Published to accompany the 2023 exhibition at MASP (São Paulo Museum of Art), this book is the first monograph on the Huni Kuin Artists’ Movement (MAHKU). Founded in 2013, the group began its work by translating traditional songs of the Huni Kuin people into figurative drawings, developed in Indigenous teaching degree courses at the Federal University of Acre (UFAC). The group’s paintings derive both from these translations and recordings of songs, myths, and ancestral stories, as well as from the visual experiences generated by the nixi pae rituals—which involve the ingestion of ayahuasca and are referred to as mirações (“visions”), the title of the project.

The bilingual book (Portuguese/English) also features transcriptions of Huni Kuin songs and myths, along with essays on the history and meaning of the collective’s practices and representations, complemented by reproductions of much of their visual production.

Graphic motifs inspired by the skin of the boa constrictor—a central theme in the group’s songs, paintings, and drawings—run throughout many of the works and were adapted into a geometric pattern framing every page of the book. The title on the cover is printed in glossy screen printing, using the geometric typeface Tokyto. This font’s design, also used for the artwork titles and section openings, is composed exclusively of diagonals and steps, without curves, referencing the graphic motifs presented throughout the catalog.

FinBits is a Brazilian fintech simplifying accounts payable for companies.

In collaboration with the FinBits team, Twoo redesigned the brand and website, building a visual system centred on clarity and structure. Precise typography – set in a single style of Grosa throughout – and composed layouts form the backbone of the identity, balanced by a series of hand-drawn illustrations.

Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

Stepping Softly on the Earth is a research-led exhibition featuring the work of twenty artists, most of them non-Western and Indigenous. Presented at the Northumbria University Gallery at Baltic, the exhibition invites visitors to reflect on human relationships with land and territory from decolonial and anti-colonial perspectives. It brings together artistic practices that understand the world as a pluriverse – a reality in which many worlds coexist and support one another, where all beings are interconnected and the separation between humans and nature dissolves.

The works address themes such as ancestral cosmovisions, spirituality, inter-species communication, embodied knowledge, oral traditions, autonomy, mapping and legal frameworks. The exhibition title revisits a passage cited by Indigenous activist, writer and thinker Ailton Krenak in his 2022 book Ancestral Future. Krenak refers to a speech attributed to Chief Seattle (c.1786–1866), in which he says that his people “step softly on the Earth” because they are deeply connected to it, and invites colonisers to teach their children to do the same.

The catalog adopts a graphic language structured around expressive typography and a restrained color palette, which together organize the visual identity of the publication. The central element of the design is an angular, fragmented typography, Backslanted, used for the cover and section titles. Its geometric forms approach drawing as much as writing, suggesting multiple visual traditions while moving away from a neutral or institutional Western typographic language.

The color palette is based mainly on two tones, an earthy red and an intense yellow, applied as gradients across page backgrounds and edges. These fields of color evoke natural elements such as earth, sunlight and atmosphere, and function as visual environments that move through the book, creating continuity between different sections. The materiality of the object also reinforces the project’s conceptual framework: the exposed sewn binding and the earthy-toned cover emphasize the physicality of the book, suggesting a tactile and crafted quality. The texts are set in Gal Gothic, a Brazilian sans-serif typeface with subtle stroke contrast.

A Baianeira is a restaurant where food evokes a territory between Minas Gerais and Bahia, combining the familiar and the sophisticated, the inventive and the traditional. Its visual identity draws on raw clay, the cracks of pão de queijo, latticework, and ceramics from the Jequitinhonha Valley, while the snake, a symbol of vital force and protection, links the system to the natural and the magical. EK Roumald by Erkin Karamemet is a serif typeface that blends classical elegance with irregular, organic forms, capturing the tactile, earthy essence of Baianeira, while Haffer from Displaay Type Foundry offers a clean, contemporary counterpoint.

Cavaca Records is an independent Brazilian record label that, after a decade of history, sought a visual identity capable of reflecting its maturity and the motto defined by its founders: “It sounds like Brasil.” The challenge was to translate this sentiment into a professional, timeless system that avoids tropical clichés while remaining deeply rooted in the country’s cultural essence.

The visual identity finds its core in Brazilian Modernism, using the geometric shapes of the national flag—circles, rhombuses, and rectangles—as the building blocks for a modular and dynamic system. These shapes are reconfigured into patterns that reference both textile prints and audio frequencies, bridging the gap between national identity and sound. The color palette reinforces this connection, balancing sober greens and blues with a dual use of yellow: a matte gold representing the artists as “local gold nuggets” and a vibrant neon for digital freshness. Neutral off-white and washed black tones act as a visual connector, allowing the diverse photographic styles of the label's artists to coexist harmoniously.

