Book design project developed for Soraia Gomes Teixeira’s doctoral thesis in Contemporary Aesthetics, presented at the Centro Universitario de Diseño y Arte de Barcelona (EINA). From design studio Common Forms (translated from the Portuguese):

The project started from a set of formal academic constraints that were assumed as formal and conceptual restrictions. The requirement of a standard A4 format determined the scale of the object and its proportion from the beginning, influencing decisions regarding composition, rhythm, and organization of the graphic layout.

The publication includes a significant number of images intended to document the research process, which required the definition of multiple compositional solutions capable of accommodating different scales and relationships between text and image. In parallel, the textual hierarchy proved particularly demanding, with various types of entries and reading levels that implied an unconventional organization and a clear system of typographical differentiation.

Later, regarding the choice of materials, there was greater freedom. Nevertheless, a solid and contained volume was chosen, using white paper for both the text block and the cover, differentiated only by the finish. This choice reinforces the unity of the object, while simultaneously introducing a subtle distinction in terms of materials.

The binding process was simplified, using only the folding of the signatures and the binding of the pages with an elastic band. This solution, in addition to addressing the limitations of graphic production, suggests a slower and more deliberate way of browsing, emphasizing the act of browsing through the book.

Labels for Behind This Wall’s newly launched CBD-infused botanical honey syrups.

Poster for the 10th anniversary of Behind This Wall bar in Hackney, London.

Bålder Quartet is a Finnish string quartet playing classical music together since their launch in 2018. In January 2026 they revealed a new visual identity, designed by David Matos / Shutupandance using Poppins throughout, plus Bloyd for the logo.

The stacked lines symbolise the core composition of a string quartet. It alludes to the two violins, the viola and the cello (and, by extension, the four musicians). Each line can also be seen as representing the four strings, common to all instruments in the quartet.

The logotype can take on different shapes by shifting characters, together or individually, along their vertical axis (i.e. baseline), evoking the sensation of sound, music, and rhythm. It can be animated in several ways — for example, reacting to sound as a backdrop projection in live settings.

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Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

AC Rhetorik Serif in use together with Salmanazar for the catalog to the exhibition Do Medalheiro Allen ao Gabinete de Numismática (“From the Allen Medal Collection to the Numismatic Cabinet”) published by Museu do Porto.

Luís Cepa on the design:

The book highlights over 300 sets of coins, medals, and banknotes, which form part of the collection acquired by the municipality in 1851 for the establishment of the Museu Municipal do Porto. The origins of this collection lie in the medal cabinet founded by João Francisco Allen (1781–1848) and these artifacts, spanning different periods of history, are presented chronologically (Ancient Greece, Roman, Iberian, Suevic, Visigothic, Arab, up to the emergence of the Portuguese monarchy).

All objects have been photographed and displayed in carefully curated sets throughout the book, with visual scales of 8.5, 6, and 3.5 cm. Coloured backgrounds are used to enhance the texture and metallic composition of each coin. Each item is accompanied by introdutory cientific texts, key characteristics, and an exact transcription of its inscription.

In 2024, as Portugal commemorates the 50th anniversary of its liberation from dictatorship, MAM (Maia Architecture Month) turns its gaze to the idea of freedom. Under the central question, “What is a freedom space?”, the exhibition brings together 50 architects, thinkers, and visual artists to explore the complex, often elusive nature of this concept.

The catalog was designed by Pedro Meireis with Nilza Lello, using Haber by Benoît Bodhuin and Neue Haas Grotesk by Christian Schwartz. The exhibition was curated by Ana Resende and Nuno Melo Sousa.

Genomic Gastronomy’s Eyes on the Field project uses typography to mirror its themes of experimentation, ecology, and global food systems. The display type is Solvent from PintassilgoPrints—an inky, fluid, all-caps face with forms that sit somewhere between liquid and oil. Its quirky, decorative shapes give the project an expressive vibe, emphasizing the potential for transformation. Supporting text is set in Space Mono from Colophon, a monospace sans serif designed for Google Fonts that offers structure and a technical edge to the brand.

The pairing creates a lively tension: Solvent’s organic, almost unstable quality set against Space Mono’s precise, engineered rhythm. Together, they underscore the project’s blend of art, science, and environmental storytelling.

Eyes on the Field: Porto was a collaboration between Genomic Gastronomy, Nicetrails, Venn Canteen with Barney Pau, and Formiga Gloriosa and was supported by the E.U. S+T+ARTS MUSAE project. This event use the BITZ digital tool to facilitate participatory, place-based, species-quests in various landscapes.

