'Amor' by Daiana Santana / Ednaira Mendes / Leonardo Dias, from Oi Kabum! Escola de Arte e Tecnologia, Salvador

Brazilian graphic designer Felipe Taborda has curated an exhibition of posters at Warsaw’s Rampa Art Gallery and Poster Museum as part of Poland’s 22nd International Poster Biennale.

Titled ‘Kabum! Mix’, the exhibition is the culmination of a two-year project with the Brazilian Oi Kabum! schools of Art and Technology in Rio de Janeiro, Recife, Salvador and Belo Horizonte, sponsored by Oi Futuro.

The nine posters for 2008 series, produced by the students, in conjunction with French designer, Alain Le Quernec, were exhibited throughout the world to great acclaim. For the 2009 series, the students worked with local tutors and Mexican graphic designer, Alejandro Magallanes, creating posters based on the themes of ‘love’, ‘the future’ and ‘Aids’.

The 2009 posters were spread throughout Rio by Clear Channel, the company who administrates urban advertisement in the city.

via Kabum! Mix poster exhibition, Warsaw – Art – Wallpaper.com – International Design Interiors Fashion Travel.

Read Also:

• Brazilian Posters in Warsaw International Poster Biennale
• Brazilian posters win 1st prize in Bolivia
• Discover the Brazilian Cinema
• Kiko Farkas poster exhibition in China
• Roots: Duarte, Rogério (1939)

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Tupixel

Tupixel is a web-search tool for Brazilian and Brazil-based illustrators: it’s a starting “pixel” for those looking for drawings made in Brazilian lands. A work-in-progress (open to collaborations), the site covers a diverse and wide period of Brazilian visual arts, from Comics pioneer Angelo Agostini, who lived in São Paulo in 1860s, to the current generation of “100% digital” graphic artists.

Resulting from 12 years of research by graphic artist and illustrator Faoza, its database – the largest of its kind in Brazil – already has over 1,600 names. Among them, great masters of the past, professionals from many different styles and beginners of this art form so present in our day to day through newspapers, magazines, books, the web, packaging, fashion, advertising, comics, TV, cinema and alternative medias.

http://www.tupixel.com.br/

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• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• Interaction South America ’09: São Paulo, Brazil
• Brazilian design featured on Computer Arts Magazine’s “Viva Brasil” article
• Discover the Brazilian Cinema
• Rogério Duarte exhibition in Australia

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DINGBATS BRASIL in Venezuela

The exhibition DINGBATS BRASIL opened on April 30th at the Galeria Venezolana de Diseño in Caracas, Venezuela, as part of the program of the 4th Latin American Typographic Biennial TIPOS LATINOS 2010.

DINGBATS BRASIL features the first decade (1996-2006) of Brazil’s production of digital pictorial alphabets – the dingbats – through thirty-five projects by 22 prominent contemporary designers like Leonardo Buggy, Tony de Marco, Marina Chaccur, Claudio Rocha, Marcelo Martinez, Guto Lacaz and Rafo Castro, among others.

This is not the first time the exhibition is seen in Venezuela: in October/November of 2008 it was presented within the 4th COIDIGRA – Congreso Internacional de Diseño Gráfico, in the city of Mérida. The exhibition has also traveled Brazil, Colombia and China in local and international design events, and has been seen by over 12,000 people from 50 countries.

Photos by Maga Uzcátegui Rangel & information in Spanish here and in English & Portuguese here.

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• DINGBATS BRASIL goes to Beijing ICOGRADA 2009
• DINGBATS BRASIL
• Discover the Brazilian Cinema
• 9th Brazilian Graphic Design Biennial goes to China
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010

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NewGraphic #23 and PRO #02

Seems that after publishing the portfolios of illustrator Walter Vasconcelos and graphic designer Kiko Farkas in its bimonthly NewGraphic magazine (20 pages each, in issues #13 – 2007 and #21 – 2009, respectively), the Nanjing Arts Institute decided to make 2010 their ‘Year of Brazil’:

The #23 – April 2010 issue features over 100 projects of books, logos, packages, covers and pages of the famous Gráfica magazine designed by Oswaldo “Miran” Miranda, a “pioneer of Contemporary Graphic Design in Brazil”, as the magazine rightfully calls him in the first of the 20 pages allocated to the renowned Curitiba graphic artist.

