GANADORES ESTUDIANTES 2026
Conoce los 59 proyectos estudiantiles ganadores, elegidos como los mejores proyectos de diseño de toda Latinoamérica por nuestro panel de 54 expertos internacionales.
ESTUDIANTES - ANIMATION
Proyecto realizado por:
Leticia Bianchi, Mariane Lisboa e Vinícius Nunes
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1907 – Low Budget / De bajo presupuesto
Nombre de la Universidad o Institución Educativa
Universidade Federal do Rio Grande do Sul
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Descripción del proyecto en INGLÉS
'Ponto Final' is a stop motion animation that depicts emotional dependency, as well as freedom from it, through two characters connected by yarn. The project sought to represent a complex concept in very simple steps. There is no dialogue, and the entire story is told by actions. With a very short run time, it represents how sometimes staying in an abusive environment hurts more than letting go.
Contexto cultural / problemática del proyecto en INGLÉS
Ponto Final's main challenge was to convey a complex concept or emotion behind a simple animation, using traditional methods like stop motion or mixed medias. It was proposed as an academic project in a wider analysis of semiotics and meaning in design. In that way, two crochet characters of equal proportions in different colors were created from the idea that crochet can be undone when an external force is applied: one person becoming weaker because of another. A backdrop for the story was also created using natural and local materials, including yerba mate, making part of an accessible and low budget scenography.
Solución del proyecto en INGLÉS
To communicate the short film’s message in a simple and universal way, abstract characters were placed within a familiar, everyday setting, allowing viewers to project their own experiences onto the narrative. This abstraction avoided explicit references, emphasizing emotional interpretation over literal meaning. Sound design played a crucial role, not only in building an immersive atmosphere but also in precisely marking each action, effectively replacing dialogue and guiding the viewer’s understanding. The frame-by-frame stop motion animation, combined with mixed techniques, introduced a tactile and organic quality that reinforced the central metaphor of the thread and its fragility. Through careful editing, the narrative rhythm was controlled to heighten tension and emphasize the moment of release, achieving a balance between subtlety and clarity. The result is a short yet powerful piece that communicates a complex concept in an accessible way, standing as an independent work with strong symbolic and emotional impact.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Leticia | Bianchi | escenário, fotografía, audio, dirección, guion | UFRGS |
| Mariane | Lisboa | dirección, fotografía, edición | UFRGS |
| Vinícius | Nunes | escenário, personajes, fotografía, edición, dirección, audio | UFRGS |
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ESTUDIANTES - BRANDING
Proyecto realizado por:
Leonardo Bohn Iber
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1105 – New Integrated Identity / Identidad de nueva marca extensa
Nombre de la Universidad o Institución Educativa
Universidade Anhembi Morumbi
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Descripción del proyecto en INGLÉS
K-FFE is a visual identity project initially developed for a real coffee shop, aiming to merge contemporary Korean culture with Brooklyn’s urban energy. The goal was to create an authentic and memorable brand that delivers an experience beyond coffee, connecting culture, design, and lifestyle.
During the development process, the owner decided not to move forward with opening the business, turning the project into a fictional brand. Even so, a complete and consistent visual system was created, including logo, typography, illustrations, and graphic applications. The identity explores the contrast between modern and handcrafted elements, resulting in a contemporary, versatile, and culturally relevant brand designed to stand out in a competitive market.
Contexto cultural / problemática del proyecto en INGLÉS
The K-FFE project emerges in a context where coffee shops are increasingly seen as cultural and social spaces, going beyond their commercial function. Inspired by the global expansion of Korean culture and Brooklyn’s urban aesthetic, the project aimed to create a brand that resonates with a young, creative audience connected to contemporary design and lifestyle.
The main objective was to develop a visual identity capable of standing out in a highly competitive market, where many coffee brands share similar visual languages. One of the key challenges was balancing distinct cultural references without relying on stereotypes, ensuring an authentic, modern, and functional identity.
Initially conceived as a real project, the brand development had to consider limited resources and the need for flexible communication across physical and digital touchpoints. After the business was canceled by the owner, the project became fictional, allowing for greater creative exploration while maintaining strategic and conceptual consistency.
Solución del proyecto en INGLÉS
The K-FFE project solution was built around the creation of an expressive and flexible visual system capable of translating the intersection between contemporary Korean aesthetics and Western urban language. The adopted strategy was to use design as the main narrative tool, turning the visual identity into an emotional and cultural element of the brand.
Original illustrations and symbols inspired by Korean culture were developed to create a distinctive and recognizable graphic universe. One of the key elements of the identity is the brand character, a cuter and more approachable reinterpretation of the Korean tiger, a cultural symbol traditionally associated with protection, strength, and national identity. This interpretation helps reinforce the brand’s friendly and youthful tone.
As a result, the visual solution meets the strategic objectives of the project, delivering a cohesive, distinctive, and visually strong identity that clearly communicates culture, experience, and personality.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Leonardo | Iber | Direção de Arte | Leonardo Iber |
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ESTUDIANTES - DIGITAL
Proyecto realizado por:
Daniela López y Noel Salas
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Venezuela (Bolivarian Republic of)
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1806 – App / App
Nombre de la Universidad o Institución Educativa
Instituto de Diseño de Caracas
Descripción del proyecto en INGLÉS
Bukos is all about bringing banking and financial savvy to the youth in Venezuela. It’s a digital wallet that makes saving automatic and spending abroad a breeze. The name itself is a nod to local slang—"bukos" is how Venezuelans flipped the word "bucks" to make it their own, sparking an instant vibe of local pride. The app focuses on micro-savings, letting you turn your rounded-up cents into real progress toward your goals.
Visually, Bukos stays far away from those boring, old-school bank vibes. We built a brand that’s friendly, witty, and speaks your language, all under the motto "así te la gozas" (live it up). We’re turning financial learning into something easy and fun, stripping away the gatekeeping and exclusion of traditional banks.
Contexto cultural / problemática del proyecto en INGLÉS
The project addresses a critical reality: young Venezuelans have been locked out of the international banking system. According to data from Ecoanalítica and the ENCOVI survey, it is estimated that over 70% of the population lacks dynamic financial tools or easy access to global payments. This exclusion is worsened by the design of current platforms, whose rigid interfaces, complex statistical charts, and overly formal language feel alien to those not accustomed to traditional banking.
This barrier isn't just economic—it’s a communication gap. Traditional banks project a coldness that fails to connect with a young person’s daily life. Bukos recognizes that the real issue is the lack of approachable, relatable solutions that validate small-scale saving habits. By failing to speak the same visual and verbal language as its audience, the traditional financial system ignores the needs of a generation that requires agile tools to work and consume content in a digitalized world.
Solución del proyecto en INGLÉS
The visual world of Bukos breaks down financial features using an aesthetic rooted in pop culture and modern trends. A clean "white canvas" layout makes navigation a breeze, letting your savings and goals take the spotlight. We complemented this minimalist look with a custom font that mixes sharp and soft edges to signal both trust and adaptability. Plus, with a personalized interface, users can pick their own colors, making the app feel like home.
Our design team took an experimental approach to the concept of currency: the logo draws inspiration from ancient Chinese coins with their iconic square centers—a timeless symbol of wealth—now updated with a fresh, high-energy look. This theme carries over into four uniquely illustrated, brightly colored banknotes that make the saving experience pop. By mixing this bold style with the mindset of "enjoying the process," Bukos turns financial literacy from a sacrifice into a vibrant journey that truly resonates with its users.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Daniela | López | Diseñador Gráfico | Instituto de Diseño de Caracas |
| Noel | Salas | Diseñador Gráfico | Instituto de Diseño de Caracas |
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Proyecto realizado por:
Marina Sartori Becker
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1807 – Experimental / Experimental
Nombre de la Universidad o Institución Educativa
UNIVATES - Universidade do Vale do Taquari
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Descripción del proyecto en INGLÉS
The Final Course Project (TCC) in Design from UNIVATES, titled "Dados que transbordam: Design de informação aplicado à representação visual das enchentes," transcends technical analysis by incorporating the author's personal experiences, inspired by the repeated floods in the Taquari Valley.
The project moves beyond traditional infographics by integrating the cognitive, affective, and sociocultural dimensions into data representation. Its approach seeks to combine informational rigor with empathy, promoting a valuable contribution to both public debate and the academic field.
It addresses crucial topics such as risk management, collective memory, and climate justice. The goal is to connect the public with the reality of the affected communities and encourage reflection on the floods that occurred in Rio Grande do Sul in 2024.
Contexto cultural / problemática del proyecto en INGLÉS
O projeto se materializa em um website concebido para informar e construir uma ponte empática entre o público que não vivenciou de perto as inundações de 2024 no Rio Grande do Sul e as pessoas afetadas. Além do seu caráter meramente informativo, este trabalho adota um tom expositivo e de protesto, dando visibilidade às narrativas de minorias e a temáticas que receberam pouca atenção durante o auge da crise. O principal desafio na execução deste projeto foi precisamente retratar informações sensíveis e impactantes de uma maneira suave e não chocante, garantindo que o público pudesse compreender a magnitude do desastre sem ser sobrecarregado emocionalmente.
Entre os exemplos práticos dessa aplicação, destaca-se o menu principal do protótipo funcional, que assume a estética de um arquivo documental deteriorado ou desorganizado, evocando a ideia de "papéis extraviados". Outro recurso adotado foi a imersão empática: as telas iniciais convidam à interação com elementos simbólicos como sons de chuva, luzes que precisam ser acesas manualmente e um rádio que deve ser sintonizado para liberar o conteúdo textual.
Na seção "População Afetada", uma visualização de densidade no formato de montanha ou onda ilustra seis formas de sofrimento (óbitos, feridos, desaparecidos, resgatados, abrigados e desalojados). Cada pico simboliza uma dimensão do impacto, convertendo estatísticas em uma metáfora visual para o acúmulo da dor coletiva e destacando que cada número corresponde a uma história particular.
Já na seção "Demografia", cubos verdes segmentados representam a proporção da população atingida em diferentes municípios, remetendo à noção de que a água é medida em metros cúbicos. Essa escolha mantém a estética modular do projeto e torna a informação mais acessível, sendo este enfoque especialmente importante ao tratar de temas como desigualdade, trauma e reconstrução social.
Solución del proyecto en INGLÉS
The purpose of this initiative transcends the mere formality of a Final Course Project. The main focus of the project is the creation of sensitive, accessible, and politically engaged visual narratives, utilizing the power of visual metaphors to express reality. The work establishes a bridge between data visualization, information design, and crisis communication.
It seeks to demonstrate how the interconnection between quantitative data and symbolic dimensions can be crucial for promoting social awareness, strengthening collective memory, and supporting strategic decision-making. This reaffirms Design as a fundamental mediating agent, capable of translating the complexity of data into palpable human experiences, addressing deep themes such as inequality, trauma, and the process of social reconstruction.
The methodology employed in the development of this work is based on the structure proposed by Rodrigo Medeiros (2021), which articulates the foundations of infographics and data visualization with specific strategies for the creation of digital artifacts. This combination resulted in a hybrid and complementary process, culminating in a digital product focused on data visualization. The development was structured into four major stages (macrophases): Research, ideation, prototyping, and evaluation.
Within each phase, various design tools and techniques were applied. The choice of this methodology is justified by its innovative nature, as it differs from the traditional production of infographics (generally intended for print media) and allows the project to be digitally prototyped on the Figma platform, which is essential for a product oriented towards interactive data visualization.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Marina | Sartori Bekcer | Designer | Univates |
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Proyecto realizado por:
Gabriela Azulay Lewin y Roberta Cordeiro
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1808 – Videogame / Videojuego
Nombre de la Universidad o Institución Educativa
Pontifícia Universidade Católica do Rio de Janeiro
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Descripción del proyecto en INGLÉS
Duckademy is a multiplayer tvOS exclusive game where two players use their iPhone devices as remote controllers in fast-paced agility duels. Created by students from Apple Developer Academy | PUC-Rio, the project was born from the challenge of redefining Apple TV, traditionally associated with streaming, as a powerful gaming console.
Designed for shared play, it transforms the big screen into an attraction for diverse audiences, while exercising agility and fine motor coordination. Once downloaded, Apple TV becomes the gateway to Duckademy’s world, where players embody one of Master Patoto’s seven apprentices, competing for the title of Supreme Wizarduck.
The experience blends narrative, competition, and real-time illustrated challenges. Every movement on the iPhone is mirrored instantly on the TV: with a single continuous stroke, players replicate runes displayed on screen with precision and speed. More than a game, Duckademy reimagines the living room as a shared, magical, and interactive play space.
Contexto cultural / problemática del proyecto en INGLÉS
Duckademy emerged within the educational environment of Apple Developer Academy | PUC-Rio, where students were challenged to develop an interactive experience capable of generating impact at the university’s annual exhibition. The project’s main objective was to create an innovative proposal that would stand out during the event and demonstrate new possibilities for Apple TV, traditionally associated with passive streaming consumption.
In a market largely dominated by individual-oriented digital entertainment platforms, the team identified an opportunity to explore Apple TV’s potential as a social interaction space within the home. The challenge was to transform the device into an exciting gaming platform capable of promoting shared experiences among players of different age groups, without requiring additional peripherals beyond users’ own iPhones.
One of the primary challenges was designing an experience that could support simultaneous interaction across multiple screens — the TV and two iPhones — without compromising clarity or gameplay rhythm. The focus was on ensuring that players could easily understand the relationship between their actions and what was displayed on the main screen, maintaining a sense of continuity and shared understanding.
To address this, the project adopted a user-centered design approach aimed at creating a fluid and intuitive experience. Special attention was given to visual feedback, interaction timing, and the alignment between personal and shared screens, ensuring that each action felt immediate and responsive.
The design process involved mapping potential friction points and refining user flows to reduce cognitive load and ambiguity during gameplay. By prioritizing clarity, responsiveness, and visual coherence, the experience was shaped to feel natural, engaging, and accessible — not only for players, but also for spectators interacting with the game environment.
Solución del proyecto en INGLÉS
The strategy adopted for Duckademy focused on designing a shared gameplay experience that leveraged Apple TV and iPhone as complementary touchpoints within a single interaction system. The goal was to transform a traditionally passive environment into an interactive, engaging, and social experience within the home, encouraging players to interact not only with the game, but also with each other.
To achieve this, an iterative UX design approach was implemented, combining exploratory research, rapid prototyping, and continuous usability testing. The team mapped potential friction points across the multi-screen experience, prioritizing visual clarity, immediate feedback, and intuitive interaction flows. The interfaces were designed as a cohesive system, ensuring consistency and alignment between the main screen and the players’ individual devices.
Particular attention was given to how actions performed on personal screens would be perceived in the shared space, reinforcing a sense of continuity and collective understanding. Feedback loops, visual cues, and timing were carefully designed to make interactions feel responsive and easy to follow, both for players and spectators.
Special consideration was also given to accessibility and onboarding, ensuring that new users could quickly understand the mechanics without prior explanation. Visual guidance and progressive disclosure were used to reduce cognitive load and support a smooth learning curve, allowing players of different experience levels to engage confidently with the game.
Additionally, a progressive narrative set within a fictional magic school was incorporated as a way to onboard users naturally into the game’s dynamics. This integration of storytelling and interaction design enabled the creation of a fluid, engaging, and accessible experience aligned with the project’s goals.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Gabriela | Azulay Lewin | Animator | Gabriela Azulay Lewin |
| Gabriela | Azulay Lewin | Illustrator | Gabriela Azulay Lewin |
| Gabriela | Azulay Lewin | UI Designer | Gabriela Azulay Lewin |
| Roberta | Cordeiro | UI Designer | Roberta Cordeiro |
| Roberta | Cordeiro | UX Designer | Roberta Cordeiro |
| Lucas Santhiago | Santos | Developer | Lucas Santhiago Santos |
| Felipe | Peixoto | Developer | Felipe Peixoto |
| Davi | Barros | Developer | Davi Barros |
| Davi | Barros | Product Manager | Davi Barros |
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Proyecto realizado por:
Maria Moreno.
