On the Edge of Failure
By Alejandro Chavetta – I’m in Hollywood to meet photographer Joe Pugliese. I walk past star-studded sidewalks and restaurants you’ve seen a million times on movies and TV, but there are no celebrity sightings, just regular Angelenos going about their business. It’s a fitting match for Joe’s photographs, which bridge the gap between stars and civilians by normalizing the celebrity and elevating the rest of us to a hero expression of ourselves.
Today, Joe is known for celebrity portraits of Jennifer Lopez, President Obama, Jamie Lee Curtis, and many others that appear in such publications as Wired, Variety, and Texas Monthly, but what most folks don’t know is that Joe got his start putting out a BMX zine using his mom’s Xerox machine, a starting point rooted in graphic design that continues to inform his practice even now.
In high school, I made a Xerox zine of me and my BMX friends. I was having a lot of fun with the graphic design and realized that I needed to take some photos for it, so I picked up a yard-sale camera.
I was still more interested in graphic design as I started shooting. And it was a little clumsy because I would shoot and then I would take it to the processing lab, wait a day or two, get back a print that would get messed up, or I wanted it to be bigger or smaller. Photography didn’t click for me until I set up a darkroom. My parents let me black out the window in my bedroom, and I had another yard sale find of an enlarger and trays and caustic chemicals. It was the most rudimentary set-up.
I had a book that showed me how to develop in a dark room. The first time I put that print into the developer and nothing happened, I thought, “Total failure. Why did I bother with this?” And as I’m thinking about the failure, the print comes up, the image appears, and it was absolute magic. I wasn’t a failure. I could shoot and be in control of the output from start to finish. more>
Hitting the Right Notes in Illustration
By Joe Shepter – At some point in their lives, everyone draws,” says illustrator Gabriel Silveira. “Some people continue to draw, but most stop.”
That’s the humble way the 35-year-old Brazilian describes his path to becoming a highly sought-after professional illustrator. Silveira’s futuristic and intensely graphical creations have graced the pages of magazines like ESPN, Wired, and the Harvard Business Review, and enhanced brands and events like Loot Crate and the MCM London Comic Con.
He admits that as he was growing up, he was much more of a fan than a prodigy. Early on, he discovered the Brazilian cartoonists Laerte and Angeli, as well as Franco-Belgian bandes dessinées, becoming fascinated with artists like Hergé and Moebius. From there, he moved on to American titles and developed a particular affinity for the X-Men. Along the way, he noticed that the comic books didn’t merely have an author; they also credited an illustrator.
This sparked an idea that emerged when he graduated from design school in 2005. After struggling to find a design job in Sao Paulo’s competitive advertising scene, Silveira landed a position as an assistant for noted Brazilian illustrator Carlo Giovanni, with whom he trained diligently for nine months. When Giovanni decided to take his practice in the new direction, he generously shared his editorial contacts with Silveira, who quickly established himself as a talented freelancer. more>
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