Brazilian edition for the Arabian Nights, translated to the Portuguese by Mamede Mustafa Jarouche and published in 2017 in the Biblioteca Azul by Globo Livros. Illustrations by Bruno Algarve. All cover illustrations connect to each other.

Alias Perla is used for title type. The typeface used for other information is Fakt.

From the publisher:

New edition of the most popular occult work of the 20th century – The Kybalion, in hardcover, translated by Jefferson Rosado and designed by Tereza Bettinardi.

Published in 1908 under the authorship of “The Three Initiates” by the Yogi Publication Society, this classic of occult literature contains the essence of the teachings of Hermes Trismegistus, considered one of the fathers of occultism, astrology and alchemy, the one who transmitted to humanity the divine knowledge taught in the hermetic schools of Egypt and Ancient Greece.

Alias Grist is used for title type, alongside A2 New Grotesk Square.

From the publisher:

Special edition of the work La Science Des Mages [by Papus, a.k.a. Gérard Encausse], in hardcover, with engravings by Louis Delfosse and graphic design by Tereza Bettinardi.

Published in France in 1892, this small compendium of esoteric knowledge is based on the work of great occult masters of Antiquity and, above all, of the Renaissance, such as Cornelius Agrippa, Jacob Boehme, Paracelsus and Robert Fludd. In the ancient occult sanctuaries, where the science of these wise men was taught, the study and management of astral forces constituted part of the knowledge transmitted by the alchemists and mystics of the past.

Alias Harbour is used for title type, accompanied by Action Condensed.

From Japan House:

The exhibition Japan effect: fashion in 15 acts shines a spotlight on the impact and influences of Japanese fashion on the global stage. Through 15 outfits curated from significant Japanese designers, the exhibition aims to unveil the influential nature of Japanese design. It showcases how Japanese fashion assimilates global trends and transforms them into new ones with a unique sensitivity.

Designer Tereza Bettinardi chose Alias AnoStencil for title and headline graphics, supported by Ano, both available from Alias. Styrene from Commercial Type is used for text.

The book brings exclusive content from the first season of the Lombada podcast, an original production of Clube do Livro do Design, a Brazilian publishing house devoted to expanding the range of design books available in Portuguese. Lombada is a narrative podcast, hosted by designer and editor Tereza Bettinardi. Every episode brings stories that have a design book as a starting point.

Lombada #1 features the transcripts of all episodes, selected interviews and images. Printed in black with a hot pink plastic jacket. The typeface seen throughout ABC Laica Mono, used with the wordspace reduced to 70% of the width.

Sesc is a Brazilian non-profit institution that values education as a prerequisite for social transformation, and provides courses aimed at all age groups and social strata, and are often free.

The bi-monthly booklets announce the courses and workshops offered at Sesc 24 de Maio, a São Paulo chapter of the organisation. Its programme ranges from silkscreen workshops to open talks about LGBT and civil rights, and classes given by indigenous people of Brazil sharing their culture. Since several workshops continue from one month to another, the system was designed to make two different covers in one booklet by simply moving the booklet flaps. The covers were printed using only a few spot colours at a time, the colours were chosen by combining one fluorescent spot color with a solid one, experimenting with overprinting.

For the internal pages, the rule was to make it very simple and agile to typeset. The typefaces used are Atlas Grotesk and Atlas Typewriter for all the text, plus Whitney Index for captions.

Clube Share is a learning platform/community focused on helping workers from the “creative economy” to better organize their business.

The main brand typeface is Graúna. It’s supported by a number of other fonts, including Sofia Black, Freestyle Script, Syne Extra, and BioRhyme Expanded. Work Sans is used for most text on the website. The logo appears to be custom drawn.

Transbordar: Transgressions of Embroidery in Art was an exhibition that presents an overview of historical and contemporary works of art in Latin America that reflect on the place of embroidery in art history.

Historically, embroidery was an activity much relegated to the condition of a “minor art”, contrary to what happened with painting and sculpture, which were then qualified as “fine arts”. The showcased body of work subverts the perception of embroidery as a “sensitive, delicate, feminine art”, in an attempt to stimulate critical thinking when it comes to genre hierarchies, both social and artistic. The exhibition aimed to discuss the idea of embroidery not as feminine activity but a language that encourages thinking about different types of violence: against the youth population, gender violence, racial violence, asylum violence, fat-shaming — so widespread in contemporary society.

