![\"\"](\"http:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2019\/01\/078-083_Tipografia-paulistana_270-2-2140px.jpg\")
Sacred Heart of Jesus Trade Schools (C. 1912, Author Unknown)\/Mary Help of Christians Salesian School Archives \/ www.fau.usp.br\/tipografiapaulistana<\/span><\/a> Salesians pioneered trade schools providing type foundry training in S\u00e3o PauloSacred Heart of Jesus Trade Schools (C. 1912, Author Unknown)\/Mary Help of Christians Salesian School Archives \/ www.fau.usp.br\/tipografiapaulistana<\/span><\/p><\/div>\n But the decision was never implemented. In 1827, the lawyer Jos\u00e9 da Costa Carvalho (1796\u20131860), Marquis of Monte Alegre, took it upon himself to order printing machinery from England, which was later installed on what today is Rua Libero Badar\u00f3, in downtown S\u00e3o Paulo. At the new printing shop, the soon-to-be director of the School of Law (1835\u20131836) and deputy for the province of S\u00e3o Paulo (1838\u20131841) began to publish O Farol Paulistano<\/em>, S\u00e3o Paulo\u2019s first newspaper. The newspaper remained in circulation up to 1832, featuring news and opinion articles. By 1840, 22 newspapers were in circulation in S\u00e3o Paulo; 55 new titles appeared between 1851 and 1860; and another 273 between 1881 and 1890. \u201cThe growing number of newspapers was matched by an expanding number of printing houses,\u201d Farias explains, and reflected the economic, political, and educational development of the city.<\/p>\n The study, funded by FAPESP and the Brazilian National Council for Scientific and Technological Development (CNPq), found that the longest-lasting printing house in the city was a shop owned by the German Jorge Seckler (circa <\/em>1840\u20131890), which operated for almost three decades until mid-1891. \u201cIn S\u00e3o Paulo there was a strong presence of printers of German and Italian origin, while in Rio de Janeiro the Portuguese and French were dominant,\u201d she says. The professionals working at the foundries supplying types to the printers were also from these countries. In S\u00e3o Paulo, Salesians from the Sacred Heart of Jesus School created the first trade schools providing training on type foundry work. When printing houses began to be introduced in Brazil, between the nineteenth and the twentieth century, they had already long been mainstreamed in the European market. In London, for example, there were about 500 printing shops between 1850 and 1914.<\/p>\n Trade almanacs such as Almanak Administrativo, Mercantil, e Industrial<\/em> da provincia de S. Paulo, <\/em>printed by Seckler, were reviewed in the study to identify the key figures on the printing scene. These publications, which were popular in the nineteenth century in many parts of the world, including South American capitals, contained agricultural calendars and compendiums with information about institutions and prominent figures. The page layout was characterized by short texts, tables, address lists, and advertising. \u201cUnlike books, almanacs did not have a linear layout; instead, they used letters of different sizes and shapes and incorporated varied styles of composition,\u201d Farias notes.<\/p>\n According to the researcher, almanacs can provide insight into how printers\u2019 repertoires evolved over time. \u201cOrnate letters, and vignettes in ad sections, were gradually introduced in almanacs and newspapers. In the newspapers published in the 1820s and 1830s, for example, we found only discrete ornaments used as dividers or frames.\u201d Farias notes that the few ads, which generally concerned fugitive slaves, were essentially typographical. Ornamentation appeared only in the 1840s, in the mastheads of newspapers such as A Violeta<\/em>. The first illustrated advertisement was for \u201cforest syrup,\u201d on the last page of d\u2019O Piratininga<\/em>, a newspaper printed at Typographia da Viuva Sobral. Ten years later, Typographia Imparcial, owned by Joaquim Roberto de Azevedo Marques, began publishing almanacs.<\/p>\n Melhoramentos archive \/ www.fau.usp.br\/tipografiapaulistana<\/span><\/a> The printing house Weiszflog Irm\u00e3os e Cia, in 1906: typesetting was done manuallyMelhoramentos archive \/ www.fau.usp.br\/tipografiapaulistana<\/span><\/p><\/div>\n Four kinds of typefaces were used most frequently at printing houses in the city during the study period. The first were serif or roman letters (see illustration<\/a><\/em>), which were common in running texts in smaller print, contrasting with the typefaces used for headlines and teasers. Serifs are strokes used to terminate the stems of certain letters. The second category\u2014cursive or blackletter\u2014was used less frequently and mostly confined to advertisements. \u201cThe more ornate the typefaces, the less frequently they were used in almanacs. They were mostly employed to differentiate products or advertisers,\u201d says Farias. The \u201cdecorative\u201d or \u201cbold\u201d category, characterized by heavier and more robust typefaces, appeared in larger print to give emphasis to ads placed on the same page. Sans serif, or grotesque, typefaces were the least frequent.