1950
He meets Polish visual artist and designer Leopold Haar, who introduces him to constructivism and to the artists Malevitch, Kandinsky, Prevsner and Moholy-Nagy.
1949
He is appointed as art director at Lintas International Advertising S.A. dedicating himself to the visual advertising programming of Gessy-Lever until 1952.
Meets Joaquim Alves, an advertising draftsmen, who stimulates him to paint, and together they go out to draw in the streets of São Paulo.
Reads the main foreign publications in the area, such as the modernist magazine Art & Industry, which keeps him abreast of information concerning current contributions to graphic and visual art, with a special focus on the work of contemporary designers and photographers.
1946
He creates his own printing business, Graphstudio Ltda., which he sells in 1948. In the same period, he takes a course in advertising at Associação Paulista de Propaganda and attends the Instituto de Ciências e Letras Inglesa (Redschow School).
1945
He begins to work at Indústria Gráfica Siqueira Salles Oliveira & Cia.
1944
He works at the Graphicars F. Lanzara printshop.
1942
He becomes a student of painter Angelo Simeone at the Associação Paulista de Belas Artes, another key motivator of his work.
1941
As a lithographer, he works until 1944 at Companhia Lithographica Ypiranga.
He is amazed to observe Lasar Segall executing the lithographs of the Mangue series.
1940
He works in Benazzato´s lithography studio.
1939
Until 1941 he attends the course in painting and art history (discovering the artists Cézanne, Monet, Van Gogh, and others) given at Waldemar da Costa’s studio (Avenida Brigadeiro Luís Antônio), where he meets the future painter Maria Leontina. Encouraged by Waldemar da Costa, he painting, an oil on canvas entitled Paisagem do Alto do Ipiranga.
1936
In March, Francisco Gheraldi hires him to work at Companhia Melhoramentos, initially in the departament of book illustration and, later, in the sector of artisanal lithography, remaining with the company until 1939.
He meets the lithographer Giovanni Oppido, who awakens in him an intense desire to be a painter.
For six months, he attends the private course given by Giglio (a professor of drawing and painter of porcelain) while also beginning the general arts course at the Liceu de Artes e Ofícios de São Paulo, where he meets Lothar Charoux. During his studies at the Liceu, which lasted until 1941, he took all of courses offered, studying academic painting with Odetto Guersoni. He would later state that the courses in geometry and those given by Waldemar da Costa were the most significant for his training.