Identity for Diario, a Montevideo-based design studio founded by industrial designers Guillermo Salhón and Ana Sosa, working across furniture, objects, custom projects, and interior design.

Designed by Villalba Studio, the identity reflects Diario’s approach to form, material, and function – balancing simplicity with clarity while bridging tradition and contemporary production. The studio’s work focuses on refined, timeless objects shaped through the interplay of geometry, materiality, and process.

The name Diario – a familiar, everyday word – expresses the studio’s intention to integrate design into daily life through objects that are functional, enduring, and quietly expressive.

The identity uses BST Symbol and BST Symbol Mono.

Gallardía’s visual identity was developed in collaboration with interior designer Elisa Uriarte, aligning the branding with the architecture of the historic house that hosts the café in Montevideo, Uruguay. The project responds to a distinct cultural context: while Uruguay has an emerging specialty coffee scene, mate—a traditional infusion widely consumed in the Southern Cone—remains the dominant everyday beverage. Creating a brand with a strong presence within this landscape required selecting a typeface with greater weight and character, moving away from the neutrality of a standard sans serif to establish a more defined visual voice. The logomark references the café’s interior lighting concept, taking inspiration from the light strokes incorporated into the spatial design. For the launch campaign, phrases were developed to reflect Uruguay’s cultural backdrop, including “drinking coffee in a country that drinks mate.”

interior designer Elisa Uriarte

interior designer Elisa Uriarte

Catalizador is a concert series for experimental electronic music in Montevideo, Uruguay.

Graphic designer and illustrator Juan Pablo Palarino combined Scope with a dissolving effect and digital illustrations to create Catalizador’s visual identity.

Studio Mundial designed identity and packaging for Uruguay-based pizza restaurant Rigor.
The project was created using Nielot, with alternate characters supplied by Laïc: Type. Inside the place, the menu on the wall is set in various weights/widths of Sharp Grotesk.

The project took over 6 months, ranging from the name to wall tiles.

From the collection of the National Library of Urugay, as collected on La Patria:

Casino Montevideo
Hoy Martes 11 de Febrero de 1908
Sorprendente
Nuevo Programa
por el
CELEBRE CANTATE
LEROY
Todo el mundo
Al Casino!
ESTRENO
Por el biografo – La emaciante vista
EL VIEJO CAJERO
Esplendido Espectáculo

The poster announces a show by “the famous singer Leroy”, presenting a “surprising new program” at the Montevideo Casino. Translation and (un)identified typefaces follow below:

“Casino” — French Antique/Clarendon Extended
“Calle Florida” — (a) French Clarendon
“Telephone“ — a Fat Face
“Montevideo” — not yet identified
“Today Tuesday February 11 1908” — Columbus
“Surprising New Program” — Bradley
“for the famous singer” – (a) French Clarendon
“Leroy” — This eccentric sans serif is similar to Ronaldson Gothic, Stephenson Blake’s Arabian and Sezessions-Grotesk – more even in ABC Type’s version named Text Gothic (2004).
“All the world to the Casino!” — Columbus
“PREMIERE”— Columbus
“By the biographer – The emaciating sight” — Boutique
“The Old Cashier” – a yet unidentified squarish gothic.
“Splendid Show” — Antique Extended (light).

Portfolio website for Sofía Castro, dancer and choreographer based in Stockholm, Sweden.⁣ Design and development by Estudio Blende.

Intendencia Municipal
Dirección de salubridad
La Direccion de Salubridad exhorta a todos los habitanted del Departamento para cumplan las indicacciones del señor Presidente del Consejo Nacional de Higiene, que a continuación se expressan:
La Grippe

The Health Directorate urges all inhabitants of the Montevideo department of Urugay to comply with the instructions of the National Hygiene Council, to end “La Grippe”, the 1918–20 global influenza pandemic. The poster, dated October 29, 1918, was printed by “Imprenta Nacional” (the building still exists). The body text is divided in three sections: “How is contagion acquired”, “Treatment” and “Individual prevention”.

