Until May 2026, the Centro Cultural TCU in Brasília is displaying an exhibition exhibition featuring works by Brazilian artist Tarsila do Amaral (1886–1973). The unprecedented show features more than 60 works, thematic curatorial centres and free educational activities.

Graphic designer Luisa Malheiros chose Maroni’s Regular weight and used it for the interior and exterior signage, as title typeface on the poster, as well as for other communication. The accompanying serif on the poster is Suisse Works Bold, and the sans used for exhibition texts appears to be Suisse Int’l.

Catalog of the exhibition Hélio Oiticica: Delirium Ambulatorium, edited by Tuîa Arte Produção and presented at the Centro Cultural Banco do Brasil in Brasília and Belo Horizonte.

Oiticica (Rio de Janeiro, 1937–1980) was one of the most inventive artists of Brazilian Neoconcretism and the author of the term Tropicália—the title of one of his installations, which inspired an artistic and musical movement that gained international recognition.

Organized by Bruna Neiva, the book features texts by Moacir dos Anjos and historical photographs by Andreas Valentim, Cláudio Oiticica, Marcos Bonisson, and Sólon Ribeiro.

On the cover, the title appears only through embossed lettering (without ink), giving the book the appearance of a block wrapped in solid colors on all sides. This design echoes the monumental installation Magic Square #3: The Invention of Color, an open-air labyrinth of color and one of the exhibition’s highlights. Inside, readers are invited to interact with folded pages that function as visual and tactile interactive surfaces, in dialogue with works such as the Relevos Espaciais (Spatial Reliefs) and with the sensory dimension that Oiticica brought to art.

The book is set in Lygia and Lygia Sans, by Brazilian type designer Flavia Zimbardi. Both draw inspiration from the work of artists such as Lygia Clark and Oiticica himself, reinforcing the relevance of this choice.

The book was named a semifinalist for the Jabuti Prize in the Best Graphic Design category.

Like any other catalog published by the CCBB, the book can be read and downloaded on the institution’s digital archive.

Ensaios de Tectologia by Alexander Bogdanov was first published in Brazil by Editora Machado. The design developed by Molde features FS Brabo and Halvar. The cover was printed in two spot colors, while the interior uses single-color printing. The illustrations reference graph paper as a visual metaphor for structured thinking.

This artist monograph was published by Tuya Edições as an extension of Pedro Ivo Verçosa’s solo exhibition held at Museu Nacional da República in Brasília, Brazil. Conceived to catalog the work of the young artist who passed away in 2021, the book brings together more than 500 works organized through a collective effort involving designers, friends, family members, and collectors. The publication highlights the artist’s role as an active figure in the contemporary art scene and in collective projects, connecting his work to curatorial texts. This project offers an unprecedented and in-depth cataloging of Pedro Ivo Verçosa’s oeuvre, preserving and expanding his legacy, and serving as a fundamental tool for research and cultural memory.

Aloom is a gastronomic lab based in Brasilia that aims to create the wow effect in every bite. As it offers a premium experience, the visual attributes were developed to express part of its impact.

To build a unique identity for the brand, we created a palette of vibrant colors and geometric forms that recall the shapes and textures of Aloom's desserts.

The visual identity was inspired by mid-century typography, with a mix of textures and colors, where form is as important as function. The use of fonts with different weights and styles is a modern take on retro that communicates the tradition of recipes in contrast to the innovative proposal offered by the brand.

To create a contrast of heights, Tipofili’s Montecatini is combined with Font Bureau’s Benton Sans. The former is a clean and elegant font that is versatile for subheadings and long texts, while the latter brings strength and prominence to titles and brand phrases.

Nuances is a playful yet serious compendium of answers to big climate questions regarding the protection of forests, indigenous people, technology and food and other related matter. The book, written by Nurit Bensusan and illustrated by Cairo Ayres and Francisco Bronze from É Grande Circular was published by Editor Mil Folhas.

The illustration style is well matched with the smoothness of Manteiga. Body copy uses Swear Text, a typeface that carries the same witty spirit of both the headline face and illustration styles.

The infographic look makes it easy for the readers to make their own path throughout the pages.

Casapark is a 40,000 m² shopping center in Brasília, which offers products and services to an audience seeking experiences in architecture, decoration, well-being, cultural agenda, and entertainment.

