Koodari is a multidisciplinary design and technology studio based in Brazil, specializing in the intersection of branding, UI/UX, and digital product development.

The studio utilizes Pacaembu as the cornerstone of their visual identity, leveraging its distinct geometric structure across their website and digital touchpoints. The implementation showcases the lighter weights of the family to provide a clean, high-tech feel for the primary UI and site navigation, while the Black style is used for high-impact headers within their blog.

On July 20, 2024, Blink-182 played a show at the Bon Secours Wellness Arena in Greenville, South Carolina. Brazilian illustrator and poster designer Pedro Correa paired his intensely detailed illustration style with two different typefaces from PintassilgoPrints. Both Pieches and Skaligari do an excellent job of echoing the music—wild, kinetic, and loud! The result is a poster where type and image come together in cacophonous rhythm, capturing the feel of a live rock concert.

You can see an animated version of the poster on Pedro’s site.

On 7 September 2023, Foo Fighters played the Estádio Couto Pereira in Curitiba, Brazil. Brazilian illustrator and poster designer Pedro Correa paired his intensely detailed illustration with Soundstar, a typeface from PintassilgoPrints. Both the artwork and the font echo one another with lots of detail and the same feeling of playful, chaotic energy.

You can see more about the posters on F4D Studios.

Series of posters for singer-songwriter Jay Horsth’s Solitude Tour, a collection of intimate solo concerts across Brazil featuring local music guests in each city. The artworks feature an abstract shape that morphs progressively from concert to concert — as the artist moves, so does the shape. Larger text is set in ITC Garamond and GT America is used as a supporting typeface.

2021 typographic calendar booklet created for clients and friends, printed in an edition of 200 copies.

The position of months moves as you flip the pages, creating an analogy to the passage of time. On the cover, January and December occupy the same position as on the inside. The graphic element of a spiral creates a connection between both.

All typography uses Mabry Mono by Benjamin Critton and Colophon Foundry

Dsgnselo is a Brazilian lighting brand creating exceptionally designed lamps and light projects. They approached us to design their 2020 catalogue showcasing the brand’s full range of products, special projects, and partnerships formed over the years.

The graphic project is built around the idea of cuts, based on dsgnselo’s identity and logotype. These cuts are applied to typography and images throughout the entire publication.

The catalogue (available as a pdf download from the dsgnselo website) was nominated for the prestigious Tokyo TDC Annual Awards 2021.

Persona is a publication highlighting the modest and humble beauty of flowers. Editorial design, photography, and type design are used to create an aesthetic that emphasizes each graceful and delicate structure found in flowers. Jugendreisen, an Oldstyle/Garalde typeface with details inspired by Art Nouveau, was designed specifically for this publication. It’s inspired by nature, showing organic and fluid shapes. The images show issue 1, Transcendência, and issue 2, Beleza Gentil.

Art direction, editorial and type design by Jean Wojciechowski.
Photography by Jean Wojciechowski and Daniel Fernando.

The Persona logo is custom drawn.

Jugendreisen is combined with Neue Haas Grotesk, Adobe Caslon, and Caslon 540 Italic for text.

Portfolio website for graphic designer Jean Wojciechowski. A minimalist, concise look showing the elegance and warmth of Freight Display in its full power, in contrast with a more utilitarian look given by Neue Haas Grotesk.

In 2019 I had the pleasure to be included in a list of 30 Brazilian designers and studios that would produce authorial posters in celebration of the 30th anniversary of ADG Brasil, the graphic designers association in Brazil.

This is REVIDE (“fight back”), my contribution to the project. The piece talks about the setbacks we have been experiencing in the last two years in Brazil, illustrated by some real headlines in the lower left corner of the poster. But it also speaks of reaction, the fight back of those who resist, either through occupying the streets, or through art, through music. AmarElo, a song by Emicida inspired the title and is one of the 6 songs I chose to compose the poster.

The poster was printed on a digital printer that, in addition to CMYK, also prints white, metallic and varnish on different papers. I chose to print my poster in black, white and gold on red paper (66×95 cm).

When designing the poster, the extensive FB Titling Gothic family gave me the alternatives I needed in terms of weight and width to compose the word “REVIDE”, playing with different sizes of characters. Gimlet Display had that media outlet look I wanted to represent the news headlines and the song lyrics, balancing the weight and geometry of FB Titling Gothic. Also, Gimlet has a cool x-height and is very readable even in small sizes – I wanted people to look more closely and absorb what was being said in the news and in the lyrics of the songs.

The result could be seen in the exhibition that took place as part of the 13th Brazilian Biennial of Graphic Design, in December 2019 at the Oscar Niemeyer Museum, in Curitiba.