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1807 – Experimental / Experimental
Nombre de la Universidad o Institución Educativa
Pontifícia Universidade Católica do Rio de Janeiro
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BANCA PROJETO FINAL Copy 2.pdf
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Descripción del proyecto en INGLÉS
This project investigates Gambiarra, the Brazilian culture of spontaneous and improvised design, as a way of understanding and interacting with the world through the re-signification of industrial artifacts. By exploring the tension between mass-produced technology and individual agency, the work manifests as an interactive installation that invites participants to deconstruct and modify digital environments. Using second-hand materials and circuit-bent electronics, the installation instructs users to manipulate sound and video through hacked objects, promoting a participatory dialogue on how we can reclaim and reshape contemporary technology. The objects modified for the installation, in this way, aim to open a dialogue that shows other ways of thinking about the functionalities of the artifact that were not previously boxed into the "possible" of a dominant discourse, besides making explicit the way digital technologies are constructed.
Contexto cultural / problemática del proyecto en INGLÉS
In the context of globalization, blindly used technology can be considered a geopolitical device of mediation and control, used to establish influence. Furthermore, the continuous development of new technological devices drives the loss of understanding of the operating mechanisms of various things, as well as the deviation of one's own identity and capacity for action, which become dependent on an external hegemonic force. In this way, the global technological asymmetry is also revealed, since it is convenient for core countries to delegate to peripheral countries the role of mere consumers of technology and industrial design, or the role of raw material suppliers. However, by monopolizing technological innovation, in addition to increasingly widening the distance between 'advanced' and 'non-advanced' countries, it leads to the importation of artifacts that have nothing to do with local peripheral needs.
Interfering with a system is also to modify the mental state or the paradigm from which that system arises. Due to the disparity in access to goods and tools in peripheral urban contexts, spontaneous manifestations, such as Gambiarra in Brazil, emerge as a subversion of industrial artifacts and, consequently, reuse available materials as a form of resistance and/or participation in the consumer society. Spontaneous Design is defined as a practice of creative resistance, which seeks solutions for solving concrete problems, in a context of severe lack of resources. The objective of this work is to reflect on contemporary relationships with objects and to encourage the exploration of new ways of modifying technologies through an interactive installation.
Solución del proyecto en INGLÉS
The chosen approach proposes small circuits in modules that can be manipulated by the public. These circuits integrate reused devices subjected to circuit-bending (the practice of modifying low-voltage electronics to control sound and image outputs) and are built using recycled and low-cost electronic components. Visits to outdoor markets were essential for the acquisition of second-hand electronics, which formed the basis for the experimentation process. In these spaces, it becomes possible to perceive the large volume of objects resulting from early disposal and planned obsolescence, practices driven by contemporary industrial realities.
The first module is based on digital errors and aims to build a glitch camera where the user can create combinations between data lines in order to create a visual effect that resembles a failure, causing pixel repetition, image freezing, and color saturation. The second is based on the creation of a synthesizer in which the visitor can modify the pitch modulation of each key. By incorporating new components into a musical keyboard, each person is able to change the oscillation, frequency, and intensity of the notes while playing them, generating dissonant sounds from the original scale.
Upon encountering these objects, the visitor is invited to participate in a learning process that arises through pleasure and discovery. The modified artifacts aim to bring to light some aspects of the functioning of digital technologies, as well as to offer constructions that escape the original utility in an inventive and improvised way. Parallel to the development of these objects, documentation was produced and presented to the public, explaining fundamental concepts of electronics and the digital world in which we live.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Maria | Moreno | Designer | PUC-Rio |
| João | Bonelli | Tutor | PUC-Rio |
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Proyecto realizado por:
Maria Eduarda Rocha
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1809 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Escola Superior de Desenho Industrial
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Descripción del proyecto en INGLÉS
Histórias da Guerrilha is a project that presents the history of the dead and disappeared during the Brazilian Military Dictatorship through an interactive and easy-to-visualize platform. Previously restricted to Volume III of the National Truth Commission (Comissão Nacional da Verdade - CNV) Report—a discursive text exceeding one thousand pages—the project brings visibility to the 434 registered victims, transforming dense and inaccessible data into clear and living memory. Through interactive data visualization, users can filter victim profiles by region, period, gender, age, and circumstance of death to understand the aggregate profile of the victims. Additionally, users can access specific sections for each victim, giving faces and detailed biographies to silenced stories. By combining historical rigor with interface design, the project democratizes access to information, raises public awareness, and combats forgetting through a sensitive and intuitive visual narrative.
Contexto cultural / problemática del proyecto en INGLÉS
The work emerges in a landscape of resurgence and a new rise of political extremism in Brazil and Latin America. In this context, the reclamation of memory becomes a necessary tool to combat collective forgetting.
Although the National Truth Commission (Comissão Nacional da Verdade - CNV) was a significant milestone for the memory of crimes committed by the State during the Brazilian dictatorship, its reports total more than 4,000 pages of dense text. In practical terms, this makes effective reading and full comprehension unfeasible, leaving the memory of Arnaldo Cardoso Rocha (the project author's great-uncle) and the other victims at risk of being forgotten. Currently, there are no digital interfaces that organize this data in an accessible and intuitive manner.
The project's challenge was to translate Volume III of the report, dedicated to the 434 victims, into a Digital Humanities experience. The solution involved structuring the information from the Report—which was originally in a continuous text format—into a database. Thus, a website was created consisting of: an interactive data visualization that allows the user to filter the total set of victims by region, period, gender, age, and circumstance of death to understand patterns of repression; and from this overview, facilitate the search and research of detailed individual profiles, where static records gain faces, biographies, and hyperlinks, transforming the archive into a network of accessible and connected life stories.
Solución del proyecto en INGLÉS
The initial need was to profile the victims of the Brazilian military dictatorship through data systematization. The first step consisted of extracting information from Volume III of the CNV Final Report, converting the mini-biographies—name, parentage, profession, political organization, and location of death or disappearance—which were previously in a continuous text format, into a structured database. This structuring was fundamental not only for the project's interface but for historical research in general: the work resulted in a public repository on GitHub, democratizing access to unstructured data and facilitating future investigations into the period in a machine-readable format.
After the initial structuring, the data underwent processing to correct inconsistencies and create variables. Groupings were established by geographical region and age segmentation, defining individuals murdered or disappeared under the age of 30 as "youth." Additionally, the typology of repression was standardized: victims whose biographies indicated a "location of disappearance" were classified as disappeared, while the others were recorded as dead.
Once the data was structured, a visual experimentation phase began using Flourish, Illustrator, and Figma to identify patterns. This prototyping process was essential for defining the site’s information architecture, which prioritizes user exploration. The interface was organized into main pages, individual profiles, and complementary sections about the CNV and groups not listed in the original report. The navigation’s distinguishing feature is the presence of a data visualization at the bottom of every page; it acts as a structural axis that allows the user to constantly and intuitively transition between the macro (the set of victims) and the micro (individual stories), complemented by a network of hyperlinks.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Barbara | Castro | Advisor | Escola Superior de Desenho Industrial |
| Luiz | Bines | Coding | Universitat Pompeu Fabra |
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Proyecto realizado por:
Maria Moreno.
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1809 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Pontifícia Universidade Católica do Rio de Janeiro
Descripción del proyecto en INGLÉS
The portfolio developed by Maria Moreno brings together professional presentation and technical experimentation within a single digital experience, proposing a navigation flow that highlights programming skills throughout the user journey. Entirely programmed by the author, the website does not rely on large volumes of media or pre-built portfolio platform structures, positioning the code itself as part of the concept.
The project constructs a dynamic visual language through dynamically generated gradients that accompany the navigation. These elements are subtly integrated into the interface, avoiding a caricatured technological aesthetic and keeping the focus on the presented content.
As a recent graduate, the portfolio is organized to prioritize the explanation of each project, the role played in each process, and the presentation of small experiments, articulating her trajectory in creative coding with contemporary references in professional presentation.
Contexto cultural / problemática del proyecto en INGLÉS
Often, while still a student, creating one’s own portfolio can be an exhausting task. Beyond presenting work to future clients and employers, it becomes a space for observing one’s own process and the skills developed throughout training. In this way, more than a promotional tool, the portfolio also functions as an exercise in reflecting on one’s own practice. However, as a recent graduate, the portfolio models used by professionals do not always meet the needs of someone with few projects who is entering a field that is still in the process of consolidation.
In the context of the growing use of digital tools and the multidisciplinary nature of contemporary design, programming skills become part of the training of new professionals. Using code as a means to explore not only new visual languages but also interactions that make the digital experience engaging is a competency that is rarely conveyed through pre-configured platforms. A dedicated space becomes necessary, one in which it is possible to experiment freely and structure an experience that communicates the technical possibilities of my own service. At the same time, there is the challenge of presenting technology without resorting to caricatured or overly demonstrative aesthetics.
The project therefore consists of creating a personal portfolio that responds to limited resources, the condition of being a student, and entry into the emerging field of creative coding. The website proposes a project display similar to that practiced by professionals, while tending to give greater emphasis to each project, relying less on the need for multiple media formats. The experience also showcases skills in real time, as it is entirely programmed by me, integrating generative background graphics with transitions and interactions expected of a contemporary website.
Solución del proyecto en INGLÉS
The project solution stemmed from the creation of a portfolio fully programmed by me, in which the website itself becomes part of the work being presented. The adopted strategy was to use web programming resources to build an experience that communicates technical skills in real time, without relying on large volumes of media or pre-built portfolio platform structures.
In addition to transitions and interactions typical of the web, shader techniques were employed, a type of graphical code executed by the device’s graphics card, responsible for generating and manipulating colors and shapes in real time. Through this resource, dynamic gradients were created to accompany the user’s navigation throughout the experience, establishing a continuous visual rhythm and reinforcing the project’s experimental character. The subtle pixelation of these gradients uses the pixel in a non-literal way, avoiding a caricatured technological aesthetic and subtly integrating the graphic resource into the interface.
The homepage and the projects section are not based on displaying a mosaic of finished works. Instead, the content organization prioritizes a main media , the explanation of each project and the role developed by me, as well as the presentation of small experiments that do not consolidate into full projects but demonstrate the variety of outcomes that can result from using code as a medium. The portfolio also concisely presents my trajectory in the field of creative coding, articulating technique and visual language as part of a single professional presentation proposal.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Maria | Moreno | Designer | SupLab |
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Proyecto realizado por:
Gonzalo Muñoz
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Ecuador
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1802 – Institutional Website / Web Institucional
Nombre de la Universidad o Institución Educativa
IED Madrid - Istituto Europeo di Design
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TYPOLAB Dossier.pdf
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Descripción del proyecto en INGLÉS
TYPOLAB is a digital platform that reimagines academic typographic exercises as an active online type foundry. The project aims to transform student-developed typefaces into accessible, explorable, and downloadable digital resources, extending their relevance beyond the classroom.
To achieve this, an end-to-end interface was designed for both desktop and mobile environments, organizing content into four core sections: Typefaces, Insights, Store, and About. The platform allows users to test fonts, understand their development process, and purchase related physical or digital products. From initial research to high-fidelity prototyping, the project integrates information architecture, user flows, and visual identity into a coherent and scalable system.
Contexto cultural / problemática del proyecto en INGLÉS
Within academic environments, many typographic projects remain archived as exercises without public or professional continuity. At the same time, the digital type market is largely dominated by established foundries, leaving limited visible space for emerging experimental practices.
TYPOLAB responds to this gap by creating a digital environment where typographic learning becomes active cultural production. The project addresses the need to make process visible, not only final results, positioning student experimentation as a valuable and legitimate design output.
In a digital culture that demands accessibility, user experience, and scalability, the challenge was to design a functional and professional platform capable of structurally and visually competing with real-world type foundries while preserving its academic identity.
Solución del proyecto en INGLÉS
The solution consisted of designing a comprehensive digital experience that integrates type exploration, editorial content, and commerce within a single ecosystem. A clear architecture was developed around four primary modules that organize typefaces, creative insights, store functionality, and institutional information.
The visual system—built around a bold red and grey identity and the use of PFA Haben typography—establishes a strong and recognizable presence aligned with the project’s experimental character. Specific user flows were designed to allow font testing, full glyph visualization, file downloading, and product purchasing.
The interactive prototype, developed in Adobe XD for both desktop and mobile, demonstrates the technical feasibility and scalability of the system, conceived as a modular platform capable of continuously integrating new typefaces and content.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Gonzalo | Muñoz | Diseñador | IED Madrid |
| Luis | Torrente | Docente | IED Madrid |
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Proyecto realizado por:
Gianella Aparicio
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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1806 – App / App
Nombre de la Universidad o Institución Educativa
Corriente Alterna
Descripción del proyecto en INGLÉS
Vitali is a digital support solution for patients recently diagnosed with chronic diseases, especially diabetes. Its main objective is to provide emotional guidance, structured education, and continuous support during the initial critical period post-diagnosis.
To achieve this, a mobile application prototype was developed with a program of progressive phases that includes intensive emotional validation, intelligent medication reminders, educational micro-lessons, practical guides for disease management, and progress visualization tools. The experience is accompanied by "Vita", a hummingbird mascot that humanizes the process and creates an empathetic bond with the user. Additionally, the platform integrates directly with health insurance benefits, facilitating appointment scheduling, medication renewal reminders, and access to medical resources from the first day of diagnosis.
Contexto cultural / problemática del proyecto en INGLÉS
In Peru, non-communicable chronic diseases represent a major public health challenge. According to the National Institute of Health (2025), 2.6 million people over 18 years old live with diabetes, with 96% being type 2 cases, a reality significantly reflected in the privately insured population where 22% of patients in chronic programs suffer from this disease. However, behind these figures lies a critical problem: only 69% of those diagnosed receive treatment and only 30% manage to maintain adequate control, a situation that directly responds to the support gap during the initial post-diagnosis period.
This gap begins from the first consultation, where in just 15-20 minutes, the patient experiences an emotional shock that prevents them from fully processing the medical information. In the following weeks, they are left alone facing their new reality, experiencing loneliness, confusion, fear, and progressive demotivation that sabotages their treatment adherence. Faced with this unmet need, Vitali emerges as a response for privately insured patients, an audience familiar with digital technology seeking practical solutions but lacking structured guidance during this critical moment.
The project leverages the opportunity presented by a market with an evident gap in digital support solutions, integrating emotional support with existing healthcare services and using the culturally relevant symbolism of the hummingbird, which represents resilience and constant care, to create an empathetic experience that transforms this critical moment.
Solución del proyecto en INGLÉS
To address the critical support gap post-diagnosis, the Vitali prototype was designed with a structured program of three progressive phases: "Orientation", "Construction" and "Confidence". The development focused primarily on the "Construction" phase, which represents the period where the patient begins to establish routines and consolidate care habits for their disease.
This phase incorporates specific functionalities: intelligent medication reminders, brief educational micro-lessons designed not to overwhelm, practical guides for daily nutrition, and periodic emotional check-ins that allow monitoring mood and detecting warning signs. The prototype facilitates the progressive building of confidence and autonomy in managing the chronic condition.
The experience is humanized by "Vita", a hummingbird that empathetically accompanies the patient, reducing medical stigma and leveraging its cultural relevance as a symbol of resilience and constant care. Vitali integrates key modules: connection with clinical services that allows recalling the summary of the previous consultation, visualizing next steps and monitoring progress; and insurance benefits management that facilitates scheduling with specialists, medication renewal reminders, and access to available medical resources.
Additionally, the solution benefits the health insurance provider through population-level and actionable insights generated by integrated AI, including a population dashboard for aggregate monitoring, service demand prediction, and pre-consultation reports for doctors, which optimize care delivery.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Jorge | Aparicio | Full Stack Developer | |
| Gianella | Aparicio | UX/UI Designer | |
| Renzo | Crisanto | Full Stack Developer |
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ESTUDIANTES - EDITORIAL
Proyecto realizado por:
Bernard Gerber, Mariana Esteves y Pedro Matos
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1305 – Complete Book / Libro completo
Nombre de la Universidad o Institución Educativa
Faculdade de Belas-Artes da Universidade de Lisboa
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Descripción del proyecto en INGLÉS
"A Designer at the End of the Dream Career" is a self-published book reflecting on the non-linear paths designers face as they begin their professional journeys. Developed in the final semester of the Communication Design degree, it explores the symbolic and practical weight of reaching the end of academic life.
