projects and reflection // n01
july 2004 to november 2019
02. words vs images // 04. sandro lopes // 12. the 4th power // 24. growing an idea
THE BODY OF WORDS The existence of words lies upon the media through which is presented. If spoken, it exists in a voice. When written, depends on ink, pixels, space, scale, rythm given through typographic composition. It's up to the designer to materialize the speech, making it visual.
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Words images VS
It is said that an image is worth a thousand words. But a word can suggest a thousand images. So what to choose to send a message? Practically speaking, a graphic designer is a professional that skilfully combines text and image on visual media in order to efficiently convey a message, an idea. However, to be able to do it, one must be litterate, cult, attentive and sharp. He must be able to understand both the content of the message and the target audience that it is addressed to, if he is to create an effective and engaging way to pass on the message that needs to be dissiminated. ¶ The main elements, or tools, the designer has are words and images, and the articulation between these is a real challenge and not an exact science, which means it can have very different outcomes, and needs a lot of attempt and error. The compromise is hard to achieve and cannot be measured with a ruler. ¶ Although the graphic designer uses artistic tools to fulfil his work, he cannot think as an artist, sometimes blinded with an egocentric view of society and civilization. Design, in all of its branches, is a social job, that projects objects to be consumed. And I'm not only talking about consumable goods or services, but also products that nourrish
the mind, in terms of culture, information or learning. It has to come from society, and addressed to society, therefore existing and having a meaning in that very specific context, which means there are rules to be followed: simbols, conventions, political, ideological and cultural premises need to be inherited and subtly sewed into the work. If they are not taken into account, the message may not be understood, and it will not be absorbed, and can even have catastrophic side effects. ¶ Nevertheless, this doesn't mean that evolution and innovation cannot take place. New ways of communication are to be explored because originality is one of the demands in order to differentiate from others, but there are risks that need to be measured: it can be very welcome and appreciated, but it can also repulse and be rejected. ¶ In his book, History of Graphic Design, Meggs has written that “Since prehistoric times, people have searched for ways to give visual form to ideas and concepts, to store knowledge in graphic form, and to bring order and clarity to information. Over the course of history, these needs have been filled by various
morphosis sandro lopes designer
people including scribes, printers, and artists. It was not until 1922, when the outstanding book designer William Addison Dwiggins coined the term ‘graphic design’ to describe his activities as an individual who brought structural order and visual form to printed communications, that an emerging profession received an appropriate name.” At the time of the publishing, 1983, desktop publishing and computers were not the tool used by graphic designers to work. Those were the days of silk screen, ink and brush, but the same principles are applied today, even in digital context. The philosophy and project method of communication design are influenced, but not determined by the tools, so it doesn't mather if it's handmade or digital, hard print or online. It's the concept and its materialization that counts.
“Graphic design is the most ubiquitous of all the arts. It responds to needs at once personal and public, embraces concerns both economic and ergonomic, and is informed by many disciplines, including art and architecture, philosophy and ethics, literature and language, science and politics and performance. ¶ Graphic design is everywhere, touching everything we do, everything we see, everything we buy: we see it on billboards and in Bibles, on taxi receipts and on websites, on birth certificates and on gift certificates, on the folded circulars inside jars of aspirin and on the thick pages of children's chubby board books. ¶ Graphic design is the boldly directional arrows on street signs and the blurred, frenetic typography on the title sequence to E.R. It is the bright green logo for the New York Jets and the monochromatic front page of the Wall Street Journal. It is hang-tags in clothing stores, postage stamps and food packaging, fascist propaganda posters and brainless junk mail. ¶ Graphic design is complex combinations of words and pictures, numbers and charts, photographs and illustrations that, in order to succeed, demands the clear thinking of a particularly thoughtful individual who can orchestrate these elements so they all add up to something distinctive, or useful, or playful, or surprising, or subversive or somehow memorable. ¶ Graphic design is a popular art and a practical art, an applied art and an ancient art. Simply put, it is the art of visualizing ideas.” Jessica Helfand, AIGA
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The the the the The book “The Elements of Typographic Style, by Robert Bringhurst, is a mandatory publication for typography lovers. Sandro Lopes considers this a masterpiece and “the Bible of typography”.
