Compasso Variable

Plau

Compasso

Dupincel Regular

Dupincel

Dupincel Large Regular

Dupincel Large

Dupincel Small Regular

Dupincel Small

Firula Variable

Firula

Guanabara Sans Regular

Guanabara Sans

Manteiga Gorda

Manteiga

Matria Condensed Regular

Matria Condensed

Matria Compressed Regular

Matria Compressed

Matria Variable

Matria

Rodrigo Saiani is trying to make type as popular in the world as music – starting with Brazil. He gets closer everyday by making typefaces for people and the brands they love; teaching about type at Miami Ad School; creating workshops and talking about type with pretty much anyone.Awards: Type Director’s Club, Tipos Latinos, Brand New Awards, ADG Brazil - Brazilian Design Biennial Best of Show (Guanabara Sans, Primot, Tenez).

The idea that mathematical precision and the supposed &quot;purity&quot; of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It&#x27;s about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It&#x27;s a font to take your project anywhere, a record to listen to on any occasion.

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until finding a good way to describe this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves.Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters.We don’t want to dictate the types of stories either, anything goes. But if swashes make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

Firula is flourish, ornament, embellishment. It’s swirl, curve, adornment. Firula is our latest font, a typeface that embraces joy. A variable connected script in 7 styles. With simple or cursive capitals, details, and surprises that make each word feel as if it were crafted by the brush.

Family: Guanabara Sans

Family: Manteiga

Matria is a grotesque family based on Brazilian historical models. Working with a centennial client, we came across a mid 1930s century type specimens for their printing offices containing many typographic treasures. We took particular interest in a certain condensed heavy face, reminiscent but not really exactly Reform Grotesk from Stempel type foundry. The high waist capitals – specially uppercase R – a spark of contrast and otherwise practical shapes were put to good use in labeling health and beauty products as well as complex pharmaceutical components and elixirs.Our interpretation aims for contemporary applications, namely branding and editorial projects. The weights start at almost mono-linear and contrast becomes more apparent the heavier it gets. There are 4 widths and infinite variations in between via variable font technology.We designed alternates for lowercase letters a, g &amp; l. An alternate uppercase J helps shape impactful headlines.Tried and tested from small batch coffee packaging to hotel chains and fashion companies, Matria is sure to make a nice addition to any designer&#x27;s toolkit.

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Rodrigo Saiani