The project began with a prompt: “A Designer at the End of…”. Each group completed the phrase in their own way, contributing an 8-page chapter that expressed personal and collective reflections. The task was then to bring them together under a shared theme, The Dream Career: the thrill of starting out, the disillusionment that can follow, and the hope that keeps us moving forward.
A unifying visual identity was created to connect all contributions, drawing from diagrams, maps, and charts as a nod to the soul-searching that shapes every designer’s path. Physically, the publication itself is divided into three interwoven chapters, inviting
Contexto cultural / problemática del proyecto en INGLÉS
The project was developed during the final semester of the Communication Design degree, in a moment of academic closure and transition into professional life. Its purpose was to reflect on the non-linear paths designers face as they begin their careers, addressing both the symbolic and practical weight of reaching the end of university life.
The main challenge was to bring together multiple personal perspectives into a single, cohesive publication without losing the diversity of voices. With no external client, the academic context itself became both the framework and the audience for the project. In a professional environment often shaped by idealized narratives of creative success, the book responds to the need for a more honest and critical reflection.
With limited resources and under a self-publishing model, the project was developed using the facilities and tools available at the faculty, aligning with the realities of independent publishing and the emerging professional experience of young designers.
Solución del proyecto en INGLÉS
The strategy focused on transforming a shared personal experience into a structured editorial object. Starting from the common prompt “A Designer at the End of…”, each group developed an eight-page chapter combining personal and collective reflections, later unified under the overarching concept The Dream Career.
The design approach relied on a cohesive visual identity inspired by diagrams, maps, and charts, used as metaphors for exploration, doubt, and decision-making in creative careers. The physical structure of the book was divided into three interwoven chapters, allowing multiple entry points and mirroring the unpredictable nature of professional paths.
Production was entirely hands-on, using Risograph printing and manual binding processes, reinforcing the project’s experimental, tactile, and independent character.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Frances | Rocha | Photographer | Freelance |
| Rui | Silva | Mentor | Faculdade de Belas-Artes da Universidade de Lisboa |
| Afonso | de Matos | Mentor | Faculdade de Belas-Artes da Universidade de Lisboa |
| António | Nicolas | Mentor | Faculdade de Belas-Artes da Universidade de Lisboa |
| Sofia | Gonçalves | Mentor | Faculdade de Belas-Artes da Universidade de Lisboa |
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Proyecto realizado por:
Beatriz Simões
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1310 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Köln International School of Design
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Manifesto gifs.zip
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documentation manifesto.pdf
Descripción del proyecto en INGLÉS
A Manifesto on Working Otherwise is an editorial publication that proposes an alternative way of graphic design practice. The project emerges from a practice-based research that questions the contemporary culture of efficiency, speed, and constant productivity.
Its main objective was to explore how the design process can be oriented toward autonomy, experimentation, and a more conscious relationship with tools and materials, in a process where thinking and making occur together. To achieve this, the manifesto was developed exclusively using analog and electric typewriters, fax machines, and collected printed materials, produced entirely outside digital environments during its creation process.
Through ten principles, the project articulates a critical position on how we work as designers and proposes reclaiming time, curiosity, and agency within the creative process.
Contexto cultural / problemática del proyecto en INGLÉS
In the current context, graphic design is deeply shaped by logics of efficiency, speed, and constant optimization. Digital tools and AI have accelerated production processes, but they have also reinforced dynamics of time pressure, standardization, and technological dependency.
In this scenario, the designer risks becoming a software operator, prioritizing immediate results over reflective processes. Material exploration, error, testing time, and experimentation are often displaced by tight deadlines and performance expectations.
This project emerges as a response to that accelerated culture. It does not position itself in opposition to the digital, but rather as a critical reflection on how efficiency and productivity logics influence design practice. It questions the relationship we establish with our tools and the way time conditions our decisions. Within this framework, the research proposes reclaiming the process as a space of exploration and content, where value lies not only in the outcome, but in the experience, decisions, and relationships constructed through making.
Solución del proyecto en INGLÉS
The strategy adopted was to develop the manifesto through a deliberately material and experimental process. Instead of designing within digital environments, the work was carried out exclusively with office machines originally intended for administrative functions: typewriters and fax machines.
These devices were repurposed beyond their original purpose, exploring their limitations, material behaviors, and unexpected possibilities. The process was based on direct interaction, trial and error, and the combination of different devices and types of paper. Their selection responded to the author’s interest in exploring them in depth, understanding that the project’s approach does not depend on specific instruments, but on the attitude toward the process.
The result is a publication composed of ten principles that are not only stated in the text but materialized on each page through formal decisions directly linked to the process itself. The solution does not reside solely in the final object, but in the method: a way of working in which thinking and making occur simultaneously, allowing the tool to participate in the construction of the design actively.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Beatriz | Simões | Designer | Beatriz Simões |
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Proyecto realizado por:
Camila Lustosa
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1310 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Köln International School of Design
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AAABook BookComplete.pdf
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Descripción del proyecto en INGLÉS
The AAA Book is a documentation of Camila's found way of confronting her fear of designing. For the first time, rather than trying to overcome it, the book documents a new proposal: staying with fear and creating around it. Deeply inspired by the lightness of Corita Kent's methodology and her own experiences around creation anxiety, the book guides the reader through the feelings, ideas and designs made throughout the project. Manual sewing and colored paper were chosen instead of sending it to a printer with the goal of having full control over the making process, and learning from it at every step. The bookmark, made of transparent paper, brings the cover to life, revealing the name of the book.
Contexto cultural / problemática del proyecto en INGLÉS
AAA emerges from long-term personal and professional experiences with creative anxiety, rooted in fears of underachieving, idealized expectations of what the creative process and its outcomes should look like, and paralyzing perfectionionism. When designers encounter this type of creative block, initiatives such as 36 Days of Type often amplify comparison, reinforcing fear, self-censorship, and performance-driven creativity rather than learning. The central question became how to propose an exercise capable not only of interrupting this anxiety–fear cycle, but also of generating critical reflection around it. The book emerged as a second movement of the project, born of the need to document both the process and the thinking behind it. Developed within an academic context and without a commercial client, AAA responds to a common need among women designers and students: creating safer, more reflective spaces for experimentation. The book documents one more opportunity to work and enjoy it.
Solución del proyecto en INGLÉS
The purpose of AAA was to challenge the paralysing perfectionist's logic through the rules learned from Corita: to enjoy oneself, and to keep working. If an exercise like the 36 Days of Type gives you anxiety, how to reframe it in a way that can bring you joy? Could someone enjoy the exact place where they normally feel stuck? The solution was to limit the project to the letter "A", symbolising the beginning of a project, the place of fear. And this same "A", when tried and tried again, could also give voice to a scream, bringing sound to those difficult feelings. That was how the limited scope was intentionally embraced as a conceptual driver. The students were invited to try any creative path that would make them enjoy themselves. The project unfolded through a workshop to share and create collective guidelines, a Whatsapp group for sharing the process, and rounds of reflection. Participants were invited to work with insecurity, repetition, and imperfection as active design tools. The book functions both as documentation and as a design object, as one of the creations of the project.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Camila | Lustosa | Coordination and Design | KISD |
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Proyecto realizado por:
Marcela Santos y Marina Japiassú
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Mexico
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1305 – Complete Book / Libro completo
Nombre de la Universidad o Institución Educativa
Elisava
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doble-paginas.pdf
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Presentacion.pdf
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Descripción del proyecto en INGLÉS
El Reflejo del Corazón is an editorial project that reconnects audiences with Latin American identity through telenovelas, one of its most iconic media forms. The project explores how these narratives reflect and shape the region’s passionate culture, revealing their historical, emotional, and social dimensions.
Its main objective is to revalue telenovelas beyond their cliché nature, highlighting their cultural significance as symbols of resilience, belonging, and collective expression.
To achieve this, a 320-page book was developed, combining analytical essays with dynamic sections inspired by commercial breaks, referencing iconic telenovela moments and recreating the television viewing experience. The art direction balances the sober and the expressive, demonstrating that, even when perceived as cliché and entertaining, telenovelas hold profound cultural relevance.
Contexto cultural / problemática del proyecto en INGLÉS
In a context shaped by media globalization, where content increasingly homogenizes cultural identities, Latin American narratives have been progressively displaced or reduced to stereotypes. Telenovelas, despite being one of the region’s most emblematic formats, have often been underestimated due to their melodramatic nature and are commonly associated solely with superficial entertainment.
This project emerges as a response to this issue, aiming to reconnect audiences with their cultural roots through a medium deeply embedded in Latin America’s collective memory. It seeks to reframe the perception of telenovelas, demonstrating how their narrative passion transcends drama to become a reflection of resilience, belonging, and identity.
One of the main challenges was balancing their popular and accessible nature with a critical and analytical approach, capable of engaging both general audiences and professionals in the cultural and editorial fields. As a result, the project was developed as a proposal that combines analysis and sensory experience, reaffirming the cultural value of telenovelas within the contemporary landscape.
Solución del proyecto en INGLÉS
The content strategy is structured into two main formats: core chapters composed of analytical texts, and “commercial breaks,” dynamic sections that compile iconic moments, archetypes, and recurring elements from the telenovela universe. This structure aims to replicate the logic of television broadcasting, creating a fragmented, immersive, and familiar reading rhythm, similar to the experience of watching a telenovela live.
The art direction reinforces this approach through the contrast between the expressive and the sober. The images adopt an exaggerated, dramatic, and playful visual language, and were captured directly from television screens, incorporating the texture, brightness, and imperfections of the medium. In contrast, the analytical texts are presented within a cleaner editorial system, using a structured and clear grid that supports readability and reflection.
The exclusive use of typefaces designed by Latin American studios introduces a critical and cultural dimension to the project, reinforcing its commitment to valuing regional design and identity. In contrast, the book format adopts the 3:4 television ratio, incorporating a playful and self-referential gesture that engages with the aesthetic of the golden age of telenovelas. This tension between the sober and the expressive reinforces the project’s central concept: to demonstrate that, even when perceived as cliché and entertaining, telenovelas hold profound cultural relevance.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Marina | Japiassú | Diseño, Dirección de arte y Edición de contenidos | Elisava |
| Marcela | Santos | Diseño, Dirección de arte y Edición de contenidos | Elisava |
| Lillian | Ingabire | Diseño | Elisava |
| Pol | Pérez | Tutor | Elisava |
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Proyecto realizado por:
Flora Magalhães, Letícia França e Luíza Martins
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1310 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Universidade do Estado de Minas Gerais — Escola de Design
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FOQF LAD SPREADS.pdf
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Descripción del proyecto en INGLÉS
Editorial project that brings together an anthology of ten writings by Brazilian artists. Developed in an academic context, the book aims to present reflections on art and culture in Brazil from the perspective of the artists themselves. Spanning texts written between 1922 and 2023, different modes of rupture converge in a reflection on identity and artistic practice in the country.
To give form to the book, the graphic design explores the idea of friction present in the texts through cuts, column breaks, and lines that traverse the pages, disrupting the reading flow and generating visual tension. The graphic choices reinforce a sense of national identity, with colors that evoke cultural and political imaginaries of the country, Brazilian typefaces that pay tribute to artists, and materials that evoke local references.
Contexto cultural / problemática del proyecto en INGLÉS
The project stems from an interest in bringing together and placing in dialogue manifesto-like texts by Brazilian artists who, at different historical moments, reflected on their own practices. Produced between 1922 and 2023, these writings mobilize languages that question aesthetic, cultural, and political paradigms, proposing new ways of positioning oneself in the world.
In a play on the popular saying “do as I say, not as I do,” the book’s title brings to light the intrinsic relationship between idea and object, between discourse and artistic production. FAÇO O QUE FALO FALO O QUE FAÇO (I do what I say I say what I do) points to the strength of language as part of the work.
The texts vary in form and context, but share a character of rupture, articulating discussions around sociocultural and identity-related issues. In the reflections of Antonio Bispo dos Santos, for example, the work itself addresses the political dimension of language; in other cases, such as in the writings of Conceição Evaristo, there is an elaboration on a particular mode of writing; and, in the manifesto by Glauber Rocha, writing becomes a way of defining and defending an aesthetic.
The design challenge, therefore, consisted in finding a graphic unity for texts that relate to one another by breaking with dominant languages and affirming their own identities, aligned with different perceptions of Brazil.
Solución del proyecto en INGLÉS
To translate the idea of rupture and the relationship between artwork and text, the graphic design constructs a language based on visual frictions. Lines traverse the pages, texts move closer to images and to one another, and words shift their orientation, combining vertical and horizontal readings. As these are short texts, characteristic of periodicals, the publication is set in narrow columns. Paragraphs are constantly tensioned by breaks, either through bold lines or column shifts, creating a fragmented rhythm that resonates with the nature of the writings. The photography curation, present in all chapters, places the creations in their historical contexts and highlights the artists’ references.
Also conceived as an object, the book features a rigid cardboard cover that provides structure and material presence, along with a dust jacket with a slit that reinforces the idea of rupture. The organization into four chronological sections, identified by color, supports the reader’s orientation and the articulation between different periods.
The typefaces used are Brazilian: Elza, by Daniel Sabino (Blackletra), and Lygia, by Flávia Zimbardi, which pay tribute to the artists Elza Soares and Lygia Clark, respectively. While Elza is used for body text, Lygia, with its more expressive character, appears in highlights and larger sizes. The colors evoke Brazil’s cultural and political imaginaries, and the choice of materials reinforces a sense of national identity through the use of papers with names such as Paraná, Rio de Janeiro, and Brasil.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Flora | Magalhães | Organización, curaduría, diagramación y producción gráfica | Escola de Design — UEMG |
| Letícia | França | Organización, curaduría, diagramación y producción gráfica | Escola de Design — UEMG |
| Luíza | Martins | Organización, curaduría, diagramación y producción gráfica | Escola de Design — UEMG |
| Pedro | Freire | Fotografía del proyecto | Escola de Design — UEMG |
| Anna | Stolf | Orientación | Escola de Design — UEMG |
| Ricardo | Portilho | Orientación | Escola de Design — UEMG |
| Lais | Reis | Encuadernación | Frente e Verso Encadernações e Editora |
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Proyecto realizado por:
Samuel Rubio
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Paraguay
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1305 – Complete Book / Libro completo
Nombre de la Universidad o Institución Educativa
Universidad del Pacífico del Paraguay
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Descripción del proyecto en INGLÉS
Kinebit is a design project focused on the care and prevention of physical hand health, developed in collaboration with healthcare professionals. To achieve this goal, a clear, friendly, and didactic visual and communication system was created, making it easier for designers to incorporate these exercises into their daily routines.
The project highlights the lack of tools that support students and professionals in maintaining healthy practices related to fine motor skills, an aspect that is often overlooked both in academic design environments and in everyday computer use. The main objective is to promote self-care habits through simple, accessible, and guided exercises, positioning design as an active preventive tool available to anyone who frequently uses a computer.
Contexto cultural / problemática del proyecto en INGLÉS
The development of fine motor skills is usually addressed mainly during childhood and in early stages of education, while in adulthood and in professional contexts this aspect is often relegated or made practically invisible. In fields such as design, and in many other professions that depend on constant computer use, the hands become a central work tool, yet their care rarely forms part of teaching processes or workplace routines.
This lack of attention to physical health directly impacts people’s comfort, well-being, and performance, leading to prolonged practices carried out without body awareness or preventive measures.
Solución del proyecto en INGLÉS
Kinebit consists of the development of a physical exercise workbook for fine motor skills, designed in collaboration with a physiotherapy professional to ensure the validity and safety of each practice. It is an original product, as no editorial material previously existed that was specifically oriented toward preventive hand care in academic and professional contexts.
The workbook brings together stretches and exercises adapted to adult computer use, transforming physiotherapeutic knowledge into a tangible, practical, and everyday tool. From a product design perspective, Kinebit materializes prevention into an accessible object that integrates health and user experience.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Tobias Samuel | Rubio | Investigación | Universidad del Pacífico del Paraguay |
| Tobias Samuel | Rubio | Diseño Editorial | Universidad del Pacífico del Paraguay |
| Tobias Samuel | Rubio | Ilustraciones | Universidad del Pacífico del Paraguay |
| Tobias Samuel | Rubio | Diseño 3d | Universidad del Pacífico del Paraguay |
| Samantha | Machuca Ojeda | Desarrollo teórico e Investigación | Universidad del Pacífico del Paraguay |
| Guillermo Dario | Sosa Portillo | Desarrollo teórico e Investigación | Universidad del Pacífico del Paraguay |
| Alexandre Raiel | Rajoy | Dirección de Arte | Universidad del Pacífico del Paraguay |
| José María | Venialgo Zarate | Dirección de Arte | Universidad del Pacífico del Paraguay |
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Proyecto realizado por:
Davi Milagres
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1308 – Fanzines and Photobooks / Fanzine y fotolibros
Nombre de la Universidad o Institución Educativa
Universidade Federal de Minas Gerais
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Descripción del proyecto en INGLÉS
"Grandma Pipica's Recipe Book" (Livro de Receitas da Vovó Pipica) is a collection of recipes made by her: Dona Luiza Maria (Grandma Pipica). The project's objective was to pay homage to Grandma Pipica and, at the same time, document the recipes she made. Each food carries memories, and some, like Gato Preto (a type of donut), also carry a tradition of family unity. The recipes in this collection are transcriptions of notes from the original recipes. The challenge proposed to this project was to develop the fanzine using only the glyphs of two fonts, which impacted the style of the illustrations and other graphic elements.
Contexto cultural / problemática del proyecto en INGLÉS
The challenge presented to this project was to develop the fanzine using only the glyphs of two fonts, which impacted the style of the illustrations and other graphic elements. Therefore, no digital images or illustrations could be used, only glyph compositions. This was done to force a creative solution through a limitation. Furthermore, the project did not have a budget that would allow for graphic production with any special finishing touches.
Solución del proyecto en INGLÉS
The solutions found to develop this project were inspired by old cookbooks and newspaper advertisements, using glyphs to create textures and frames. Furthermore, to overcome the limitation of using images, a "digital cross-stitch" approach was employed. This made it possible to generate images that resonated with the person being honored and the visual identity of the work (since Grandma Pipica actually does cross-stitch). The choice of images was based on common cross-stitch compositions found on kitchen towels, such as cows, birds, and flowers.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Emerson | Eller | Profesor supervisor | Universidade Federal de Minas Gerais |
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Proyecto realizado por:
Giulia Mariê Fonseca
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1308 – Fanzines and Photobooks / Fanzine y fotolibros
Nombre de la Universidad o Institución Educativa
Universidade Federal de Mato Grosso do Sul (UFMS)
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Informe del proyecto Móte.pdf
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Páginas Fotolibro Móte.pdf
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Tarjetas Numeradas Móte.pdf
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Descripción del proyecto en INGLÉS
The photobook “Móte” is an experimental project that documents the cultural experiences associated with the production of Terena ceramics in the Cachoeirinha Indigenous Territory, Brazil. Developed as a final course project, the objectives of the project were to present the production process and the particularities of this craft and tradition, as well as to address the cultural and emotional relationship of Terena women with contemporary ceramic production based on the experience of a family of ceramists, the Polidório women. Through research, immersion in the territory, and careful collection of material, the photobook “Móte” presents itself in a verbal-visual-tactile narrative with a graphic design that seeks to highlight manual labor, value the singularities of ceramic artifact production in the context of ethnicity, and reinforce the connection between the craft and the territory.
Contexto cultural / problemática del proyecto en INGLÉS
The “Móte” project arises in a regionally complex context, in the Brazilian state with the third largest indigenous population in the country and many cases of violence against indigenous peoples in rural areas. The ceramics of the Terena people are recognized as intangible heritage of the state of Mato Grosso do Sul, representing an ancestral craft, exclusively practiced by women, full of unique features in the manufacturing process, which is passed down from generation to generation. However, the continuity of this tradition faces challenges, such as market pressures, a lack of interest among younger generations, and restrictions imposed by the demarcation of Indigenous Lands, which limit access to natural resources essential to this tradition. In addition, initial research revealed a scarcity of visual and even textual records documenting the process of making this pottery, one of the challenges that the project set out to mitigate. The main objective was, therefore, to fill this gap by collaborating with a family of ceramists who live this reality, seeking to promote the dissemination of knowledge and the appreciation of this traditional regional craft. Based on the experience of the Polidório family, one of the few families that still practices the craft in the region, the project sought to create a respectful narrative free of stereotypes, exploring women's relationship with the craft and recognizing ceramics as an integral part of the identity and rights of the Terena people. Taking into account the context of transformations in the journalistic production scenario, this photobook also emerges as an experiment with an alternative format for engaging with journalistic work, as an immersive experience that seeks to promote cultural and social impact through design.
Solución del proyecto en INGLÉS
The solution for the “Móte” (clay, in the Terena language) project takes the form of a photobook with 160 pages that combines journalism and design to narrate the ceramic production of the Terena people. The graphic design used a format close to square (210x235mm), larger than conventional books but still comfortable to hold, and a flexible grid (14x16 modules) to ensure variability in the visual composition of the photographs. The typographic choice sought to distance itself from typefaces that could present ethnic associations and, in contrast, opted for those that presented contrasting visual resources or were capable of referring to manual work, in addition to using the ceramists' own handwriting on the cover and initial pages. The color palette was inspired by the three clays used in the making of Terena ceramics (móte, harará’iti móte, and káta), reinforcing the book's central concept. In terms of materiality, the handmade binding with exposed spine allowed for references to manual labor and the book to open 180°. The fabric-covered cover with screen printing and 120g paper inside provides a sensory experience, while the box was designed to resemble a block of earth from the Cachoeirinha Indigenous Land, a territory that protects and is the basis of ceramic production, and has a “hole” in the bottom (referring to the places where the clay is extracted), containing 14 numbered cards with a description of the stages of production (some photos in the photobook are numbered so that a particular stage can be associated with a photo). The photographic narrative is structured sequentially, mimicking the rhythm of ceramic making, and features three texts: a chronicle, a profile of the ceramists, and a report.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Giulia | Fonseca | Disenõ | UFMS |
| Giulia | Fonseca | Fotografía | UFMS |
| Giulia | Fonseca | Edición | UFMS |
| Giulia | Fonseca | Textos | UFMS |
| Maria Angélica | Chiang | Encuadernación | MChiang |
| Rafaella | Peres | Orientación | UFMS |
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Proyecto realizado por:
Luis Alejandro Fernández Ruiz
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Mexico
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1308 – Fanzines and Photobooks / Fanzine y fotolibros
Nombre de la Universidad o Institución Educativa
Universidad Anáhuac Puebla
Descripción del proyecto en INGLÉS
This project emerges from the need to look at the Mexico–United States border beyond the distance and privilege from which it is often discussed. In a context where migration is reduced to numbers, it proposes a pause: behind every statistic, there is a story that is rarely told.
The main objective is to restore a human dimension to those who cross, emphasizing that they are not data points, but individuals driven by necessity rather than choice.
To achieve this, a vertically formatted fanzine was developed to reinforce the idea of height and obstacle. Throughout the piece, a contrast between privileged discourse and lived reality constructs a narrative journey where statistics gradually become a single life. As a central element, a scanimation technique simulates a figure climbing, creating a “physical video” experience that invites the viewer to stop, observe, and feel.
Contexto cultural / problemática del proyecto en INGLÉS
Migration at the Mexico–United States border is a complex phenomenon that, within media and social discourse, is often reduced to numbers, statistics, and polarized viewpoints. This simplification creates an emotional disconnect, especially in privileged contexts where the migrant experience is perceived as distant or unrelated.
Within this landscape, there is a clear need to rethink how migration is communicated, shifting from a quantitative approach to a more human-centered perspective. The main challenge lies in breaking the normalization of statistics while generating empathy without falling into sensationalist narratives.
The project is developed in a contemporary environment dominated by digital media, where information is consumed quickly and superficially. In response, it proposes a tangible piece that encourages pause and reflection.
In terms of production, the project takes the form of a fanzine printed on fragile newsprint paper, evoking the materiality of newspapers. It uses a single ink to enable accessible and large-scale reproduction. The binding is intentionally simple, using staples instead of high-end finishes, maintaining coherence with the rawness of the subject and its intention for broad distribution.
Solución del proyecto en INGLÉS
The solution is conceived as an editorial experience that translates the migration issue into a visual, physical, and narrative journey. Through a fanzine, the project shifts the focus from a mass phenomenon to an individual perspective, allowing migration to be understood through a single life.
The structure organizes the content into two planes: privilege at the top and reality at the bottom, establishing a direct metaphor of perception. As the pages progress, both discourses transform and physically shift: privileged opinions descend while reality rises. This intersection culminates in a central point where statistics lose their numerical meaning and become a human experience.
The vertical format of 43.2 cm reinforces the idea of height, obstacle, and effort, making the piece an imposing object that demands active reading. The use of black-and-white photography enhances the rawness of the subject, focusing attention on the narrative without distractions.
As a central feature, a scanimation system is incorporated through a movable acetate layer, allowing the reader to activate the motion of a climbing figure. This gesture translates a digital language into a physical experience, encouraging interaction while reinforcing the ideas of effort, progression, and resistance.
In terms of production, the project uses fragile newsprint paper and a single ink, enabling accessible and large-scale reproduction. The stapled binding avoids unnecessary finishes, maintaining coherence with the project’s intention: a direct, replicable, and honest piece.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Luis | Fernandez | Diseñador | Estudiante |
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Proyecto realizado por:
Natalia Silveira
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1305 – Complete Book / Libro completo
Nombre de la Universidad o Institución Educativa
FEBASP – Centro Universitário Belas Artes de São Paulo
Descripción del proyecto en INGLÉS
What Is It, What Is It? — a title inspired by traditional Brazilian riddles — is a book-game that translates ten years of research on gender, identity, and sexuality into an accessible, critical, and playful experience. The project aims to broaden debates on how power systems shape gender norms, encouraging the questioning and reconstruction of meanings. Its unique design features a cover that unfolds into a leporello structure of flags and meanings on one side. The other side holds two booklets — the Mini-Guide to the World (linking capitalism, gender, and intersectionality) and a Critical Glossary alongside 40 laser-cut acrylic cards. By overlaying these cards on the flags, the audience physically manipulates the object to deconstruct norms and imagine new possibilities. More than just a book, the project serves as a pedagogical tool and a collective political act.
Contexto cultural / problemática del proyecto en INGLÉS
The project “O que é O que é” emerged amid contemporary debates on gender, identity, and diversity, marked by symbolic disputes and the persistence of naturalized binary norms in social fields such as design and visual culture. It arises from the recognition that critical content on these themes still circulates mainly within academic or specialized circles, which limits its reach and social impact.
The main objective is to democratize access to these discussions by translating more than a decade of research into a visual, tactile, and participatory experience capable of connecting with diverse audiences. One of the main challenges was transforming complex theories into clear and accessible language without sacrificing conceptual rigor. The format seeks to stimulate active participation, opening space for the ideas of figures such as Judith Butler, Silvia Federici, Oyèrónké Oyěwùmí, Daniel Welzer-Lang, Frantz Fanon, Ellen Lupton, Rafael Cardoso, Elaine Ramos, Lélia Gonzalez, among others, without simplifying their approaches and connecting the role of graphic design in the normalization of gender equality in Brazil.
Developed as a Final Design Project, the work is original and independent. Its execution with limited resources required viable graphic and production solutions. The choice of an interactive game-book format responds to the need for accessible mediation, appropriating references to word searches and riddles to promote critical thinking. Its manipulable materiality invites the superimposition and recombination of elements, transforming reading into direct participation. Thus, the project not only articulates concepts but also invites reflection on how design constructs and maintains social norms, proposing new ways of seeing and being in the world.
Solución del proyecto en INGLÉS
"O que é O que é" is structured as an interactive book-game that translates theoretical content on power and identity into an accessible, manipulable, and participatory experience. The solution combines visual narrative, playful devices, and editorial materiality to activate the reader as the agent of their own path. Rather than linear reading, the project proposes exploration: opening, folding, reorganizing, comparing, and playing are central actions in meaning-making.
The cover unfolds into a leporello featuring diverse flags and their meanings; when overlaid with die-cut cards, these can be expanded in meaning and recombined, creating visual relationships between symbols and prompting multiple readings. This invites the association of images, concepts, and situations, allowing different combinations to generate singular interpretations. The Mini Manual of the World organizes six axes [What Is What Is?] capitalism, the sacred, gender, intersectionality, resistance, and what design has to do with it—presented in direct language, diagrams, and illustrations that connect theory and everyday life, along with a critical glossary explaining terms such as biopower (Foucault) and necropolitics (Achille Mbembe), among others.
The experience is designed for individual or collective use. In educational contexts or workshops, the cards act as conversation and facilitation prompts, while the two books provide conceptual grounding. The absence of a fixed order allows adaptation to different time frames, ages, and levels of familiarity with the topic. Modular graphic elements, expressive typography, and color reinforce navigability and guide the user without imposing unique trajectories.
As an expanded editorial object, the book-game integrates reading, play, and material experimentation into a single system. The solution turns critical content into practice: the reader manipulates, tests, and reconstructs visual and conceptual relationships, experiencing design as an active tool for interpretation and the production of meaning.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Natalia | Silveira | Alumno / Designer | FEBASP – Centro Universitário Belas Artes de São Paulo |
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Proyecto realizado por:
Natalia Silveira
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1303 – Cover Book – Magazine / Portada de libro o revista
Nombre de la Universidad o Institución Educativa
FEBASP – Centro Universitário Belas Artes de São Paulo
Descripción del proyecto en INGLÉS
The cover of "O que é O que é" serves a dual function: interactivity and organization of the set. When the compact structure (10.5 × 15 cm) is opened, on one side a leporello structure unfolds into various flags, with the meaning of each flag on its respective reverse. On the other side, the structure acts as a case, housing the two books and the 40 cards that make up the experience. This dual configuration organizes all components into a cohesive, portable, and manipulable object. Thus, the cover ceases to be merely protective and becomes the game’s interface: it presents, contains, and activates the combinatory system that guides the exploration of the book-game.
Contexto cultural / problemática del proyecto en INGLÉS
The cover of O que é O que é is developed within the context of contemporary debates on identity, power, and representation, in which colors, symbols, and forms operate as cultural markers naturalized in visual culture. Starting from the title inspired by the traditional Brazilian riddle game “O que é O que é,” the design problem focused on creating an interface that, from the very first contact, would activate the gesture of asking, searching, and relating meanings. References to language games such as riddles and word searches guided the conception of a cover that invites visual investigation, making perceptible the symbolic layers that structure social meanings.
The leporello format allows the expansion of flags with diverse colors and signs, forming a continuous visual field of association. Interaction occurs through the superimposition of the game’s die-cut cards onto these flags, producing frames that approximate, tension, and recombine elements—an operation analogous to the logic of word searches, in which meanings emerge from the crossing of visual units. Thus, the cover translates the dynamics of the riddle into a graphic experience: seeing, searching, and discovering relationships. The same structure also functions as a case that houses the two books and the 40 cards, bringing all components together in a portable and cohesive object. The cover, therefore, synthesizes the project’s context and proposal by articulating play, reading, and materiality in a single editorial device.
Solución del proyecto en INGLÉS
The project’s solution was structured through the articulation of playful language, editorial design, and material interaction to translate complex debates on identity, power, and representation into an accessible and participatory experience. The strategy consisted of transforming the logic of the riddle—asking, searching, relating, and discovering—into a coherent graphic-editorial system in which each component activated critical thinking through play and visual exploration.
To achieve this, a device was conceived consisting of a leporello-format cover-case, two complementary books, and a set of 40 die-cut cards. The leporello functions as an expanded visual field of flags and signs, while the cards act as interaction tools: when overlaid on the flags, they generate framings and associations that allow meanings to be recombined and reveal how social meanings are constructed through relation and contrast. This method of overlay and framing translates, in graphic terms, procedures of cultural analysis, making visible the symbolic dimension of representational systems.
At the editorial level, the materials organize content into distinct and complementary reading layers: one introductory and playful, and the other conceptually in-depth. Materiality, sequencing, and manipulation were treated as narrative tools, so that understanding emerges from the experience of use rather than from text alone. Thus, the project fulfills its aim of democratizing access to critical reflection through a portable, modular, and cohesive object that integrates play, reading, and visual inquiry within a single system.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Natalia | Silveira | Alumno / Designer | FEBASP – Centro Universitário Belas Artes de São Paulo |
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Proyecto realizado por:
Julia Cordeiro
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1310 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio)
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O que se revela no ordinário PDF.pdf
Descripción del proyecto en INGLÉS
What Is Revealed in the Ordinary (O que se revela no ordinário) explores how attentive observation of everyday life can become a structured tool within the design creative process. By identifying repetitions and patterns present in urban life, the project aims to foster the development of a personal, authentic, and authorial visual repertoire. To achieve this, it establishes a cyclical framework based on three stages: observation, photographic documentation, and the creation of connections between images. As a material outcome of this methodology, a publication was developed, bringing together a catalog of the image archive organized into categories, along with a series of graphic studies derived from these images. These experiments investigate relationships between everyday records and graphic design elements such as typography, form, texture, and grid systems, highlighting the creative potential of a repertoire built from lived experience.
Contexto cultural / problemática del proyecto en INGLÉS
Situated in contemporary urban life, marked by visual overload and creative burnout, the project emerges from the need to reclaim a more attentive and subjective way of seeing the everyday. Particularly among professionals who work with creativity on a daily basis, there is a noticeable exhaustion in both thinking and making, which can restrict creative output and lead to creative block. Additionally, routine itself is often no longer perceived as fertile grounds for motivation and ideas, despite its productive potential. The project responds to this scenario by proposing an accessible practice integrated into daily life, transforming the observation of the city into creative raw material. Inspired by concepts such as urban drift and by artistic practices centered on repetition and cataloging, the work makes use of readily available resources, such as everyday photographic documentation and the organization of personal archives, to build a method that values individual experience as a legitimate source of reference and creation.
Solución del proyecto en INGLÉS
The proposed solution is the creation of a methodological framework that structures the creative process through the observation of everyday life. This approach unfolds across three complementary stages: identifying repetitions and patterns in the urban landscape, documenting these elements through photography, and later establishing connections and groupings among the images. The resulting archive is organized into thematic categories and used as the foundation for graphic and conceptual experimentation. This strategy transforms the visual repertoire into a living system that is continuously fed, expanded and functions as both an idea bank and a creative catalyst. The project’s materialization as a publication reinforces this logic of archive and process, demonstrating in practice how ordinary records can generate graphic design outcomes and contribute to the construction of authorial visual narratives.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Julia | Cordeiro | Graphic design, layout, photography and text | X |
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Proyecto realizado por:
Felipe Ventura y Guilherme Augusto
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1302 – Magazine: Complete Edition / Revista: edición completa
Nombre de la Universidad o Institución Educativa
Universidade Nove de Julho (UNINOVE)
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G13 REVISTA DIGITAL ORALIDADES 1.pdf
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Descripción del proyecto en INGLÉS
Oralidades is an editorial-documentary magazine about the narratives and cultural expressions of São Paulo's peripheries. Developed from the recognition that these territories are cradles of art, memory, and resistance, often reduced to stereotypes of violence and lack, the magazine aims to record and amplify the voices of those who inhabit and move these spaces, connecting community and public through an authentic and committed gaze. Its first edition focuses on Carapicuíba. To achieve this goal, the project combined field research with local residents, documentary photography, and first-person testimonials, organized in narrative sequences that preserve the orality and identity of the protagonists. The result is a printed publication that positions the periphery not as a problem to be explained, but as a legitimate place of cultural production.
Contexto cultural / problemática del proyecto en INGLÉS
Brazil deals with profound socioeconomic and symbolic inequalities. According to IBGE, in 2022 around 67.8 million people lived in poverty, a reality that is not limited to the material dimension but extends to the cultural and representative spheres. Peripheral territories such as Carapicuíba, often classified as "dormitory cities," carry stories, knowledge, and artistic productions that rarely receive visibility proportional to their vitality.
The central problem identified by the authors is both social and communicational: despite the intense cultural activity in the outskirts, expressed in collectives, folk festivals, poetry slams, graffiti, and music, media channels and the publishing market tend to reduce these territories to representations marked by lack or violence. This gap between experience and representation reinforces stereotypes and makes it difficult for the community itself to recognize and value its cultural expressions.
There is also an ethical and methodological challenge: how to document these narratives without exploiting the people? How to organize oral histories and photographic records faithfully to peripheral plurality, without falling into exoticization or didacticism? And how to ensure that the process is built with the community, rather than just about it?
In the specific context of Carapicuíba, research revealed that residents often do not know the cultural histories of their own territory, that local talents disappear due to lack of opportunity, and that there is a tacit pressure for peripheral artists to tone down their identities to be accepted in other spaces. These factors set the stage for a publication that functions as an instrument of recognition, memory, and community connection: a magazine that speaks the language of those who recognize themselves in it.
Solución del proyecto en INGLÉS
Oralidades is structured around active listening as its core method. Residents, artists, and local leaders are treated not as research subjects but as coauthors of the narratives published. This choice ensures the process is built with the community rather than just about it, directly addressing the ethical challenge at the heart of the project.
The methodology combined questionnaires with over one hundred residents and visitors of peripheral areas and in-depth interviews with inhabitants of Carapicuíba, alongside field photography. This data guided all editorial and design decisions, ensuring that the published narratives emerged from real experiences validated by the community itself.
Content is organized into narrative sequences that merge first person testimonials, original photo series, and curatorial texts. Photography acts as a complementary language to the text, forming small visual chapters that portray peripheral daily life with sensitivity and responsibility, valuing what exists without needing to explain it.
The visual identity was developed to dialogue with the aesthetics of the periphery itself through expressive typography, a vibrant color palette, and a modular grid that balances readability and personality. Oralidades functions as a cultural visibility platform designed to circulate in poetry slams, workshops, and community fairs, prioritizing local access over external recognition. The result is a publication that fills the void of authentic channels capable of celebrating peripheral production without erasing the identity of those who create it.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Felipe | Ventura | Branding, dirección de arte y edición | Sprout Branding |
| Guilherme | Augusto | Fotografía y dirección de arte | Alumno |
| Julia | de Sousa | Fotografía | Freelancer |
| Eric | Ramassotti | Fotografía | Freelancer |
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Proyecto realizado por:
Gabriel León Manzur
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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1301 – Newspaper: Complete Edition / Periódico: edición completa
Nombre de la Universidad o Institución Educativa
Universidad Peruana de Ciencias Aplicadas
Descripción del proyecto en INGLÉS
Today, February 17, 2026, the Peruvian Congress once again removed the President from office. In a context marked by political crisis and rising insecurity, the next elections approach with 32 parties, 2,560 candidates, and an overwhelming amount of information. In this scenario, an informed citizenry resistant to manipulation, becomes essential. Amid this, Generation Z has taken an active role in defending their rights.
In response, “Osadía” emerges as the first volume of the newspaper Zentenia, designed to clearly explain how the Peruvian State functions and to empower citizens. It combines graphics, activities, and reflective prompts with an aesthetic that blends the traditional and the disruptive. In doing so, it connects politics with Peruvian youth and encourages informed, conscious participation.
Contexto cultural / problemática del proyecto en INGLÉS
Today, February 17, 2026, the Peruvian Congress has once again removed the President from office. After eight presidents in the past decade and a 438% increase in extortion rates since 2019, the country approaches new elections. In a nation without a stable presidency, this moment represents an opportunity to restore balance among the branches of government and to replace a Legislative Power that collaborates with organized crime by passing laws that protect criminal activity.
However, Peruvians must choose their representatives among 32 parties, 2,560 candidates, and an endless ocean of information. Compounding this issue, instead of providing the necessary information to understand the electoral landscape, the media prioritize superficial narratives and gossip that distract from what truly matters.
Within this context, it is essential to ensure an informed population, one that is resistant to political manipulation and confident of its ability to reclaim the country. In response, Generation Z has taken on the responsibility of defending their rights and protesting against corruption; at times, they are met with lethal force, as in the cases of Inti, Brayan, Trvko, and more than 50 victims. Despite this, citizens continue to raise their voices in pursuit of change.
Solución del proyecto en INGLÉS
“Osadía” is the first volumen de the newspaper Zentenia. It contains the essential information every Peruvian needs to understand how their rights, laws, and government function (across the executive, legislative, and judicial branches), with the goal of ensuring that citizens are never again taken advantage of.
Following field research that identified users' needs, the design integrates graphics, activities, and questions that invite reflection and learning. Its verbal identity plays a key role, placing cryptic phrases in strategic areas of the publication. To ensure familiarity and trust, the layout and typographic combinations draw from traditional Peruvian newspapers, widely perceived as reliable. However, it introduces a strong visual twist that aligns with the courage of Generation Z. Each spread features a uniquely distorted title to evoke specific emotions—such as boldness, fragility, power, or entrapment. Headlines are inspired by the condensed lettering painted on Lima’s streets, bringing politics from the government palace to the everyday pedestrian.
The vision of this publication series is to foster a sense of political belonging among new generations through a bold and youthful visual language. At the same time, it seeks to create a space where information feels accessible and is explained in a fresh way, ultimately with the hope that a better-informed citizenry can reclaim its country.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Gabriel | León | Investigador | |
| Gabriel | León | Editor | |
| Gabriel | León | Diseñador | |
| Gabriel | León | Director de Arte | |
| Marcelo | Mieses | Fotógrafo |
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Proyecto realizado por:
Christian García
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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1310 – Self-initiated Project / Proyecto personal
Nombre de la Universidad o Institución Educativa
Universidad Peruana de Ciencias Aplicadas
Descripción del proyecto en INGLÉS
"Serrano", inspired by the department of Áncash, revives the memory of a region shaped by migrants and multicultural roots in Peru. As an editorial project driven by the search for representation in the capital, this publication gathers the origins, culture, and memories of those who once departed from the Andean land. Through a multi-piece system held within a binder-format folio, the project transmits the Ancashino legacy to new generations of descendants. The design aims to emulate, through the senses, a feeling of belonging, enhancing, through its secondary pieces, the ancestral richness and cultural universe that each province holds within. Collectively, Serrano represents a treasure chest of memories: an object that revives and nourishes knowledge, remaining always available to be consulted whenever it is necessary to remember what has been forgotten
Contexto cultural / problemática del proyecto en INGLÉS
"Serrano" addresses the centralization in the capital city of Lima, where the promotion of Ancashino culture lacks high-value graphic samples or an approach based on pride. Taking Ancashino roots and family environments as a starting point, the project was developed under the strategic collaboration of Club Áncash—a space that gathers the community in the capital and facilitated access to information, testimonies, and archives. With this, the proposal innovates in the construction of a product that nurtures knowledge and treasures memories, identifying, through research with migrants, the challenge of implementing analog pieces that allow for retracing the past and extrapolating it into the present. Under this premise, high-value objects were created and reinterpreted with a disruptive character, oriented toward personal narratives such as home, identity, and travel—elements that together shaped the experiential, sensory, and educational content of the proposal.
Solución del proyecto en INGLÉS
"Serrano" was conceived as an editorial solution whose main objective is to narrate, through a folio as its central piece, the identity value of the Ancashino people. To achieve this, the information was distributed into five chapters addressing the formation of the department, collective memory, and the migratory context. This structure is complemented by six secondary sensory pieces that emulate tangible memories, and an educational component that, through "wasis," fosters geographic knowledge of each internal province. The design of "Serrano" functions as a variable system reflecting the nature of migratory movement: the need to transport and store archives of high symbolic value. As a format where each chapter operates independently, the folio allows for compiling files, varying their position, and adding content dynamically. This approach turns the publication into an adaptable proposal, fulfilling the purpose of preserving and carrying the Ancashino identity with oneself.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Christian | García | Designer | Student |
| Christian | García | Photo Editing | Student |
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ESTUDIANTES - GRAPHIC DESIGN
Proyecto realizado por:
Sofia Alvim
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1201 – Integrated Graphics / Gráfica integral
Nombre de la Universidad o Institución Educativa
Pontifícia Universidade Católica do Rio de Janeiro
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Descripción del proyecto en INGLÉS
DES.ARQUIVAR is an artistic project that investigates the archive as an expanded field of creation, memory, and visual experimentation. Through encounters with domestic archives—objects, papers, photographs, documents, and analog and digital records preserved over time—the project proposes rethinking the archive not as a fixed set, but as a living system capable of being reactivated in the present.
The objective is to develop an authorial visual language from the encounter with what has been kept, valuing process as a central element and attention to everyday life. To achieve this, processes of collecting, scanning, classifying, and experimentation with collage, printing, and video were carried out, articulated with theoretical research on memory, image, and time.
The result materializes in an installation that brings together images, objects, and projections, inviting the public to experience the archive as a space of continuous transformation, as life itself.
Contexto cultural / problemática del proyecto en INGLÉS
DES.ARQUIVAR emerges from an interest in developing a visual language as a form of authorial expression, starting from the banal, the ordinary, and what is usually forgotten. Within a cultural context marked by the acceleration of time, the saturation of images, and the fragility of both individual and collective memory, the project proposes a re-reading of personal archives as material for creation and reflection.
More than an investigation of the archive as a theme, the project is conceived as an existential, artistic, and philosophical exploration. By valuing domestic archives, it questions where our memory goes, what we choose to preserve, and what is lost in this process. The project resignifies materials that originally lack symbolic or aesthetic value, transforming them into a creative visual system.
The proposal also responds to the need to rethink the act of archiving not only as a functional or accumulative action, but as a conscious, almost archaeological gesture. Through processes of collecting, organizing, scanning, classifying, and visual experimentation, the project emphasizes the process itself as a fundamental part of the work, revealing time, care, and attention to everyday life.
Developed using accessible resources and personal archives, the work materializes through languages such as photography, collage, printmaking, and video, resulting in an installation that brings together images, objects, and projections. In this context, the archive ceases to be an end in itself and becomes a living field of transformation, creation, and permanence, much like life itself.
Solución del proyecto en INGLÉS
The project’s solution is based on a strategy that activates personal and domestic archives as material for artistic creation, addressing the need to rethink everyday records in a context marked by image saturation and the fragility of contemporary memory. The approach transforms banal and overlooked materials into a field of visual experimentation, understanding the archive as a dynamic and reconfigurable system.
The methodology combines structured actions of collecting, observing, selecting, and reorganizing materials such as photographs, objects, documents, and fragments of memory. These materials are activated through analog and digital processes, including scanning, photography, collage, printing, and video editing. The process itself is treated as a central component of the project, reinforcing time, care, and attention to everyday life as essential values.
One of the project outcomes is a video art piece created from the collected archives, conceived as a space for process-based visual experimentation, where images are layered, fragmented, and transformed. The project also includes a collage mural developed from scanned and printed images and objects on different paper supports, manually cut and recomposed to explore accumulation, loss, and reconstruction.
