Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

This design project takes the form of an illustrated story told from the perspective of a young adult middle-class Swede who feels uncertainty in the face of larger issues in the world. Where do all our stuff come from? Is he buying unethical products? Is he actively making a situation worse elsewhere through his choices? How would you even know, when the consequences of such actions might only become evident far, far away from Sweden? How do you relate to this? What should you do? As the protagonist wants for answers, he decides to try and find out what the situation is really like, and what could be done about it. But, as he would soon find out, the answer is not a simple one… In this work-in-progress story, a middle-class Swede must contend with the fact that he’s part of a subset of humanity that in large part benefits off of the thankless work that may be found in the so-called Global South. In his investigation, he seeks to find answers to important questions. What’s the nature of this economic relationship between the Global South and the Global North? Is it really enough to buy ‘more sustainable’ products to relieve the impact on environments and societies? What are the hidden perspectives and stories that those in the Global South experience every day? How can one try to be a good person and create positive change in the world when faced with overwhelming systemic issues on a global scale? Through the story, the nature of global wealth disparity is illuminated as the Swede tries to make sense of global power relationships in relation to labor and production, and so too offers a reader who may be having similar worries an opportunity to learn. As uncomfortable truths are revealed, a greater systemic issue becomes evident. As economic growth takes precedence over social and environmental wellbeing, who wins and who loses – and where? This is the written thesis section of the project, which seeks to elaborate on the different concepts included in the story, as well as surrounding it. Aspects such as the purpose of the project and target audience are gone over, emphasizing the need to communicate complex subjects to wider audiences while avoiding the act of oversimplification of the issues presented. The methodology of the work is presented, and aspects of the design process are documented. The project cumulates into a digital exhibition with other design students, where a work-in-progress version of the comic book is presented digitally for reading. The end of the thesis features a reflection of the result and the design process in order to identify where improvements could be made, as well as the answers the author of this thesis found in relation to the project questions. In summary, there seem to be an indication that working collectively as opposed to individually may be more effective towards creating positive change, in opposition to individual-focused solutions. Finding appropriate solutions to issues may not have to be found immediately, but may be found through a process affected by several different people in a collective that are able to contribute with their differing skills and knowledge to locate the most appropriate path forward. / <p>Here is an updated version, using the template of the front page that was suggested.</p>