Before he became one of Latin America’s most prolific filmmakers — with more than 80 movies credited to his production company — Luiz Carlos Barreto was a photographer. For 15 years beginning in the late 1940s, he worked for O Cruzeiro, a Brazilian weekly magazine similar to Life or Look traveling all over Latin America and also working as a correspondent in Europe.

Luiz Carlos Barreto, "Paris", 1953

Mr. Barreto, now 83, was in New York recently for the United States premiere of “Lula, Son of Brazil,” his company’s latest film, directed by his son Fábio. But back home in Brazil, his early photographic work has been getting renewed attention. A book of his photos called “Passagem: A Memória Visual de Luiz Carlos Barreto,” or “Passage: The Visual Memory of Luiz Carlos Barreto,”was published a decade ago.  And his work has been featured in retrospectives at the Museum of Modern Art in Rio de Janeiro, where he has lived since the 1940s, and at the Museum of Art in São Paulo.

His images range from gritty depictions of Brazil’s urban and rural poor, especially from the sertão, or arid backlands of the northeast, Mr. Barreto’s home region, to celebrity portraits: Mr. Barreto covered the first Cannes film festival in 1954 and later shot stars like Marlene Dietrich, Frank Sinatra, Brigitte Bardot, Kim Novak and Sophia Loren. But he also photographed global political figures ranging from Che Guevara and Nikita Khrushchev to Latin American presidents.

via Luiz Carlos Barreto and Tropical Light – NYTimes.com.

Read Also:

• Premiere Brazil Film Exhibition at MoMA, New York
• Roots: Gilvan Samico (1928 – )
• Roots: Oiticica, Hélio (1937 – 1980)
• Discover the Brazilian Cinema
• Roots: Wollner, Alexandre (1928)

Tags:

Gilvan Samico, "Criação - Homem e Mulher", 1993

Gilvan José Meira Lins Samico (Recife, Pernambuco, 1928- ). Engraver, painter, draughtsman, lecturer. In 1952, together with other artists, Gilvan Samico founded the Ateliê Coletivo [Collective Studio] of the Sociedade de Arte Moderna do Recife – SAMR [Recife Modern Art Society], conceived by Abelardo da Hora (1924).

Gilvan studied wood engraving with Lívio Abramo (1903 – 1992) in 1957 at the Escola de Artesanato [School of Crafts] of the Museu de Arte Moderna de São Paulo – MAM/SP [São Paulo Museum of Modern Art]. In the following year, he moved to Rio de Janeiro, where he studied engraving with Oswaldo Goeldi (1895 – 1961) at the Escola Nacional de Belas Artes – Enba [National School of Fine Arts]. With a great technical mastery, he dedicated himself in his work to textures elaborated with linear rhythms.

In 1965, he settled in Olinda, lecturing in wood engraving at the Universidade Federal da Paraíba – UFPA [Federal University of Paraíba]. In 1968, with the foreign travel prize won at the 17th Salão Nacional de Arte Moderna [National Salon of Modern Art], he spent two years in Europe. In 1971, he was invited by Ariano Suassuna to join the Movimento Armorial [Armorial Movement], directed towards popular Northeastern culture and the literature of the Cordel.

Gilvan Samico

His output is marked by the recovery of the poetry of the Northeast through the Cordel literature and the creative use of wood engravings. His engravings are populated by biblical and other figures deriving from myths and local stories, as well as fantastic and mythical animals. With the presentation of new subject matter, he introduced a formal simplification into his work, reducing the use of colour and textures.

Samico has works in the MoMA in New York and participated twice in the Venice Biennale with an award in one of them.

via Samico, Gilvan (1928- ).

Read Also:

• Roots: Câmara, João (1944)
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)
• Movements: O Gráfico Amador
• Roots: J. Borges (1935)
• Roots: Magalhães, Aloísio (1927)

Tags:

"DESTINY" Making OF / Take Coins, 3ds max, September 2010 by Luciano Neves (cgsociety)

Autodesk has named the recipients of their prestigious Masters awards for 2009, handing out 15 awards to 3ds Max, Softimage, and Maya experts, who were recognized as exceptional people doing exceptional things with—and for—3D CG through the work they produce, through mentoring, and for their contribution to advancing the Autodesk tools they use. Among the nominees, Luciano Neves:

Born in São Paulo in Brazil, Luciano Neves is Director of 3D at Tribbo Post, in Brazil. During his two years working at this company, Luciano has directed many well recognized TV commercials and short-films, 3D projects, and cinematics for games. In his professional capacity, he leads and motivates a dedicated and highly professional team.Luciano is a perfectionist, creating highly-detailed, CG photo-realistic recreations and environments. While “Big Ben” and London’s Tower Bridge are some of the most recognizable of Luciano’s work, the Basilique du Sacré Coeur and Notre Dame Cathedral in Paris are also some other models that Luciano has recreated with Autodesk® 3ds Max® software. He is a Master Award winner in ELEMENTAL 1 and ELEMENTAL 2, and is also Excellence Award winner in EXPOSÉ 3. During a fourteen-year career, he has worked in many disciplines and companies throughout Europe

via The Area :: Autodesk Masters :: Luciano Neves.