In this issue, the publication also initiates a series of six articles that will present portfolios of Brazilian design companies and professionals with different styles and business models. Written and produced by Brazilian designer and educator Bruno Porto, each article will focus a specific theme. The first one, “Pop”, introduces over 80 projects of editorial design studio Laboratório Secreto and design agency Boldº_a design company in another 20 pages. Issue #24 will carry projects by eg.design and Tecnopop addressing “Identity”.

The Nanjing Arts Institute has also designated 42 pages of its new publication PRODESIGN to the Brazilian graphics. Its first two issues feature the illustration works of São Paulo’s (and Barcelona resident) Flavio de Morais and Rio de Janeiro’s Lula Palomanes, as well as the complete projects and texts of the two graphic design exhibitions presented by Bruno Porto in China in 2009, “DINGBATS BRASIL” and “One Year in Posters“. While NewGraphic is published in Chinese only, PRODESIGN is bilingual (Chinese / English). Pages of both publications can be seen in http://www.seecoo.com.cn/

Read Also:

• Kiko Farkas poster exhibition in China
• 9th Brazilian Graphic Design Biennial in China
• 9th Brazilian Graphic Design Biennial goes to China
• Roots: ADG Brasil (Associação dos Designers Gráficos)
• Brazilian Posters in Warsaw International Poster Biennale

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Wallpaper's "Nascida no Brasil"

“For a few magical weeks, Wallpaper* magazine shifted its operational HQ to Brazil (…) to produce as true a portrait as possible of an extraordinary country at an extraordinary moment of transition”. Its printed “Born in Brazil issue has finally hit the shelves” but according to the editorial team “the pace of change in Brazil is too great to be pinned down in a single issue” so “over the coming weeks, Wallpaper.com will be keeping track by adding more news, videos, interviews and insights, to give you as wide a view as possible of the most exciting country on earth.”

Featuring the Campana Brothers, graphic designer Felipe Taborda, jewelery designers Antonio Bernardo and Livia Canuto, fashion designers/stylists Lenny Niemeyer and Oskar Metsavaht and architect Paulo Mendes da Rocha, among others.

Check out http://www.wallpaper.com/borninbrazil

(via Wallpaper*)

Read Also:

• Felipe Taborda’s “Kabum! Mix” poster exhibition in Warsaw featured on Wallpaper.com
• Kiko Farkas poster exhibition in China
• Discover the Brazilian Cinema
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• “Brazilian Design Classics”, according to UK’s the Guardian

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Warsaw International Poster Biennale

Carlos Vinicius Lopes – who recently won the main award at the 3rd International Biennial of the Poster in Bolivia with his poster series “Sobreviver” (“Survive”) – and Kiko Farkas – who had a solo exhibition of 50 of his posters for the São Paulo Symphonic Orchestra at the Nanjing Arts Institute, China – are the Brazilian participants of the 22nd edition of the Warsaw International Poster Biennale, that will take place in 2010.

See the complete list of qualified participants here.

Read Also:

• Kiko Farkas poster exhibition in China
• Brazilian posters win 1st prize in Bolivia
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• Felipe Taborda’s “Kabum! Mix” poster exhibition in Warsaw featured on Wallpaper.com
• 9th Brazilian Graphic Design Biennial in China

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"Sobreviver", by Carlos Vinicius Lopes

Brazilian art director Carlos Vinicius Lopes won the main award at the 3rd International Biennial of Poster in Bolivia. The exhibition was held at the Museo San Francisco in La Paz, during November 2009. The theme of this edition of the Biennial was “Migration”, and Lopes’ poster series “Sobreviver” (“Survive”) was elected by the Jury the recipient of the U$3,000 prize.

Other categories were Cultural Poster (won by Tomasz Bogulawski from Poland), Social Poster (won by Timo Berry from Finland), Commercial/Advertising Poster (won by Lani Sommese from the United States) and Best Bolivian Poster (won by Ivan Villegas).