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e more e intention, e less e intensity. To be a thinker, rather than a designer. To reflect on forms of human communication and expression.
Born in Lisbon, Portugal, Sandro Lopes graduated in Design in the University of Aveiro in 2004. He moved to the city of Faro, where he currently lives. He travelled around the main European cities, but it was in Renaissance Italy that he found his place and improved his knowledge on typography and Art History that had fascinated him and inspired his work. Âś He is a natural communicator, of diverse and comprehensive general culture, driven by curiosity and reflection on human forms of communication and their expressions. Dedicated, driven and committed professional, he reveals method, maturity, and perfectionism at work, always good-humored, available, and helpful, which becomes important in teamwork.
Believing in the premiss that simplicity is intensity, his work reveals a refined and minimalist style, concentrating the efficiency of communication through the articulation of adequate typographic and imagery tools.
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To work with letters, in all forms of communication design, and in the means under which it materializes, Sandro is insightful, persuasive, and persistent, which allied with a great power of verbal and visual argument, ensures consistency and integrity throughout the projects he executes without ignoring resource management. ¶ Great verbal fluency in the British and French languages h ave already enabled him to conduct international projects of various natures and contexts. ¶ It is in typography that he finds his real passion. In the form of letters, in its genesis, in its history, its concept. Because he recognizes that the morphology of letters is in itself a channel of meaning, a visual index of tone. Sandro’s ex-libris emerges in editorial projects of elegance and typographic excellence, whether in literary, journalistic, cultural or corporate contexts. These are materialized in layout and art direction of magazines, newspapers and books of various literary and thematic strands.
Ty p of c ograph o all m mmun y is tra aut edia icatio and ono n a nd my pla t v so i isibl o be t tfo e el t sh he m e oul d ne ment ver o be u
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can effectively and provocatively convey the message without illustration or photography.
ans ver n de sal t o al si g orm n, an l form s. It d ac s mo r st i has su oss of a mpo ffic ien rta pro t n ject u nd t , ere stim ate d.
Typography is the graphic expression of verbal language, which reveals the tone, personality and attitude of a speech.
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The designer graduated from a school of helvetic approach, where he has learned the conceptual and digital tools essential to carry on his work. Nevertheless, learning is an ongoing and lifelong process, which makes each and every project a challenge and a way to evolve professionally.
Âś It was also in the academic context that, in parallel with formal learning, that the designer had the opportunity to put into practice the knowledge that he has acquired. After finishing the course, he moved to the Algarve where he began his career, collaborating in design and publicity agencies, and in a real estate business group. Through these agencies, he has contacted public entities, communication departments of several municipalities, and related branches, such as municipal theatres. Âś He later chose to work as a solo professional, shortening the distance between the client and the final product, in addition to implementing his own methodology.
Education 1998-2000 Two years attending of the Environmental Engineering Major course at the University of Aveiro. 2004 Design Major by the University of Aveiro. 2005 AutoCAD course. 2000-2019 Self learning through literature and tutorials.
morphosis Legibilidade vs lecturabilidade
Experience 2004-19 Freelancer Editorial design, corporate identity, graphic print and multimedia communication for private and institutional clients. 2018 Cachorros & Pulgas (Dogs & Fleas) Project of identity and gastronomic concept (hotdogs and small sandwiches), print and online media, and street food stand design. 2016 Aperitivo Project of identity, media of communication and decoration of the gastrobar space. 2012.2 / 2014 Columbus Cocktail & Wine Bar Graphic design, layout and writing of a national award newspaper menu with commercial, cultural and artistic content. Other communication media. 2012.1 Tactum Graphic, print communication, and digital interface of touchscreens for hospitality. 2011.1 Monetarium Global corporate identity project, graphic, print, online communication and decoration of gold buying and selling stores. 2011.2 Municipal Theatre of Faro Editorial design, graphic communication, print and online, promotional media of shows and events. 2011.3 Pedaling for Life - Oncologic Association of the Algarve Print and online graphic communication for promotion of solidarity event in voluntary collaboration.
