Ana Horta Paisagismo Visual Identity

I met Ana during a BNI meeting in Lagoa Santa — one of those moments when conversation flows effortlessly. At the time, I introduced myself as Bruxa Design, the name I used for my authorial freelance work. There was an immediate connection. Our first collaboration was with Raiz da Terra, the flower shop she ran with great care. Years later, when she decided to close that chapter and open her own landscape design studio, she reached out to me again — this time to create the brand that would represent this new phase.

From the very beginning, the process was guided more by listening than by drawing. It became clear that there was a mismatch between the delicate, quiet, detail-oriented work Ana created and the more robust image communicated by her previous visual identity. The challenge was to design a brand that expressed calm, refinement, and sophistication, without losing its connection to the land and to plants

During the creation stage, we explored references from Brazilian flora. We tested directions inspired by monstera and guaimbé — plants rich in meaning and deeply connected to the landscape universe. As we moved into prototyping — when typography, symbol, and applications begin to interact — it became evident that the complexity of those forms did not support the minimalism and elegance we were seeking. That was the moment the project began to ask for less form and more precision.

The solution emerged through simplification: a subtly drawn leaf, almost abstract, which also suggests a root. A symbol that does not demand attention, but sustains the brand. Typography carried much of the personality — delicate, firm, and elegant — allowing the system to breathe and convey presence without excess.

My process is intense and often turbulent. It involves doubt, constant revision, and a level of self-criticism that frequently takes me to my limit. It is neither comfortable nor fast. But it is precisely this friction that allows something essential to surface. I continue until form stops being an attempt and starts making sense. When I present a project, there is no indecision — there is a choice. Within that context, it is the best possible solution — and it is almost always received with the natural ease of something that already existed, waiting to be seen.