This irreducibility is very evident in the typographic preponderance, where its dimension and spatial limits take a decisive role. Our study of the work developed by Josef Müller-Brockmann, a Swiss pioneer in the exploration of the grid as a design element, contributed heavily to this result. To mark its application, we made use of a line that traces the limits of the various sections of the pieces we developed. This intends to emphasize the logo, which acts as a perpetual umbrella for the rest of the information.
The photography direction, with its sober aesthetics aimed at an apparent laid-backness, takes advantage of the dispute of shadow and contrast that becomes apparent as you value the use of empty-space more. The result is a brand full of fighting spirit, as unshakable about its graphic confidence as about the solidity of its harmony.