2010-11 Booksmile, Nascente and Vogais Publishers Editorial design and cover art of publications of literary scope. 2009-11 APA Magazine Graphic design and layout of monthly generalist magazine and the design of advertisements. 2008-09 CNA - Communication Products Collaboration with the agency in projects of editorial design, corporate identity and media of graphic communication. 2008 Intensidez Editora (publisher) Literary editorial design, corporate identity, print and online graphic communication of company’s publications and media. 2007-08 Arta Collaboration with the agency in projects of editorial design, corporate identity and media of graphic communication. 2005-07 Teaser - Design and Advertising Collaboration with the agency in projects of editorial design, corporate identity and graphic communication. With LoulÊ City Hall as its main client, the graphic communication of municipal events and services was predominant. It was in this agency that the graphic design of the magazine Guia Algarve was conceived, that would win the public contest, and continued monthly for 2 years. 2005 Filneto Group Multidisciplinary projects: identity corporate, graphic design, exhibition, equipment, advertising and multimedia in a real estate business group.
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Training & technical knowledge 1998-2000 Two year attendance in Environmental Engineering the University of Aveiro. 2000-2004 Major Degree in Communication Design, by the University of Aveiro. 2006-2008 Post-Grad in Languages and Communication by the University of Aveiro. Languages English (C2); French (C2); Spanish (B2) Digital tools Adobe Acrobat Adobe Flash Adobe Dreamweaver Adobe InDesign Adobe Illustrator Adobe Photoshop MS Word, Excel, Powerpoint QuarkXpress
2004.1 Campaign to Fight AIDS Collaboration in the design of the campaign, requested by ARS Algarve Health Administration. 2004.2 DesignSul Collaboration with the agency in projects of editorial design, corporate identity and media of graphic communication. 2004.3 Desnorte Design of an interactive didactic cd-rom in the historical context of the instruments Physics, in collaboration with members of the Departments of Physics of the Universities of Aveiro and Coimbra, under the tutelage of FCT. 2004.4 VIII Congress of Geochemistry of Portuguese Speaking Countries University of Aveiro, 2005 Design of promotional media for the event, print and online. 2003 DeGeo University of Aveiro Branding and communication system of the Department of Geosciences of the University of Aveiro, and its Permanent Exhibition of Minerals.
morphosis Legibilidade vs lecturabilidade
The practise of writing exercises and matures thinking, and should always be articulated with drawing. Âś Sandro believes writing is a good way to mature thinking, rather than simply recording a memory not to be lost. That is why he wrote a series of articles in the blog typographia (http:// sdr-designer.blogspot.com), where he reflects on the subject of graphic expression, writing morphology, the typographic process and its applications, historical and artistic references, and even semiotics and semiology. Everything that has to do, directly and indirectly, with the creative process, the imaginary world and the experience of project. Âś The designer has several times been writer and editor of editorial projects he has had in hand, and has been part of several teams with copywriting input, as part of the conceptual stage of branding. Signatures, headlines, slogans are part of the procedure and should be paralel to image.
Complementary activities 2006 Typography, graphic expression of verbal language Presentation of a lecture about typography, within the scope of the Design Major Degree of the Superior School of Education of the University of Algarve. 2005-2010 Typographia Writing and editing of a blog with reflections on typography, design and visual culture. http://sdr-designer.blogspot.com 2005-2019 Typophilia Facebook page on culture of typography and communication design. http://facebook.com/passionfortype 2005-2019 Teaching & Tutoring Study, follow-up and preparation for national exams in various subjects. School and academic work in various areas and subjects. Research and implementation of academic theses. Research, drafting, layout and presentation, on print and digital media.
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The 4th power
Information has the power to stimulate thinking, influence opinions and provoke emotions with its content. It is up to the design to sculpt the form of the speech to complete the meaning of the written message to convey.