Read Also:

• Brazil highlighted as “Design’s Next Superpower” by Fast Company Magazine
• Brazilian packaging and editorial projects win HOW 2010 International Design Awards
• Roots: Salgado, Sebastião (1944)
• CLIO honors Marcello Serpa with “Lifetime Achievement” award
• Business Week’s Bruce Nussbaum talk about the “Best Design From Brazil”

Tags:

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
• Brazilian lectures at the Taipei 2011 IDA Congress
• DINGBATS BRASIL goes to Beijing ICOGRADA 2009

Tags:

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
• Luiz Carlos Barreto lifetime achievements highlighted in the New York Times
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article

Tags:

"Aniki Bobo", by João Cabral de Melo Neto

Aloísio Magalhães, while still attending law school in Recife (the capital of Pernambuco), had already begun to show his fascination with graphic arts by skillfully illustrating a poetry book written by a colleague of his from the university, José Laurenio de Melo.

After graduating, he traveled to Paris to study painting and engraving at the Atelier 17, an important European center of engraving. Once back in Brazil, he met with Gastão de Holanda, a former classmate from the university, who had also been in Paris, studying literature.

Coincidentally, a famous cousin of Magalhães, the renowned Brazilian poet João Cabral de Melo Neto, moved to Recife at that time. This cousin strongly encouraged the two young artists to open their own private print shop, similar to the one he himself had had in Barcelona. It was in that print shop that Cabral de Melo Neto had produced his own books through craftsmanship, while he was in the town occupying the post of consul.

Magalhães and José Laurenio became excited about the idea of setting up a print shop and they sought other former friends from the university who were also involved in literature and graphic arts. Among the main names of those who founded O Gráfico Amador in 1954, it is worth mentioning Ariano Suassuna, José Laurenio, and Orlando da Costa Ferreira.

Brought together by their passion for books and their quests in philosophical and aesthetic issues – which were connected to Modernism, a Brazilian art movement – these individuals produced grand experimental works that combined poetry, illustration, a bold typographical style, an alternative and informal use of paper and elements in relief printing. All these ingredients greatly contributed towards creating a more pleasing relationship between text and image.

O Gráfico Amador was being closely followed by Le Courrier Graphique, from Paris, as well as by the Curwen Press, from London. Additionally, several intellectuals and artists from Pernambuco and people from the artistic milieu also contributed to the magazine.

This undertaking was a key factor in Aloísio Magalhães’ career, for he later became a pioneering figure in the history of Brazilian graphic design. Let us not forget that benchmarks were scarce at that time, especially outside of the region linking Rio de Janeiro to São Paulo. Moreover, Magalhães became a leading pioneer in the history of Brazilian typography, as he was acutely aware of the profound relationships between artistic and industrial production.

O Gráfico Amador revealed itself as being a reference in the scenario of Brazilian culture and it was displayed in an exhibition at the Brazilian National Library, in Rio de Janeiro, in 1959.

The magazine closed its doors in 1961. It had issued altogether 20 publications, including the first edition of the poem Ciclo, by Carlos Drummond de Andrade – a renowned Brazilian poet. Its patrimony was donated to Escola de Belas Artes do Recife (Recife’s Fine Arts College).

via :: REDE DESIGN BRASIL ::.

Read Also:

• Roots: Magalhães, Aloísio (1927)
• Roots: Monteiro, Vicente do Rêgo (1899 – 1970)
• Roots: Câmara, João (1944)
• Roots: J. Borges (1935)
• Roots: Fernandes, Millôr (1923)

Tags:

"Aloísio Magalhães", by Mônica Fuchshuber

Aloísio Magalhães took his first steps in the field of graphic design took place while he was still attending law school in Recife. In 1950, during his last year as a student, he made illustrations for a book of poetry, Palhano, written by a friend of his the university, José Laurenio de Melo. Having finished his course, Aloisio headed for Paris, where he intended to study painting and engraving with Stanley Hayter at the Atelier 17 studio, an important European center of engraving.

In 1954, influenced by the renowned Brazilian poet (and his cousin) João Cabral de Melo Neto – he set up, together with some friends, a modest print shop called O Gráfico Amador that, during the eight subsequent years that it was operating, published 27 books, 3 sets of fliers, 2 bulletins and a theater program.