The redesign of the new visual identity aimed to help reposition Casapark from a less elitist to a more inclusive place. Invited by Manufatura, who led the rebrand, Twoo was responsible for entirely rethinking Casapark’s graphic identity. For that, we created a system with a colorful and lively ethos; keeping the geometric shapes that connected Casapark with the world of design, but combining it with vibrant colors and movement, creating endless visual possibilities. The system varies according to the initiative, being sometimes clear and neutral for more institutional use or more daring and flashy for special campaigns.

For the typography, we chose TWK Lausanne as it is an extraordinarily sophisticated sans serif font with an ultra-organic aesthetic, offering a stark contrast to the geometric shapes, giving the system a more human feel. In addition, it is very readable in small sizes and full of details in display sizes, adapting perfectly to the types of execution foreseen for the brand. The new graphic design system consistently unfolds across a wide range of executions, including direction of signage, printed materials, uniforms, stationery, social media, and digital advertising.

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21 Princípios Para Viver o Novo (“21 Principles for Living New”) is a Christian motivational book by Talitha Pereira, published by Identitade Store.

Among the fonts that have the best contrast with the one chosen for the body – Avenir Next Condensed – two stood out: Termina and Tusker Grotesk, two more sans typefaces but with a lot of personality and style. Combined on a large scale, they make up a modern and very attractive layout. The decision to transcribe titles vertically is an alternative to depart from the standard of most books in the same segment. It is also a solution that integrates large-scale texts and allows leveling of structure for titles with different amounts of characters and balanced line breaks between words.

A big difference in each chapter are the highlighted phrases. They usually open and close chapters and need special attention. And speaking of phrases, quotes, and the like, having a more timeless and even somewhat classic look, the solution here was to combine a serif font, modern and with a lot of personality. This decision is also a response to that timeless style edge that the idea of ​​principles evokes for the book. Tenez is of Brazilian origin, but has a worldwide distribution. In addition to all its personality, it is a very exclusive font, that is, still little used in graphic projects. Undoubtedly, it is a mix of combinations that communicate more than the graphic style goals of the book, they also identify a little bit of the author’s personality.

Nhemombaraete Reko Rã’i: fortalecendo a sabedoria (“strengthening knowledge”) is a bilingual book in Guaraní and Portuguese, written by José Verá, and published by Riacho. in partnership with the Association for Studies and Projects with Indigenous and Minority Peoples.

This book is the result of three years of collaborative work, and many others in the production of images. It brings together stories and visionary drawings of the greatest Mbya Guarani made in Tekoa Yvyty Porã, or “Campo Molhado”, Barra do Ouro Indigenous (Rio Grande do Sul, Brazil).

“It is not easy for me to draw, because if the message does not reach me, I do not work. I have to wait for the message. If the message does not arrive, I do other work. If I am doing other work and the message arrives, I have to stop and draw the picture” says José Verá.

The origin of the sun, the moon, the stars, and their entities, the territorial life forms, plants, human and non-human animals life. The stories were dictated by Verá to the Guarani teachers, who later reviewed and translated into the Portuguese language. The book was built collaboratively, through visits to the community with printed and digital prototypes to decide the publication criteria.

“Our way of learning is the tree, that's why we learn under the tree. Our teacher is the Ipe tree. From the tree we acquire knowledge. The tree is the beginning of our knowledge.” – José Verá

Guaraní transcription, translation and revision: Francisco Moreira Alves, Gerônimo Morinico Franco, Romário Benites.
Graphic design and organization: Dani Eizirik, Iana Scopel, Katia Zanini and Sergio Guidoux.
The main typeface is Andada ht, which was developed especially for the Guaraní language by Carolina Giovagnoli for HT Fonts. It’s paired with Alegreya Sans.
Photos by Sergio Guidoux.
The project was realized through the Public Notice for the Creation and Formation of the Diversity of Cultures made with resources from the Aldir Blanc Law No. 14.017 / 20.

Visual identity and printed matter for the 2019 edition of Jornada Literária do Distrito Federal in Brasília, Brasil.

The event is organized by Associação Cultural Jornada Literária, a civil society organization dedicated to projects and actions to promote literature. By promoting access to quality children’s and youth literature and exchange with great authors, the project fulfills its purpose of contributing to the formation of a reading society.

The project takes place in several public school institutions located in rural and urban areas of the Federal District and its surroundings. The activities precede and exceed the days of the event, involving students and teachers in actions that expand the reach of literature, and invite them to create, write, draw and imagine from reading.