The Biennial received 1.700 posters and the international jury (that selected some 300) was composed by designers from Argentina, Bolivia, Brazil, Canada, Chile, Cuba, Ecuador, Mexico and Venezuela. Posters by Brazilian graphic designers Benoni Ceratti, Bruno Porto, Fabio Lopez, Marcos Minini and Mateus Baladares were among those selected and exhibited at the event.

"Sobreviver", by Carlos Vinicius Lopes

"Sobreviver", by Carlos Vinicius Lopes

Read Also:

• Brazilian Posters in Warsaw International Poster Biennale
• Felipe Taborda’s “Kabum! Mix” poster exhibition in Warsaw featured on Wallpaper.com
• 9th Brazilian Graphic Design Biennial goes to China
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article
• Roots: ADG Brasil (Associação dos Designers Gráficos)

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OS GÊMEOS A mural by two Brazilian graffiti artists who call themselves Os Gêmeos has burst upon a corner of Houston Street and the Bowery (photo: Justin Maxon/The New York Times)

Which is to say that their fantastic, epic mural, on a concrete wall about 17 feet high and about 51 feet long, is light and frothy, a dream of happiness with an underlying chord of melancholy. And everything in it is exquisitely fine-tuned and detailed, a dazzlement of effortless technique that sustains long bouts of close looking. It will remain up until March.

The delicate black lines that thread throughout the entire image like drizzled charcoal dust are feats of spray-can painting. The prismatic color of everything else has a saturation unusual in graffiti art. The sky alone is half a spectrum. It begins with deep blue green at the top and descends through green and chartreuse to a golden, sunbathed yellow that serves as land, water, light, human skin and more.

And the storybook imagery is out of this world, yet not. Sure, people and things often levitate or are impossibly stacked, and the setting is a tad unreal — simultaneously wet and dry, or hard and spongy. But both the subways of New York and the favelas of São Paulo are here, and the figures wear brightly patterned garments (thanks to ingenious small-bore stenciling) that seem truly Brazilian. Plus, there are enough fish to placate the fish lovers of both cities. Sometimes these creatures have scales of many colors. Often they carry something in their mouths, like the bringers of good luck they are supposed to be: radiant little shacks, people or heads, whole figures. It’s magical realism with a touch of grit.

While the onslaught of figures, episodes and colors is at first overwhelming, a casual left-to-right reading suggests some narrative possibilities. Basically what we have here is a tale of escape and growth that begins in darkness and — after taking a few tips from the Bible, Hieronymus Bosch and M. C. Escher — ends in a stunning vortex of brilliant color. At far left, in the gray dimness of a narrow, cell-like space, a small figure strains toward the golden light seeping through a chink in the wall. Wearing pants, a jacket and a girlish scalloped bonnet and shouldering a bag, she’s leaving home, as the song says. A small spotted dog watches from the safety of a tenderly, elaborately wood-grained floor.

Through the chink the golden world awaits, arrayed around and above what seems to be a nearly circular waterfall; it’s a world populated by spirit guides, with or without gills. And it all adds up, or at least it is all visibly linked. You’re supposed to keep going, from one thing to the next, gaining wisdom along the way.

To sketch in some of the action, the connections begin with a boy on a four-poster bed (Dreamland’s point of origin) with a peacock on his back, using a second peacock as an ear trumpet. He listens to a whale whose skin, a mosaic of blues, is dotted with extra eyes. Atop the whale lies a girl (maybe our heroine, but older) so relaxed that the dots on her lavender-pink blouse are rising into the atmosphere like bubbles. The whale’s tail hooks over the rail of a snaking subway track, while the beast itself balances on a stack of three figures teetering on a rope bridge with iffy wood slats (San Luis Rey, anyone?) extending from one side of the waterfall to the other. (Don’t ask.)

Back on the tracks a subway car — the N train — is straddled by a large boy, who has human heads gathered around him like the day’s catch and a galleon on his head. A fish that is also a dirigible on its side is anchored to his hand. (Behind all this stretches a yellow out-of-focus landscape where the hills are faces.)

