This first issue of the visual arts journal Cobalto was published in June 1969 by a group with the same name formed in 1968; it turned out to be a group with a short life span. Most of its members were young visual artists and designers: Manuel Espinoza (b. 1937), Jesús E. Guédez (b. 1930), Jesús Mujica, Ibrahim Nebreda (b. 1942), Abilio Padrón (b. 1931), Álvaro Sotillo (b. 1946) and Jorge Ibarra.
There are several reasons why this document is important. First, Cobalto reflected a stance (in keeping with the spirit of the 1960s) of questioning and criticism of visual arts instruction in Venezuela. It also made evident the desire of these young adults to be current with the avant-garde critical thinking of other countries—and to inform their generation about that thinking. That was why they included important articles published in international journals. They recommended a critical reading of these articles, emphasizing when they “fully agreed” with the ideas set forth (for example, the editorial in the fourth issue of the Parisian journal Robho, “Against Inoffensive Art”). The editors also highlighted contradictions (citing an article by Julio Le Parc, “Combate cultural,” along with a photograph of the artist modeling a suit; in a note, they point out “(…) the contradiction between Le Parc, a model for one of the most powerful fashion houses, and Le Parc, the writer of an ardent call to cultural warfare.”)
In Cobalto we find a desire for globalization, but always focused on a revival of art in Venezuela; its editors were explicit in their recognition of an event held in 1967, Espectáculo Síntesis Imagen de Caracas. As for its editorial quality, although there are errors in its references—such as incomplete bibliographical data— Cobalto was a paradigm of graphic design.
Seen in the light of history, in the following decades, is interesting to study the young artists of Cobalto would turn out to be distinguished and influential in their country. In addition to their artwork, two of them were involved in teaching and the formation of institutions: Espinoza and Padrón. Starting in the 1970s, people would talk about Sotillo as a promising young Venezuelan graphic designer. Today, he is not only one of the best-known designers in the country, but he is also known internationally as the one who has upheld the graphic design tradition started in the 1950s by Gerd Leufert and Nedo Mion Ferrario.