In 1960 Magalhães founded a design office whose name was originally Aloísio Magalhães. In 1976, PVDI became its official name (this original office is still functioning, carrying out projects in the area of visual identity systems and product design).

It is only in 1970 that his office develops its first large design project in Brazil for Petrobras, the giant state-owned Brazilian oil company. The scope of the project ranged from the design of a symbol that would be stamped on oil packaging to the entire system of visual identity that would be displayed both at distribution points and on gas pumps at all of the gas stations run by the company.

In 1976, Brazil’s Central Bank commissioned him once again to render services to the institution (in fact his office had already carried out a few jobs for it in 1967 and 1972). This assignment comprised redesigning Brazil’s units of currency. Thus the project encompassed the task of defining a complex system of creation, including aspects such as selecting the most appropriate graphic motives to be used as well as key decisions regarding the technology to be adopted – amongst the types of technology available at that time. The project, as a whole, aimed to make Brazil self-sufficient in the production of its paper bills and coins.

In 1979, Magalhães takes on the post of administrating the Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN (Brazil’s Institute of Historic and Artistic National Patrimony). His ideas regarding the management of this institution had a lot in common with the ones advocated by Mário de Andrade 50 years before. Hence, he proceeded to promote a revolution in the institute’s policies, when compared with the long-lasting, deeply ingrained policies that the IPHAN upheld at the time. His broad vision, which embodied the concept of what a cultural asset should be, and his philosophy that the custody of the shared patrimony should be transferred to the community that is primarily concerned with it, set new and unprecedented paradigms in the handling of the national memory. At that time, Magalhães — taking advantage of his talent as a designer – begins drafting a new layout for the institutional framework connected to the cultural issue in Brazil.

As the outcome of intense political maneuvers and persuasiveness, IPHAN finally becomes a Secretariat directly subordinated to MEC (Brazil’s Ministry of Education and Culture) in January 1980 and soon later the Fundação Nacional Pró-Memória (Pro-Memory National Foundation) is created. Consistent to his efforts to reorganize the infrastructure of state agencies with respect to their form of handling issues related to culture, he takes up the presidency of the Fundação Nacional de Arte (National Art Foundation) and is later invited to become Brazil’s Secretary of Culture.

He dies from a stroke in Padua, Italy, in 1982.

November 5 – Aloísio Magalhães’ date of birth – has become Brazil’s National Designers Day, a homage paid to the contributions he made in the profession.

via :: REDE DESIGN BRASIL ::.

Read Also:

• Movements: O Gráfico Amador
• Roots: Duarte, Rogério (1939)
• Roots: Wollner, Alexandre (1928)
• Schools: Escola Superior de Design Industrial (ESDI)
• Roots: Gilvan Samico (1928 – )

Tags:

1. THE FAVELA CHAIR
Despite its name – the “shantytown chair” – the Campana brothers‘ Favela Chair became a defining piece of Brazilian design with a price tag to match when it was launched in 2003. Reputedly made out of the same wood used to construct shacks in the ramshackle city districts, this design classic sells for just under $4,000.

2. THE HAVAIANA FLIP FLOP
Invented in 1962 the Havaiana, a rubber flip-flop, spent nearly 40 years as an unremarkable but commonplace component of the Brazilian wardrobe. Suddenly at the end of the 1990s the Havaiana took off as an international fashion accessory worn by top models across the globe such as Naomi Campbell. Havaiana’s international sales are said to be doubling each year. In Rio the lowly Havaiana costs around R$10 (£2). In Europe they have been known to fetch around £100.

3. OSCAR NIEMEYER’S CONGRESS BUILDING
Erected at the end of the 1950s, Brazilian architect Oscar Niemeyer’s Congresso Nacional, the Congress Building in Brazil’s capital Brasília, remains his most celebrated work, often compared to two white flying saucers. Mixing the sweeping convex and concave lines for which he became famous, the building is one of the most recognisable symbols of Brazilian architecture.

4. THE DENTAL FLOSS BIKINI
Known in South America as fio dental or “dental floss”, the Brazilian bikini is also begrudgingly held up as a design classic, widely embraced on the country’s beaches. The dental floss bikini was not always a unanimity, however. In 1961 president Janio Quadros outlawed the tiny fashion item from Rio’s beaches. He lasted just seven months in power.

5. THE TUTTI FRUTTI HAT
Carmen Miranda, Brazil’s most famous singing export, is to this day one of the defining fashion icons to emerge from Brazil. Born in Portugal, “the lady in the tutti-frutti hat”, as she became known, moved to the US in 1939 where her colourful, fruit-laden costumes became a seminal creation, referenced to this day by Brazilian designers.

via Inside Brazil: Brazilian design classics | From the Guardian | The Guardian.

