Tupixel is a web-index of Brazilian and Brazil-based illustrators, listing over 1,600 names from Comics pioneer Angelo Agostini, illustration virtuoso J. Carlos and master cartoonists Mauricio de Sousa and Ziraldo to the current generation of digital graphic artists whose works can be seen in newspapers, magazines, books, the web, packaging, fashion, advertising, comics, TV, cinema and alternative medias.

Published by the Nanjing Arts Institute, Chinese design magazines NewGraphic and PRODESIGN have already featured Walter Vasconcelos, Kiko Farkas, Miran, Bruno Porto, Laboratório Secreto, Boldº, Flavio de Morais, Lula and DINGBATS BRASIL. A six articles series reporting on contemporary Brazilian graphic design industry will introduce different business models, styles and design fields: editorial, identity, pop, package, typography, illustration, poster, advertising, new medias…

Brooke Hatfield, from Paste Magazine, interviews Eduardo Recife, who shares of some really interesting sources of inspiration, like one 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. 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[...]

Ziraldo Alves Pinto (Caratinga, Minas Gerais, 1932 – ). Draughtsman, caricaturist, cartoonist, illustrator, journalist and writer. 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. In 1963, he began to work for the Jornal do Brasil, and in 1964, for the magazine Pif-Paf, edited by Millôr Fernandes (1923-). 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) [...]

Artist and poet José Francisco Borges (J. Borges) was born in 1935 in the village of Bezerros, Pernambuco state, in Northeastern Brazil. Today Borges is Brazil’s best-known folk artist working in the woodcut medium, and his work has been exhibited all over the world. But he comes out of a long tradition of folk poet/artists who publish their own work in the form of small (generally about 6″ by 9″) cheap chap-books or pamphlets written in verse, known as folhetos. They are also known as literatura de cordel after the way vendors sell them in the marketplace, hanging over a string. Working with just a knife and a chunk of wood, Mr. Borges proves that ”low-level technology often yields very powerful, moving and sophisticated results” [...]

By producing work rich with feeling and a growing sense of sophistication, Brazil has begun to turn up the creative heat. According to Computer Arts magazine, the world of graphic design is waiting to see what happens next [...]

Aloísio Magalhães, while still attending law school in Recife (the capital of Pernambuco), had already begun to show his fascination with graphic arts. 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. Magalhães 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.

Aloísio Magalhães took his first steps in the field of graphic design took place while he was still attending law school in Recife. 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 [...]

‘Brazil Illustrated’ brings together three individual artists — Bruno Kurru, Wagner Pinto and Eduardo Recife — whose work synthesizes the numerous possibilities of the medium in its multiple variations. The exhibition, curated by João Guarantani, concentrates on the possibilities of illustration outside its applied state, before it is appropriated by design and visual communication, and presents an exploration of the most expressive qualities of the medium in its raw state through site-specific installations.

DINGBATS BRASIL is an exhibition that 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. The fonts can be seen in its blog , which also to keeps track of the upcoming Brazilian symbol fonts.