“Graphic design” was not a proper term until the beginning of the twentieth century. This led to confusion in credits/authorship for book covers, typography, which was exacerbated by the fact that printers, in addition to being in charge of the production process of books, were also making decisions regarding their finishings. Venezuela presents an interesting chapter in the history of publishing in the world given the hybrid character of publishing in the country in which traditional national artists, illustrators, and publicists comprised a mix of European and North American immigrants. The lack of current bibliographic material inspired me, as a researcher, to make a timeline of the political and graphic history of the country through its colophons. Colophons, which appear at the end of books and thus are often ignored, are nonetheless providers of essential information—witnesses of our progress in authorship and as a society.

中文翻译：

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科洛芬作为边际见证

直到二十世纪初，“图形设计”才是一个恰当的名词。这导致书籍封面，版式的学分/作者混乱，并且由于印刷者除了负责书籍的生产过程外，还就其装潢做出决策，这一事实使情况更加恶化。委内瑞拉在该国出版业中具有混合特征，其中传统民族艺术家，插画家和公关家由欧洲和北美移民组成，因此委内瑞拉在世界出版史上开辟了有趣的篇章。缺乏当前的书目资料，使我作为一名研究人员鼓舞了我通过其各色纸版画出该国政治和图形历史的时间表。书尾出现的书尾，因此经常被忽略，