Beiras d’Água (“Water Borders”) is a collaborative archive of audiovisual productions made around the São Francisco River, the longest river that runs entirely in Brazilian territory.

The project’s visual identity should evoke the cultural diversity of the region. For so, we have created a broad set of shapes inspired by handcraft gestures such as wood carving, basketry, corporal paintings, and so forth.

Because of its geometry and clarity, we have selected Flama as the primary typographic family of this project. Sometimes it appears as a supporting element in very regular compositions. Other times it occupies the center stage and actively interacts with the graphic forms of this brand system.

The website Em Nome das Rosas gathers a virtual art exhibition and statistical data about domestic violence in Brazil and in the world during the coronavirus pandemic.

Design: Valquíria Rabelo (Estúdio Guayabo).
Web development: Thula Kawasaki.

Narrated by its former presidents and team members, the book 50 years of Abralin: Memories and Perspectives gathers historical records of the Brazilian Linguistics Association. Each chapter presents a generation, a period, a set of voices that, together, recollect and recreate a half-century trajectory.

Through its graphic and material features, the book design relates to the commemorative, institutional, and affective aspects of the publication. The light and elegant shapes of Lector, used for titles and texts, were paired with a luminous yellow hue. Ronnia, in turn, was used for the page numbering and for the preface. The result is a traditional, but also inventive layout.

Published for the first time in April 2017, the poetry book Uma Mulher (“A Woman”) by the Brazilian writer Flávia Péret, had sold all of its copies in just a few weeks. We published a second edition, for which the green handkerchiefs that became emblematic of the campaign for the decriminalization of abortion in Argentina, were the inspiration for the graphic design. Besides the book itself, a few handkerchiefs were distributed in the book signing, with one of the verses of the poem printed on them: “a woman who changes the rules of the game.”

To not restrain the many possible ways to interpret the poem, we decided to use only typography in this design. Chosen due to its strong shapes and sharp contrasts, Pensum is the only typeface in this project and, besides the green color, is also the single element used in the design.

Os Patos is a fictional diary Flavia Péret. In Brazilian Portuguese, the title of the book means something like “The Silly Ducks” (loose translation). Published by Impressões de Minas.

A woman, encouraged by her physician, tells a story about her own body. In other words, Os Patos is about a woman who has a body; it is about a woman who lives an ordinary life; it is about a body that has changed in time; it is about writing; and it is, in the end, about how foolish we all are.

The acidic but spirited style of the text is very objective and simple — and these attributes guided the book design throughout. We can also say the design interventions frequently confuse themselves with the text, sometimes highlighting certain words and phrases, or even suggesting that the reader cut off one of the book's pages.

The name of this social enterprise already says a lot: Arquitetura na Periferia ("Architecture in Periphery", in Brazilian Portuguese) is an unique initiative that provides housing improvement to low-income neighborhoods in Brazil. What its name does not say is that this is a project made by and for women. They are the ones who plan, design and get their hands dirty. They are the ones who believe in each other and in their own potential. Inspired in the feminine icon, we have developed a singular graphic shape that communicates the women's leadership in this scenario.

Made with the concept “women are the key”, the visual identity expresses the ideas of emancipation, trust, knowledge and habitation in a minimalist and a symbolic approach. Just as like the other graphic elements, Nexa and Cera Pro Bold are rounded, geometric and strong typographies. Therefore, they were chosen to support this brand system. Nexa is used for the campaign logo. Cera is used for setting both slogans and smaller text, such as information on business cards.