Milton Viola "Millôr" Fernandes

Milton Viola Fernandes (Rio de Janeiro RJ 1923). Satirical cartoonist, caricaturist, illustrator, writer, poet, playwright, translator. First drawing published in O Jornal, in 1934. At the age of 13, he was hired by the magazine, O Cruzeiro, where he carried out a variety of journalistic tasks: writing captions, pagination and working as office boy. In an attempt to improve his skills, he attended the Liceu de Artes e Ofícios [School of Arts and Crafts] of Rio de Janeiro from 1938 to 1943.

In 1939, after winning a story competition promoted by the magazine, A Cigarra [The Cicada], he was invited by Frederico Chateaubriand to write for the same magazine. He then created the Poste-Escrito [Written Post] section, writing under the pseudonym, Emmanuel Vão Gôgo, which he also used to write a column in the Diário da Noite, subsequently directing A Cigarra for three years. He also directed O Guri [The Kid], a magazine in comic strip format, and O Detetive [The Detective], of crime stories. In 1945, he produced Pif-Paf, the humour section of the magazine, O Cruzeiro, with articles by himself, also written under the pseudonym of Emmanuel Vão Gôgo that were initially illustrated by Péricles (1924 – 1961), and subsequently by himself.

In 1964, having already left O Cruzeiro, Millôr Fernandes edited the magazine Pif-Paf, which only ran for eight issues. From 1964 to 1974, he wrote a weekly column from Portugal for the newspaper, Diário Popular. From 1969 to 1975, he took part in the Rio de Janeiro-based weekly, O Pasquim, together with Jaguar (1932-), Tarso de Castro, Sérgio Cabral (1937), Henfil (1944 – 1988), Paulo Francis (1930 – 1997), Ziraldo (1932-), among others. In addition to his output in the printed media, Millôr has presented TV programmes on TV Itacolomi of Belo Horizonte, and on TV Tupi, of Rio de Janeiro. He writes poems, articles, adaptations and translations for the theatre and screenplays for the cinema, having also published dozens of books.

via Fernandes, Millôr (1923).

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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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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/

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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.

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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).

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J. Borges and his "Folhetos de Cordel", by LOST.ART

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. This tradition (including the work of Borges) is described in detail by Candace Slater in her book Stories on a String: The Brazilian ‘Literatura de Cordel’.

Marion Oettinger, director of the Nelson A. Rockefeller Center for Latin American Art at the San Antonio Museum of Art, describes these folhetos in his book The Folk Art of Latin America: Visiones del Pueblo: “Brazilian chap books deal with popular poetry, accounts of local catastrophes, popular legends, famous crimes, and infamous love affairs. The Man who Married a Donkey, The Son Who Murdered His Parents in Order to Get His Hands on Their Retirement Benefit, The Football Game in Hell, and The Overturned Bus Disaster are examples of the alluring titles found in a typical marketplace. The front of these pamplets usually contain wood-block illustrations of the book’s contents, and they, in themselves, form a special type of folk expression…. Frequently, chap book vendors sing the songs in their books or read aloud the contents of their books to market crowds, many of whom are illiterate, and their voices usually draw enormous gatherings.”

José Francisco Borges began writing verse for folhetos in his 20s, and soon also began to operate a printing press to produce woodcut prints for their covers. “When I was a kid, the only leisure activity we had was to read cordel literature,” recalled Borges. “The way people watch telenovelas today, we read cordel booklets.”

While working as a salesman, Borges decided to try his hand at writing a story. He showed it to a veteran “cordelista,” who encouraged him to publish. It took eight years for Borges to save up the cash to self-publish his first edition. With nothing left over to pay an illustrator for the cover, which needed a requisite black-ink woodblock print, he had to produce his own artwork.

Now he has authored over 200 chapbooks and says that he’s lost count of how many he’s illustrated for less graphically-inclined storyteller-poets. His press Borges also prints booklets. “I get lots of orders of cordel booklets,” he said – including some that serve as company training manuals or that teach the basics of things like how to take out a bank loan. “Country hicks don’t like to read magazines, but if you give him a cordel booklet he’ll read it – and enjoy it,” Borges said.

"The Arrival of the Prostitute in Heaven", WoodCut, J. Borges

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,” said Marion Oettinger, ”Thanks to Borges and others like him, the popular graphics tradition is alive and well in Brazil in a way that you don’t see in other countries.”

