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graphic identity

The Concept
The graphic identity developed for the Postulation reflects the mystic experience lived by Francisco and Jacinta, where reality is entwined with the divine. Children, the clothing of the time, hands in prayer remind us of a reality in tune with the divine, represented by light, by the heart and the respective conversion. In prayer, they offer their hearts to God. We want to show real children, which in the context of the time don’t differ from other children. These are the children God is going to touch and bring to experience the transcendent. In their simplicity, they aren’t able to keep to themselves the interior joy worked in them by God and the beauty of a Lady Who gives meaning to suffering and asks for the happiness and conversion of mankind. Francisco and Jacinta live this experience together, because they are brother and sister and, therefore, live in the same home and because they are close in age. That is what distinguishes them from cousin Lucia, whom they admire and want to follow as shepherds. Later on, they would wait together for the return of Lucia with her flock.

The children are enveloped within three hearts in rotation, which mirror the refraction of light, the splendor and the interior movement they felt at the time of the apparitions. Three is the number of seers – Francisco, Jacinta and Lucia – and three are the types of relational experiences lived by the children – Angel, Our Lady and Our Lord.

At the center of the hearts we find two children in the heart of God, centered in God and united by prayer. Prayer is the center of everything; it is in prayer that they find meaning for their lives, their circumstances, their sacrifices. Prayer is the gesture of interior love and of the relationship with God. Through prayer, the children get closer to their own heart and to the heart of God.

Graphic Identity – Variations
The graphic identity developed for the Postulation presents several versions, which correspond to different publics and different levels of communication. Besides the institutional version, an ecclesiastic version was created, intended for more formal approaches. Without deviating from the framing defined for the logotype, this version presents the foliage of the holm-oak around the symbol, topped with the cross of the arch built in 1917 in Cova da Iria.

Parallel to these, there were developed individual versions for specific purposes, which intend to communicate the characteristics of Francisco and of Jacinta. These two versions are strongly associated with Light and with Nature, due to the connection the children had with them. Therefore, we can find in the graphic identity of Francisco a bird, for he liked animals a lot; and in the one for Jacinta a lily, flower she often picked on the slopes of the sierra.

Francisco Marto
“Amongst the three, the most sensitive to Nature, likes animals a lot and is in love with his fife”.
From Boletim dos Pastorinhos (Bulletin of the Little Shepherds)

Jacinta Marto
“Since Jacinta liked flowers, on the return she would pick, on the slopes, a bunch of lilies and peonies, when in season”.
From Memoirs of Sister Lucia