¶ There are inumerous ways of working with typography, though the most intimate and the one that most puts into practice the fundamentals of typography, is editorial design. This strand of design is one that requires more method, structure, coherence and communicational strategy. It is an area that is the center for the convergence of products from a wide range of professional and artistic disciplines, and which must consistently and objectively organize a publication that publishes written contents of the most varied nature. ¶ In this type of work, written verbal message is the most important element, and all other elements should be used as reinforcement and / or complement. Thus, if written verbal message is the most important element and typography is its graphic expression, then typography becomes the structuring
discipline of a publication, and the mastery of its properties and potential becomes essential. ¶ It is natural that in this line of thinking, where the text is valued, a designer should immediately think of typeface design, but why is it not this the most intimate way of working with typography? It is important to notice that I understand typography as the way of working the visual space of verbal language, including not only letter forms, but counterform, and blank or non-verbal space. ¶ Typeface design is a more specific strand of typography, which draws text expressions through the forms of the letters and their set phenotype, but typography draws speech expressions and visually translates the auditory expression: if we consider the type family and its types glyphs (letters and symbols that make up an alphabet, including punctuation
morphosis Legibilidade vs lecturabilidade
It's the branch of design that works for information and literacy, and has the goal of channeling written contents the best possible way.
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ApaMagazine The original editorial project, published between 2010 and 2011, had as its objective the dissemination of local culture in Algarve, as well as events, health and gastronomy items, among other subjects of general interest.
and all graphic versions of the same letter) as a set of musical notes, the score (text) that gives them meaning can be interpreted at different times, each musician playing with their way of playing and interpreting the theme, assigning them completely different characteristics. Âś Typography, as text, space and support management, should take advantage of the attributes of typographic families, and use them with appropriateness and reading criteria. It will be pertinent to invoke the premise
This strand of design is the one that requires more method, structure, coherence and communicational strategy.
morphosis sandro lopes designer
LEGIBILIDADE Trata-se da capacidade de distinção das formas canónicas daquilo que entendemos ser uma letra: distinguir umas letras das outras, a forma do fundo. É uma propriedade intrínseca da letra, que lhe permite ser “percebida” como a letra que é. LECTURABILIDADE A capacidade que um texto tem de atrair o leitor e suscitar apetência para ser lido, de modo a facilitar a apreensão e compreensão do conteúdo.
of legibility versus readability . We can use the (arguably) best typeface in terms of legibility and æsthetics for a work, but an inappropriate typographic treatment may dethrone the properties that we intend to apply to it, damaging the readability of the whole, that is, its behavior as text in terms of inherent attractiveness to be read in a pleasant way, motivated by bad options of formatting, composition and layout. ¶ On the other hand, having a publication that is æsthetically well-designed, 1
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but having poorly written and disjointed content, reveals only a cosmetic treatment that, although appreciated for its beauty, can never camouflage the lack of content, and will make the reader feel misled by not retrieving from the publication any intellectual knowledge or usufruct. ¶ Editorial design is, in conclusion, the design branch that works for information and literacy, and as such, aims at the best possible channeling of written content, improving communicational effectiveness.
1 LEGIBILITY It is the ability to distinguish the forms of what we understand to be a letter and distinguish them from one another. It is an intrinsic property, which allows it to be “perceived” as letter.
2 READABILITY The ability of a text to attract the reader and elicit readiness to read, in order to facilitate the apprehension and understanding of the written content.
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Máquinas de Trovar Ernesto de Melo e Castro’s literary work, edited by Intensidez, describes the course of the digital poet. The work has illustrations and the whole ambience of the graphic project is a reference to the pixelated environment and operating systems of the 1980s, with black backgrounds and pixelated, contemporary typefaces. With the classic 16x23cm format, it is exclusively designed with Munken uncoated paper, stitched binding and without any plasticizing.