From these collages, an analog photo album and a compositions notebook were produced, documenting the creative process and reinforcing the intimate dimension of the archive. Together, these elements form an installation that articulates images, objects, and projections, redefining the archive not only as storage, but as a system for creation, reflection, and continuous transformation.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Sofia | Alvim | Concepto y desarrollo del proyecto | Pontifícia Universidade Católica do Rio de Janeiro |
| Roberta | Portas | Orientadora | PUC-Rio |
| Sofia | Alvim | Investigación y metodología de archivo | PUC-Rio |
| Sofia | Alvim | Fotografía | PUC-Rio |
| Sofia | Alvim | Expografía | Museu Universitário Solar Grandjean de Montigny |
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Proyecto realizado por:
Hannah Lerm Lorsch, Leticia Buffon Bianchi, Rafaella Marion Rodrigues e Vinícius Torres Nunes
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1211 – Applied Print Graphics / Gráfica impresa aplicada
Nombre de la Universidad o Institución Educativa
Universidade Federal do Rio Grande do Sul
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Descripción del proyecto en INGLÉS
Estalo is a game created to bring more movement, joy, and interaction into the daily lives of seniors aged 75 and older. Designed to transform exercise into a light and fun activity, the game features cards of good luck, bad luck, and challenges, illustrated in a clear and accessible way, stimulating small movements and gestures of the body. It encourages mobility while promoting laughter, conversation, and moments of lightheartedness. Each round is an opportunity to move the body, exercise the mind, and share good experiences.
Estalo isn't just about physical exercise; it's about creating moments of laughter, stimulating memory, encouraging reasoning, and bringing people together. Each round is an opportunity to strengthen bonds, whether among friends, family, or even in social groups.
Contexto cultural / problemática del proyecto en INGLÉS
The project emerged from identifying a common reality: many older adults experience loneliness, boredom, and motor difficulties in their daily lives. In response, the main purpose was to create a proposal that promotes movement, cognitive stimulation, and social interaction, contributing to the physical and emotional well-being of this population.
One of the main challenges was designing a game capable of bringing together people of different ages while maintaining an appropriate level of difficulty—neither too easy for younger participants nor too complex for older adults. It also needed to be engaging and appealing, capturing the attention of seniors while respecting their pace, interests, and abilities.
The client’s needs focused on activities that stimulate motor coordination, memory, reasoning, and strength, integrating these elements in a playful and accessible way. Regarding market conditions, we were not aware of any game specifically designed for this age group, which revealed a clear opportunity and gap in the market to offer an innovative and relevant solution.
To develop the project, we conducted interviews with two professionals in the field—a physiotherapist and a specialist who works directly with the target audience—as well as with the older adults themselves. This allowed us to understand firsthand their needs, interests, and limitations. The team consisted of four members, guided by an ergonomics professor, and the project was carried out over approximately five months. Its development was supported by bibliographic research, as well as quantitative and qualitative studies.
Solución del proyecto en INGLÉS
The strategy adopted for Estalo consisted of developing a hybrid board game that transforms physical and cognitive rehabilitation into a playful social experience. The solution is materialized through a path-based system where players' progress depends on the roll of a dice and the completion of challenges presented on physical cards designed under universal design criteria. To bridge the generational gap and encourage active participation, we implemented a predominantly collective gameplay mechanic, where most challenges are performed as a group. This approach eliminates individual pressure on the elderly and fosters direct interaction with youth and caregivers, transforming physical exercise into a moment of mutual support and shared laughter.
From the perspective of visual ergonomics and accessibility, the solution integrates large-body typography and high contrast between figure and ground, ensuring the autonomy of users with reduced visual acuity. The implementation method included simplifying rules and creating clearly illustrated challenges to prevent cognitive overload. These low-impact tasks, validated by healthcare professionals, stimulate both fine and gross motor coordination in a safe and engaging manner. Consequently, Estalo establishes itself not as a clinical tool, but as an intergenerational bridge that prioritizes emotional well-being and social integration through movement.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Hannah | Lerm Lorsch | Diseñador | Universidade Federal do Rio Grande do Sul |
| Leticia | Buffon Bianchi | Diseñador | Universidade Federal do Rio Grande do Sul |
| Rafaella | Marion Rodrigues | Diseñador | Universidade Federal do Rio Grande do Sul |
| Vinícius | Torres Nunes | Diseñador | Universidade Federal do Rio Grande do Sul |
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Proyecto realizado por:
Felipe Santos
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1203 – Poster / Póster
Nombre de la Universidad o Institución Educativa
Miami Ad School
Descripción del proyecto en INGLÉS
FutPop is a student project consisting of a poster series to promote the broadcast of the 2026 World Cup on Cazé TV, a channel born on YouTube that is now the largest sports media outlet on the Brazilian internet. The project's main objective is to reinterpret football from a queer and inclusive perspective, making the event more diverse and welcoming. To achieve this, the proposal merges pop culture references with the football universe through a vibrant and provocative aesthetic. Through this graphic crossover, the project demonstrates that both worlds share passion, spectacle, and collective emotion, successfully connecting the LGBTQIA+ community with the sport.
Contexto cultural / problemática del proyecto en INGLÉS
The project stems from a deeply rooted problem: the historical exclusion and lack of representation of the LGBTQIA+ community within football. Traditionally, this sport has been a space where sexual and gender minorities have felt marginalized. FutPop's main challenge was to take that feeling of discomfort and transform it into creative fuel. Furthermore, being a campaign designed for Cazé TV presented an ideal opportunity to democratize the consumption of the sport. The project's purpose is to break cultural barriers, challenge stereotypes, and pave the way for the 2026 World Cup, demanding that football be perceived as a truly safe, diverse, and accessible space for everyone.
https://www.felipesans.com.br/portfolio-...
Solución del proyecto en INGLÉS
To address this issue, the design strategy consisted of merging the football world with pop culture and rich queer history. Deep research of visual references was conducted, including typographic posters and queer magazines from the 1970s and 1980s, which gave the project greater consistency and conceptual depth. The project utilized Artificial Intelligence tools to generate entirely original images that did not exist in this merging of worlds. Furthermore, to add authenticity and connect with historical vintage magazine references, some of these AI-generated images were applied with black and white effects. Visually, the project adopts an experimental, vibrant, and provocative aesthetic that challenges the traditional and heteronormative visual codes of the sport.
To consolidate the proposal, a complete visual identity was developed, including a main and secondary logo, and the design of a sports uniform. The color palette reinterprets the Brazilian flag in negative, using pink as a powerful counterpoint to green and blue, in addition to incorporating LGBTQIA+ flag tones.
The final solution materializes through the poster series, sustained by four fundamental creative pillars:
Pop Music: Quotes from iconic songs adapted to the game's context, integrating direct references to the aesthetics and imagery of major pop icons like Miley Cyrus, Charli XCX, Rihanna, and Beyoncé.
Gayssário: A visual glossary explaining technical football terms using humor and pop slang.
Gay Power: A celebration of representation highlighting empowering milestones, featuring pieces like the poster dedicated to Justin Fashanu, the first professional footballer to come out as gay.
Illustrations: Reflective graphic pieces directly and visually intertwining the aesthetics of the queer universe with football.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Felipe | Silva Santos | Art Director | . |
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Proyecto realizado por:
Guilherme Silva Ramos
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1206 – Signage / Señalética
Nombre de la Universidad o Institución Educativa
Universidade Federal de Minas Gerais
Descripción del proyecto en INGLÉS
The project proposes a signage system for Mercado Novo, in Belo Horizonte, Brazil, a multifunctional space that brings together a market, bars, restaurants, print shops, and creative economy initiatives, among other activities. Preliminary research identified that the existing signage was fragmented and poorly integrated with the site's visual and cultural identity, making visitor orientation difficult.
Thus, the project's goal was to develop a wayfinding system capable of improving navigation within the space while also engaging with the market’s visual culture and urban dynamics. To achieve this, environmental analyses, flow studies, and a survey of references in signage systems were conducted.
Based on this research phase, a visual system was created, consisting of typography, pictograms, colors, and modular structures derived from plastic crates used in street markets, integrating functionality, identity, and cultural context.
Contexto cultural / problemática del proyecto en INGLÉS
Mercado Novo in Belo Horizonte is a symbol of resilience and reinvention in the city. With more than six decades of history, the space has survived crises, fires, and the passage of time. Over this period, the building underwent a gradual and heterogeneous occupation, resulting in a diversity of businesses and audiences, which gives the market the authenticity that characterizes the space.
However, this process of progressive occupation, combined with a lack of planning over the years, has brought challenges. The space began to present structural and organizational issues that make it difficult to understand the environment, navigate the space, and establish dialogue between different management groups.
Recently, Mercado Novo underwent a revitalization process that increased the number of stores and expanded occupancy to the second and third floors, which had previously been largely vacant. This movement was accompanied by the creation of an official visual identity, applied mainly in these newer areas, but still not adopted in the market hall. As a result, the challenge remained to develop a signage system capable of engaging with this new phase of the market, while still representing the historic vendors who have occupied the ground floor (market hall) since the building’s origin.
During the project analysis, several issues were identified in the existing signage, such as a lack of standardization, generic signs, poor placement, low visibility, and fragile mounting methods, in addition to intense visual competition on the walls from stickers, tags, and graffiti. Moreover, many signs did not align with either the official visual identity or the cultural identity of the market.
Given this context, the need emerged to develop a signage system that improves spatial orientation, organizes circulation flows, and unifies the different niches of the market into a single project. The proposal seeks to integrate past and present, valuing the history of the space.
Solución del proyecto en INGLÉS
The project began with a research phase aimed at understanding the history of the building. Documents, historical newspapers, and news reports were consulted, along with conversations with visitors and vendors.
Next, circulation flow and ways to guide visitors were analyzed. The navigation strategy was structured into three complementary approaches: natural flow, allowing free exploration supported by directional signage; route definition, with maps at main entrances to support path planning; and spatial inference, achieved by organizing corridors in alphabetical order.
With the flows defined, the project moved on to spatial organization. To facilitate understanding and memorization, the market was divided into color-coded districts. Each floor was assigned a color from the official identity palette. The ground floor was divided into two districts, brown and green, due to differing profiles and operating hours, while the upper floors were organized using yellow, orange, and red. At this stage, signage placement was also defined.
Subsequently, the challenge was to represent the site’s diversity within a single system. The solution was developed through a dialogue between the recent visual identity and vernacular elements of the market.
The color palette was applied through the colors of the market’s plastic crates, used as the base structure for the signs. The primary typeface, GT Flexa, ensured legibility and alignment with the official visual identity, while the secondary typeface, ZC Casual, references the hand-painted lettering style traditionally used in the market. The pictograms were manually painted using sign-painting techniques and later vectorized.
Finally, as a way to promote circular economy practices, the information was printed on PVC sheets produced by print shops within the market and attached to the crates. To reduce visual clutter, signage was relocated to the ceiling and floor, using suspended signs and store numbering painted on the ground with stencils.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Guilherme Silva | Ramos | Proyecto, diseño e investigación | Independent (Academic Project – UFMG) |
| Vitor | Garcia | Consultoría | Independent |
| Emerson | Eller | Orientación académica | UFMG |
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Proyecto realizado por:
Lucas Rodrigues, Lauro Henn e Bruna Costa
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1206 – Signage / Señalética
Nombre de la Universidad o Institución Educativa
UDESC - Fundação Universidade do Estado de Santa Catarina
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Descripción del proyecto en INGLÉS
Florianópolis Botanical Garden Signage is a fictional academic project developed in the Project Practice II course of the Graphic Design program at UDESC. The project aimed to create a signage system to improve visitor orientation and strengthen the garden’s identity as a botanical, educational, and scientific space. Developed within a context of the park’s construction and expansion, the proposal sought to reinforce its botanical function, still not clearly evident in the public experience. To achieve this, site visits and user interviews were conducted, revealing problems such as deterioration, lack of standardization, and insufficient information in the existing signage. Based on this diagnosis, a clearer, more consistent, and accessible system was developed, prepared to support the growth of the space, with a focus on standardizing signage typologies and guiding diverse audiences, especially tourists and first-time visitors.
Contexto cultural / problemática del proyecto en INGLÉS
The project was based on the understanding of the Florianópolis Botanical Garden as a public space that articulates environmental, educational, and recreational functions. At the time of its development, however, the garden was still undergoing a process of construction, expansion, and consolidation. Although there were investments in the expansion of the botanical collection, this dimension was still not sufficiently reflected in the information provided to the public about the species present on site, which often caused its value as a space for education and science communication to be placed in the background. In this context, one of the project’s central challenges was to balance the perception of the garden as a leisure space with the valorization of its botanical and scientific role. In addition, site visits and interviews with users revealed problems in the existing signage, such as deterioration, lack of standardization, and insufficient information, which compromised orientation and the understanding of the attractions. In view of this context, the project sought to develop a signage system capable of guiding visitors more clearly, making evident the functions of the different spaces, and establishing an informational system that was scalable, standardized, consistent, and accessible both to local residents already familiar with the park and to tourists and foreign visitors, while also valuing local biomes and responding to the continuous growth of the garden’s sectors, collections, and uses.
Solución del proyecto en INGLÉS
Based on site visits, observation of the existing signage, and interviews with users, the project structured a clearer, more standardized, and scalable proposal, designed to accompany the expansion of the park and its collections. This research process made it possible to identify orientation difficulties, lack of standardization, and lack of information, while also revealing the need to make the garden’s botanical, educational, and scientific character more visible to the public. One of the project’s fundamental elements was the development of a map totem at the park entrance, conceived to organize the space into sectors, identify attractions, collections, and services, and facilitate reading and visitor navigation. In this way, the new system sought to improve circulation and make the garden’s different areas and functions more understandable for diverse audiences, such as frequent visitors, tourists, and first-time visitors.
The project also involved the technical and material development of the elements, including the creation of 3D sign models in Blender, technical sheets, and constructive specifications aimed at the system’s durability. The specification included a concrete base, plastic wood structure, PVC panel, and adhesive vinyl applied to the printed surface, in response to the accelerated wear observed in the existing signage.
The illustrations used were produced through the vectorization of public-domain botanical illustrations, with the aim of reinforcing the project’s botanical and scientific character. The system’s icons were also originally designed for the project, seeking greater visual coherence and informational clarity. As for the use of AI, its only application took place during the stage of placing the 3D models into photographs, using Photoshop’s tool.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| MAURO | DE BONIS | PROFESSOR | UDESC |
| Priscyla | Falkenburger Melleu | PROFESSOR | UDESC |
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Proyecto realizado por:
Rita Taquiri, Alejandro Valdivia, Avril Pachas, Carla Paredes, Jimena Martinez, Angelica Ruiz.
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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1206 – Signage / Señalética
Nombre de la Universidad o Institución Educativa
Pontificia Universidad Católica del Perú
Algún archivo adicional que quieras compartirnos puede ser en .PNG, .JPG, PDF, entre otros.
SUKI FEST PRESENTACIÓN.pdf
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SUKIFEST manual de señaletica.pdf
Descripción del proyecto en INGLÉS
Suki Fest is a signage project designed for a circuit of ephemeral fairs aimed at a young audience. It emerges with the objective of creating an immersive visual experience that facilitates orientation, enhances accessibility, and strengthens the event's positioning through a coherent and memorable graphic system. To achieve this goal, a solid visual identity was developed, including a proprietary system of pictograms, a family of signage, maps, and technical sheets for design and construction, as well as spatial applications and renders simulating real implementation. The project integrates criteria of informational hierarchy, visibility, and formal coherence, achieving a functional and aesthetically appealing environment that transforms the user experience within the fair circuit.
Contexto cultural / problemática del proyecto en INGLÉS
Suki Fest emerged as a signage proposal for a circuit of ephemeral cultural fairs developed in Cercado de Lima, primarily aimed at a young audience interested in independent design, pop culture, and contemporary artistic expressions. The project stems from the analysis of similar events which, despite their growth and large attendance, present deficiencies in orientation, accessibility, and visual articulation.
The main purpose was to design a comprehensive signage system that would organize the space, enhance the visitor experience, and consolidate a coherent graphic identity for the event. The primary challenges identified included the temporary nature of the installation, high public attendance, the need for informational clarity in dynamic environments, and the inclusion of users with diverse physical and sensory abilities.
The project responds to the need to structure circulation routes, signal essential services, and generate visible reference points that facilitate navigation within the circuit. It also seeks to strengthen the event’s positioning through a solid visual identity that unifies communication, atmosphere, and experience.