The concept of modularity and movement is central to the typography. The custom-drawn Cavaca logo was built manually from the flag’s geometry, featuring a modular architecture where the suffix “Records” can be substituted for future business units like “Festival” or “Store“. This structural solidity is contrasted by the refined, hand-adjusted ligatures of Instrument Serif, used for the logo’s subtitle and secondary communication to add elegance. To anchor the system, Elza—a Brazilian neo-grotesque—serves as the primary typeface, providing a modern and local character. Together with a circular animation behavior for the logo and icon that mimics a spinning record, the identity stands as a proprietary system designed for continuous growth.

Poesia no Centro is a poetry festival promoted by Megafauna, a bookstore in São Paulo, Brazil. The visual identity and scenography allude to the city’s signage and urban cacophony, anchored in the use of the Plaak typeface by the type foundry 205TF, also present in the bookstore’s visual identity.

The graphic design consists of a simple structure of boxes and vertical bars with moving typography superimposed on the work of guest photographer Mauro Restiffe. In the scenography, the lines become industrial shelving structures, the boxes become animated LED signs and the photographs become large-format posters.

The program booklet uses FF More and Acumin for text.

In 2025, Museu de Arte de São Paulo Assis Chateaubriand (MASP) presented Frans Krajcberg. Reencontrar a árvore / Rediscovering the Tree. The exhibition brought together more than 50 large-scale works, including sculptures, reliefs, engravings, and paintings, that challenge convention. They reflect the artist’s appreciation for Brazilian nature and his commitment to denouncing environmental destruction.

Curated by MASP’s artistic director, Adriano Pedrosa, and assistant curator, Laura Cosendey, the exhibition provided a comprehensive overview of Frans Krajcberg’s work. Krajcberg was born in Kozienice, Poland in 1921 and died in Rio de Janeiro, Brazil in 2017. A pioneer in integrating art and ecology, Krajcberg is known for raising awareness of environmental issues in Brazil. Throughout his career, he conducted artistic research that branched out into themes such as ferns, blooms, reliefs, and shadows. These investigations culminated in works created from vines, roots, remnants of tree trunks, charred wood, and natural pigments. These materials comprise the bulk of his body of work. 

Nostalgia relates to the melancholy feeling of missing someone or some moment, it is an internal wish to revisit good old memories that may never happened, to yearn for distant blurred past days.

Nostalgia was created in times of lockdown and social distancing, a conceptual beer packaging that creates an imaginary environment in which each person is able to relive their best memories in one sip.

From the retro and playful logo to i's colorful and cozy illustrations, the identity seeks to visually translate the memories and feelings that lives inside each of the five flavours: Noite (Night), Centelha (Spark), Turvo (Blur), Oceano (Ocean) and Brisa (Breeze).

The brand launched in 2023. A Baltic Coffee Porter was the first beer to enter the market, followed by a Dark Reef Robust Porter.

This lunar calendar for 2026 was Risograph printed using four colors (black, fluorescent pink, aqua blue, and yellow) on 90g/m² Polen Bold paper, DIN A3 size.

All lunar phases of 2026 are indicated in the calendar poster using a color-gradation scale: pure fluorescent pink marks the full moons, yellow for the waxing/waning moons, and blue for the new moons. The transition between phases is illustrated through the overlay of the base tones at varying tints, creating a tonal scale that repeats itself across the lunar cycles of the year. In this way the poster also doubles as a risograph color-blending guide. Over the moon icons, a layer of text was printed in black ink using Neue Haas Grotesk.

As a Risograph print, the colors of the calendar are separately printed with soy or rice-based inks that are applied through a stencil (master) made from banana-leaf fiber or hemp fiber. The result is a print with strongly vibrant colors, with unique texture and imperfections.

The design of this third volume for Galpão da Lapa was developed in close connection with the exhibition design for Apaixonados (“Passionate”). The show brought together works by contemporary Brazilian artists in a display that emphasized interaction, both among the artworks and with the space, sometimes by affinity and sometimes by contrast. This dynamic was spatially translated into a layout of curved concrete-block walls, shaping the exhibition space into zones of pause and interaction, where voids, textures, and shadows also played an active role in the narrative.

The book seeks to reflect this same spatial and poetic logic in its graphic and material structure. The dust jacket, featuring a die-cut pattern derived from the architectural design, acts much like the perforated walls of the exhibition: at times revealing, at others concealing images and information, creating layers of reading and points of contact between content and materiality. The choice of papers was fundamental to support this concept.

