"VITRINE" (part 1)

Tita & Nic is a classic of Ceará comedy and is filled with symbolic scenes. Stands out, there was a photonovel structure (a prevalent narrative in the 70s) and a graphic of an iceberg sinking a ship at the poster.

Frames of an analogue photograph by artist Tim Bernardes slide into the poster, representing a nostalgic memory and the intimate atmosphere of his songs.

The idea of ​​a double show in the south of Ceará made me resort to the vibrant colours of Cariri (shades of yellow, green and red, which dialogue with the colours of Cineteatro) and a kaleidoscope that referred to the sun and a compass at the same time.

The musician Zé Renato presented a show dedicated to children. It was an October with children's programming, and we were transforming all the month's attractions into drawings cartoons. The poster features the artist in a cartoon format.

The solution to giving a show preview to the potential spectator was to isolate one of its characters, a humanoid with a dog's head and a suitcase. It is wrapped in a white outline.

A shower of red rose petals enters the composition, with Elza Soares holding the microphone at rest and closing her eyes. It was a way of materialising the aura of Lupicínio Rodrigues' songs.

There is a direct reference to the album "Alucinação" by the singer Belchior (in the background) and the gesture of the artist Gero Camilo, crossing movement and psychedelia.

In the show "Cortejo" poster, the figure of guitarist Cristiano Pinho distorts elements of the sign as in the impact of a sound wave - it's as if we could feel the vibration of a technically well-executed solo.

Marinês was a memorable character in Northeastern forró, and there was not much beyond her old album covers as references. Therefore, A portrait of one of her LP covers was restored and was added plants typical of the local Caatinga landscape to the composition.

"Devoração" is a show that involves dance and theatre, all in one. Distortions stretch and compress the letters of the information on the poster, presenting a little the idea of ​​movement and tension of the concert.

Coloured lines that form landscapes and waves are arranged in the background, where the silhouette of a head emerges, a form of luggage. The poster reinterpreted the album cover that bears the show's name.

In the São Luiz production flow, sometimes the publicity material sent by the artists dictates the direction of the final publicity product. Mona Gadelha's production had provided material by photographer Francisco Sousa. The poster's title is the name of the show.

The publicity photograph sent by Rosa Primo's production had a very intense "ground weight" (it consists of the artist lying on the stage as if she had fallen there). I chose to rotate the photo and use it vertically, causing some estrangement to the viewer.

A colour treatment was applied to the photograph by Kátia Freitas to give the image a more satin texture. Purple and orange tones provide a sense of twilight light, a personal impression of what the artist's voice conveys to me.

The poster features the show's title in leaked letters over an image of one of the actors on stage. The arrangement of the title, fragmented vertically, references the subtitle of the play "Dissection of the body of the show".

I tried to dialogue with the album cover, the same name as the show, both colours and image treatment—the volatile colours between green and yellow form a kind of delirium. The layout of the title was made thinking about how to attract the public's attention.

The character of comedian Renato Aragão is a famous icon of Brazilian Cinema. For this show, we had the exhibition of 20 titles. As the volume of information was significant, we provoked the public by enunciating a caricature of the eternal Didi.

The black design of a primate's head imposes itself on a spurt of red pigment in the background. The letters have voids within their shapes, reinforcing the appearance of a more rustic technique.

To talk about Elvis, nothing better than some show reference. The aesthetics of the illuminated signs, very characteristic of Las Vegas casinos in the USA, were chosen for this poster.

Chaplin needed a top hat, eyes and moustache. An illustration in black gouache on a bright yellow background represented this beloved character in cinema history.