Next we are in the city where two boys who could be Os Gêmeos (Portuguese for the Twins, which the 35-year-old Pandolfo brothers are) are cramped inside a two-story, two-room house. The tracks continue into a station with an Escher-like mural of bright checkerboards receding to a vanishing point, and also the tag of Dash Snow, a New York graffiti artist who died last month and to whom the mural is dedicated.

The station is also part of a boat (touring the waterfalls?), with plush red seats tufted with yellow faces. At the front of the boat, next to a protective figurehead, sits a knowing young woman looking out at us amid bundles of patterned fabric. She has little houses in her green-and-black hair and wears a blouse whose planetlike dots are, this time, staying put.

The final third of the mural explodes in the rainbow vortex that is fabulously explicit in color but physically indeterminate. Sometimes it is a beach at low tide, sometimes a prison wall, sometimes quicksand, at least for a figure carrying a grandfather clock. Also here is a small Trojan horse (or maybe a mule), which brings back the lovely wood grain in warmer colors. Its neck is open and forms a double cameo for the faces of a boy and girl.

This telling omits many wonderful details. One of the best is front and nearly center in the image: a boy who seems to sit on a waterspout, wearing a fish mask and a T-shirt that is one of the painting’s best moments. It depicts a landscape: note the white stenciled stone wall, the changing greens of the tiny stenciled trees, the golden setting sun. It is an idyll of pastoral, escape-from-the-city living, cottage and all.

via Art Review – Os Gêmeos – Os Gêmeos, Brazilian Graffiti Artists, Create a World on a New York Wall – NYTimes.com.

Read Also:

• Rojo Magazine’s “RojoOut Urban Stage”, São Paulo
• Roots: Oiticica, Hélio (1937 – 1980)
• Roots: J. Borges (1935)
• Discover the Brazilian Cinema
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)

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"FedEx", by DDB Brasil

Communication Arts Magazine announces the winners of its 2009 advertising competition. Now in its 50th year, the prestigious competition selected 155 projects, representing the work of 97 firms, for inclusion.

DDB Brasil was awarded for several campaigns, including FedEx, in which Fedex Express service is presented in an advertising campaign in Brazil showing the personal side of its service – delivery from one pair of hands to another. Three print advertisements use boxes between pairs of hands exchanging a trumpet, a robot and a vase. DDB Brasil was also awarded for its Terra Travel, Latinstock, and Brasileiros Magazine campaigns.

via Communication Arts – 2009 Advertising Annual Winners.

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• Roots: ADG Brasil (Associação dos Designers Gráficos)
• Movements: O Gráfico Amador

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Supermodel Gisele takes Sky Brasil viewers on a fantasy HD tour (from Advertising Age)

Sky Brasil

Brazil’s biggest satellite TV service, owned 76% by DirectTV and 24% by Brazilian media giant Organizações Globo, launched Sky High Definition TV channels with great fanfare in 2009. One ad, by São Paulo agency Giovanni DraftFCB, brings HDTV to life with Brazilian supermodel Gisele Bundchen in a São Paulo airport departure lounge. Perched on a red sofa, she clicks a remote control and a football team swarms the lounge. Another click and soldiers are fighting a war. With a final click, a New York City taxi appears in a flurry of snowflakes and Ms. Bundchen hops in and rides off.

Hyundai Brasil

In a market dominated by Volkswagen and Fiat, Hyundai arrived late but has been growing fast from a small base. Sales doubled to 43,000 cars in 2008, and were projected to climb to 70,000 units last year. And Hyundai last fall revived plans to start building a $600 million plant in Brazil in 2010. Working with Havas-owned agency Z Plus, Hyundai advertised heavily to launch the i30 and the Tucson, one of the best-selling imported vehicles in Brazil, and promote the Azera. In one campaign, Tucson owners were asked if they knew why the Tucson had been named the best SUV in Brazil and the world. Most of them didn’t, but were happy to volunteer their own reasons for liking the car.