The headlines and introduction paragraph of the poster are set in Columbus. The extra bold type used for “La Grippe” (reminiscent of German Plakatstil lettering), the reversed-contrast slab serif used for Intendencia Municipal and the text typeface are yet unidentified.

This poster was found in one of many print collections on the website of La Patria “an archive dedicated to graphic arts in the Uruguayan territory”. Unfortunately, the collection that holds this poster comes without any additional information.

Tabla Rasa is an independent publication specializing in contemporary photography
printed in offset duotone (Black + Silver 877). Limited and numbered edition of 200 copies.
Tabla Rasa was created by Erika Bernhardt and Juan Fielitz of Estudio Blende. Printed in Montevideo, Uruguay.

Gabriel Benderski’s Social Posters event will feature the use of posters as a communicative tool. In it, the emerging Uruguayan graphic designer analyzes how design allows the audience to have a conversation about complex and divisive issues such as peace, tolerance of minorities, or gender equality.

The flyer for the show at the University of Toronto uses Scotch Modern by Nick Shinn which was kindly provided for the design of the invitation.

My contribution to an international traveling exhibition that brings together leading artists from around the world to create posters for tolerance. To tolerate is to behave as one.

To soften the modernity and simplicity of the figures I went with a handwritten style for the line at the bottom. I used Manu Informal as I dislike my handwriting and it happens that Peter Biľak’s handwriting is quite similar to mine.

A poster created for the Social Poster Exhibition promoting tolerance among nations. The posters have been displayed in embassies and consulates around the world.

The main feature of Tremolo Gradient B was used to create a rainbow to transmit the message. Orgullo is Spanish for pride.

Esta es una historia de amor, pero a la pizza. Así lo diseñó el equipo de la agencia Mundial, con letras románticas en rosa y rojo cuentan lo maravillosa y sabrosa que es Rosa, enl nuevo emprendimiento gastronómico de Lucía Soria en Ciudad Vieja.
–
This is a love story, but to pizza. Designed by the team of the Mundial agency, with romantic letters in pink and red telling the tale of how wonderful and tasty is Rosa, in the new gastronomic endeavor of Lucía Soria in the old city. — press release

Pizzería Rosa is a new pizza restaurant in Montevideo, Uruguay. Their identity, designed by Martin Azambuja uses Maruder. Connected with gentle illustrations and a pinkish set of colours, the design creates a balanced, friendly (and romantic) look.

Maruder appears on pizza boxes, in the sign above the entrance, on staff clothing as well as on promotional pictures. It is accompanied by Gotham HTF.

Pia Alive worked on the posters for Olimpico, Festival de Música Independiente in Montevideo, Uruguay, using the BRRR typeface.

BRRR is part of the LAB available from Swiss Typefaces.

The Peace Table (Mesa para la Paz) is an instance of meetings, dialogues, exchanges, community shows, and a large table of shared food. It takes place within the framework of the celebration of the International Day of Human Rights, promoted by the government and appropriate by different communities.

Poster for the Uruguayan National Crafts Award (Premio Nacional de Artesanía) where I used Woodkit by Typotheque to express the plurality of craft expressions.

During the month of October at Young's Cultural Center I had the opportunity to teach poster design workshops for public schools.

As a thank you for their hospitality I decided to design a poster that illustrates the center.

The Thorn Birds (El Pájaro Espino in Spanish) is a 1977 best-selling novel by the Australian author Colleen McCullough. For this (uncredited) jacket Cortez was slightly modified — ‘P’ was extended, ‘S’ got a descending loop, and the top-right serif on the ‘N’ was trimmed to accommodate an extended ‘R’.

It seems to be that the USA and Russia are closer than ever.

Let's shout it from the rooftop!
2016 has ended!

For years we have been developing packaging for Claldy and working on the process of changing the brand image that has gone from less to more. We had the opportunity to redesign several brand products, but I must confess that this was the most daring project so far as it proposes a new design concept. We saw that the previous packaging was ok, but we believed that the product lent itself to a hipper touch, and to aesthetically align with current packaging proposals. The design process was originally intended to do all the lettering by hand but in the end we use a mix of typography and handmade things. The public acceptance has been very good so we are more than happy with the final result.