The visual identity intended to present a strong but still delicate arrangement of forms and repetition: typography as in the back and reverse of the embroidery. The main typeface is VOIR by Pompe Hedengren and Göran Söderström, used here with simple interferences that reinforce the idea of ​​threads and ramifications.

Longer texts use Graphik by Christian Schwartz.

Dramaturgias #1 is a publication about contemporary Brazilian theatre, a record of several activities held at Sesc Ipiranga throughout 2019.

Sesc is a non-profit institution that has 43 units in São Paulo alone, and around 600 across all 27 Brazilian states. Providing health assistance, leisure, sports, culture and education services for all age groups and social strata, that are often free or inexpensive.

While artists in Brazil are under severe attack by the current right-wing government, it was both a big responsibility and a privilege to work on such a project. The main attraction of the publication would be the exposed binding, matching the cover's bright-red 032 U Pantone. Everything was printed in CMYK + one spot color.

Type-wise, we went with Druk for all titles, Lyon Text for running-text and Graphik for dialogues, all available from Commercial Type. Maison Mono appears on page numbers and running titles.

Ornitorrinco edições is an independent publisher from Porto Alegre, southern Brazil. It was born with the aim to celebrate “the uniqueness of bizarre” – like the platypus, the animal it is named after. In this first collection, they wanted to present both new and recognized authors, mixing literary-genres in a special edition made of four fanzines released together.

Texts para nada (“Texts for no one”) is a series of small books that compasses a wide variety of writing styles and authors: from well-known / award-winning writers to unpublished authors.

Considering the low cost of production—it should be printed in a digital on-demand press—the idea for this project revolves around a singular structure that remains the same for the four booklets: a pattern of circular shapes over different coloured papers printed only in black. The dotted pattern is printed using the same hot foil printing cliche, varying only the foil tape color. By establishing those restrictions, it was possible to explore different cover design variations: from all type compositions to illustrated artwork.

Cover text is set in Pattern Blank by Mauve Type. Interior pages are set in Abril Text designed by Veronika Burian and José Scaglione.

As mulheres contam is a selection of short stories by English writer and poet D.H. Lawrence. In all stories, the presence of female characters is central: they are restless, complex and almost always unsubmissive.

The main goal of this project was to be straightforward: keeping all the focus in the title and author’s name. Druk by Berton Hasebe (Commercial Type) was chosen due to its high versatility trait, being used on the cover and novel's opener pages as well.

The interior is set in Abril Text designed by Veronika Burian and José Scaglione (TypeTogether). Value Serif by Benjamin Critton (Colophon Foundry) is used in very small details at the cover and book's title page.

Published by Carambaia in 2020. Printed in orange silk screen on Arjowiggins' Keaykolour Meadow.

Cover of the Brazilian edition of Toni Morrison’s book The Bluest Eye, published by Companhia das Letras in partnership with TAG Livros — a book club in Brazil that sends a monthly surprise book to more than 20,000 subscribers.

For the typography, São Paulo-based graphic designer Tereza Bettinardi used Estilo Pro, mixing alternates and combining the letterforms with line illustration by Bruno Algarve.

Memórias Póstumas de Brás Cubas, often subtitled as the Epitaph of a Small Winner, is a novel by the Brazilian writer Machado de Assis. Published in 1881, the novel is narrated by the dead protagonist Brás Cubas, a wealthy nineteenth-century Brazilian who examines—in 160 short chapters—his own life story from beyond the grave, noting his mistakes and failed romances filled with philosophical digressions and exuberant insights.

Susan Sontag wrote this novel is “probably one of those thrillingly original, radically skeptical books that will always impress readers with the force of private discovery.” It is considered the first romance of the realist movement in Brazil.

The process of designing this book began in April 2017 paying a visit to two different cemeteries in São Paulo. I remember during that same week I read an interesting article by Paul Barnes about English vernacular type [several photos of gravestones in the Southwest of England] on the occasion of Chiswick release.