HSBC Brasil

Brazil is the largest Latin American market for HSBC, which livened up its marketing last year with the $40 million launch of HSBC Direct online banking for busy people with a campaign from JWT, São Paulo, using the slogan “The bank that likes to get straight to the point.” The site drew 1.1 million visitors to HSBC’s website to open a new online bank account.

"Havaianas Verão", by Marcello Serpa's Almap BBDO

Outstanding Agencies of the Year

Marcello Serpa’s shop Almap BBDO again led Adlatina’s ranking of most-awarded agencies in Latin America with colorful work for clients like Havaianas flip-flops.

via Advertising: The Best of Latin American Marketing in 2009 – Global News – Advertising Age.

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• REX Design Awarded by Communication Arts Magazine
• DINGBATS BRASIL goes to Venezuela

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"The Map of the Interior World", by Eduardo Recife

One of Eduardo Recife’s earliest artistic memories is of a robbery. One night after dark, he and a friend were midway through their first attempt at pixação, a Brazilian graffiti style, when thieves ambushed them, took their shoes and told them to run. “We were 13, skinny and wussies,” Recife says. “We ran.”

His shoes were gone, but not his creative spirit. Recife, now 29, has become a prolific illustrator, collage artist, font designer and photographer with a bevy of high-profile clients like The New York Times, HBO and Panic At The Disco. Recife is careful to delineate between his personal work and commercial work (he has separate websites for the two, and declares that his personal site “is my playground!”), but both are well-regarded in the admittedly niche world of design blogs. “What made his work stand out was the looseness and spontaneity of it,” says John Martz, editor of illustration blog Drawn! “None of his work looks labored, yet it still has a very cohesive style.”

Recife’s collages blend typography, vintage photographs and illustrations with his own drawings. The aesthetic of the latter is simultaneously lush and barren, beautiful and grotesque. He admits that images of his home country—from distressed typography on signs to vernacular paintings on walls—have influenced his designs. “Brazil, apart from its problems, is such a beautiful place,” he says. “It is definitely a source of influence in my work—the colors, the people, the mountains, the ocean, the bright blue sky.”

via Eduardo Recife Finds His Footing :: Features :: Paste.

Read Also:

• London Design Festival’s “Brazil Illustrated”, featuring Bruno Kurru, Wagner Pinto and Eduardo Recife
• Movements: O Gráfico Amador
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• São Paulo’s Modern Art Museum “Brazilian Design Today: Frontiers”
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)

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Capitu's Title Squence by Lobo featured on Creative Review's "Annual Best in Book"

Capitu is a Brazilian TV mini-series adaptation of 19th-century novelist Machado de Assis’ work, Dom Casmurro. The story centres on an ageing man looking back on his life in an attempt to discover whether his best friend is the true father of his son, who he has raised with his wife, Capitu.

De Assis’ novel is now considered one of Brazil’s most important Modernist texts and, in order to convey its radicalism, motion graphics studio Lobo looked to the Dadaist movement as inspiration for the TV show’s opening titles and interstitials. The team referenced what several avant-garde artists called ‘décollage’, a process where – rather than building up an image through layering – cutting and tearing instead reveals layers of buried images.

Here is the title sequence:
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And here it’s how it was made:
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via Creative Review – CR Annual Best in Book: Capitu.

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• Paste Magazine interviews Eduardo Recife
• Brazilian design featured on Computer Arts Magazine’s “Viva Brasil” article
• Rojo Magazine’s “RojoOut Urban Stage”, São Paulo
• Roots: Wollner, Alexandre (1928)
• “Brazil Contemporary” Exhibition opens in Rotterdam, The Netherlands

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Lacoste Logo by Campana Brothers

Acclaimed Brazilian design duo Fernando and Humberto Campana redesigned the famous Lacoste logo for a special – and rather expensive – 2009 Collector’s Series of polo shirts. The redesigned logo illustrates the way crocodiles congregate in the wetlands of the Pantanal region. The shirts are being featured in Lacoste stores all over the world (pictured here the Nanjing Road store in Shanghai, where a polo shirts costs RMB1,780).