In the 1960s his woodcuts came to be recognized in their own right. According to Ariano Suassuna, writer, poet and a leading figure of the Armorial Movement, the Brazilian Cordel could be divided in the following cycles: the heroic, the wonderful, the religious or moral, the satiric and historic. J. Borges says that Ariano once told him “I was the best in the Northeast. Now he says I’m the best in the world,” noted Borges with a smile.

Borges followed the advice of some admirers to produce folio-sized stand-alone prints. Often in color, they depict the same fantastic and folkloric rural characters as the booklets: The Hangover Bar, The Cowboy Mass, The Girl Who Turned into a Snake, and The Macumba Ceremony. These have attracted the attention of museums and collectors. But even in larger formats, his prints reflect the same popular themes, such as The Honeymoon of Matuto (an archetypal back-country bumpkin), The Monster of the Backlands, The Woman who Put the Devil in a Bottle, The Arrival of the Prostitute in Heaven and many tales of the legendary bandit Lampião.

Borges’ work has now been exhibited all over Brazil as well as in Paris, Zurich, Buenos Aires and in Germany and the United States. The Louvre, the Smithsonian and the International Folk Art Market in Santa Fe have exhibited Borges’ work. UNESCO has honored Mr. Borges with awards for his contributions to world culture. They also commissioned him to illustrate the cover of the United Nations 2002 calendar. The United States Library of Congress has preserved a body of Mr. Borges work in its’ permanent collection.

via Indigo Arts Gallery | Brazilian Folk Art | Jose Francisco Borges.

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Computer Arts Desktop Wallpaper: Adhemas Batista

Brazil’s creative output is currently under the international spotlight. Books are being written, exciting work is being commissioned and reputations are being made. So what’s going on? Has Brazil just been ‘discovered’, or are Brazilian designers doing something different to the rest of the world?

Brazil is South America’s largest economy. It has borders with every other state on the continent bar Chile and Ecuador, its rainforest still harbours tribes of the last indigenous Indians, and back in 2002 it elected Luiz Inácio Lula da Silva – one-time shoe-shine boy – as its president.

Brazil is an amazing place, yet we still know it best as the home of football, bikinis and Samba – it must seem a bit unfair to the locals. “Well, we do have a lot of football, girls in bikinis and Samba!” says Danilo Oliveira of graphics co-op Base-V.

Oliveira is from São Paulo, so would the answer be different further inland? Hop north-east to Belo Horizonte and you’ll find designer, typographer and illustrator Eduardo Recife. “People see Brazil as a jungle filled with naked girls,” he says, “but we have a very rich culture.” And when the rest of the world wakes up and smells the coffee, Brazilian design will take centre stage.

Nando Costa, the man behind Die Gestalten Verlag’s Brasil Inspired, spent five years working in the US, which has given him perspective. “As long as people recognise that the country has a lot more to offer, it doesn’t really bother us.”

The world is waking up to Brazilian design. “Lately, with all the hype around Brazilian culture, more and more designers have been working as freelancers, both for the local and the overseas markets,” says Costa.

This is healthy, but it’s leading to the creative equivalent of a brain drain. “More and more professionals are leaving the country, which is really sad,” says Costa. But there is a silver lining: “It’s always really great to have the experience and then later, if they want, they can go back to their home town and help take the market a bit further.”

There are many designers doing just that. Base-V recently completed a giant wall installation in São Paulo, Eduardo Recife has just finished a series of stills for HBO’s ‘Assume the position’; and since last December Nando Costa has been busy working on a series of 30 packaging illustrations for software giant Microsoft.

The rise of street art and graffiti is nowhere more prominent than on the streets of Brazil’s cities. “The influence is big – from fashion to animation,” agrees Oliveira. And even the official art market is beginning to open up: “Spaces and galleries with a specific interest in ‘street language’ are opening, particularly in São Paulo.”

“Brazil is a place of high contrast, and that’s very inspiring for an artist,” says Costa. “Chaos has always been inspiring, but it also instigates more thoughts about what one can do to change poverty, violence and other issues.” Art can make a difference, but as Oliveira points out, “It’s a very hard struggle because artists here have to fight for their space in the market.”

Eight Brazilian design talents you should be keeping your eyes on:
Mariana Bukvic
Based in São Paulo, interactive art director Mariana Bukvic is an example of Brazil’s outward facing designers. She has worked for many prestigious clients such as Nike, Coke and Nestlé, and has been honoured with numerous awards from the Cannes Cyber Lions to the D&AD.