For the 2019 edition cycle, the design team developed a visual identity system capable of grouping the different editions of the event under the same visual concept. A graphic universe was conceived where literature is placed as a gateway to an infinity of knowledge. Each edition featured a new illustration and color palette, setting up its own scenario for the journey of each public school that hosted the event.

In addition to coordinating and developing all the promotional material and signage for the event, the studio also proposed an action aimed at activating the schools’ public. Each institution received and distributed posters in a coloring version, thus promoting the active participation of students in the preparation of posters for their schools. The purpose of the action was to reinforce not only the students' bond with the event, but also their sense of belonging to the universe of illustration and literature.

Kawak by Javier Viramontes (Latinotype, 2016) is used throughout.

• Nominated for the Latin American Design Award – LAD 2021
• CLAP Premium 2020. Mejor diseño gráfico en la miscelánea

Each edition/city featured a new illustration and color palette

Each institution received and distributed posters in a coloring version, thus promoting the active participation of students

Index Gallery started as an online gallery but it went beyond: digital and real met blurring the boundaries of what is what. With an internet aesthetics-inspired appearance, the brand makes use of a bold vibrant digital green.

For the typography, we picked an essentially Brazilian typeface. Vinila from Flora de Carvalho and Plau was chosen because of its body and quirkiness, both representing the solidity of Brasília and the contemporary boldness of the new artists. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles.

For the website, we created an experience that conveys the idea of an index, with a layout that can hold loads of information and makes use of dividers to organize the compositions, clearly inspired by the old yellow-lists books; we imagined an index from A to Z, with all artists and their works, representing the zeitgeist of the local scene, and creating a way to discover everything at once.

There is also a simple way to navigate, with a direct navigation system available at the top, allowing users to have a more traditional navigation and layouts that are predominantly white, giving emphasis on promoting the artist and their works.

For the full case study, please visit the website of Twoo®.

Lotus is a real estate company with headquarters in Brasília and Miami. Together with a team of talented architects, they are transforming one of the “Plano Piloto” newest neighborhoods.

Lotus is a brand that believes good design can transform the city and people’s lives. It values and celebrates the architect, the thinker of the city; its tone of voice is smart and playful and invites people to reimagine the future of the city.

The logo uses LL Unica 77 in black, suggesting a professional and stable appearance. The typography was chosen to support the brand values. LL Unica77 is simple, unpretentious, and robust. It’s often seen as the pinnacle of modernist design, incorporating the idea of ​​‘purity’ and ‘neutrality’.

The idea of ​​reduction is also key to the spirit of the project, by choosing only two weights from the family, we wanted to achieve a clear and organized approach to typography.

For the full case study please visit Twoo® website.

Museu Nacional da República is a public art museum in Brasília designed by renowned architect Oscar Niemeyer, a pioneer in shaping the sphere of modernist architecture in Brazil and abroad. The museum, simply referred to as “Museu” by locals, houses a plethora of cultural artifacts and hosts exhibitions that feature some of Brazil’s most prominent artists including Yutaka Toyota, Rubem Valentim, and Aurelino dos Santos. Although initially incorporated into Brasília’s city planning back in the late 1950s, the museum was only constructed and inaugurated more recently in 2006.

Through this project, the museum sought to increase its visibility in terms of visitation, collaborations and profitability as well as transforming the museum into a more inclusive space. Leading the rebrand, Manufatura invited Porto Rocha to entirely rethink Museu Nacional’s graphic identity and communication strategy from a holistic perspective considering every step of the visitor's journey from digital and web applications, to the physical experience inside the dome itself. The new design system integrates a wide breadth of touchpoints including signage direction, printed materials, uniforms, stationery, merchandise and packaging, amongst others.

The circle and square join together to create a modern symbol for Museu Nacional. As a central feature of the identity, it represents the aerial view of Niemeyer’s dome while establishing the idea of “inside and outside”, contrasting the relationship between these two spaces. A contemporary take on a traditionally modern typographic style, the use of Founders Grotesk (and its Text branch) recalls the visual language employed during Brasília’s early urban development while its circular letterforms allude to the museum’s infinitely curved walls.

See the case study with more images and full credits on Porta Rocha’s website.

The anti-racist movement took on major proportions in Brazil after the murder of young blacks on the peripheries of the country by the state police itself.