We selected a black 290 g/m² paper for the dust jacket for its solid color and natural texture, which allows for precise die-cutting without exposing white corners, while preserving structural integrity – reinforcing the idea of shadow and material presence, also central to the exhibition design – while alluding to the negative spaces formed by the curved walls. For the cover, a warm gray 120 g/m² paper was chosen for its texture and subtle tone, echoing the color of the exhibition walls and allowing for black offset printing of the title and artist names, partially hidden beneath the dust jacket, which carries only a white silkscreen print on the spine.

Inside, the book alternates between a coated paper – ensuring high-quality image reproduction – and an uncoated off-white paper for the first and last sections. These opening and closing pages feature more abstract, black-and-white details of the artworks, marking the beginning and end of the book with purely graphic interludes.

These choices align with the architectural concept of Galpão da Lapa, a former 19th-century industrial warehouse in São Paulo’s Lapa neighborhood, repurposed to host temporary exhibitions of Brazilian contemporary art. The publication is part of a bilingual series (Portuguese and English) documenting the exhibitions held in the space. Each volume was designed to establish a specific graphic relationship with the curatorial and spatial proposal of its show. In this edition, the book assumes a more tactile, sensorial character, functioning not only as a visual documentation, but as a physical object that carries, within its materiality and graphic structure, the concept of the exhibition and the identity of the space itself.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2024.

Photos: Nino Andrés and Allec Gomes

Jhambo Ink, a boutique publisher in London, brought out a limited edition in 1,000 hand-numbered copies of a double book bringing together Caroll’s Alice's Adventures Under Ground and Alice In Wonderland. Ana Santiago of Index designed the two books joined by their spines in a dos-à-dos binding. The book is richly illustrated by Brazilian artist Zansky.

While the box containing the book is text-less, the covers are exclusively typographic, showcasing Le Murmure in a playful elongated and top-aligned layout. The font is used throughout the book in both its normal shape but also often vertically elongated (without distortions) or horizontally stretched (with distortions). It's accompanied by Viskjø doing a great job for inter-titles in all caps as well as for the text of the stories themselves.

Formula E is a single-seater motorsport championship for electric cars, the electric pendant to Formula 1. This championships focuses on sustainability and innovation in electric vehicles by reducing the footprint of the races through diverse means and compensating the remaining emissions (though I still wonder how the cars, racers and staff are traveling around the world).

For their rebranding with the launch of their ninth season in 2023, Formula E commissioned a script font, FE Torque, made by lettering artist Rachel Joy Price based on the new logo she designes. It’s used for main titles and to accentuate some words. A custom cut of NaN Jaune was also developed. Named FE Sans, it’s used for all other typographic materials.

The custom cut puts aside the signature touching/closed apertures of Jaune and brings calmer and more traditional structures to some characters such as a monocular a and g, an e with an horizontal bar, etc. The resulting font family is used for all the branding and communication of the FE brand, from the subtitle of their logo, their website, the on-site communication and signage during the races, social media, infographics, etc.

FE Sans also comes with dedicated titling alternates which bring notches – drawn almost like ink traps – to the stems of the capital letters.

See the full case study on the website of lead designer Tom Myers.

The visual identity of the Paço do Frevo museum was revamped in February 2025.

Created by visual artist Joana Lira, together with the studios Alles Blau and Ligatura, the colors, shapes and representations that will accompany us from today on are “an alphabet of free bodies articulated in motion, mixed by graphs representing the sound frequencies of the frevo”.

The project includes print, merchandising, interior and exterior signage, using Maroni as the main display typeface.

On social media graphics, Maroni is supported by Silvana Text. The typeface by Brazilian designer Daniel Sabino is used in roman and italic styles.

Located in Recife, Brazil, Paço do Frevo is a Reference Center for the Safeguarding of Frevo, dedicated to the dissemination, research, leisure, and training in the areas of frevo dance and music. Its objective is to protect, promote, and propagate the practice for future generations and to be a space for the promotion and celebration of carnival culture and frevo throughout the year. Since 2014, Paço has developed exhibitions, activities, research, and events for the dissemination and protection of this Intangible Cultural Heritage of Humanity, which should be revered every day.

The Frevo Vivo (“Living Frevo”) exhibition on the 3rd floor of the museum can now be explored in a 360° virtual tour.

Niul is the first cosmetics brand in Brazil to adopt aluminum cans as packaging. This decision stems from a simple yet impactful fact: while almost 100% of aluminum is recycled in the country, only 1.3% of plastic meets the same fate. The proposition is straightforward – clean, vegan, and cruelty-free formulas in infinitely recyclable packaging that can be transformed back into containers, closing the loop.

