Na Pancada Desvairada is an album featuring compositions and arrangements based on melodies recorded by the Brazilian modernist Mário de Andrade during his ethnographic travels through Northeast Brazil between 1928 and 1938. The physical media for the record is a disc accompanied by a 120-page bilingual publication presenting the group’s extensive research on this material.

The client expressed the desire to include a typewriter-style typeface in the visual identity, referencing the documentary archive of Mário de Andrade that inspired the album. For this purpose, Courier was selected.

The project’s visual identity emerges from a graphic-literary investigation, beginning with the diamond shape on the cover, repeated as a triptych across the back cover and inner flap. In addition to alluding to the symbol of the Brazilian flag – in the same orientation as it appears on the cover of Pau Brasil (1925) by Oswald de Andrade – it also references the harlequin’s diamond-patterned costume, a recurring image in Pauliceia Desvairada (1922), both in the poems and in the cover design of its first edition.

By articulating these symbols, the art direction sought to create a contemporary graphic expression grounded in the dialogue between Mário de Andrade’s modernist work and the Brazilian popular musical culture he studied.

Art direction and graphic design by Flora Milanez, with photography by Fernando Banzi.

The exhibition Antípodas – Tão Distantes, Tão Próximos (“Antipodes – So Distant, So Close”) celebrates the 130th anniversary of the Friendship Treaty between Brazil and Japan, developed in partnership between Sesc Vila Mariana and the Japan Foundation. The project unfolds as a visual identity and wayfinding system for the largest spatial occupation ever held at the venue. More than placing artworks within the space, the exhibition design and signage needed to structure, orient, and guide visitors across multiple floors and formats of artistic production.

The starting point comes from the title itself: antipodes are opposite points on the planet, connected by an imaginary line – a direct image to speak about distance, relationship, and continuity between the two countries. The solution balances references from Japanese visual culture, such as rounded typefaces and codes embedded in the kawaii universe, with a graphic logic that shifts between restraint and excess. At times, white backgrounds and minimal elements; at others, color, layering, and density. This contrast organizes the journey and creates shifts in rhythm throughout the visit, extending into the printed materials as well.

The bilingual logic is central to the system: across all touchpoints, content is structured so that Portuguese appears at the top in blue and set with Brazilian typeface Elza Round, while Japanese sits below in red set with M PLUS Rounded. The colors directly reference the national flags, but primarily function as a consistent reading code across the entire communication system.

As an extension of this experience, custom eki stamps were created for each artwork. As visitors move through the exhibition, they can collect these marks, turning the visit into a progressive physical record of the show while revealing the paths each person chooses along the way.

BlaBlaLab is a Brazilian Instagram page by Gas Oliveira and Gustavo Pompeu dedicated to posts about language, culture, design, and technology. Published primarily in video and static formats, the account explores topics related to communication and digital culture through short-form content.

Since December 2025, the page has used Pacaembu and Discórdia as the main typefaces across its Instagram posts. The two appear consistently in titles, captions, and graphic elements. Both typefaces are released by Naipe Foundry.

Visual identity for the exhibition Inezita Barroso: 100 anos de viola e pioneirismo for Sesc Mogi das Cruzes.

The show about Inezita Barroso (1925–2015) and “100 Years of Viola and Pioneering” is presented by Sesc Mogi das Cruzes to mark the artist’s centennial and bring together fifteen activities in her honor. The concept is anchored in enraizamento (“rootedness”), inspired by a statement Inezita made to Revista Brasil: “Something without roots flies away; the wind takes it and it disappears.” In her performances, Inezita was often seen wearing floral dresses, full skirts, and scarves, elements associated with traditional attire from Brazil’s countryside. The visual identity draws on this symbolic dimension by placing vernacular rural prints and folk embroidery at the center of the graphic system. The full booklet is available for download.

Abdias: Intérprete do Brasil, compiled by Túlio Custódio, was published by Editora Todavia. The text deals with “Brasilian race and culture from the 1940s to 1990s”. For the book design, we used VTC Bayard by Vocal together with Elza Narrow by Blackletra.

According to Vocal Type, Bayard is a distinctive sans-serif typeface inspired by the signage produced for the March on Washington for Jobs and Freedom in 1963, and named after Bayard Rustin, a close advisor to Martin Luther King Jr.

We chose to incorporate Bayard into this project dedicated to Abdias Nascimento because advances in racial equality in Brazil are due, to a significant extent, to his ideas and his struggle. According to Olabiyi Yai, Permanent Delegate of Benin to UNESCO, “Abdias harmoniously combines a bit of Malcolm X, Martin Luther King Jr., and Nelson Mandela, in the specific context of Brazil.”

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.

Uma luta que vem de dentro, do centro. The CBJC (Centro Brasileiro de Justiça Climática, English: Brazilian Center for Climate Justice) is an NGO that was born big and brings climate struggles to the forefront with a racial slant. Its construction opens up a space for dialog, bringing its versions closer together and putting everyone in the same place, with contemporary, powerful communication.