Ideia Urbana is an urban planning office based in Curitiba with a decade of experience and projects all over Brazil. They design roads, squares, condominiums and planned neighborhoods aiming the life quality of the inhabitants. I was commissioned for a branding upgrade and collateral design project.

By a co-creation section, some research and sketches we identified Ideia Urbana’s own organic and gestural trace as the conceptual starting point. Their trace starts in sketches, develops in harmony with the terrain, projects the urban flow and materializes in the urban design. “Every idea starts with a simple trace.”

I defined the application of the original symbol in one solid color removing the gradient and adjusted the custom geometric typography of the logo to make it more balanced and elegant. Then, I used the fluid trace both as printed and physical line defining the cuts of the stationery pieces. For the portfolio book cover I adapted one of their two-dimensional plants into a tactile dimension by die cut. The project also pays homage to the legacy of their mentor Mara Paludo and other influences with quotes throughout the collaterals. The new design gives the office a fresh look featuring its uniqueness and consolidating its experience.

Bommer Slab by DooType is used for titles and quotes while Chivo by Omnibus-Type is used for long texts.

More about this project is shown in our case study.

Branding for Trópico, an Brazilian audiovisual production company that aproaches issues of contemporary society and social engagement in their productions for web, television and cinema. The visual identity is a metaphor for the flow of ideas, lightness and involvement that positions Trópico as an agent of dialogue and change.

More details at the Behance project page.

Book cover

Yo hablo, escribo y leo en lengua española — I asé chitiá, kribí i kankaniá andi lengua española, volumen ii is a Spanish textbook that approaches the African cultural contributions for Spanish-speaker countries. The theme is introduced by the subtitle in Palenque — mix of African languages with Spanish lexical base spoken in Colombia — and extends through its graphic project. Visual patterns inspired by Hispanic aesthetic elements ornament the chapters while symbols based on African Adinkras indicate each of its sections.

The book content was developed by teachers and it has been used at public high school classrooms of Ponta Grossa (PR, Brazil).

See more about at carlos-bauer.com or Behance.

Index

Chapter opening

Content

Colored pages

Index detail

Chapter opening detail

This a poster for a Super 8 film, directed by Maria Mion. In Ninguém tem ressaca, só eu (No one has a hangover, just me) the main character and her alter ego alternate and overlap. Typography reinforces the main image by combining two styles. The poster was produced by shooting images printed on translucent paper over a light box.

More details at carlos-bauer.com or at Behance.

This is a poster for the launch of Conexões Perigosas (Dangerous connections), the second book of Marco Aurélio de Souza. The novel experiences blogs language in a fragmented and non-linear narrative. An extract of the back cover text become distorted bitmap words, a visual interpretation of the fiction.

More details at carlos-bauer.com or at Behance.

Posters designed by students of the School of Architecture and Urbanism of the Pontifícia Universidade Católica do Paraná (PUCPR), for the Semana Acadêmica de Arquitetura e Urbanismo — a special week on the school’s calendar. It is organized by students and is dedicated to workshops and lectures. The Cidade event focused on exploring the diverse and often blurry relationship between the city and architecture.

This is a freshmen’s guide designed for and by students of the School of Architecture and Urbanism of the Pontifícia Universidade Católica do Paraná –PUCPR, in Curitiba, Brazil. The guide is both a FAQ and a way to encourage new students to seek for culture and not to accept reality as it is but look at it with critical thinking. It was conceived as a folding pamphlet which can be easily transported on a small bag or hang on a wall.

It features a campus map, academic calendar, famous architect’s definition od architecture, good books, movies and websites, academic FAQ, important events and dates and also info about extracurricular activites.

The guide was distributed for free for the Fall (Jan–June) students of 2015 and was produced with the help of some partners.

Curitiba, capital of the state of Paraná, has an unique relationship with the Helvetica typeset.

Through the years, Curitiba is treated as a model for urbanization and, especially, public transportation. With intense awareness campaigns in the 90's, Curitiba is very clean for the standards of big cities. The success for these campaigns came with the use of great design. The use of Helvetica in the campaign "Se-pa-re" (Portuguese for Separate) shows an understanding that design can facilitate communication of ideas to people.

Along with these campaigns, Public Transportation of Curitiba is, by far, where Helvetica is most used. Everything between the IDs of buses and their routes, through notices inside the buses and bus stops are written in Helvetica. Thinking, again, about the best clarity that the font has.

The street signs are an use of Helvetica Rounded, and it shows a clean design and a great place for advertisement. Created by Plamarc, these signs became another unnoticed trademark of Curitiba.