The visual identity puts the planet at its core. Shapes echo world maps, doubling as flexible graphic elements and becoming a visual asset recognizable across brand applications. These shapes are also the starting point for the mascot, with a plant sprouting from its head symbolizing a healthy, thriving planet. Curious, attentive, and friendly, it embodies Niul’s spirit.

The cycle of melting and reconfiguring aluminum inspires the custom-drawn logo and the brand's animated behavior, reinforcing the idea of continuous transformation. This concept is also reflected in the typography, with the solid impact of Greed as primary typeface, always used all capitalized to ensure the urgency of the recycling conversation and the boldness of the product proposal. Also contrasting with the fluid strokes and connected serifs of DaVinci, to balance the branded impact from Greed with light and organic feeling for a variety of communication.

Deeply rooted in nature and environmental commitment, Niul offers an innovative approach to conscious consumption and planetary responsibility.

Cover design for O poråo (“The basement”), using Mudstone Sans and Salted, both by PintassilgoPrints. About the book (translated from the Brazilian Portuguese):

A rescue inside the most dangerous building in Latin America. This is Samantha's objective in The Basement, a gamebook set during the Brazilian civil-military dictatorship. Citing real characters and situations experienced during the armed struggle during the resistance to the military regime, the narrative fluidly and emotionally interweaves fact and fiction.

The story takes place shortly after the signing of AI-5, the most brutal period of the era, when torture and violence against government opponents were institutionalized. Cecília was captured in an ambush by DOPS agents and taken to a police station where detainees are held in degrading conditions. Samantha immediately decides to storm the DOPS building. It's up to the player-reader to determine how impossible this rescue mission is, and to do so, they'll need to make choices and roll dice, relying on both their wits and luck—and perhaps rewrite the course of history.

Illustration by Carlos Sekko.

The synopsis is set in Bookmania, with all-caps Helvetica Condensed for the URLs and social media handles.

Louis Ferraz is a product designer based in São Paulo with a background spanning Barcelona (EINA, Santa & Cole) and Switzerland (ECAL), where he collaborated with leading companies and designers in the field. He has worked with brands such as Decathlon and NM3, developing projects in mobility and furniture design, and has been mentored by Erwan Bouroullec and Sam Hecht.

His website and visual identity were designed by Austrian type and graphic designer Maximilian Inzinger using Baustraße (by Fantasia Type) and International Edition 70 (by Elias Hanzer).

This Brazilian poetry book, aimed at young audiences, is a publication by Baião, a label of the Todavia publishing house. The Brazilian fonts Seiva and Lygia, alongside Gabriel Furmiga’s drawings, compose a visually rich work, with unique drawings on each page that capture the attention of young readers.

A primeira coisa que existiu: Poesia brasileira para jovens leitores (“The First Thing That Existed: Brazilian Poetry for Young Readers.”) gathers twenty poets who make this little spell of words called poetry happen like no one else. With drawings by Gabriel Furmiga and organization by Bruna Beber and Fabrício Corsaletti, the anthology brings together names such as Arnaldo Antunes, Eliane Potiguara, Ana Martins Marques, Chacal, Gregorio Duvivier, Miriam Alves and Ledusha Spinardi. The design was created by Nathalia Navarro.

Lillian and Madison were unlikely roommates and yet inseparable friends at their elite boarding school. But then Lillian had to leave the school unexpectedly in the wake of a scandal and they’ve barely spoken since. Until now, when Lillian gets a letter from Madison pleading for her help.

Nada para ver aqui (“Nothing to see here”) by Kevin Wilson is the fifteenth publication by TAG Livros, a Brazilian surprise book subscription service / publisher. The cover typography by Túlio Cerquize is set in BadTyp by Zavier Leslie Cabarga.

A Última Noite (“The Last Night Out”) is a psychological thriller written by Catherine O'Connell. It is described as follows by Goodreads:

Six friends. Three secrets. One murder.

Maggie is destined to marry the perfect man in two weeks. Desperate for a last wild night on the town before the big day, she gathers six friends for a night to remember. Only things go wrong, horribly wrong.

Angie’s body is found in the park the following morning and the night to remember quickly becomes a nightmare they wish they could forget. Under police scrutiny, how far will Maggie and her friends go to keep their secrets―far enough to protect a killer?

The cover of the Brazilian version of this book, published by Planeta, takes inspiration from classic movie posters, opting for a minimalist gestalt and impactful typography.