In her book Editorial Design, Yolanda Zappaterra expresses the idea that editorial design is, in practice, a form of “visual journalism”. I found, in her view, that Zappaterra does not include book design in editorial design, at least in a conspicuous way, speaking only of magazines, newspapers or other periodicals. The difference, therefore, lies in the question of periodicity, regular renewal of contents according to an editorial matrix, reinventing itself on each issue, although
circumscribed to its identity and context of action. The distinction may be more technical in a way that, as a general rule, book design uses only text to compose the kernel of book, leaving the more visual and attractive elements to the cover, which contains all the ingredients of an advertising poster of the work which involves. ¶ If we imagine, without the constraints of obsolescence, factuality or hierarchical journalistic structure, that each ‘work’ has a ‘cover’ to attract the reader, then
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The book is distinguished by the exclusivity aspect of the work and, although it may have a sequel or belong to a series, is not dated by imposition nor obsolescence. a newspaper will be a ‘book of books’, in which each book will be an article, which competes ‘on the shelf’ for attention. ¶ The history of writing and its suppositions lead one to believe that the book was the predecessor of any written medium printed by the means developed by Gutenberg, and that the publications have been branched from there, under the conditionalism of purpose and nature of the publication. The book, as a communication medium, which can include an image, such as an illustration or photography in addition to text, is distinguished by the exclusiveness of the work, and although it may have a sequel or belong to a series, it is not originally dated by imposition or obsolescence of content, rules governing journalistic, cultural or sports publications. ¶ It is worth remembering that Aldo Manuzio’s objectives gave real meaning to the term publication when, with the collaboration of Francesco Griffo , he created a new book format: the pocket book. This book, smaller, cheaper and faster to produce, using the characters of the italic alphabet (more condensed than the Roman) cut by Griffo, was intended for the expansion of knowledge, more accessible to the general public, and not only the privileged ones of the clergy and nobility. Thus, I view editorial design as a vehicle for transmitting knowledge and whose content stimulates thought and imagination, raising the level of abstraction. Editorial design is one that, when successful, motivates reading and interest, reduces friction between the reader and the content of the publication, through visual mechanisms that stimulate the recipient of written information. 1
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1 ALDO MANUZIO (1449-1515) The typographer and publisher was responsible for bringing a new dimension of the typefaces and formats in the production of books, known as in-oitavo, which reduced their costs of production, and facilitated their diffusion.
2 FRANCESCO GRIFFO Craftsman whom Manuzio ordered an italic type with cursive properties that saved space, fitting perfectly in the new format of ‘pocket book’.
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Menu Columbus Cocktail & Wine Bar Sitting on a bar terrace to read the newspaper is a habit that was the genesis of this project for an original menu of the Columbus Cocktail & Wine Bar in Faro, Portugal. This publication, in everything similar to a daily newspaper, presents and describes all the drinks and products of the bar, accompanied by articles seasoned with curiosities related them. The newspaper is bilingual, and the writing and translation of the articles was carried out by the designer. With photography by Vasco CĂŠlio, this project was worthy in 2014 of the award for Best Bar Menu, at the Lisbon Bar Show.
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Algarve Cultural Guide With a public contest winning layout, this monthly publication gathers all cultural and sports events in the Algarve, from July 2005 to July 2007.
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Cultural Algarve Directory This publication, by the Ministery of Culture, gathers all the information about private and public cultural entities in the Algarve.
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Algarve Cultural Guide With a public contest winning layout, this monthly publication gathers all cultural and sports events in the Algarve, from July 2005 to July 2007.
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Branding is about seeding a concept. It grows from a root, and extends itsellf to all sorts of media, sharing the same genotype.
