da engenhosidade das coisas

Arthur Ganson tem um trabalho engenhoso e sensível.
Vale a pena conferir!

da criação de tudo

estatísticas...

mais clip animado

pictogramas animados

O quanto você consegue abstrair formas
e chegar no pictograma perfeito?
O grupo de dança Pilobolus surpreende.


vinhetas do oscar 2007


propaganda da vokswagen


comercial hyundai

How Say

perigo de morte

passo-a-passo gastos do governo

Este gráfico publicado na Superinteressante explica como o governo brasileiro investe o dinheiro que pagamos em impostos. Em 2006 foram gastos R$806,8 bilhões. A primeira idéia foi fazer um gráfico de círculos comparativos, mas isso não aproximava a informação do cotidiano do leitor. Após muita discussão surgiu a brilhante idéia de comprar essa dinheirama toda com uma nota de 100 reais. A partir daí o trabalho foi não se perder nas contas para a proporção dar certo. Infográfico bom é aquele que parece óbvio à primeira vista. Levou medalha no Malofiej16.

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step by step government expenses

This graphic published at Superinteressante Magazine explains how the Brazilian Government spent the money that comes from taxes. In 2006 the amount was of R$806,8 billion.
The first idea was to make a "comparing circles" graphic but it was too far away from the reader’s daily life. After a lot of discussion a wonderful idea came up: to compare this amount of money with a 100 real bill.
After that the work was not to get lost in the counts to make the proportion works.
For me a good infographic is the one that seems an easy and obvious idea at the first sight. It got a medal on Malofiej 16.

* * *

Créditos: Revista Superinteressante/Editora Abril. Sergio Gwercmann (edição de texto); Tiago Borges (texto); Adriano Sambugaro e Denis Russo (design); Marcelo Zocchio (foto)

plastic bags

passo-a-passo problemas de audição

Aqui na revista Saúde! raramente vamos com o repórter entrevistar os médicos, geralmente eles chegam com a história apurada e voltam a falar com os eles para tirar as dúvidas que surgem na hora de editar o info com a arte. Mas nesse caso eu fui junto com o Anderson apurar com a doutora. Ficamos lá mais de duas horas para entender cada detalhe do ouvido. O bom disso é que pude conferir imediatamente com ela como eu poderia desenhar as ações. Pois uma das dificuldades de se infografar o corpo humano é que as vezes não sabemos exatamente como é a ação, é preciso tomar cuidado com o verbo a ser utilizado pois ele muda tudo, exemplo: a membrana do ouvido esmaga, destrói ou arranca o cílio sensorial do ouvido? As vezes pode parecer a mesma coisa, mas na hora de desenhar não é. E nem sempre o repórter imagina que que conferir um detalhe desse pode fazer tanta diferença. No caso desse info a membrana literalmente cortava os cílios, e assim foi desenhado. Ou seja, voltamos para a redação sem dúvidas, e ganhamos mais tempo para editá-lo.
Depois disso eu comecei a rabiscar o info e definir quantos passos e quantos zoons eu iria precisar para contar a história. A questão da quantidade de zoons foi uma das coisas que mais deu trabalho para planejar. Pois o funcionamento do ouvido vai do macro para micro, me obrigando a utilizar "zoom do zoom" o que poderia facilmente confundir o leitor.
Quando tudo ficou definido juntamente com o Anderson chamei o Rubens para artefinalizar. Ele ainda deu ótimas sugestões para melhorar o entendimento. O resultado foi um infográfico muito didático e completo, acho que é aí que está a força dele. Para se ter uma idéia, a médica pediu o PDF para utiliza-lo em um congresso de otorrinos nos EUA, o que foi um um sinal de que o trabalho ficou mesmo bem feito, porque os médicos geralmente são muito exigentes e detalhistas. É isso aí!

Valeu uma medalha no Malofiej16.

por Eder Redder, editor de arte da Revista Saúde!, Editora Abril


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step by step hearing problems

In the daily life of Saúde! Magazine usually all the graphics come already researched by the reporter. And he is the one that makes the connection between the fonts and the designers to find more visual refrences.
Although in this job the designer went to interview the doctor together with the reporter. It brought a lot of important details to the final result. When you're talking about the human body usually you go from the macro to the micro in a few steps. You have to be very careful about the verb and the graphic solution you are using to describe the action. If you say that something is destroying another stuff you have to be sure if it is pressing, smashing, cutting... to represent it in the right way.
Here the designer did all the roughs and gave it to the illustrator to finalize it. Together they did some more changes to improve the visual comprehension.
The doctor that helped to do the article asked the final pdf files to present in a medical seminar (a proof that all the efforts to make it clear and easy to understand).
It also won a medal at Malofiej 16.

* * *

Créditos: Revista Saúde!, Editora Abril. Anderson Moço (texto); Eder Redder (edição do info); Robson Quinafélix (design); Rubens Paiva (arte final); Gustavo Arrais (fotografia); Alessandra Ravizza (produção)

do boi ao bife

Infográfico publicado na Revista Superinteressante, explicando o caminho que o boi faz até virar bife. Valeu uma medalha no Malofiej16.

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From cow to beef

Infographic published by Superinteressante magazine. It explains all the process of how a cow turns into a beef. It won a medal at Malofiej16.

Créditos: Revista Superinteressante/Editora Abril. Adriano Sambugaro (design); Japs and Luiz Iria (ilustração); Patrícia Vieira (texto); Sérgio Gwercmann (editor)

graffiti animado

eu não costumo publicar os mesmos posts aqui e no ctrl+g.
mas esse vale a pena.
olha só que lindo!

aquecimento global

Premiado com bronze no Malofiej (Reportagem Meio Ambiente), este info foi publicado na edição junho/julho 2007 da revista Nova Escola.