<\/p>\n Initially, types were made of lead at foundries using matrices brought from Europe. The composition of texts and advertisements involved manually selecting letters, or movable types, and printing them individually. This work was done by typesetters who, in general, learned the trade on the job. \u201cResearch on the period prior to the institutionalization of design in Brazil shows how, without a university education, these professionals were nevertheless able to solve complex design problems,\u201d says Edna Cunha Lima, a professor in the Department of Arts and Design at the Pontifical Catholic University of Rio de Janeiro (PUC-RJ). Since serif typefaces, which were used extensively in printed texts, were prone to wear and breakage, the printing houses\u2014where newspapers, almanacs, and other documents were typically printed for multiple customers\u2014had to regularly order replacements from foundries. Most printing was black and white or a single color on white paper. \u201cIt was only in the later decades of the nineteenth century that printed matter in more than one color began to be produced in S\u00e3o Paulo. Color printing in the nineteenth century was typically done using lithographic printing methods,\u201d Farias explains.<\/p>\n www.fau.usp.br\/tipografiapaulistana<\/span><\/a> Decorative typefaces used in 1878 and 1888www.fau.usp.br\/tipografiapaulistana<\/span><\/p><\/div>\n Created in the second half of the eighteenth century in Europe, lithographic printing methods produced better print finish, more vibrant colors, and better contrast compared to letterpress printing. Some printing houses, such as Sociedade de Artes Graphicas, which operated between 1907 and 1918, used both techniques. In 1905, the installation of the first automated linotype, or hot metal typesetting, machine in S\u00e3o Paulo marked the end of manual typesetting.<\/p>\n \u201cIn my research, I found printing houses that were dedicated to printing for groups of non-Portuguese immigrants that had recently arrived in S\u00e3o Paulo. Most were linked to German, Italian, and Spanish communities and produced printed materials in these languages,\u201d says Farias. A printing house explicitly linked to the Arab community, called Typographia Syria, owned by the Candalatf brothers, was only opened in the early twentieth century. \u201cIn the S\u00e3o Paulo State Archives there are copies of newspapers produced for this community. These newspapers used movable types with Arabic characters combined with Latin typefaces,\u201d she notes.<\/p>\n Printing houses in Brazil have only recently become a subject of research\u2014about 30 years ago when the first graduate programs in design were created. \u201cBefore 1980, the historiography of Brazilian design began at the onset of modernist industrial design, which was introduced in the country along with the first undergraduate programs in design,\u201d Farias says.<\/p>\n Brasiliana Guita Library and Jos\u00e9 Mindlin | Wikipedia<\/span><\/a> Left, one of the almanacs referenced in the study and the newspaper O Farol Paulistano, published by the first printing house in S\u00e3o PauloBrasiliana Guita Library and Jos\u00e9 Mindlin | Wikipedia<\/span><\/p><\/div>\n Other territories\u00a0<\/strong> Francisco In\u00e1cio Scaramelli Man de Melo, a professor in the Visual Programming Disciplines Group at FAU-USP’s Design Department, explains that because printing was only brought into the mainstream in Brazil in 1808, the country had no skilled printers. At the turn of the twentieth century, letterpress and lithography printing was largely carried out by European immigrants, especially in S\u00e3o Paulo. \u201cThe visual language of the period clearly shows European visual patterns, including the Art Nouveau<\/em> style,\u201d he says, referring to the artistic movement that emerged in 1890 and which reflected the fast-paced nature of modern city life.<\/p>\nwww.fau.usp.br\/tipografiapaulistana<\/span><\/a><\/p>\n
\nPrinting was banned in Brazil until the Portuguese court moved to Rio de Janeiro, in 1808. Things then began to change when the first printing house, Impress\u00e3o R\u00e9gia, was established. Printing presses similar to the models developed by Johannes Gutenberg (1394\u20131468) in the 1400s were imported from England. \u201cPrior to this, only a handful of printing houses are known to have existed in Brazil, such as one operated by a Portuguese printer in Rio de Janeiro in the eighteenth century without permission from the crown,\u201d says Farias. In Rio de Janeiro, printing houses such as Livraria Universal and Tipografia Laemmert, created by the German brothers Eduard and Heinrich Laemmert, were some of the largest in Brazil. They also doubled as publishers, producing the Almanaque Laemmert<\/em> between 1844 and 1889.<\/p>\n