ABSTRACT: This text marks the 75th anniversary of the Polaroid and celebrate the memory of both the popularization of the instant photography and of its inventor Edwin Herbert Land, founder of the Polaroid Corporation and a true example of the American entrepreneurship capable of transforming inventions into products of easy access that reached users through mass production. The establishment of the company occurred at the same time as the birth of industrial design in the USA. If the first examples were designed by the most notable pioneers of the American industrial design, including Walter (...)

ABSTRACT: This work was developed from a time frame of design history that covers the period between the post-war and post-modernism, with a focus on automotive design promoted by the Scuderia Ferrari, the Italian brand of luxury sports cars. It will examine the the changes undergone by the design over time, and how these have influenced some of the projects most iconic brand in the Granturismo category - also known by the name GT.   KEYWORDS: Design; Design History; Automotive design; Ferrari. (...)

ABSTRACT: A new foundation of project that doesn’t propose certainties after the crisis of Modernity, but highlights a crucial role for contemporary design is one of the most interesting issues of the thought of Andrea Branzi, elaborated in the article. Design, traditionally considered a minor art compared to architecture, has always been connected to the everyday dimension of life; especially nowadays it shows his further ability: the capacity to deal with the deeper epoch-making questions of the culture and, at the same time, with the market and with the goods. The idea of product (...)

ABSTRACT: The context in which this article is presented derives from a Phd research in design (FAUL) covering the areas of Design History and Criticism on the airline TAP Portugal, since its beginnings (1945) until the year in which the designation changed to Air Portugal (1979). The interior of a flag carrier aircraft was always a territorial extension “staged” for inner and outer consumption, which in TAP’s case meant, a compromise between the ideology and the official taste of the Estado Novo, and the international tourism clichés. "Portugal in the air," (...)

ABSTRACT: This study focuses on the decades when the transition between metal typesetting based design to digital processes based design occurred (1950-1980). Based on research literature, in privileged testimonies and in direct observation of printed objects from that time, the study reveals that this was a very technologically rich period in which the processes were not fully stabilized (because in transformation). This fact is reflected some fluctuations in the quality of printed material, and carried constraints for the designer& (...)

ABSTRACT: From the 1960s began in Brazil the first experiments in the production of automotive projects by the brazilian initiative including the emergence of vehicles called out-of-series. Produced apart from the huge market by the small manufacturers, the designs of such vehicles were intended to attend specific market niches not served by major industry and harmed by law in the country prohibiting the importation of cars at that time. The production of these vehicles was strengthened in the 1970s, reached its apogee in the 1980s lasted until the early years of the 1990s, when the reopening (...)

ABSTRACT: The styling can be considered the first style properly American. It did not respond to theoretical principles, but to the demands of the market. Their designs were in line with the production processes, which made it possible to lower costs and reach more sectors of the population. Its theoretical justification came at the time that the aerodynamics were applied to its designs, giving rise to the streamline designs.   KEYWORDS: Styling, Streamline, Industrial Design, United States, Marketing (...)

ABSTRACT: The contamination between the ambience aboard TAP’s aircraft as a flag carrier and its ideological, economic, social and cultural contexts, lead us to establish the hypothesis that the programmatic boundaries of a design briefing, and how it appropriates the collective imagination of a people contributes by double playing to an introspection of their own identity. As a contribution for a long foreseen Design History in Portugal, this article show the results of a research using qualitative and non-interventionist methodologies mainly obtained from primary sources and data (...)

ABSTRACT: Interest, curiosity and personal research around the Portuguese modernism, particularly the magazine Presença, led to the conclusion that there is a gap in terms of what is known about the relationship between the graphic choices and graphic decisions and modernist ideas. This study aims to contribute to the history of this magazine in the specific perspective of the graphic design area for the discovery and clarification of graphic aspects and typographic expression, also in this area and abreast of literary, artistic and ideological content, allow to have it as an (...)

ABSTRACT: Think a book as a visual language where creativity is related to experimentation and the creation of models that enhance the communicating function of the book, leaving the central role (object) to the text, it becomes pre-eminent in the design of a picture book. The exploration of the potentialities of the different elements that compose the book, from the physical characteristics to the conceptual / artistic / didactic side, break the limits imposed by the traditional form and stimulate the individual to think and to imagine. Analyzing the illustrated albums of Bruno Munari (...)

RESUMO: A Op Art e os seus fenómenos visuais são explorados e estudados, é descrito o contexto social e cultural em que surge e os movimentos artísticos onde encontrou precedências - pós modernismo. Na sua contextualização é feita uma análise formal e teórica, focada naquilo que a distingue de outros movimentos coevos, como a Pop art. A Op art em Portugal é sobretudo representada pelos trabalhos de Artur Rosa e Eduardo Nery. Por último, os principais efeitos óticos usados pela Op art (...)