Read Also:

• UK’s The Guardian highlights the work of young Brazilian designers in the article “Artistry in the Blood”
• Born in Brazil issue @ Wallpaper*
• 9th Brazilian Graphic Design Biennial goes to China
• Brazilian Design at the New York’s MoMA Store
• 9th Brazilian Graphic Design Biennial in China

Tags:

In 2008, the Industrial Designers Society of America ran a new contest in Brazil and some of the winners were included in this year’s Top International Design Excellence Awards. Amazing design and innovation is taking place in Brazil and this slideshow of winners (Brazil placed third behind the US and Korea in the number of IDEA awards in 2008) shows the wide range of activity. We tend to focus on design coming out of China, Korea, India or Japan these days, as well of Europe of course, but Brazil is booming and so is its design. Brazilians are designing sophisticated medical equipment, autos, clothes and jets. São Paulo is home is some great design consultancies that US, European and Asia companies should be tapping (many already are).

via BusinessWeek

Read Also:

• Brazil highlighted as “Design’s Next Superpower” by Fast Company Magazine
• A Brazilian talk about Asian design
• Brazil outsourcing industry featured in Design Council Magazine’s “The Latin American renaissance” article
• Pontifícia Universidade Católica do Paraná featured on the “World’s Best Design Programs” list by BusinessWeek magazine
• The launching of Guarana Jesus new can wins the Gold Medal from IDSA IDEA 2010 Awards

Tags:

_original logo (2009) designed with Brazilian typefaces Brasilêro (2001_ Crystian Cruz), Cantador (1997_ Daniel Morena), Folk (2009_ Marcelo Magalhães), UnB Pro (2008_ Gustavo Ferreira) + Samba Expert (2003_ Tony de Marco & Caio de Marco)

Authors

Bruno Porto is a graphic designer, educator and consultant from Rio de Janeiro. His work has frequently been awarded and exhibited in the Americas, Europe and Asia, where he had two solo shows of posters he’d designed. He is one the two Brazilian professionals listed in the Atlas of Contemporary Graphic Design by Harper Collins in 2008. He is a member of the Society of Illustrators of Brazil (SIB) – where he currently serves in its Board of Councilors – and the Brazilian Graphic Designers Association (ADG Brasil) – in which he has acted as a member of its National Board of Directors (2004-2006), Rio de Janeiro Board of Coordinators (2002-2004), Ethics Committee (2009-2011) and as its liaison with Icograda. He has also been deeply involved with the Brazilian Graphic Design Biennial, being President of the Jury of its 7th edition, member of the Curatorial Commission of its 8th edition, and coordinator of the 9th edition’s international tour in Beijing and Shanghai. He has curated a dozen graphic arts exhibitions – such as DINGBATS BRASIL, that has been presented in ten cities across South America and Asia. An author of books and articles on graphic design and illustration, he holds a column in www.DesignBrasil.org.br and has contributed articles to a number of design publications in Brazil and China such as abcDesign, Art & Design, Designe, Design 360º, Design Gráfico, ??? NewGraphic, Prodesign, Revista da ADG, Revista Webdesign and Wide. He was a faculty member at the Graphic Design School of Centro Universitário da Cidade (Rio de Janeiro, 1996-2006) and at the Visual Communication department of Raffles Design Institute (Shanghai, 2006-2010), and consistently organizes and takes part in design events, lectures and juries.

Itamar Medeiros currently lives in Shanghai (China), where he works as Senior User Experience Designer at the Architecture, Engineering & Construction Industry Group of Autodesk® — and helps promote Interaction Design as a local coordinator for the Interaction Design Association (IxDA). Working in the Information Technology industry since 1998, Itamar Medeiros has developed several websites and interactive media campaigns, both as art director and, later, as creative director for several new media agencies in Pernambuco, Brazil. As an Information Design specialist, served as board member of the Brazilian Society of Information Design, and held several lecturing positions, including Lecturer of Hypermedia at the Department of Design of Universidade Federal de Pernambuco (UFPE), Assistant Professor of Cognition and Information Technologies at the Information Systems program of Faculdade Santa Maria,  and Assistant Program Director of the Visual Communication Department of Raffles Design Institute at DongHua University, China. He has been awarded with an MA (with distinction) in Design Practice at Northumbria University (Newcastle, UK) for his thesis “Designing the User Experience: Creating Innovative Design Software Solutions within Collaborative/Distributed Design Environments”.

Read Also:

• Roots: Duarte, Rogério (1939)
• Discover the Brazilian Cinema
• 9th Brazilian Graphic Design Biennial in China
• 9th Brazilian Graphic Design Biennial goes to China
• New media & semiotics lecture in Shanghai

Tags: