Since Attix is an initiative born from Mattos Filho but with a distinct role from the parent brand, we understood that the logo should reflect this relationship of proximity and distance.
To highlight the similarities, I used the same approach of emphasizing a part of the logo, highlighting the bar that connects the two Ts in Attix. I also borrowed the purple color from Mattos Filho, modifying it to a brighter shade to create a stronger connection with the codes of the technology universe.
To emphasize the differences, I designed the logo with lowercase letters and removed the primary color of the parent brand, orange, from the visual universe of Attix. The upward-pointing arrow, which symbolizes Mattos Filho’s pursuit of excellence in the legal sector, becomes a horizontal bar in Attix, representing the brand’s calling to connect with companies and legaltechs and expand the frontiers of legal innovation.
In addition to the main version, I have also created variations endorsed by Mattos Filho, used in applications and contexts where the relationship between both brands needs to be reinforced.
Inspired by the pixel language of digital interfaces and the text lines of programming codes, I developed a visual identity based on geometric meshes formed by bars.
Fueled by images and generated by the computer, I use these meshes as a grid, guiding the composition of texts, images, and other graphic elements.
The colored bars formed by the meshes add to the base colors of the identity, bringing dynamism and unusual color combinations to the compositions.
We maintain the shades of purple, gray, black, and white as the main colors, but we open up the freedom to interact with other colors.
The Owners XWide typeface was chosen for headlines because of its wide characters and formal connection to the logo and the format of the bars formed by the geometric meshes.
The Inter typeface was chosen for body text because it is a versatile and widely used typeface for digital devices.
I explored the full potential of the geometric meshes in the animations, incorporating videos as well as images.
The movement is achieved through both animating the geometric mesh by modifying the number of rows and columns over time, and by moving the figures behind the mesh.
For the animation of texts and other elements, I sought to use movements that combine high speed with easing, to evoke a sense of a dynamic but decodable future.