This image of a fist framed by type that reads “Always Antiracist Always Antifascist” has become a symbol of this movement. It’s being widely shared on social networks by national and international artists, activists and personalities.

Cover adapted for the Brazilian edition.

Entre parágrafos, published by Estereográfica, is the Brazilian edition of Inside Paragraphs: typographic fundamentals written and designed by Cyrus Highsmith. Layout and illustrations adapted for the Brazilian edition by André Maya and Rafael Dietzsch, text translation by Bruna Moreira.

This book is about what goes on inside a paragraph of printed text. As explained by Matthew Carter:

Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that’s not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language and a legible typeface for the text.

The book is set in Ibis Text and Scout, both designed by the author and distributed by Type Network. A custom typeface dubbed CySans was designed by the author exclusively for this book. Simulating his style of hand lettering, it is used for the captions.

Text block set in Ibis Text with headline in Scout.

Detail of the text block.

Illustrations with captions set in CySans.

Detail of the sewn binding used in this edition.

Casa Natura Musical is a music festival organized by the Brazilian cosmetics company Natura. The main typeface is their custom Natura Sans, designed by Patrick Giasson. The monolinear script appears to be a font, too, but it is yet unidentified (probably also custom).

An Education App from Brazil.

New cover for the Brazilian edition, designed by Estereográfica, using a custom typeface by Gerard (Zwolse Poort) along with his Capitolium family.

Estereográfica is proud to present the edition of Enquanto você lê. This translation of Professor Gerard Unger’s While you’re reading, originally published in Dutch by De Buitenkant as Terwijl je leest in 2006 (and by Mark Batty in English afterwards), is set in Capitolium (text), Capitolium News (captions, notes, small bodies) and Capitolium Headline (titles), all typefaces designed by the author. For the book cover, Professor Unger kindly granted us permission to use a custom typeface that was originally designed by him for Zwolse Poort, a psychiatric hospital in the Netherlands.

Usually (and when possible), we try to keep the overall design concept and appearance of the original edition (in this case, designed by the author himself). However, we thought that the body of the type was to large, and decided to redesign the pages of the book. We ended with new styles for chapter openings, captions and notes, and the format is slightly different as well.

Also, as we mentioned before in other in the article about Fred Smeijers’ book, some modifications (sometimes, very subtle) in translations are inevitable, because the Portuguese text runs longer than the English. In these case, we ended up with something quite different from the original.

Details of the cover flap and title page.

Chapter opening set in Capitolium Headline. Left page displays an illustration of Joseph Moxon's Mechanick Exercises on the Whole Art of Printing, of 1683

Detail of the text block, set in Capitolium

Details of the sidenotes (set in Capitolium News) in one of the chapter openings. Large size on the right is set in Capitolium Headline.

Series of posters for the conference.

Visual identity for POÉTICAS I: Encontro Internacional em Poéticas Contemporâneas (1st International Meeting of Contemporary Poetics), that took place at the University of Brasília (UnB), Brazil, June 2016, a seminar co-organised by the Theory, Critique and History of Art course and by the Post graduation program in Arts (Visual Arts Department, Institute of Arts, UnB), bringing together artists and researchers from Brazil and France. One of their goals was to present to the local and international guests what is produced in Brasília's field of visual arts, architecture and design. In this sense, the visual identity system uses a typeface developed by a professor of the University. The project also proposes a fragmentation of the event’s title word, what allows the use of type in a large scale, showing the details of its robust and contemporary design.

Participant kit, containg a poster, programme, notebook and pencil.

Notebook and pencil, detail.

Notebooks, detail.

Programme, detail.

Participant kit, containg a poster, programme, notebook and pencil.

Ângelo dos Santos’ debut work, Viagem em família, is also Estereográfica’s first experience with literary works. Illustrated by Eduardo Belga, these 26 short stories approach human conflicts and issues such as memory, childhood, love, violence, agressivity, desire and death.

This book is entirely set in Zenon, a new typeface designed by Riccardo Olocco and distributed by CAST, marking the beginning of the partnership between this very foundry and our publishing house.

According to the description at CAST’s website, Zenon is a compact text font in four weights. Stylistic influences come from Francesco Griffo and Granjon, but also from modern typefaces to the first sketches of Times New Roman. It has the appearance of a Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. This typeface was designed as part of the MA Typeface Design program at the University of Reading.