Martelinhos Porto

A História dos martelinhos de São João

O martelo de S. João foi inventado em 1963 por Manuel António Boaventura, meu Avô, industrial de Plásticos do Porto, que tirou a ideia num saleiro/pimenteiro que viu numa das suas viagens ao estrangeiro. O conjunto de sal e pimenta tinha o aspecto de um fole ao qual adicionou um apito e um cabo vindo a incorporar tudo no mesmo conjunto e dando-lhe a forma de um martelo. O objectivo inicial era criar mais um brinquedo a adicionar à gama de que dispunha.
Nesse mesmo ano os estudantes abordaram o Sr. Boaventura com o intuito de lhes ser oferecido para a queima das fitas um “brinquedo ruidoso”, ao que o Sr. Boaventura acedeu oferecendo o que de mais ruidoso tinha…os martelinhos. A queima das fitas foi um sucesso com os estudantes a dar “marteladas” o dia todo uns nos outros e logo os comerciantes do Porto quiseram martelinhos para a festa de S. João.
Esse ano o stock era pouco mas no ano seguinte os martelos foram vendidos em força para esta festa e ao mesmo tempo oferecidos pelo Sr. Boaventura a crianças do Porto.
Assim o martelinho entrou nas festa do S. João sendo aceite incondicionalmente pelo povo nos seus festejos.
A venda fez-se normalmente durante 5 ou 6 anos até que um dia o Vereador da cultura da Câmara do Porto, Dr. Paulo Pombo e o Presidente da Câmara do Porto Engº Valadas chegaram á conclusão de que este brinquedo ia contra a tradição e decidiram fazer uma queixa ao Governador Civil do Porto Engº Vasconcelos Porto, queixa esta que foi aceite tendo mesmo o Governador Civil notificado o Sr. Boaventura de que no ano seguinte estava proibido de vender martelos para a festa de S. João, mandando avisar que quem fosse apanhado com martelos na noite de S. João seria multado em 70$00 (na época ganhava-se cerca de 30$00), e mandando retirar os martelos das lojas comerciais onde estavam á venda. O que é certo é que o povo não acatou esta decisão e continuou a usar o martelo nos seus festejos.
O Sr. Boaventura ao ver-se lesado e injustiçado nesta decisão do Governo Civil levou então a questão a tribunal, perdendo em 1ª e 2ª instância. (estava-se no tempo de Américo Tomás e Marcelo Caetano e consequentemente da PIDE). No entanto no ano de 73 recorreu para o Supremo Tribunal e ganhou a questão, podendo assim continuar a fazer os martelinhos que se tornaram tradição popular não só no S. João do Porto, como no S. João de Braga, Vila do Conde, Carnaval de Torres Vedras, Passagens de ano, campanhas de partidos políticos, etc.
Os martelos sofreram inúmeras alterações ao longo dos anos mas a tradição ficou e a sua história perdeu-se com o tempo….

Train Girl, Photoshop ILLUSTRATION

This one is a thing that happen to me all the time on my faculty times. I did this 5 days ago. It was a sketch from 2 or 3 years ago. It was a small pleasure… sleeping on the train with the hot sun by the sea on my face, going home.

I decided to finish some drawings that I started in the past. And because is anime related I thought it was nice to use colors from my beloved Studio Ghibli movies! I use the hair and cloth colors from the character Chihiro from Spirited Away! Then, yesterday I found out that  Michiyo Yasuda died. She was responsible for that same colors! I feel sad, and this is kind of my tribute to her!

RIP Michiyo Yasuda




 STAGE 1, Aug 23, 2014

Some work in progress from an old sketch idea of 2011.

WaterFace #cmdotpm
I was cleaning up my mess when I found a sketch on a vellum paper made in 2011. Some weird idea of fluctuating water suffocating the breeding part of the face. Looked at it and thought that is was time to start coloring it on Photoshop CS6. Put it in my poor Lexmark Scanner and started right away. Made some progress but it’s way different from coloring with watercolors or another kind of ink on real paper. At this stage, I spent already 3 to 4 hours.

STAGE 2, Set 09, 2014



I did much more and change parts. Like… When I was doing the highlights of the hair I put this background color and I simply loved it. I tried a few more colors but always in the same pallet. And after that, the blue of her eyes didn’t felt so right and I simply change them to greens instead, give it more balance. Her right eye is bigger than the previous ones because was just not right, we are not symmetric but the differences are very smooth, and that eye was looking at me and killing me, giving me an idea that she is deformed or something. Put more reds around the skin to look more that she is crying for a long time. I’m realizing that I did a lot of changing in the eyes, and I can tell you that I’m not satisfied yet. Like I said before I want a natural look and still, she looks like has tonnes of mascara on her eyelashes or her hair-brows are too thin. It was the first thing that I did, after the skin, so is kinda normal the concept is not totally formed yet at that stage. I think it happens because of the lack of experience on illustrating on photoshop.
I began the chest part freely painting but after some point I looked on the web for some references, not to place them and painting above, just put them aside and looked them up just for having points of bone shapes and proportions.
I didn’t like her mouth, her lips, it looked like doll’s lips, full of red bright lipstick on, and that was not my idea at all, not a makeup girl… if I did, probably the eye makeup was going with the tears and flow in the water, another type of hair, face, etc. Is not a bad concept, but not for this one.
And is more than enough writing on this one, next stage I will talk about the lights that I’m actually studying right now. Thanks.

STAGE 3, Apr 6, 2015

I didn’t touch in this for a long time but I have to finish it. Last time I posted one of these was smaller and without water life. aha… This is a general idea. Now I have to do the final touches.


Ginger on the Roof, WATERCOLOR

My moleskine was almost forgotten when I did this one.


Moleskine Geiko, WATERCOLOR

My first backround in 2011.

click for bigger view

I like doing portraits. And this illustration it’s a small watercolor in my Moleskine. It was, at first, a simple black and white drawing of a geisha and her Japanese parasol that I simply disliked. After some long months, I looked at some old Japanese photos, at random, and, out of nothing, I added this background based in some of those photos.

What I would normally use to sketch when I do watercolor is Sumi-e ink: a traditional black ink stick used in Japanese calligraphy and drawings. I personally like applying it directly on paper without pencil sketching. You get nice smooth grays with it, dries fast, and doesn’t blur if you layer it with more water or ink after drying. I bought mine in Ponto das Artes that comes in a mini-subcase kit of two (not professional) Japanese brushes, a little “spoon”, a ceramic godet, a worked stone and another stone to mix the water with the ink stick. I just bought it because it´s cute, but I really got used to it. In my opinion, it’s much better than black China ink.

man me, pencil on paper PORTRAIT

I decide to study my face and make a man me.

I like doing portraits, but, most of the time it’s just copying some image or photograph. It’s difficult to make life portraits of someone because the person has to be still for so long. So I decided to play with anatomy, fantasize a little and make a man me. With the help of a mirror and some photos I basically just put a stronger jaw, more eyebrows, facial hair (not too much because my hair is very thin), larger neck, more dark circles and deeper wrinkles, I transformed me into a man. I didn’t want just a teen because in reality, most of the time, boys still look kinda girly so… this is the result.

starfish SERIES


Illustration series in china ink and watercolors about starfish and how to freak out about it.