Today we returned to 2020 to tell the story of a project that still needed to be posted here.

The Sust.co identity was a challenge proposed by Sofia Ferreira, who later hired our strategic consultancy services. We can only tell you a few details about the project and the client's plans. Still, we can say that it is linked to one of our central themes, "Craft", which means beautiful things, handmade and/or on a small scale and to last.

"A small business, growing only as far as it should, has much more capacity to be a model business. Being obliged to create value for the customer, since without it, it cannot survive, it is also subject to very direct scrutiny and immediate impact. I work fundamentally with design and creative businesses. For them, the value is in the cocktail that combines different things: the sold product, its function, durability, responsibility in the choice of materials, provenance and ethics in the manufacturing process, history, aesthetics, artistic value, and service. All are easily noticeable and valued by those who leave their money there."

After having the first editions sold out, Senzu Coffee Roasters roasted a new and bigger batch for our collaboration, this El Salvador (La Garza). Maria Helena designed the beautiful label.

Within the team, the objective of positioning the work on a multidisciplinary level was clear: we got inspiration from the work's very delicate but very organic and visceral character. We also considered wool's primitive rawness and the dialogue with technology: an invisible but ever-present second layer in many of her artworks. Finally, we took visual clues from music and the early eighties' sombre bohemia.

For the first episode of a series full of illustrious connoisseurs, the crazy people deciding this podcast decided it was a good idea to invite me. Maybe I'm illustrious, one never knows, but I'm certainly not a connoisseur.

It was early Autumn, and Jacquie and I spent a few days with Ricardo and his business partner Carol defining the studio strategy. By then, we had the opportunity to photograph the work in the big loom, handbuilt by Ricardo himself. It is so big that we almost couldn't use the title "in the studio" due to the lack of space inside.

“In my research, Wassily Kandinsky's "Point and line to plane" informed most of the process: I love this book, a marvellous piece exploring graphic expression, painting and geometry theories with scientific precision, relating them with dance and music.”

A Pele do Lobo/ The Wolf Skin is a series I'm creating at my studio about the fleeces of Portuguese native sheep breeds. It started with a gentle approach to this animal's raw material. On the one hand, Pele do Lobo is a declaration of care and love to the origin, made with a specific technique observing the manufacturing rhythms. On the other hand, it is an artistic concept. This order is a perfect circle where the human context gives value to the material's provenience. This provenience responds by transforming itself into an artwork.

After the first two editions' success, the Costa Rica natural (sold out) and the Ethiopia natural (last few bags still available), Senzu Coffee Roasters roasted a new batch for our collaboration. The third chapter is a spectacular Ehtiópia Guji, washed.

In the weeks before starting the first drafts, Ricardo sent us his references, most of which were music-related. The '70s and early '80s rock bands were our starting point (do you remember when all the bands used to have a logo?), something very prevalent in the first drafts on paper.

This project was short, lasting one month—a mentorship structured around three chapters. The first was dedicated to the magazine readers, the second to the editorial strategy and the third to the business model and the possible ways to professionalize the team editorial and content creation experience.

Our visit to Ana Rita de Albuquerque's studio in Central Portugal was long due. Finally, it happened at the beginning of a hot August after a hectic period. It was work but tasted like a deserved vacation that included long hikes and river swimming. Ana Rita is a regular on the Saber Fazer workshops calendar. Our collaboration and friendship are getting stronger every year.

New year, fresh roast. Costa Rica roasted in December quickly went out of stock. We now have a new Ethiopia (Kawo Kamina, natural) roasted in Porto by our friends at Senzu Coffee Roasters.

“When designing Oficio's new identity, I had the feeling of being in a delicate position. I was both the designer and the client, along with Miguel Barbot. Having these two hats on implies an extra responsibility. The final design must reflect our practice, the things we like, the incredible men and women we represent and our style. The briefing consisted of designing a new identity reflecting the artisanal work of the craftsman, artists and makers with whom Ofício works. However, Barbot kept saying, "don't forget: you must design something you will be proud to use in your card".

We have an old friendship with Senzu coffee roasters. It started with a mutual admiration for our work and passions and ended in this very special collaboration. Diogo is a good friend, the man behind Senzu's roaster and one of the heads running ABCoffee, the first speciality coffee school in Porto. He roasted a special edition batch to Ofício, which quickly sold out. It's a Costa Rica (El Perezoso, Natural), perfect for brewing in a Kalita Wave or a V60, two of our favourite methods.

We started after Barbara's call asking Barbot's help in a crazy project of relaunching her grandparent's department store in downtown Porto. The new name, GRAMPA, refers to her heritage and the work of the previous generations, and a tool with the same name, a homage to handmade and small-scale production. It was a concise consulting project consisting of only three sessions.

Ofício recently finished a commission to Velo Culture, the illustration "Bicicletas Bonitas", which means Beautifull Bicycles in Portuguese, designed by Miguel Moreira. It will be a decade this year since I founded Velo Culture with two friends. The first Velo Culture bicycle shop opened in the early days of 2012 in Matosinhos, in the Fish Market. A few years later, we opened a second shop in Central Porto, which is now shared with the Ofício Studio.

Something is intriguing about João Bernardino's feed. If we skip through images, all of his references make themselves visible - something that the photographer admits. The object is almost every time industrial, and the picture is at an uneasy scale. The infrastructure dominates the aesthetics. Although at almost every stage of João's work, there's the presence of either a worker, the labour or object from that activity, even when the first is (apparently) absent.

I met Sara and Helder in 2018. At the time, they proposed a challenge to plan the Manna project from scratch: a new restaurant and café in the heart of Porto. The vegan restaurant offers delicious food on-site, like sourdough bread, fermented veggies, speciality coffee, craft beer and natural wines. They also wanted to include a Yoga Studio with several classes running daily.

Sérgio Lemos invited me to visit his studio shortly after we started a collaboration with his brand, Darga Crafts. So I pedalled from Matosinhos, where I was living by then, to one of Porto's busiest roads, where he lives. Being there, still trying to recover my breath after an intense ride, I was far from imagining what I would find behind the tall gate. One of the most relaxing places I've been in Porto. It is a small building in the backyard of a bigger family house, half studio, half apartment.