Lacoste Store at Nanjing Road, Shanghai

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• 9th Brazilian Graphic Design Biennial in China
• 9th Brazilian Graphic Design Biennial goes to China

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Rogério Duarte at The Narrows Gallery

It is impossible to comment on the work of Rogério Duarte from a purely visual perspective. It carries complexities that you can’t begin to grasp until you first understand the environment in which it was created. Duarte was born in Brazil in 1939. He is a graphic designer, poet, songwriter and professor and recognised as an intellectual force of the Tropicália movement of the late 60s, dominated by musicians such as Gilberto Gil and Caetano Veloso.
(…)
This autumn, The Narrows in Melbourne, Australia showed an insightful retrospective of Rogério Duarte’s work with curators Warren Taylor and James Hibbard carefully positioning the collection within this broader context. The exhibition vibrantly brought together iconic works created during the Tropicália movement and included record covers created for resistance musicians Gilberto Gil, Caetano Veloso and Gil Jorge, original posters designed for experimental Cinema Novo films, book covers, poetry and other media.
(…)
Duarte chaotically mixes styles and influences. He cannibalises and re-elaborates popular-culture references. Duarte devours and spits out The Beatles’ Let It Be cover for Veloso’s 1975 album, Qualquer Coisa, and his artwork for Gilberto Gil’s self-titled release is heavily influenced by Peter Blake’s Sgt. Pepper’s Lonely Hearts Club Band (but features Gil in military-style art-school uniform).

Grafik magazine can be purchased here.

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• Rogério Duarte exhibition in Australia
• Roots: Duarte, Rogério (1939)
• Lobo featured on Creative Review’s “The Annual”
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• Roots: Wollner, Alexandre (1928)

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Lifetime Achievement Prize to Marcello Serpa (from AdWeek)

Marcello Serpa, partner and general creative director, AlmapBBDO, São Paulo, Brazil, was selected by the international Clio Awards as the recipient of its distinguished Lifetime Achievement Award for 2008.

“Throughout his career, Marcello Serpa has clearly embodied the tradition of creative leadership, integrity and dedication to great ideas that are the cornerstones of the Clio Lifetime Achievement Award,” said Tony Gulisano, managing director, Clio Awards. “It is our honor to present him with this award.”

Serpa, 45, is widely recognized as a driving force in bringing international acclaim to Latin American advertising. He began his career with a seven-year stint in Germany, first studying visual and graphic arts before doing creative work at agencies GGK and R.G. Wiesmeir. Upon returning to Brazil, he worked in the Rio de Janeiro and São Paulo offices of DPZ before joining DM9DDB in 1991. It was there that he made history, becoming the first Latin American to win a Grand Prix at Cannes in the Print and Outdoor category for a 1993 campaign on behalf of Antárctica soft drink.

That same year, Serpa and Jose Luiz Madeira, a senior account manager and strategic planner, both left to become partners at AlmapBBDO. The team helped transform the agency to a new level of creative and strategic excellence, and have since amassed an impressive roster of blue-chip clients including Volkswagen, Pepsi, Inbev, Bayer, Audi Brazil, Mars Brazil, Gatorade, Havaianas, Greenpeace and others.

Serpa is the most awarded creative in the history of the São Paulo Creative Club Yearbook, and been elected as best creative director in Iberian America and Brazil eight times by El Ojo de Iberoamericana. Throughout his 15 years as partner and creative director at AlmapBBDO, the agency was the most awarded agency in the world by the Gunn Report for two years in a row, named agency of the year at Cannes and by Advertising Age, and won 45 Clio statues.

“I was nicely surprised and deeply happy to learn that Clio feels my work and professional life are deserving of such a definitive award,” said Serpa.

He joins a prestigious list of past Clio Lifetime Achievement Award honorees: Bob Isherwood, worldwide creative director, Saatchi & Saatchi; Bob Greenberg, chairman/CEO, chief creative director, R/GA; John Hegarty, chairman/worldwide creative director, Bartle Bogle Hegarty (BBH); Lee Clow, global director of media arts, TBWA\ Worldwide; Neil French, former worldwide creative director, Ogilvy & Mather and WPP; David Abbott, cofounder, Abbott Mead Vickers, and Tony Kaye, the pioneering director and cinematographer.

via Clio Awards.