The identity that is born in the geometric peripheries connects narratives and expands worldviews, taking them beyond the limits of the border; the brand is sharp, powerful, raw, like its struggle, it needs to be seen and above all remembered. The humanity present in the composition provokes concerns about the realities of those who are victims, while at the same time empowering voices that are going to transform the now; we need to be attentive and strong, and this is a construction that is at the heart of this change.

The project won the People’s Choice award in the Brand Design and Social Impact Design categories at Brazil Design Awards 2024 and in the Branding Category at the Latin American Design Awards 2025.

Shown above is the first page of a research carousel about onomastics, the study of the history and origin of proper names, by BlaBlaLab. The title translates to “When names cease to be names”. Plau’s Spalla is used for the title, while the secondary font is Area by Blaze Type.

From Archive Books:

In Pedagogies of Travesti Liberation, Maria Clara Araújo dos Passos examines the interplay of education, identity, and liberation in Brazil’s travesti community. She critiques traditional pedagogical frameworks that marginalize gender nonconforming narratives and highlights the effects of systemic discrimination on travestis’ psychosocial well-being. Pedagogies of Travesti Liberation advocates for inclusive educational practices and emphasizes the need for affirmative curricula. Newly translated from Portuguese, this work contributes towards connecting political struggles globally and navigating the complexities of translation— particularly of the term ‘travesti’—across various geographical and political contexts, featuring a conversation between Araújo dos Passos and translator Natália Affonso.

The book was edited by Daniel Neugebauer and published by Haus der Kulturen der Welt. Gallery Print provided printing and binding. Anna Diagne and Chiara Figone did the design and layout for Archive Books, using Sature for headlines and cover, Aktiv Grotesk for subheadings, and Sabon for the body text.

The project consists of a Brazilian sectoral initiative developed to promote national cocoa in strategic markets such as Europe and the USA, in addition to bringing together public and private efforts to expand recognition of Brazilian cocoa in order to strengthen the production chain in a sustainable way.

The visual identity, developed by Estúdio Arado, features significant elements of cocoa cultivation and reveals some nuances of our production process in Brazil. A strong, distinctive typographic logo was chosen, capable of adapting well to the English language version. The palette reflects a certain tropical vibrancy and the inherent diversity of this crop, which is often carried out in agroforestry systems.

Cacau Brasileiro (Brazilian Cocoa) is the result of a collective effort between Instituto Arapyaú, AIPC, CIC, FAEB, the Sectoral Chamber of the Cocoa Production Chain and Agroforestry Systems, and Cocoa Action Brasil | World Cocoa Foundation.

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.

Holiday in Italy features a photo of the Forum Romanum and an all-caps setting of Filmotype Zion. From the back cover:

[More info on Discogs]

Nestor Amaral (1913–1962) was a Brazilian musician, composer and singer who also appeared in several films. In 1957, Hollywood-based budget label Tops Records released a series of holiday-themed albums. Each volume is dedicated to a different country. The cover photographs of two of them are courtesy of Trans World Airlines (TWA). The airline is also mentioned on the back cover and might have been a sponsor of the series.

About the artist (from Holiday in France):

Holiday in France depicts a ceremonial act at the Arc de Triomphe in Paris. The title is set in Filmotype Hunter. “Nestor Amaral and His Continentals” is again added in Venus Extended Light.

[More info on Discogs]

Holiday in Brazil has a long-exposure photo showing the traffic at Rio’s Copacabana, with a line drawing of two maracas on top. The letterforms of Latin Wide were arranged on a bouncing baseline and embellished with a thin hand-drawn inline. The credit line uses bold Bodoni caps. From the back cover:

[More info on Discogs]

ASA 55 is a company specializing in photographic experiences in Brazil and worldwide. Studio Broto handled the conception and full design development, including naming and branding, from the visual system to stationery, website, and social media content. The solid and stylish Manrope is used throughout; the brand colors are reminiscent of the Brazilian flag and the gray tones of São Paulo. From the About page:

ASA represents the sensitivity to light of photographic films and the freedom to fly and explore new horizons. (Asa is also the word for wing in Portuguese).
That's what our experiences are like, an invitation to slow down and connect with the present moment, with people, with life outside, in a more analog way.
55 represents the code of Brazil, our homeland, and our passion for Brazilian popular culture.

In commemoration of the 200th anniversary of the first Brazilian Constitution, the Memorial of the Legislative Assembly of the State of Ceará Deputy Pontes Neto (Malce) opens the short-term exhibition Da Imposição à Cidadania – 1824 a 2024: Dois Séculos de Lutas e de Conquistas (“From Imposition to Citizenship – 1824 to 2024: Two Centuries of Struggles and Achievements”).

Quilo is a single edition bookish publication conceived by Mico Toledo and designed by Porto Rocha (Natalia Oledzka and Victor Carvalho). It brings together the work of 38 contemporary photographers and six writers from Brazil in an unprecedented collection of some of the country’s best documentary photography and writing.

Over the past few years, conservative ideologies have had a negative impact on Brazil’s cultural environment. Against this backdrop, documenting the numerous communities that inhabit the country's political landscape, the magazine can be seen as an act of rebellion or a testament of love and resilience – a sanctuary in print. It celebrates the diverse creative communities of Brazil and serves as a counterstrike against the growing extremism and intolerance in the country, under the oppressive rule of the former president.