The illustrations were made using Heloisa Etelvina’s collection of type ornaments. Since her Fine Art studies in Belo Horizonte (BR), Heloisa collects typographic ornaments and combines it with different print techniques: woodcut, linocut, etc.

The titles are set in several typefaces from amazing Ellmer Stefan’s The Pyte Foundry. The rest of the text is set with Chiswick Text from Commercial Type.

On the spine: TPF Dosage, Houdini, Errata, Plumb A, Cuneiform, Nihilist.

The half-title combines Dosage, Houdini, and Errata.

Title page featuring Plumb A, Dosage, Cuneiform, Nihilist, and Errata. In the first two lines, Pyte’s confident accents were tamed down.

Chiswick and TPF Routine B.

Chapter heading in TPF Moloch.

Moloch and Mortar for headings. The swashy numerals are included in Chiswick as titling alternates.

TPF Nihilist.

TPF Flounce and Moloch.

Moloch and Nihilist.

TPF Plumb A.

TPF Overdose.

Covers and interior pages for Viagem ao Volga by Aḥmad Ibn Faḍlān, published by Carambaia.

One of the earliest detailed descriptions of Northern Europe is reported in the account written by the Arab Muslim writer and traveler Aḥmad Ibn Faḍlān in 921 CE. As the secretary to an ambassador from the Abbasid Caliph al-Muqtadir, he was sent from Baghdad to the northern lands, until he came upon a Viking settlement on the banks of the Volga River. During eleven months of a strenuous journey Ibn Faḍlān recorded the wonders he witnessed, including a beautiful description of the Northern Lights. This was the starting point to think the design for this book. Translated from Arabic to Portuguese, this edition also includes the original text in Arabic.

All text is set in Graphik and Graphik Arabic. Due to transliteration standards adopted to translate from Arabic to Portuguese, some accented characters were added by the Commercial Type team.

Internal page printed with metalic foil

Cover and interior pages for O Alforje (The Saddlebag) by Iranian writer Bahiyyih Nakhjavani, published by Dublinense in partnership with TAG Livros — a book club in Brazil that sends a monthly surprise book to more than 20,000 subscribers.

The book cover is designed by São Paulo-based graphic designer Tereza Bettinardi. The drawings were made in ink on paper by Adriano Rampazzo and then embroidered by fashion designer Izabela Starling.

The novel describes events set in the Najd plateau along the pilgrim route between Mecca and Medina during one day in 1844–1845, when a mysterious saddlebag passes from hand to hand, and influences the lives of each person who comes across it. The main idea was to make reference to Persian carpets.

The task to choose a typeface that could go along the richly detailed illustrations was not simple — I didn't want to make any obvious reference to Arab lettering. The title of the book combines layers of Dala Floda and Dala Prisma, which is also used for chapters and drop caps (in Pantone 021) inside the book. The interior is set in Nyte by Portuguese type designer Dino dos Santos.

Brazilian actress/singer Sophia Abrahão's autobiographical book published by Paralela/Companhia das Letras. Cover and interior pages designed by Tereza Bettinardi.

Cover and interior pages of this new adaptation of Goethe’s Faust, published by Sesi-SP and designed by São Paulo-based graphic designer Tereza Bettinardi.

The title of the book is written out mixing different characters of Gandur Alte and Gandur New by Brazilian type designer Daniel Sabino from Blacklettera. The name of the author is set in Futura and is aligned with the main title’s extended ‘t’.

The interior is set in Tribute by Emigre, using Gandur for drop caps.

Brazilian edition of The Patrick Melrose Novels: Never Mind, Bad News, Some Hope. Published by Companhia Das Letras.

Rubem Alves series covers

Series of four books of fables by Brazilian author Rubem Alves. Illustrations by Veridiana Scarpelli.

Since the start of this project, it was very important that typography could dialogue with the ilustrations. The relation between the colored areas and black contour should be accompanied by the typography. Therefore, weight and contrast guided this choice.

In addition, typography had the function of identifying the collection. On the cover, the title set in Julien has as much protagonism as the illustration, forming a kind of label.

first page of O decreto da Alegria: Julien + Bodoni together

first page of A operação de Lili: Julien + Bodoni together