Read Also:

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• REX Design Awarded by Communication Arts Magazine
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• Business Week’s Bruce Nussbaum talk about the “Best Design From Brazil”
• Brazilian design featured on Computer Arts Magazine’s “Viva Brasil” article

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Cecilia Consolo during a guided tour to ADG's 9th Brazilian Graphic Design Biennial exhibition in Shanghai

The Brazilian Graphic Designers Association, ADG Brasil – Associação dos Designers Gráficos, founded in 1989, has as its fundamental objectives to promote Brazilian Graphic Design. Acting as a channel between professionals, suppliers, entrepreneurs and the public in general, to affirm the profession’s identity, contributing for the country’s social, cultural and economic development.

At the present moment, ADG Brasil congregates the major offices and the highest regarded graphic designers operating in Brazil, aiming at spreading the profession into the market and developing the design and the professionals.

Under these aspects, ADG Brasil has developed updating events for professionals, displays, contests, and performs a biennial exhibition of graphic design showing the best there was in the Brazilian graphic production during this period of time. The Bienal Brasileira de Design Gráfico is the biggest graphic design event in South America and has been also presented in North America, Europe and Asia.

The Brazilian Graphic Design, due to its qualities, such as having an acknowledged and creative way of communication, local colors and shades, has won ground in the specialized international media, gaining space on the main pages of the German magazine Novum Gebrauschgraphic, the Japanese Idea, the Swiss-American Graphis, Chinese Art and Design and New Graphic magazines, and the American Print, Step by Step, and Communications Arts. And more, it has already been the exclusive subject on Print magazine, number XLI:VI (NY, USA).

From the social performance point of view, ADG Brasil has supported action in favor of divulging and bringing awareness to major social problems, through the organization of contests and the display of posters in support of humanitarian and government institutions, such as Comunidade Solidária (Palácio do Planalto), Incentivo Cultura – Lei de Incentivos Imposto de Renda Pessoa Física, Associação Minha Rua Minha Casa, etc.

via ICOGRADA (revised by BGD)

Read Also:

• 9th Brazilian Graphic Design Biennial goes to China
• Brazilian posters win 1st prize in Bolivia
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article
• Roots: Ziraldo (1932)
• DINGBATS BRASIL goes to Beijing ICOGRADA 2009

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Kiko Farkas and NewGraphic's editor Ge Hong at the exhibition at Nanjing Arts Institute

Two weeks after his presentation at the Icograda World Design Congress in Beijing, Brazilian graphic designer Kiko Farkas gave a talk at the Nanjing Arts Institute at the opening of an exhibition of 50 posters for the São Paulo Symphonic Orchestra.

In the talk to students and guests at November 10th 2009, Kiko was introduced by Ge Hong, editor-in-charge of the Chinese design magazine NewGraphic. The magazine’s latest issue (#22, released in September) featured about one hundred of Farka’s works with his design company Máquina Estúdio.

Read Also:

• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• Brazilian Posters in Warsaw International Poster Biennale
• 9th Brazilian Graphic Design Biennial goes to China
• 9th Brazilian Graphic Design Biennial in China
• Campana Brothers redesign Lacoste logo

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Pontifícia Universidade Católica do Paraná featured on the "World's Best Design Programs" list by BusinessWeek magazine

Companies in every industry have adopted design thinking to offer fresh insight in functions from strategy to finance. BusinessWeek selected 39 master’s and MBA programs from North America, Europe, Asia, South America and Australia that significantly integrate design thinking and business. Students in these programs take classes in art, management and science, for example, and create projects in multi-disciplinary teams with students from other schools. They aim to use design for strategy rather than merely for aesthetics and may find jobs as design managers, researchers or business consultants. BusinessWeek’s Bruce Nussbaum compiled a list of 30 programs have formally established hybrid curricula:

Pontifícia Universidade Católica do Paraná

Paraná, Brazil

Program: MBA* Emotional Design
Business Partnerships: Electrolux Brazil, Volvo Brazil, Whirlpool do Brazil
Why it’s on the list: This Portuguese-language MBA started in 2008 in partnership with Electrolux. The program is offered mainly to employees of partner companies and includes 365 hours of classes. It aims to teach executives about another, softer side of business. Course titles include “Cognition and Emotion in Design.”

via World’s Best Design Programs – BusinessWeek.

