal-Brasil, design Francisco Valença, 192_
Os canibais, Keefe Brasselle, Edições Palirex, design Pereira da Silva, 1970
Eu matei!, Freeman W. Crofts, Editora Marítimo-Colonial, a.d., 1945
Antropófagos, Henrique Galvão, Editorial Jornal de Notícias, design José de Moura, 1947
Amok, Stefan Zweig, Livraria Civilização, design Júlio Amorim, 1942
Uma prenda macabra, J. Moran, Empresa Nacional de Publicidade, 1946
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Living in an information-seeking society, we are surrounded by words and pictures. It is the task of the graphic designer to research, analyze, organize and make artistic order out of chaos.
ReplyDeleteGraphic Design Peabody MA
Absolutely. Thank you very much, very well articulated.
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