Buraco de Bala
This studio has come a long way since its launch back in 1999 – always striving to develop the best solution within its powers, no matter what technique the team uses in order to accomplish its goals. Buraco de Bala works are mostly fuelled, “by craftsmanship and a special taste for the classic techniques and references.”

reismagos
Reismagos is a graphic design studio created by Alline Luz and Daniel Gizo. Since 2004 the pair have worked on commercial and experimental projects for national and international clients. Although this piece is about the 2006 World Cup, “Now we’re into designer toys – something quite unknown in Brazil,” says Gizo.

Flávio de Almeida Hobo
“My approach is analogical plus digital,” says Flávio de Almeida Hobo. Humans are “analogical beings” using digital tools. “The lack of money spent on projects here makes creativity essential. Less business, respect for nature and do the work with sincerity. Design can save the world.”

Yomar Augusto
Graphic artist Yomar Augusto has been published around the globe. From Brazil to China, The Netherlands to Russia, his work is highly respected. In 2004, Yomar was involved in two Rojo Magazine ArtStorm projects, where 18 artists from all over the world brainstormed a huge project based in Barcelona and Berlin.

Rogério Lionzo
Brazilian designer and illustrator Rogério Lionzo is making the world a better place with the gift of colour and form. The young artist is chuffed with his progress so far: “I am lucky enough to have great experiences and opportunities so far in my career.”

Nitrocorpz
The four founders of Nitrocorpz have been working together since graduating in 1998. “We do interactive media, illustration, print and motion work. Most of our work is done through email/IM.” Other projects include www.mixtape.nitrocorpz.com and www.neuralbrand.org.

Andre Matarazzo
Born in São Paulo, Andre Matarazzo travelled extensively throughout the world for 12 years, got upset with the state of online design in Brazil and decided to move back and launch gringo.nu. He is focused on online branding solutions.

via Computer Arts – Viva Brasil.

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Poster of "Brazil Illustrated: Bruno Kurru / Wagner Pinto / Eduardo Recife" exhibition during London Design Festival

Part of this year’s London Design Festival, the exhibition Brazil Illustrated does not aim to create a geographical representation of the practice of illustration in Brazil today, but 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. All three artists incorporate a variety of media and materials in their work, whilst still maintaining drawing at the very heart of their practices, comfortably accommodating seemingly disparate visual elements such as line drawing, photography, painting and collage.

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.

via Brazil Illustrated: Bruno Kurru / Wagner Pinto / Eduardo Recife | London Design Festival.

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Vicente do Rego Monteiro, "As Religiosas", 1969

Vicente do Rego Monteiro (Recife, Pernambuco, 1899 – idem, 1970). Painter, sculptor, draughtsman, illustrator, graphic artist. Began his artistic studies in 1908, accompanying his sister, Fedora do Rego Monteiro (1889 – 1975) on courses at the National School of Fine Arts (Enba) in Rio de Janeiro.

In 1911, he travelled with his family to France, where he attended the Academies Colarossi, Julian and de La Grande Chaumière. In 1913, he took part in the Salon des Indépendants, of which he became a member. In Paris, he maintained contact with Amedeo Modigliani (1884 – 1920), Fernand Léger (1881 – 1955), Georges Braque (1882 – 1963), Joán Miró (1893 – 1983), Albert Gleizes (1881 – 1953), Jean Metzinger (1883 – 1956) and Louis Marcoussis (1883 – 1941).

At the start of the First World War (1914-1918), he left France with his family, settling in Rio de Janeiro in 1915. In 1918, he held his first individual exhibition at the Santa Isabel Theatre in Recife, showing his work for the first time two years later, in São Paulo, where he met Di Cavalcanti (1897 – 1976), Anita Malfatti (1889 – 1964), Pedro Alexandrino (1856 – 1942) and Victor Brecheret (1894 – 1955). In 1920, he studied the art of the Marajó culture in the collections of the National Museum of Quinta da Boa Vista. Moved by a passion for dance, in 1921 he staged the spectacle, Lendas, Crenças e Talismãs dos Índios do Amazonas [Legends, Beliefs and Talismans of the Amazonian Indians], at the Trianon Theatre in Rio de Janeiro, which was praised by the poet and critic, Ronald de Carvalho (1893 – 1935). He left for France, leaving behind eight oil paintings and watercolours for exhibition during Semana de Arte Moderna [Modern Art Week] of 1922, in São Paulo.