Muito já havia sido publicado sobre o aquecimento global até aquele momento, em matérias extensas, na maioria das vezes, falando mais dos efeitos globais.

Respondendo a pergunta de uma leitora, aproveitamos a oportunidade para condensar em duas páginas tudo o que um professor do ensino fundamental deveria saber (e poderia passar para os seus alunos) sobre os efeitos do aquecimento global no Brasil, incluindo suas causas e o quanto a temperatura subiu no decorrer do tempo.

Muita pesquisa e sessões com Al Gore, muita edição, a indispensável assessoria do Iria e o talento do Sattu: deu nisso.


por Vilmar Oliveira (editor de arte da revista Nova Escola - Editora Abril)


* * *

Global Warmth

This graphic was published by Nova Escola Magazine, a title directed to Brazilian teachers.
A lot of stuff was already published on global warmth by other magazines. The idea here was to concentrate on a spread a huge amount on this subject related to Brazil that could be used by teachers on their classes.
It got a medal on Malofiej 16.


Créditos: Revista Nova Escola/Editora Abril. Vilmar Oliveira (designer); Luiz Iria and Sattu (illustração)

Um Manifesto em Aberto...

Em 1998 o designer Bruce Mau listou suas crenças, motivações e estratégias num manifesto em aberto. Aí vai uma lista dos tópicos... Pra conferir a versão completa ou em espanhol é só ir no site do studio.

BRUCE MAU
An Incomplete Manifesto for Growth

Written in 1998, the Incomplete Manifesto is an articulation of statements that exemplify Bruce Mau's beliefs, motivations and strategies. It also articulates how the BMD studio works.

1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.

3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. Go deep. The deeper you go the more likely you will discover something of value.

6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

9. Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10. Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11. Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

12. Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.

14. Don’t be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17. ____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.

18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

19. Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20. Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

21. Repeat yourself. If you like it, do it again. If you don’t like it, do it again.

22. Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

23. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24. Avoid software. The problem with software is that everyone has it.

25. Don’t clean your desk. You might find something in the morning that you can’t see tonight.

26. Don’t enter awards competitions. Just don’t. It’s not good for you.

27. Read only left-hand pages. Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."

28. Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

29. Think with your mind. Forget technology. Creativity is not device-dependent.

30. Organization = Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'

31. Don’t borrow money. Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.

32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.

34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.

35. Imitate. Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.

36. Scat. When you forget the words, do what Ella did: make up something else ... but not words.

37. Break it, stretch it, bend it, crush it, crack it, fold it.

38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39. Coffee breaks, cab rides, green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces -- what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference -- the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

40. Avoid fields. Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

43. Power to the people. Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.

ironman

tão falando superbem do filme. até agora eu só vi os créditos. adorei!

eu vi aqui.

passo-a-passo como se forma o xixi?

Como se forma o xixi? Nesse infográfico da Mundo Estranho nós queríamos mostrar o processo de filtragem do sangue pelos rins. Uma das coisas mais legais da revista é a variação de linguagem gráfica. Como nos vínhamos de uma série de ilustrações engraçadinhas publicadas em edições anteriores, decidimos optar por uma linguagem mais vetorial, esquemática, tendo uma foto como suporte. Para que o resultado final não ficasse muito sério, foquei a pesquisa da foto em uma imagem que fosse engraçada e que eu conseguisse encaixar o sistema urinário. No final, para integrar melhor a ilustra e a foto, pedi para o Cássio substituir o fundo da foto por um fundo ilustrado.

* * *
How does the urine is produced?
One of the things i like the most about working at Mundo Estranho magazine is the wide range of graphic languages we can work with. We were coming from a sequence of funny illustration graphics, so in this infographic we decided to make a mix of a more serious and vetorial drawing using a picture as the support. I was afraid that the final result would be something too serious, so i focused my image research on finding a funny picture. It worked well. In the end I asked the Illustrator (Cassio) to make the drawing of the background, so the picture and the illustration would be more integrated.

Créditos: Revista Mundo Estranho/Editora Abril. Alessandra Kalko (design e direção de arte); Yuri Vasconcelos (texto); Artur Louback (edição de texto); Cássio Bitencourt (ilustração) e Foto Corbis.

passo-a-passo mundo árvore

Este infográfico da Superinteressante traz toda a vida que habita uma árvore.
O repórter fez toda a pesquisa e já agrupou os animais pela área da árvore que estes habitam: raiz, tronco ou copa. O ilustrador Éber desenhou os animais que foram posicionados na ambientação criada por Luiz Iria.
O trabalho final ocupa duas duplas e levou uma medalha de prata no Malofiej 16 e o Prêmio Abril 2008. A revista Recreio publicou também uma versão pôster 3D.
Aqui um video com Luiz Iria contando o processo.



step by step "tree-world"

This graphic published by Superinteressante brings all the animals that can live on a tree. The journalist made a list and grouped them in the region they live on the tree.
The Illustrator Éber draw the animals that were positioned in the environment created by Luiz Iria. You can see on youtube a video with Luiz Iria talking about the process.


Créditos: Revista Superinteressante (Editora Abril). Luiz Iria e Eber Evangelista (ilustrações); Yuri Vasconcelos (reportagem); Adriano Sambugaro (direção de arte); Sergio Gwercman e Bárbara Soalheiro (edição)

o progresso na arábia saudita

10x10 arabia saudi
Uploaded by lasblogenpunto

vi no ateneu popular.