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A Materialidade no Design Pós-Digital: O recrudescimento das Práticas Tipográficas e de impressão Tradicionais
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Orientador(es)
Resumo(s)
A presente dissertação explora o recrudescimento das práticas tipográficas tradicionais
e dos processos de impressão analógicos na contemporaneidade, analisando o que
impulsionou a continuidade destas práticas, que, ao longo da sua história, foram muitas
vezes consideradas obsoletas, procurando também perceber qual o seu papel e relevância
no design atual. Numa era marcada pela imaterialidade, motivada pela imersão nos
ambientes digitais, observa-se uma crescente valorização da materialidade, tangibilidade
e fisicalidade dos objetos gráficos, que resgatam a profundidade sensorial e emocional da
criação manual. Este recrudescimento reflete não apenas uma resposta à uniformização
digital, mas também ambição pela preservação cultural, histórica e técnica.
A dissertação aborda temas fundamentais como a resistência à efemeridade digital,
experiência emocional e sensorial, sustentabilidade, continuidade através da educação
e o potencial das práticas analógicas enquanto ferramentas de expressão criativa e de
resistência cultural. Além disso, destaca a hibridização entre processos analógicos
e tecnologias digitais como uma forma de explorar criativamente estas duas vertentes,
valorizando as suas qualidades e dando origem a projetos que unem a tradição
e a inovação de forma simbiótica, cooperando entre si para potenciar a experiência entre
ambos os meios.
Estas práticas têm encontrado terreno fértil em projetos experimentais, publicações
independentes e edições limitadas, que enfatizam o caráter único e o envolvimento direto
do criador no processo. A materialidade e a fisicalidade dos processos analógicos
continuam a contribuir para o enriquecimento da produção gráfica contemporânea,
perpetuando a relevância dos valores culturais, estéticos e táteis associados à tipografia
e à impressão tradicionais. Para além de preservar patrimónios tangíveis e intangíveis,
estas práticas representam um meio dinâmico e adaptável de expressão, destacando-se
como um contrapeso ao mundo digital e reafirmando a importância da materialidade no
design pós-digital.
This dissertation explores the resurgence of traditional typographic practices and analog printing processes in contemporary times, analyzing what has driven the continuity of these practices, which, throughout their history, were often considered obsolete. It also seeks to understand their role and relevance in current design. In an era marked by immateriality, driven by immersion in digital environments, there is a growing appreciation for the materiality, tangibility, and physicality of graphic objects, which reclaim the sensory and emotional depth of manual creation. This resurgence reflects not only a response to digital uniformity but also an ambition for cultural, historical, and technical preservation. The dissertation addresses fundamental themes such as resistance to digital ephemerality, emotional and sensory experience, sustainability, continuity through education, and the potential of analog practices as tools for creative expression and cultural resistance. Furthermore, it highlights the hybridization between analog processes and digital technologies as a way of creatively exploring both approaches, valuing their qualities and giving rise to projects that unite tradition and innovation in a symbiotic manner, cooperating with each other to enhance the experience across both mediums. These practices have found fertile ground in experimental projects, independent publications, and limited editions, which emphasize the unique character and the direct involvement of the creator in the process. The materiality and physicality of analog processes continue to enrich contemporary graphic production, perpetuating the relevance of the cultural, aesthetic, and tactile values associated with traditional typography and printing. Beyond preserving tangible and intangible heritage, these practices represent a dynamic and adaptable means of expression, standing out as a counterpoint to the digital world and reaffirming the importance of materiality in post-digital design.
This dissertation explores the resurgence of traditional typographic practices and analog printing processes in contemporary times, analyzing what has driven the continuity of these practices, which, throughout their history, were often considered obsolete. It also seeks to understand their role and relevance in current design. In an era marked by immateriality, driven by immersion in digital environments, there is a growing appreciation for the materiality, tangibility, and physicality of graphic objects, which reclaim the sensory and emotional depth of manual creation. This resurgence reflects not only a response to digital uniformity but also an ambition for cultural, historical, and technical preservation. The dissertation addresses fundamental themes such as resistance to digital ephemerality, emotional and sensory experience, sustainability, continuity through education, and the potential of analog practices as tools for creative expression and cultural resistance. Furthermore, it highlights the hybridization between analog processes and digital technologies as a way of creatively exploring both approaches, valuing their qualities and giving rise to projects that unite tradition and innovation in a symbiotic manner, cooperating with each other to enhance the experience across both mediums. These practices have found fertile ground in experimental projects, independent publications, and limited editions, which emphasize the unique character and the direct involvement of the creator in the process. The materiality and physicality of analog processes continue to enrich contemporary graphic production, perpetuating the relevance of the cultural, aesthetic, and tactile values associated with traditional typography and printing. Beyond preserving tangible and intangible heritage, these practices represent a dynamic and adaptable means of expression, standing out as a counterpoint to the digital world and reaffirming the importance of materiality in post-digital design.
Descrição
Palavras-chave
Design Editorial Design Pós-Digital Híbrido Impressão Tipografia