Founded by Filipa Alves in 2022, Flórida Studio brings to life a cross-pollination of ideas between designers and makers, hosting a collection of handmade objects, home goods, apparel, vintage and art, alongside offerings in floral design installation and events. The brand reminds us that the creative spirit comes to life when you follow your heart while believing in the strength of collaboration.

Having known Filipa for over a decade, we were honored to help bring her vision to life — developing the brand from the ground up with a new identity, signage, creative direction, printed materials, and a custom e-commerce platform that captures the studio’s soulful, intuitive spirit.

These posters, T-shirts, and bags are all part of the identity designed by André Cruz for Turno da Noite (“Night Shift”), a conference on night culture and its economy held at Porto’s Maus Habitos in July 2025. The text is set in Tokyto by Benoît Bodhuin, paired with what appears to be Neue Haas Grotesk.

Visual identity for Project Space Festival Juárez 2025, Operaciones aleatorias (“Random Operations”), at Museo de Arte de Ciudad Juárez.

From a design perspective – of objects and spaces – this book proposes a reconfiguration of the collective understanding of spaces dedicated to mental health and challenges us to think about how the discipline is involved and inscribed in this context. The exercise of dialogue and observation, carried out through a series of proximity visits to treatment centers, shapes a fictional journey described through texts and images that narrate four moments in the hospitalization process: Know, Treat, Inhabit and Care.

The bilingual book (Portuguese and English) was published by Vai Vem.

The Internet era has deeply reshaped how we produce, consume and communicate. But despite living in an increasingly connected society the astounding amount of information we meet online can quickly overwhelm us.

Delving into these issues, my thesis project Turning Clicks into Pages explores the relationship between analog and digital media in the contemporary landscape. The work deconstructs Twitter’s navigation system into tangible matter, proposing a hybrid experience between material and immaterial space-time. What happens when information that was never meant to become physical is saved as something permanent? Detached from its original context, does the reading experience remain the same?

Built in 1947 during the Portuguese dictatorship and closed in 2001, after many historical events and failed atempts to rebuild it, cinema Batalha reopened in 2022, after a renovation project by two local architects, bringing back its charm to the city of Porto. It now offers a range of subliminal, auteur or underground movies, cultural experiences and even artistic workshops.

The new visual identity was created by local design studio Macedo Cannatà, managed by Maria João Macedo and Dário Cannatà. The new visual identity uses a minimal yet playful style of typography, using Theinhardt Standard and Semi Condensed for the logo and multiple applications. The type family by Swiss foundry Optimo references the work of Berthold and Neue Graphik, adding a clean and modernist aspect to Batalha.

In 2014, Studio Eduardo Aires (then White Studio) had the opportunity to design and implement a visual identity for the city of Porto, Portugal. The main logo, set in A2 Regular ExtraBold with a full stop, makes a statement, reflecting the authenticity, straightforwardness and attitude linked to the northern city and its people.

The blue represents the pure, unmistakable connection to the sea, the northern cold and the Portuguese azulejos. This strong personality is also shown in the iconography and subsequent illustrations used, inspired by the blue tiles that cover many historic buildings.

The visual identity includes a dynamic, grid-based system that adapts to different applications. It was implemented in public transportation, uniforms, porticoes of events, outdoors and even tattooed.

The FIS 2024 design system by Ana Types Type utilizes FKT Echo and FKT Ashmore.

FIS is a multidisciplinary artistic structure that develops initiatives within the scope of programming and development of solo performing arts, offering support for the creation, presentation, training and qualification of the sector and its artists. Since 2015, it has been proposing to the public new ways of seeing and interpreting what is done on stage through the FIS Festival.

Designer Ana of Ana Types Type comments:

Playing with a circle (the central element of the festival’s identity, along with the past editions) with an impactful typographic display and adding a playful color pallet, I could recreate and combine these elements dynamically. This versatile and modular system allowed me to play with the different assets freely, keeping the graphic’s identity unimpaired but, at the same time, fun and bold.

Motion Design by Nuno Leites. Music by Dídac Gilabert.

Album cover

José Afonso, often affectionately called Zeca Afonso, was a pivotal figure in Portuguese music and politics. A singer-songwriter and poet, blending traditional Portuguese folk with innovative and socially engaged compositions. His music was deeply intertwined with political resistance, particularly against the Estado Novo dictatorship (1933–1974). Songs like “Grândola, Vila Morena” became symbols of freedom, with this very song serving as the secret signal for the Carnation Revolution on 25 April 1974, which led to the fall of the regime. Beyond his activism, his work explored themes of justice, solidarity, and the struggles of the working class, making him a timeless reference in both Portuguese cultural heritage and political history.