Spanning across 300 pages, the magazine is an amalgamation of short stories and visuals from over 40 contributors such as Jonathas de Andrade, Valda Nogueira, Rodrigo Oliveira, Stefanie Moshammer to name a few. It takes readers on a meandering journey from the northernmost reaches of the country to its southern tip. With each section introduced by writers from that region, readers get a glimpse into the folklore of the country. It strives to add depth and texture to the stories, while oscillating between photographs that capture moments frozen in time overlayed with grainy texture, muted tones and words that evoke emotion to guide the reader to the heart of the narrative.

The editorial design and visual language captures the essence of Brazil in the present day. The layouts, inspired by Brazilian Modernist design vernacular, are raw and bold. While the neutral and approachable kraft paper cover speaks to a more rustic side of the country. The typography combines the classic serif Ivar Text with Scto Grotesk B, a semi-condensed neogrotesque with expressive details, creating a feeling that is both contemporary and timeless. The interplay between tension and fluidity is created by the juxtaposition of free flowing visuals punctuated with text.

The front cover shows the table of contents, sandwiched between the publication title set in a narrow style of ABC Gravity and a tagline set in Scto Grotesk B and Millionaire.

Coolhunter Favela is an initiative by Rafaela Pinah that acts as an ethnographic research laboratory, uncovering the origins of aesthetic and cultural manifestations in the world’s peripheries. The visual identity created is simple yet impactful, highlighting the unique work of this project.

Inspired by the cultural richness and strength of peripheral communities, we developed a visual identity that uses contrast and the power of geometric shapes to capture the authentic essence of the favelas. The combination of robust typography with minimalist graphic elements creates a powerful and meaningful visual presence, reflecting the energy and depth of these communities.

This approach not only enhances Coolhunter Favela’s mission and values but also provides a visual platform that amplifies the voices and stories of the peripheries, bringing forth the beauty and depth of deep Brazil.

Graphic designer Ott Kagovere used an early version of Turist for The Sugar and the Hunger by Robert Linhart, published in an edition of 800 copies by Rab-Rab Press:

The first English language translation of Robert Linhart’s The Sugar and the Hunger, originally published in 1980 is an indispensable factographic inquiry into modern hunger.

Widely acclaimed for his engaged social analyses of proletariat and peasant struggles around the world, Linhart’s inquiry into the sugar regions of North-Eastern Brazil, juxtaposes heterogeneous traits of the impoverished workers’ stories into a vivid cinematic montage.

Translated by John M Floyd and Emilio Sauri, the book includes rare photographs taken by François Manceaux in Northeastern Brazil in 1979.

Turist (WIP) is an interpretation of Venezia, released by Keystone in 1899.

The publication Abdias Nascimento: A Panamefrican Artist, from MASP (São Paulo Museum of Art), stands as a comprehensive compilation, presenting the most extensive collection of the artist's works ever published. The core content is printed on two distinct paper types: an uncoated variant for the textual components and a thicker, coated paper employed in the portfolio of paintings and the opening section, showcasing posters crafted by the artist.

Each text page is framed in red, seamlessly extending to the book's edges, effectively delineating various sections within the catalog. The design incorporates the geometric sans-serif open-source font Lineal for titles, drawing inspiration from symbols found in African-origin religions, which are recurrent themes in the artist's body of work. Signifier, the brutalist font employed for texts, credits, and subtitles, also establishes a subtle connection with the artwork, with its geometric serifs and raw finish, while embodying an overall sense of elegance and readability.

Designed with a bilingual approach, the book offers two cover options, emphasizing its inclusive nature. The incorporation of the Brazilian and American flags not only serves as a visual representation but also underscores the catalog's focus on the artist's significant contributions in both countries. This thoughtful design choice adds depth to the narrative, highlighting Abdias Nascimento's impactful presence and influence in diverse cultural contexts.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2022.

Transeunte – from Alaska to Brazil by Bike is a book about André Fatini’s journey along the American continent. For three years, he traveled from Anchorage, in the US, to his home in São Paulo, in Brazil. It is a delightful tale of his experiences, enriched by his passion for life and for photography. The pictures he took during this crossing were key for us to define the visuals for the project, that incorporated them into collages used for the chapter openings, the cover and the map of the trip.

Design, layout and collages by Estúdio Drama. Printed by BMF Gráfica e Editora in
Osasco, São Paulo, October 2023.

Formação Política do Agronegócio is an essential book for understanding contemporary Brazil. Caio Pompeia examines the political intricacies of the self-proclaimed most important sector of the national economy. From the origin of the concept of agribusiness at Harvard University, in the 1950s — soon used as a front for imperialist expansion by the United States —, to the first years of the Jair Bolsonaro government, through internal disputes between entities that represent Brazilian agribusiness within and outside the farms, the author explains in detail, giving names to the oxen, how agriculture entered the State and imposed its agenda on the country, with successive attempts to pass the tractor over agrarian reform, indigenous rights, environmental preservation and the will of the polls.