Considering academic resources and a project-based approach, original pictograms, a signage family, maps, and design and construction boards were developed, along with 3D modeling and photomontages simulating real implementation. The system was conceived under criteria of informational hierarchy, legibility, formal coherence, and material reusability, adapting to the ephemeral nature of the event and its urban context.
Solución del proyecto en INGLÉS
The solution consisted of the development of a comprehensive temporary signage system specifically designed for a circuit of ephemeral cultural fairs. The strategy began with the creation of a solid graphic identity that would serve as the articulating axis of the entire system, ensuring visual coherence, immediate recognition, and differentiation within the urban environment.
A signage family was designed, composed of directional totems, directional posts, and entrance and exit structures functioning as zone identifiers, organized under a modular system that facilitates production, assembly, and reuse. In addition, a proprietary pictogram system was developed, constructed from a consistent visual grammar featuring rounded forms, continuous strokes, and high chromatic contrast to ensure legibility and accessibility.
The approach included criteria of informational hierarchy, visibility at various distances, and adaptation to high audience flows. At a technical level, construction and design boards were produced, along with reusable material specifications and simulations through 3D modeling and photomontages, allowing validation of its implementation within the real context.
In this way, the proposal not only organizes the space and enhances the user experience, but also consolidates a memorable and functional visual identity aligned with the dynamic and youthful nature of the event.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Carla | Paredes | Dirección Creativa e Identidad Gráfica | PUCP - Facultad de Arte y Diseño |
| Angelica | Ruiz | Diseño Editorial | PUCP - Facultad de Arte y Diseño |
| Alejandro | Valdivia | Modelado 3D, Render y Fotomontaje de Familia de Cartelería | PUCP - Facultad de Arte y Diseño |
| Rita | Taquiri | Diseño de Pictogramas | PUCP - Facultad de Arte y Diseño |
| Jimena | Martinez | Diseño de Pictogramas | PUCP - Facultad de Arte y Diseño |
| Avril | Pachas | Diseño Editorial, Diseño y 3D de Pictogramas | PUCP - Facultad de Arte y Diseño |
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Proyecto realizado por:
Heloisa Souza
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1210 – Records / Portadas de discos
Nombre de la Universidad o Institución Educativa
Universidade Estadual Paulista (UNESP)
Descripción del proyecto en INGLÉS
A project dedicated to the creation of a special edition of the vinyl record Tropicália ou Panis et Circencis, the musical manifesto of the Brazilian Tropicália movement. The project aims to pay tribute to the movement’s history and influence as a symbol of radical change and innovation in Brazil, whilst exploring the significance of the vinyl record as an aesthetic and communicative object. To this end, in addition to redesigning the record sleeve for an exclusive edition, the project includes the creation of a commemorative card and a booklet containing the song lyrics, historical texts and photographs of the movement; thereby enhancing the emotional experience of the graphic object. More than just a redesign, the work is an invitation to revisit and celebrate the effervescent, creative and transformative moment of Tropicalism in Brazil.
Contexto cultural / problemática del proyecto en INGLÉS
Tropicália ou Panis et Circencis is the manifesto album of Tropicália, a movement that revolutionised Brazil in the 1960s across a wide range of cultural fields. The movement sought to challenge and question the rigid national scene, combining elements of Brazilian culture with various foreign influences, in a celebration of fusion as a form of resistance and innovation.
Building on the significant impact of Tropicalism on the Brazilian visual arts scene, this work stems from a desire to reinforce and pay tribute to its relevance. By creating a project that recovers and presents the history of the movement, it is possible not only to re-emphasise its importance and celebrate its influence, but also to encourage diverse national creative output.
Furthermore, in its execution, the work also seeks to explore the role and history of the vinyl record, highlighting the symbiotic relationship between music and graphic design.
Thus, the aim was to create and structure a new graphic design for the record that would recapture the symbolic and visual power of the album, once again representing all the creativity and energy of Tropicalism.
Solución del proyecto en INGLÉS
The development of the project was based on a solid theoretical and historical foundation, combined with a conceptual approach that engages directly with the cultural and aesthetic context of the Tropicalist movement.
The process was divided into two main phases: the first focused on the study and analysis of various sources discussing the movement, the graphic design of the era, and also the vinyl record. The research provided a deeper understanding of the subjects to be explored, as well as creating an essential historical repertoire for the conceptual and visual development of the project.
The second phase was dedicated to the practical stage, which mainly involved a graphic analysis of the original album cover. The study enabled the recognition of the aesthetic and communicative aspects of the sleeve, and consequently of its meanings and dynamics linked to the movement.
Both stages were essential for the development of the project and for the creation of a coherent and well-defined product, resulting in an expressive, theoretically grounded graphic piece, that is relevant both to the field of design and to the preservation of Brazilian cultural memory.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Heloisa | Souza | Designer | Heloisa Souza |
| Cassia | Domiciano | Orientador | UNESP |
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Proyecto realizado por:
Matheus Vieira
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1201 – Integrated Graphics / Gráfica integral
Nombre de la Universidad o Institución Educativa
Universidade Federal de Sergipe
Descripción del proyecto en INGLÉS
The illustrated book "Zé Pereira: Carnival and Memory in Neópolis," about the Zé Pereira carnival group from the city of Neópolis, is a project developed for the Final Course Project in Graphic Design at the Federal University of Sergipe (UFS). The main objective of the work is to record and organize information about one of the most traditional carnival celebrations in the state of Sergipe, whose history is still poorly documented.
To achieve this objective, the project combined documentary research, interviews based on oral history, and the development of a graphic design project that relates to the cultural universe of the festival. The result is an illustrated book that brings together narratives, symbols, and visual elements of the Neópolis Carnival, contributing to the preservation, appreciation, and dissemination of this popular tradition through design.
Contexto cultural / problemática del proyecto en INGLÉS
The illustrated book about the Zé Pereira carnival group from the city of Neópolis was presented as a Final Course Project (TCC) for the Graphic Design degree at the Federal University of Sergipe (UFS). The project stemmed from the desire to document one of the most traditional carnival celebrations in the state of Sergipe, which, despite its cultural importance, has few historical and documentary records.
As a designer, illustrator, and artist from Neópolis, I grew up watching the parade through the city streets, but I never knew how this festival originated in the city, nor could I find materials or documents that recorded this history. This experience awakened in me the need to transform memories, stories, and elements of the festival into a work capable of preserving them. Through documentary research, oral history, and editorial design processes, the project resulted in an illustrated book with pop-ups that brings together narratives, symbols, and visual aspects of the Neópolis Carnival, contributing to the appreciation and dissemination of this popular tradition.
Today, the book becomes the first to document the history of the "Zé Pereira" Carnival group in the city.
Solución del proyecto en INGLÉS
To carry out the project, design tools and disciplines were employed to shape the book.
To this end, research procedures from the humanities were combined with Participatory Design and Design Thinking methodologies, which guided data collection and analysis, as well as the organization of the design process and the book's creation. The integration of these disciplines allowed for a systematic structuring of the research, linking theoretical and empirical study with the development of the proposed publishing project.
In the context of this research, Participatory Design is evident both through the author's ongoing experience with the Neópolis Carnival (participating researcher), dating back to her childhood, and through interviews conducted with residents, participants, and cultural agents of the municipality (collaborators).
Furthermore, Design Thinking was incorporated as a methodology to support the organization and development of the book's creative process, contributing to the systematization of the research stages, idea generation, and validation of the proposed solutions.
Regarding the technical aspects of building the book prototype, the methodology used in the Graphic Production II course (UFS) was applied, which consists of: Conceptualization, Interaction, Graphic Structures, Documentation, Production and Finalization.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Matheus | Vieira | Ilustrador | Freelancer |
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ESTUDIANTES - PACKAGING
Proyecto realizado por:
Luciana Briceño
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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1408 – Conceptual
Nombre de la Universidad o Institución Educativa
Universidad Peruana de Ciencias Aplicadas
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Proyecto Cotorra.pdf
Descripción del proyecto en INGLÉS
Cotorra is a reunion kit that transforms a six-pack of emolientes (a traditional Peruvian beverage) and a question-based game into an experience designed to help friends reconnect. Created to address loneliness among older women, the project aims to generate moments of conversation, laughter, and shared memories among lifelong friends.
The proposal adapts the dynamics of a drinking game into a warm and nostalgic context, integrating an interactive spinner and prompts that activate personal stories. The packaging system does more than contain the product — it organizes the experience, guiding the encounter from the very first moment. With a vintage and approachable aesthetic, Cotorra turns the consumption of a traditional drink into an engaging excuse to gather, share, and feel accompanied.
Contexto cultural / problemática del proyecto en INGLÉS
The Cotorra project was developed in a context marked by increasing social isolation among older women living alone in Lima, the capital of Peru. Various studies indicate that loneliness in this age group raises the risk of depression, cognitive decline, and cardiovascular issues, directly affecting emotional and physiological well-being. Rather than an individual condition, this represents a broader social issue linked to changes in family structures, children’s migration, widowhood, and the reduction of everyday gathering spaces.
From a cultural perspective, the project reclaims the value of traditional beverages such as emoliente, embedded in collective memory and associated with moments of conversation and shared experiences. However, these opportunities for social interaction have diminished, especially for older women with economic, mobility, or health limitations. From a market standpoint, there is also a lack of products specifically designed to foster socialization among older adults through an emotional approach.
In response, the project aimed to design a packaging system that serves as both motivation and support for gatherings among friends. The main challenge was integrating product, game, and social dynamics into a single structure, allowing the packaging not only to contain the beverages but to become the central element of the experience.
From a design perspective, a playful, clear, and approachable solution was developed, considering legibility, handling, and visual familiarity. In a market where packaging typically focuses only on containment and protection, Cotorra proposes packaging that also organizes interaction, facilitating enjoyable moments of conversation and shared memories.
Solución del proyecto en INGLÉS
The solution was developed through the design of a packaging system that integrates product, interaction, and experience. Rather than proposing a purely containing package, a structure was created to organize the elements required to activate social dynamics through play.
The Cotorra kit consists of a main box that holds six bottles of emoliente, an independent spinner that functions as a support for the bottles, a set of question cards, and an instruction manual. Once the package is opened, the spinner is removed and becomes the center of the activity, while the cards and manual organize the interaction. Inspired by the logic of a drinking game, the experience involves spinning the wheel to define turns, answering questions that trigger memories, and, if someone chooses not to respond, replacing the act of “drinking” with a shot of emoliente. In this way, the system not only transports the consumable elements but also structures the encounter and reduces the initial barrier to starting a conversation.
From a design perspective, visual clarity, legibility, and ease of handling were prioritized, considering the users’ physiological and perceptual characteristics. The warm, nostalgic graphic language reinforces emotional closeness without compromising functionality. The structure was designed to be stable, easy to transport, and intuitive to use.
Through user research, physical prototyping, and iterative testing, aspects of ergonomics, graphics, and system performance were refined. As a result, the packaging becomes a device that facilitates social interaction through user-centered design.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Luciana | Briceño | Diseñadora / Ilustradora / Directora de arte / Fotógrafa | Facultad de Diseño UPC |
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Proyecto realizado por:
Leonardo Córdova Ledesma
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Mexico
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1401 – Food
Nombre de la Universidad o Institución Educativa
Universidad La Salle México
Food - please select
14013 - Oil, spices, spreads, and sweeteners / Alimentos: aceites, especias, mermeladas y edulcorantes
Descripción del proyecto en INGLÉS
The redesign of the labeling and packaging marks a new chapter for KYKNOS, as the company seeks to strengthen its international presence—particularly in markets such as the Mexican one—through a refreshed visual identity that reflects the authenticity, sophistication, and sustainability of its products. This project aims to revitalize the Greek brand, develop new product lines such as olive oils, vinegars, and preserves to expand the brand into potential new markets, and position it as a key player in the premium segment of the gourmet food sector. The mission of this project was to develop a visual and communicative identity that encapsulates KYKNOS’s rich history and its commitment to sustainable practices, all within a contemporary framework.
Contexto cultural / problemática del proyecto en INGLÉS
KYKNOS Greek Canning Company is Greece’s oldest canning company, founded in 1915. It pioneered the Greek canning industry, establishing its first factory in 1928. The company has a long history of exporting and has been internationally recognized for the quality of its products, such as its famous tomato paste, which has won awards including the Superior Taste Award and the Gold Great Taste Award. Since 2002, the company’s production and distribution have been based in Savalia, near Ancient Olympia, where they practice integrated crop management and adhere to the highest standards of food safety and sustainability. KYKNOS has maintained an identity that blends the traditional with the contemporary. Over time, the brand has reinforced its image as an icon of Greek culinary heritage, respecting traditional values while embracing technological advancements. The company has already undergone a redesign that emphasizes its “Greekness” and the natural character of its products.
This project involves the redesign and creation of a line of labels and packaging to adapt the brand to the premium Mexican market it aims to enter. It entails defining the products and their varieties, as well as establishing a color scheme that serves as a visual identifier for the product line (master graphic). In addition, it will be important to comply with the Official Mexican Standards that ensure the quality, safety, and proper labeling of products, especially imported products.
Solución del proyecto en INGLÉS
The redesign of KYKNOS’s packaging is based on a fusion of traditional and modern elements, conveying the brand’s core values such as authenticity, sophistication, and sustainability.
The main graphic, composed of abstract and parametric patterns, draws inspiration from iconic brand elements—such as its logo (the swan), the Greek flag, and Greek natural and architectural motifs—but reinterprets them in a contemporary style that resonates with an international audience. These patterns bring a sense of dynamism and modernity, while subtle references to Greek culture maintain the product’s authenticity and roots. The product information is contained within this dome, which evokes modern Greek architecture, creating a sense of solidity and structure that reinforces the product’s sophisticated character. By combining these elements, the design reflects the products’ superior quality and their commitment to sustainable and authentic traditions.
This redesign aims to position KYKNOS as a premium brand within the Mexican market, appealing to a discerning consumer who values the origin, quality, environmental impact, and aesthetics of the products they consume.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Leonardo | Córdova Ledesma | Diseño gráfico, fotografía, edición de imagen, producción gráfica | LEOCRDVA |
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Proyecto realizado por:
Brenda Morais, João Paulo Hartmann, Júlia Vilas Boas, Lucas Haddad Carraro y Maria Eduarda Xavier
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1404 – Body Care, Cosmetics & Fragrance
Nombre de la Universidad o Institución Educativa
Universidade Federal do Rio Grande do Sul
Body Care, Cosmetics & Fragrance - please select
14041 – Cosmetics / Cuidado personal, cosméticos y fragancias: cosméticos
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Descripción del proyecto en INGLÉS
The project consists of a complete redesign of the “Instantes” cosmetics line by Panvel. The line is composed of various products, such as soaps, creams, oils, and talcum powder. The objective was to add value without changing the line’s affordable price. The concept that guided the project was “To take care of you and those you love,” highlighting the act of caring and gifting, as well as the delicacy of the fragrances. Both labels and packaging were redesigned, incorporating features that encourage conscious consumption and make product identification easier. The new line combines aesthetics, ergonomics, and practicality, preserving the original essence of the brand while adding a new touch that enhances the delicacy of the fragrances and transforms the user experience with smart packaging that ensures safe handling and allows the product to be enjoyed until the very last drop.
Contexto cultural / problemática del proyecto en INGLÉS
The line’s target audience is predominantly female, aged between 20 and 50 years. The research identified that the most valued factors were good cost-benefit and the ability to fully use the product’s contents. Instantes was commonly purchased as a gift, especially on dates such as Mother’s Day or International Women’s Day. Despite that, the products in the line were being overlooked in favor of other Panvel products, even though they were more affordable. The use of generic packaging, which caused confusion among products within the same line and made them less noticeable on pharmacy shelves, along with the difficulty in identifying product families, contributed to Instantes losing popularity. Some of the products had packaging that was not suitable for their type of content, which also made them less practical to use. Gift kits were assembled in an improvised way, failing to create a purchase appeal. Therefore, Panvel decided to redesign the line. To carry out the project, research, competitor analysis, and market studies were conducted in order to understand how to reposition Instantes, conveying quality, standing out in stores, and improving product usability.