Growin
morphosis sandro lopes designer
Branding, by definition, is a marketing practice in which a company creates a name, symbol or design that is easily identifiable as belonging to a company or entity. This helps to identify a product and distinguish it from other products and services. ¶ A brand is built to be a true representation of who the company is as a business, and how it wishes to be perceived. But in order to work, it should start from an idea, a concept that channels the per-
of distinguishing itself from the competitors and clarifying what it is you offer that makes you the better choice. ¶ There are many areas that are used to develop a brand including advertising, customer service, promotional merchandise, reputation and logo. All of these elements work together to create one unique and attention-grabbing professional profile and it is absolutely critical to a business because of the overall impact it makes on a
sonality, attitude and values of the entity, that is, its identity. Structure and coherence are essential, once the brand's root will grow into a branding tree that holds all of its branches. If it finds a solid ground and is properly taken care of, it will spread, blossoming gourgeous flowers (products) but more importantly, it will grow fruit (the client's and your own profit). ¶ Branding is important because not only is it what makes a memorable impression on consumers but it allows customers and clients to know what to expect from a company and perceive it as a whole. It is a way
company. ¶ Branding can change the way people percept a brand. It can drive new business and increase brand awareness, and it how a company gets recognition and becomes known to the consumers. ¶ The logo(type) is the most important element of branding, especially where this factor is concerned, as it is essentially the face of the company. This is why a professional logo design should be powerful and easily memorable, making an impression on a person at first glance. ¶ Although its importance is undeniable, it cannot hold in itself all the elements that build the concept. It is impossible for a logo to present and express all the identity elements of a brand, so it should never be mistaken for an illustration or live on its own. It is, in fact, the root from which all the branches of the brand will grow.
ng an idea
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Âś Branding is about the materialization of a concept. It grows from a root, and extends its branches to all sorts of media, sharing the same genotype. Therefore, from the basic stationery to a t-shirt, passing on to an outdoor billboard to every tag of a product and to the product itself, everything that gets in contact with a possible client, is a means of communication, that should inherit and express all the principles of corporate philosophy that the brand upholds. Âś A good brand will have no trouble drumming up referral business. Strong branding generally means there
When it comes to Sandro's corporate identity projects, these reveal coherence of integrated communication, which express the entity’s personality and tone of speech, through the context of positioning and target audience. It is based on the creation of a nuclear concept that expresses the philosophy of the entity or event, materializing it in the various communication media, conducted with a projectual methodology of simplicity, elegance and communicational efficiency.
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1. Avanssa : Crash site investigation; missing piece concept 2. Terra Litoral : Real estate developments; seaview window concept 3. Mordomo : Personalized hospitality service; butler concept 4. Voltarion : Investments consulting; triangle and handshake concept 5. Tavira Parque : Real Estate development; healthy and natural lifestyle concept 6. Centro Loulé : Commercial Association of Loulé : concentric castle wall concept 7. Quinta do Eucalipto : Tennis club; typographic leaf and tennis ball concept 8. EcoFest : Ecofriendly festival of music; nature music concept 9. Pedaling for Life : Bycicle riding for cancer fight fund raising 10. Terra Litoral : Real estate developments; seaview window concept
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is a positive impression of the company amongst consumers, and they are likely to do business with, because of the familiarity and assumed dependability of using a name they can trust. Once a brand has been well-established, word of mouth will be the company’s best and most effective advertising technique. ¶ A professional appearance and well-strategised branding will help the company build trust with consumers, potential clients and customers. People are more likely to do business with a company that has a polished and professional portrayal. Being
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11. Casa das Janelas : Windows, doors, shutters; open window concept 12. Aperitivo : Gastrobar; vintage illustrated cap concept 13. Tactum : Touch screen restauration menus; touchscreen concept 14. Monetarium : Gold buy and credit; gold and money type concept 15. Giesta : Retirement homes management; metamorphosis concept 16. Pátios do Sado : Real Estate development; citymark type concept 17. Intensidez : Publisher; type ligature connects intensity and fluidity 18. Central de Notícias do Algarve : news agency; serif type to sans 19. SunXpress : tanning studios; type sunbeam concept 20. Cachorros & Pulgas : hotdog and sandwich stand; hopping type
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properly branded gives the impression of being industry experts and makes the public feel as though they can trust the company, the products and services it offers and the way it handles its business. The concept of positioning is the very own definition of this behaviour. ¶ Advertising is another component to branding, and advertising strategies will directly reflect the brand and its desired portrayal, and is disseminated among the public through various media, using communication design tools and products to support it.