On the night of January 29, 1983, José Afonso played at Coliseu dos Recreios in Lisbon, in one of his last performances before leaving us, with his final one at the Coliseu do Porto on May 25 of the same year. His legacy has endured since his departure on February 23, 1987. This emblematic concert was immortalized through recording on vinyl/CD and filming by RTP (Portuguese Radio Television).

We were honored with the invitation to redesign the new edition of this legendary record, in an authentic and complete version, now on triple vinyl, meticulously remastered from a careful restoration of multiple audio sources from the concert. This edition remains unedited, preserving the full concert exactly as it was performed.

One of the key aspects of this reissue, compared to the original release from 1983, was acknowledging that during the concert, a large number of musicians and friends of José Afonso took to the stage. With this edition, the family wanted to reflect that and give a sense of the different musical line-ups that performed that night.

Previously unseen colour images from Luís Filipe Rocha’s footage helped bring this vision to life, selected at the Anim/Cinemateca, now featured in this edition. Another key element was the original concert manual containing the concert setlist and the respective musician line-ups. This A4 manual also included heartfelt messages of encouragement written for José Afonso, as he was already in an advanced stage of illness and exhaustion at the time. These are now featured in the vinyl inlays and back cover.

We wanted a refined yet sober typeface, one that wouldn’t overshadow the documentary images while remaining versatile.

José Afonso became the voice of a revolution, with his music forever linked to the Carnation Revolution. We chose to highlight a powerful symbolic moment—a carnation held by Zeca during the concert—placing his name above it as a defining element and drawing over the carnation in red.

The digipack version features a spot varnish on the cover.

[More info on Discogs]

Album cover

Back cover

Open gatefold (inside)

Vinyl Inlays

Vinyl label

Vinyl cover detail

Digipack cover detail

Main poster

Virei, a road documentary by Gustavo Imigrante, explores Angola’s rich tapestry of stories, people, and landscapes, centred around the region of Virei. The documentary delves into the connections between Angola and Portugal, seen through the experiences of two renowned Portuguese surfers, Tiago Pires and Joana Schenker, and local surfer Samuel Quintino. It reflects on themes such as development, sustainability, and the dynamics of power that influence the surf industry and tourism in the age of globalisation.

To create the film’s posters, a series of collages were developed using photographs taken by the director during filming. Nearly every image shared by the director seemed to tell its own story, each capable of inspiring a different poster. This process resulted in a main poster and four secondary designs, all showcasing the duality of the landscape with a bold division between earth and sky, symbolising the spirit of the film. Additionally, we developed all title cards for the film’s transitions.

For the typography, we chose Eya from Counter Forms, designed by Thy Hà. With only one available weight (regular), we had to develop graphic solutions to establish clear hierarchies of information. Only the film’s title and chapters are written in uppercase, emphasising their prominence, while the remaining text—such as additional information and credits—flows naturally in sentence case, serving as a seamless narrative thread punctuating different moments of the film.

The documentary also features a carefully curated soundtrack, with music by artists like Zé da Lua, Os Kiezos, Duo Ouro Negro, Mamukueno, among others.

Poster series

Title

Title: Chapter 1

Title credits

Title credits

Title: Chapter 6

Title trailer reel

Title trailer reel

Electric Jungle Fever / Febre da Selva Elétrica is an exhibition by Brazilian artist Vivian Caccuri at the Galeria Municipal do Porto, curated by Bernardo José de Souza.

In the words of the curator, the set of works presented in Electric Jungle Fever “primarily highlights the aesthetic and political research that the artist has been developing for well over a decade: sound as a central element of life, whether as a form of communication between species or as a language, such as music, an artistic manifestation that mobilises humanity, both in its ritualistic experiences and hedonistic expressions.”

Holise is used for the body copy for this event. Titles are set in caps from ABC Diatype.

This project was inspired by the literary work of José Luís Peixoto and the locations in Abrantes, Constância, and Sardoal linked to the writer. It was developed to create a literary urban experience, materialized in a series of concrete blocks that evoke the pages of a book, allowing the texts to occupy and transform the public space. Each block represents a ‘page’, exploiting a distinctive typographic design that emphasizes the depth of the textual content.

The structure of the text supports was conceived from a parallelepiped with displaced vertices to create organic and asymmetrical pieces. This modular solution allows for a versatile arrangement of the blocks: on the floor, on walls, vertically or horizontally, adapting to different spatial contexts. The graphic layout of the texts refers directly to the aesthetics of a book page, reinforcing the concept of literature as a visual intervention in urban space. The texts are stenciled using GT Sectra, which adds a contemporary touch and contributes to the work’s cohesive visual identity.