Solución del proyecto en INGLÉS
Thus, a new visual identity was developed for Instantes, bringing modernity and a fresh perspective to the labels. The new sensory illustrations and color palette make it easier to differentiate products and help create a strong shelf presence, strengthening the brand in the market. During the analysis of the original packaging, an opportunity was identified to improve usability and differentiation through new shapes. The creams were redesigned into tubes, making them easier to use, and the major innovation lies in the packaging of liquids and oils, which now use pump dispensers. In order to minimize product waste, a new packaging format was developed with a tapered bottom, allowing the product to collect at the end and be fully used. To ensure stability, it is accompanied by a silicone base that is also non-slip, preventing accidents on wet surfaces, which are common in bathrooms where these products are typically used. To reinforce its giftable appeal, an Instantes toiletry bag was developed, which can be assembled with any product. The toiletry bag can continue to be used even after the products are finished, making the gift more special. The materials used, including different types of plastics and silicone, maintain the line’s low cost, and the new formats do not complicate production processes. By combining the new identity with the new packaging, the redesign creatively and effectively transforms the Instantes line while also addressing sustainability and reducing waste.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Brenda | Morais | Designer | UFRGS |
| João Paulo | Hartmann | Designer, Animation, 3D | UFRGS |
| Júlia | Lauck Vilas Boas | Designer | UFRGS |
| Lucas | Haddad Carraro | Designer | UFRGS |
| Maria Eduarda | Xavier | Designer | UFRGS |
| Cláudia | Nichetti | Profesor Supervisor | UFRGS |
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Proyecto realizado por:
Sofía Ceballos Hoyos
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Colombia
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1402 – Beverages
Nombre de la Universidad o Institución Educativa
Universidad Jorge Tadeo Lozano
Beverages - please select
14025 – Spirits (clear) / Bebidas: destiladas (claras)
Descripción del proyecto en INGLÉS
«Raíces» is a journey through the Colombian Pacific, where ancestral traditions bloom in each drop. Viche, which has been passed down from generation to generation, is more than a beverage: it’s also a symbol of identity and tradition for the region’s afro-descendant communities. The goal was to give «Raíces» a graphic identity that would redefine and honor its deep connection to its origins.
The label’s design is inspired by the so called «flor de viche» (viche flower), the first distillate produced in the fabrication process. Visual elements like the drop, which evokes the distillate’s first drop, and the sugar cane, which alludes to its beginning stage, merge in order to amplify the product’s essence. Its visual composition reminds of this fabrication process through gestures and rustic finishes, fusing both tradition and modernity in a unique approach.
Contexto cultural / problemática del proyecto en INGLÉS
Viche is an ancestral beverage from the Colombian Pacific handcrafted from sugar cane. This distillate, which has been passed down from generation to generation, is more than a beverage: it’s also a symbol of identity and tradition for the region’s afro-descendant communities. Viche has a strong bond with the local culture, as it’s used in rituals and celebrations and believed to have healing and protective properties.
Thus, the goal was to give «Raíces» a graphic identity that would redefine and honor its deep connection to its origins, as well as the beverage’s historic and cultural legacy both in the region and the country.
Solución del proyecto en INGLÉS
«Raíces» stands out in the handcrafted liquor market by highlighting the Colombian Pacific’s cultural legacy. The label’s design is inspired by the so called «flor de viche» (viche flower), the first distillate produced in the fabrication process, known for its symbology in protection and healing rituals. Visual elements like the drop, which evokes the distillate’s first drop, and the sugar cane, which alludes to its beginning, merge in order to amplify the product’s essence. The color palette, composed by green and warm tones, seeks to convey both the Pacific’s exuberant nature and the vitality of those who preserve this ancient tradition; all while its visual composition evokes the fabrication process though gestures and rustic finishes, fusing both tradition and modernity in a unique approach.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Sofía | Ceballos | Diseño | Utadeo |
| Sofía | Ceballos | Fotografía | Utadeo |
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ESTUDIANTES - PRODUCT DESIGN
Proyecto realizado por:
Simone Barbisan, Mileide Rodrigues
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2002 – Furniture / Mobiliario
Nombre de la Universidad o Institución Educativa
UDESC - Uniersidade do Estado de Santa Catarina
Proyecto realizado por:
Jeffersson Zambrano, Ariana Lozada y Belén Villagómez
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Ecuador
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2016 – Concept - Prototype / Concepto - prototipo
Nombre de la Universidad o Institución Educativa
Escuela Superior Politecnica del Litoral
Proyecto realizado por:
Jeffersson Zambrano, Ariana Lozada y Belen Villagomez.
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Ecuador
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2016 – Concept - Prototype / Concepto - prototipo
Nombre de la Universidad o Institución Educativa
Escuela Superior Politecnica del Litoral
Proyecto realizado por:
Maria Heloísa de Queiroz Rodrigues
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2001 – Sustainable / Sostenible
Nombre de la Universidad o Institución Educativa
Universidad Tecnológica Federal de Paraná (UTFPR)
Proyecto realizado por:
Camila Vergara Ruesta - Sastra
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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2013 – Health Technology / Tecnología médica y de salud
Nombre de la Universidad o Institución Educativa
Universidad Peruana de Ciencias Aplicadas
Proyecto realizado por:
Simone Barbisan, Mileide Rodrigues
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2003 – Luminaires / Luminaria
Nombre de la Universidad o Institución Educativa
UDESC - Universidade do Estado de Santa Catarina
Proyecto realizado por:
Cairo Vieira
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2001 – Sustainable / Sostenible
Nombre de la Universidad o Institución Educativa
Universidade Federal de Minas Gerais
Proyecto realizado por:
Simone Barbisan, Vitória Varela, Manoella Martins
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2016 – Concept - Prototype / Concepto - prototipo
Nombre de la Universidad o Institución Educativa
UDESC - Universidade do Estado de Santa Catarina
Proyecto realizado por:
Maria Fernanda Caldas, Pábola Mafissoni, Simone Barbisan Y Alessandro Daz
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2013 – Health Technology / Tecnología médica y de salud
Nombre de la Universidad o Institución Educativa
UDESC - Universidade do Estado de Santa Catarina
ESTUDIANTES - SUSTAINABLE DESIGN
Proyecto realizado por:
Julia Mendes Garcia
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2213 – Self-initiated Social Impact Project / Proyecto Personal de Impacto Social
Nombre de la Universidad o Institución Educativa
PUC-Rio | Pontifícia Universidade Católica do Rio de Janeiro
Proyecto realizado por:
Gabriel León Manzur
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Peru
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2204 – Social Impact / Impacto Social
Nombre de la Universidad o Institución Educativa
Universidad Peruana de Ciencias Aplicadas
Proyecto realizado por:
Casa Mirla Laboratorio Creativo
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Colombia
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2204 – Social Impact / Impacto Social
Nombre de la Universidad o Institución Educativa
Instituto Departamental de Bellas Artes
Proyecto realizado por:
Sofía Porto Iannuzzi
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Mexico
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2211 – Regenerative & Experimental Impact Design / Diseño Experimental con Impacto Regenerativo
Nombre de la Universidad o Institución Educativa
Universidad de Monterrey
Proyecto realizado por:
Rafaela Julianotte
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2213 – Self-initiated Social Impact Project / Proyecto Personal de Impacto Social
Nombre de la Universidad o Institución Educativa
Escola Superior de Propaganda e Marketing
Proyecto realizado por:
Cairo Vieira
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2207 – Responsible Product Design / Diseño de Producto Responsable
Nombre de la Universidad o Institución Educativa
Universidade Federal de Minas Gerais
Proyecto realizado por:
Amanda Reis Spironello, Cecília Mainardi Krüger, Hannah Lerm Lorsch, Leticia Buffon Bianchi, Marina Raposo de Medeiros, Rafaella Marion Rodrigues y Vinícius Torres Nunes.
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2204 – Social Impact / Impacto Social
Nombre de la Universidad o Institución Educativa
Universidade Federal do Rio Grande do Sul
Proyecto realizado por:
Isabela Rocco | Universidade Federal Fluminense
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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2203 – Eco-efficient Materials / Materiales Ecoeficientes
Nombre de la Universidad o Institución Educativa
Universidade Federal Fluminense
ESTUDIANTES - TYPE DESIGN
Proyecto realizado por:
Luana Petter | Orientação: Sandro Roberto Fetter
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1704 – Display / Display
Nombre de la Universidad o Institución Educativa
Universidade Federal do Rio Grande do Sul
Algún archivo adicional que quieras compartirnos puede ser en .PNG, .JPG, PDF, entre otros.
Aprochego PDF.pdf
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Descripción del proyecto en INGLÉS
Aprochego is a final-year project that explores how type design can express values associated with the culinary heritage of Rio Grande do Sul. The aim was to develop a display typeface capable of conveying, through its characteristics, symbolic aspects of the region’s food culture, drawing on collective memory whilst avoiding stereotypical representations. To this end, the project combined conceptual research and interviews with people connected to the local gastronomy, used to identify and validate values associated with the regional cuisine. The process revealed four central dimensions: abundance, craftsmanship, countryside/family and substance, which guided the typographic development. As a result, two distinct styles were created, united by meaning. “Aprochego Robust” has pronounced weight, strong forms and low kerning, evoking substance. Meanwhile, “Aprochego Handmade” features a subtle slant and rounded kerning, evoking the manual gesture and the warmth of inherited recipes.
Contexto cultural / problemática del proyecto en INGLÉS
This project was developed as a final-year assignment and stems from a central question: if typefaces are often created based on brand attributes, why not develop a typeface based on cultural attributes? The aim was to explore the potential of type design to celebrate Brazilian cuisine, with a focus on Rio Grande do Sul, translating cultural values into typographic language. The main challenge was to represent the cuisine of Rio Grande do Sul without reducing it to folkloric or stereotypical elements. In a globalised context, where references blend and overlap, distinguishing what characterises a regional identity becomes even more challenging. The cuisine of Rio Grande do Sul is the result of contributions from different groups and traditions which, over time, have combined to shape its culinary identity. Recognising this diversity guided the development of the project. As a conceptual framework, the notion of collective memory proposed by Maurice Halbwachs was adopted, according to which memories are socially constructed and maintained through shared experiences. Thus, drawing on memories and emotional recollections, cuisine was explored as an expression of collective identity. Based on conceptual research and interviews with people connected to the local gastronomy, recurring attributes of Rio Grande do Sul’s culinary memory were identified, subsequently translated into formal parameters for the development of the typeface.
Solución del proyecto en INGLÉS
To represent the cuisine of Rio Grande do Sul without reducing it to stereotypes, the project adopted a collaborative methodology as its development strategy. Interviews and consultations were conducted with people from Rio Grande do Sul of different backgrounds and with varying relationships to the cuisine, professional, emotional and familial. These conversations enabled the identification of shared perceptions regarding regional cuisine and allowed for the validation of design decisions throughout the process. From this dialogue, four recurring values associated with local cuisine were identified: abundance, craftsmanship, connection to the countryside, and substance. These attributes went on to guide the formal parameters of the display typeface, informing choices regarding weight, proportions, slant, and the design of the junctions. The aim was to maintain consistency between the project concept and its visual translation. Given the cultural diversity observed in the interviews, it was decided to develop a typeface family comprising two distinct styles, connected by the same set of meanings. The Robusto style features a bold weight, wide proportions and low kerning, evoking a sense of abundance and hearty cuisine. The Handmade style, on the other hand, has a slight slant, rounded joints and a more expressive quality, evoking handcrafted work and the emotional dimension of recipes passed down through generations. The typeface family comprises 225 glyphs and covers 100% of the characters used in South America and Western Europe, including upper and lower case, numerals, punctuation and diacritics. The Handmade style also includes alternative characters, broadening its application across different languages. Developed as a display font, it is primarily recommended for headlines and text in sizes above 15pt. The name Aprochego, an expression associated with warmth and closeness in the Gaucho vernacular, reinforces the project’s central concept.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Luana | Petter | Designer/ Designer de Tipos | Universidade Federal do Rio Grande do Sul |
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Proyecto realizado por:
Thales Della Torre
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1704 – Display / Display
Nombre de la Universidad o Institución Educativa
Escola Superior de Propaganda e Marketing
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Descripción del proyecto en INGLÉS
Síndrome is a high contrast unicase font with elongated serifs, unusual characters and an aggressive, contemporary personality made up from an amalgam of both historic and contemporary references. Its OpenType features gives the user more options and customization for display uses.
Contexto cultural / problemática del proyecto en INGLÉS
Drawing inspiration from both contemporary foundries and historical fonts, Síndrome embodies unpredictability with its unusual characters and OpenType features — offering alternate glyphs for certain characters, ligatures and a stylistic set with flourish terminals —, seeking to break away from the notion of the serif as something classical, old, and inherently suited to long-form readability, through stylized characters that are at times exaggerated and contemporary.
Solución del proyecto en INGLÉS
With numerals, alternate characters, discretionary ligatures, diacritics, punctuation and symbols, Síndrome is a holistic font rich in personality.
The diversity of characters and glyphs offers multiple choices for the user to write the same word or sentence differently, making it possible to achieve more evident and expressive interventions through the use of the flourish set.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| Thales | Della Torre | Type design | ESPM |
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ESTUDIANTES - TYPOGRAPHY
Proyecto realizado por:
João Vitor de Jesus
País de Latinoamérica que va a representar el estudiante a través de la Universidad o Institución Educativa
Brazil
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1610 – Self-initiated Project / Proyecto Personal
Nombre de la Universidad o Institución Educativa
UFMG (Universidade Federal de Minas Gerais)
Descripción del proyecto en ESPAÑOL
El proyecto consiste en el desarrollo de una tipografía creada en la asignatura de Diseño de Tipos de la UFMG, bajo la orientación del profesor Emerson Eller. Su principal objetivo fue investigar referencias históricas para construir un sistema tipográfico contemporáneo. Como base, se utilizó la revista O Malho, especialmente la edición nº 837 (1918), de la cual se extrajeron cinco letras de una columna memorial sobre la Gripe Española. A partir de estas formas, se realizó un análisis formal y la posterior expansión del sistema tipográfico, buscando preservar rasgos originales mientras se propone una reinterpretación actual y coherente.
Contexto cultural / problemática del proyecto en ESPAÑOL
El proyecto se inscribe en el contexto académico de la asignatura de Diseño de Tipos de la UFMG y explora la tipografía como herramienta de revivalismo histórico y construcción de memoria visual. A partir de la revista O Malho (1918), un periódico ilustrado relevante en la cultura gráfica brasileña de inicios del siglo XX, el trabajo dialoga con un momento marcado por la circulación de ideas políticas, humor gráfico y registros de la vida social. El recorte específico, una columna memorial dedicada a las víctimas de la Gripe Española, refuerza la dimensión simbólica e histórica de las formas tipográficas. El desafío consistió en transformar un conjunto limitado de letras en un sistema tipográfico completo, preservando características formales originales mientras se adaptan a usos contemporáneos. El proyecto también articula un proceso experimental que combina investigación histórica, análisis formal y desarrollo digital.
Solución del proyecto en ESPAÑOL
La solución adoptada consistió en un proceso híbrido que integró investigación histórica, experimentación manual y desarrollo digital. Inicialmente, las letras originales fueron analizadas y redibujadas manualmente para comprender sus estructuras formales, como peso, contraste y serifas. Estas características sirvieron como base para la construcción del resto del alfabeto, manteniendo coherencia visual. Posteriormente, el proyecto se desarrolló en entorno digital mediante el uso del software FontForge, donde se realizaron ajustes de forma, espaciado y proporción. Este enfoque iterativo, basado en pruebas y refinamientos constantes, permitió la creación de una tipografía display contemporánea, funcional y fiel a sus referencias históricas.
Créditos
| Firstname | Lastname | Role | Company |
|---|---|---|---|
| João Vitor | de Jesus | Designer | UFMG |
| Emerson Nunes | Eller | Orientador | UFMG |
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