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Cachorros & Pulgas This project for a not so fast food restauration concept relates Cachorros (Hot Dogs) and Pulgas (Fleas) in an artisanal style meal stand. Flea is the name given to a small iberian sandwich made with mediterranean flavours. The combination Dogs and Fleas, allows the communication tone to be humourous in an canine style.
The signature "Sabores aos pulos", which means "Hopping flavours", suggesting the hopping of the flea, allows the use of slogans like "To eat and bark for more" or "With flavours that will make your tail wave." The brand was conceived from scratch, from the name, to the signature, to the copywriting and all the conception of the stand and every communication means, print and online.
morphosis sandro lopes designer
Pulos de bom gosto. Menu Pulga Duo Gourmet & Salada 2 pulgas gourmet 1 salada 1 bebida*
6,50 €
Stock limitado. Promoção pode ser retirada sem aviso prévio.
Sabores aos pulos.
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Aperitivo An artisanal vermouth with some mediterranean tapas at this downtown Faro GastroBar is the best way to end a summer day with your circle of friends. This branding project started with the remodeling of an old caffè and tends to recreate a vintage ambiance with decoration and products coherent with the concept. Communication design was made in partnership with the architecture project.
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Giesta
Terra Litoral
Old age is the last stage of human metamorphosis, just like the butterfly. Colours are related to autumn and italic type related to memories.
A window with a seaview is what everyone in the Algarve craves for in a house. That was the concept for this real estate developing company.
Monetarium The name comes from Moneta that means coin in Latin. The O has a dot and is an old simbol for gold and the E was replaced for the euro â‚Ź symbol. It describes what the does: exchange gold for money.
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cliente : cna
projecto : identidade
6.0 comunicação Demonstração de aplicações nos mais variados suportes. Comportamentos dos elementos de identidade em função dos suportes. Ao lado, temos uma previsão de um cartão pessoal.
Central de Notícias do Algarve A news and communication agency has writing as the main element. The logotype based on newsprint serif typeface, contrasted with a red sans typeface underlines the signature "communication and atitude", which states the company's philosophy. Typographic games associated to a provocative copywriting are in the genesis of the brand's communication.
Pátios do Sado The Sado river landscape, and the architecture was the inspiration for this development brand in Alcácer do Sal, Portugal.
*To communicate is to provoke the senses.
16 cna comunicação e atitude®. direitos reservados
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Tavira Parque This development has been projected in order to facilitate a healthy lifestyle related to outdoors activities and sports. Its natural surroundings, and sports fields were built to allow them. Physical activities, sports and nature were the elements that inspired the logo and communication language and print media.
morphosis sandro lopes designer
Intensidez The name of the publisher comes from Intensity and Fluidity, which was materialized with typographic characteristics: bold sans for the Intensity, the italics classic serif typeface for fluidity. Both are connected by a subtle ligature. The use of the inverted commas and colour resulted in a family of literary categories the publisher established, that would be present in the covers of the books. The categories were inspired by the four elements.
water : rehearsal
fire : play/script
earth : science
wind : poetry
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Teatro Municipal de Faro The Faro Municipal Theatre has a seasonal programme that needs to reach the audience through different media. Every four months, the programme is printed with the presentation and synopsis of every event, concert, play or presentation. Closer to the date, the event has a flyer, a print release, a digital banner, etc., to attract and inform the public with the goal to fill the showroom.
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VII Encontro MĂşsica Antiga Every year, there's a gathering of musicians that perform concerts using old Medieval and Renaissance instruments, in churches and museums in the city of LoulĂŠ. Apart from flyers, posters and online communication media to advertise the events, the programme was conceived using fine uncoated papers, and renaissance typography references.
morphosis sandro lopes designer
E. Leclerc Through a french agency, it was asked to create covers for theme catalogs of products for the international hipermarket group E. Leclerc. Here are two different proposals on subjects of Beauty, targeted for women mass consumption cosmetics and Gaming, to attract video and computer gamers.
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De 24 de Abril a 06 de Maio 2019
de 24 de Abril a 06 de Maio 2019
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