In 1923, he made drawings of masks and costumes for the ballet, Legendes Indiennes de L’Amazonie [Indian Legends of Amazonia]. He joined the group of artists associated with the gallery and magazine, L’Effort Moderne, of Leonce Rosemberg. He also brought the exhibition A Escola de Paris [The School of Paris] to Brazil, with showings in Recife, São Paulo and Rio de Janeiro. In 1937, he decorated the Chapel of Brazil in the Vatican Pavilion of the International Exhibition of Paris.

In 1946, he founded the publisher, La Presse à Bras, dedicated to the publication of Brazilian and French poetry. From 1941 onwards, he published his first verses, Poemas de Bolso [Pocket Poems], organising and promoting various poetry salons and congresses in France and Brazil. Returning to Brazil, he gave lectures in painting at the School of Fine Arts of the Federal University of Pernambuco (UFPE), in 1957 and 1966.

In 1960, he received the Guillaume Apollinaire Prize for his sonnets, collected in the book, Broussais – La Charité. From 1966 to 1968, he lectured at the Central Institute of the Arts of the University of Brasília (UnB).

via Monteiro, Vicente do Rego (1899 – 1970).

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Dingbats Brazil goes to Venezuela

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 +dingbatsbrasil) and related matters (in the dingblog).

The themes of most of the exhibited projects emanate from a broad cultural sphere, and they are carried in a comprehensive bunch of languages and styles – which reflect the diversity of Brazilian contemporary graphic arts. The initiatives of rescuing and registering aspects of Brazilian culture – music, religion, art, sports, culinary and even design itself – could be understood as a premeditate or unintentional way of popularizing the Brazilian-way-of-life through graphic design

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Website of "Discover the Brazilian Cinema"

The Discover the Brazilian Cinema poster exhibition was presented in Art Scene Gallery in Shanghai from June 15-27, 2007 featuring original posters by 30 Brazilian visual artists and 10 Chinese visual communication students.

The exhibition was curated by Billy Bacon and Bruno Porto on the occasion of the 10th Shanghai International Film Festival, which honored Brazil with a special film selection named Mostra Foco Brasil.

Artists:
André Stolarski
Batman Zavareze
Billy Bacon
Bruno Porto
Claudio Reston ‘Haroldinho’
Daniel Bueno
Eduardo Denne
Felipe Muanis
Manifesto (Guto Lins / Adriana Lins / Fernando Arruda)
Itamar Medeiros
Kako
José Bessa ‘Elesbão’
Leonardo Buggy
Leonardo Eyer
Lilian Granado
Marcello Rosauro
Marcelo Martinez
Marck Al
Mariana Ochs
Orlando Pedroso
Rafael Ferreira
Rafo Castro
Renato Faccini
Ricardo Cunha Lima
Ruth Klotzel
Walter Vasconcelos
Yomar Augusto
Ziraldo

Students (Raffles Design Institute – Shanghai)
‘Allen’ / ‘Gavin’ / ‘Joe’
Irene Kuswardi
‘Jimmy’
‘Sam’
‘Sanal’
Stephen Tedjakusuma
‘Terry’
‘Zoe’

This exhibition, accompanying the Focus on Brazil (the Brazilian film exhibition taking place within this week’s tenth Shanghai International Film Festival) is a true visual carnival. The idea was to take forty designers, artists, illustrators, and photographers spanning all generations and regions of Brazil, and ask them to create an original collection of posters for famous Brazilian films. The collection in turn aims to introduce China, a country with an equally distinctive cultural flavor, to the richness and beauty that Brazilian cinema has to offer.

Ziraldo's poster for "Discover Brazilian Cinema" exhibition

Naturally green and yellow, the colors of the Brazilian flag, are widely incorporated in the designs, which includes interpretations of a projection room light by Shanghai based Itamar Medeiros and São Paulo visual designer André Stolarski. In others, symbols such as classic 1950s 3D effect glasses, tourist sights, film, draft beer glasses, folkloric or movie characters, cameras, and a dragon are all juxtaposed to create a series of reflections on what defines Brazilian film. One of the most arresting design comes from national legend Ziraldo, who has worked as an illustrator, graphic designer, children’s book author, playwright, and talk show host for over 50 years. His poster presents a face with a Mona Lisa smirk and an open eye appearing as the Brazilian flag.

If the sum of all the parts seems to be cobbled together in a rather haphazard fashion, that’s the beauty of it. It’s exactly the mix and clash of colors, ideas, traditions, and artists that makes this collection so striking.

(SH Magazine, June 2007)

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• London Design Festival’s “Brazil Illustrated”, featuring Bruno Kurru, Wagner Pinto and Eduardo Recife

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_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”.

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