Read Also:

• Business Week’s Bruce Nussbaum talk about the “Best Design From Brazil”
• 4th Information Design International Conference, Rio de Janeiro
• Interaction South America ’09: São Paulo, Brazil
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010

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REX Design Awarded by Communication Arts Magazine (source: Dexigner)

The design developed for tweens’ books “Leituras Descoladas” collection (“Cool Readings” collection), has rendered another international award for REX Design.

The brazilian design agency has been selected by Communication Arts Magazine among many design agencies around the globe to be on the magazine’s Design Annual 50.

To celebrate their 50th anniversary, Communication Arts Magazine is going to release on November-December of this year, a special edition of their well-known Design Annual and their 2009′s jury awarded REX Design’s project of “Leituras Descoladas” book collection to be a part of it.

The agency has stood out as it brings a whole new point-of-view to the early teen’s literature, creating a contemporary language, much more connected to the youth.

“Our idea was to propose a new paradigm of teen literature and a complementary narrative, more adjusted to the visual repertory of current teenagers,” said Gustavo Piqueira, REX’s partner, that together with Samia Jacintho, has illustrated the books.

via REX Design Awarded by Communication Arts Magazine | Dexigner.

Read Also:

• DDB Brasil wins several awards from Communication Arts “2009 Advertising Annual”
• CLIO honors Marcello Serpa with “Lifetime Achievement” award
• Movements: O Gráfico Amador
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• Business Week’s Bruce Nussbaum talk about the “Best Design From Brazil”

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Ziraldo's poster for "Discover the Brazilian Cinema" exhibition

Ziraldo Alves Pinto (Caratinga, Minas Gerais, 1932 – ). Draughtsman, caricaturist, cartoonist, illustrator, journalist and writer. He presented his first drawing at the age of 7 in the newspaper Folha de Minas, in 1939. In 1949, he moved to Rio de Janeiro, where he contributed to the children’s publications Vida Infantil, Vida Juvenil and Sesinho, and began to publish works in the magazine, A Cigarra. In 1952, he entered the Faculty of Law of the Universidade Federal de Minas Gerais [Federal University of Minas Gerais (UFMG) ] and contributed monthly to the magazine, Era uma Vez.

In 1954, he replaced the caricaturist Borjalo (1925 – 2004) on the daily Folha de Minas and contributed to the magazine Binômio. In 1957, he moved to Rio de Janeiro, and in the following year, began to work on the magazine, O Cruzeiro, where, two years later, he created the character, Pererê. With the success of this character, the company O Cruzeiro began to publish a monthly magazine consisting exclusively of his stories.

In 1963, he began to work for the Jornal do Brasil, and in 1964, for the magazine Pif-Paf, edited by Millôr Fernandes (1923-). In 1967, he edited the Sunday supplement, Cartum JS, of the Jornal dos Sports. In the following year, he gained international recognition and saw his drawings published in foreign magazines. He became a member of the founding team of the magazine, O Pasquim, launched in 1969.

Since then, he has devoted himself to the publication of children’s books, with many titles, most notable among which are Flicts (1969), O Menino Maluquinho [The Crazy Kid] (1980) and O Bichinho da Maçã [The Little Apple Worm] (1982). In 1982, he left the editorial of Pasquim to devote himself mainly to children’s literature. In 1999, he founded the magazines Bundas [Bums] – a parody of the society magazine, Caras and Palavra. In 2002, he began to publish a new magazine called Opasquim21.

via Ziraldo (1932).

Read Also:

• Discover the Brazilian Cinema
• Movements: O Gráfico Amador
• Roots: Câmara, João (1944)
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)
• Roots: J. Borges (1935)

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