Vitor is an independent designer developing printed and digital works for individuals and institutions in the cultural and commercial sectors. He designs with a focus on building systems that combine typography and careful use of materials, taking into consideration the specificities of each project. Vitor holds a bachelor’s degree in Graphic Design from UEMG, with one year of studies at Parsons School of Design.
Belo Horizonte, Brazil
In Sara Rojo’s book about Roberto Bolaño, dark blocks of text and a typographic structure marked by vertical and horizontal rules give the pages an almost oppressive sobriety. The title in silver foil on the cover symbolizes Bolaño’s ability to create light even in the cruelest of contexts.
13 × 20 cm
160 pages
Photography Nino Andrés
With an inventory of 6,311 words, the Kaiowá-Portuguese bilingual dictionary serves as a repository of the Kaiowá people’s worldview, culture, imagination, and thought. The work has been in development for more than two decades by Professor Dr. Graciela Chamorro, in collaboration with dozens of Indigenous and non-Indigenous individuals and researchers. The graphic project combines a rational structure with a range of features that bring the book to life: saturated colors, generously sized typography, and a large number of illustrations and graphic elements placed among the entries. On the cover, corn—a plant of great spiritual and ritual significance to the Kaiowá culture—appears alongside the entry ka’agwa (from the forest, from the woods, wild), encapsulating the work and introducing the reader to its internal lexicographic structure.
15.7 × 22.7 cm
760 pages
Illustration Misael Concianza Jorge and Jaciara Marschner
Photography Nino Andrés
This book is composed of three novels: Sonata Kreutzer, by Leo Tolstoy; Who's to Blame? and Song without Words , by Sophia Tolstaya (translated for the first time in Brazil), and a few adjacent texts. The design of the book references visual elements used in musical notation, recognizing music as the starting point and guiding thread of the novels. In the titles, a typeface that combines the delicacy of rounded endings with violent sharp serifs alludes to the tempestuous relationship of the Tolstoys.
13 × 20 cm
448 pages
Art edition Laura Lotufo
Typesetting Kaio Cassio
Print production Lilia Goes
Photography Nino Andrés / Carambaia
This book presents a selection of entries written by the Goncourt brothers between 1860 and 1896. The visual choices allude to elements of 19th-century Paris: metallic structures and boulevards, parks, and public works carried out by Haussmann’s renovation program. Internally, the text was structured to emphasize the diary’s singular format, differentiating the Goncourt brothers’ writing from the organizer’s interventions by using two colors—black and copper.
11 × 18 cm
418 pages
Art edition Laura Lotufo
Typesetting Kaio Cassio
Print production Lilia Goes
Photography Nino Andrés / Carambaia
Spanning three hundred pages, Quilo is magazine that blends short stories and visuals from over forty collaborators. Each section is introduced by writers from the respective regions of the country, offering readers a glimpse of Brazilian folklore. The raw layouts were inspired by the language of Brazilian modernist design, while the kraft paper cover connects with a more rustic side of the country.
Editor & Creative Director Mico Toledo
Creative Direction Leo Porto and Felipe Rocha (Porto Rocha)
Designed with Natalia Oledzka and Felipe Rocha
Project Management Elisa Bortolini
Case Study Photography Mari Juliano
The book that unveils the behind-the-scenes process of creating the film Arábia follows the structure already established in Javali’s first cinema title. It brings together excerpts from interviews, field research notes, fragments from the lead actor’s diary, and the complete screenplay—including scenes written before, during, and after filming. The cover, a halftone collage of scenes from the film framed by thick horizontal bars, introduces the visual identity that will define the publisher’s cinema book collection from this release onward.
13 × 20 cm
256 pages
Photography Nino Andrés
The graphic design of the book Teatralidades-Aquilombamento by Soraya Martins draws inspiration from the concept of the “right to opacity” established by Édouard Glissant. The dust jacket, printed on vellum paper, functions as a veil over the cover image—a marbled pattern that simultaneously evokes multiple paths and forms of gathering. The section titles inside the book echo the dust jacket and become more pronounced by being printed on both the front and back of the slightly translucent paper.
13.5 × 20.5 cm
240 pages
Photography Nino Andrés
The book Mulheres Míticas em Performance celebrates the theatre group Mulheres Míticas’ sixth anniversary with the publication of two plays and multiple related essays and interviews. The graphic project uses visual assets found in archives to organize the different types of text, underlining the book as part of the group’s living memory. The cover and back cover reveal the content along with all of the object’s technicalities.
14 × 21 cm
320 pages
In the context of BDMG’s Cultural Institute 30th anniversary, this book compiles essays and studies revolving around the city of Belo Horizonte and the state of Minas Gerais. While each article is introduced by a different kind of ruled paper tied to its content, text originally written as footnotes was instead treated as side notes, subtly alluding to marginalia. A plastic dust-jacket commonly used on notebooks protects the object designed to be freely distributed.
15.8 × 22.5 cm
408 pages
Print production with Gabriela Silva
The properties of a book’s production process become visual elements in the thesis about the invisible agents of the early Workcenter of Jerzy Grotowski, written by Daniele Sampaio for her master’s degree at UNICAMP. A custom InDesign script was created to automatically insert gradients with different intensities in the spreads’ gutters, activating them throughout the book. Signatures printed on yellow paper stock inserted at the end showcase snippets of important printed matter used during research, available in full on the publisher’s website.
14 × 21 cm
288 pages
The graphic project for Sara Rojo’s book about Pablo Neruda’s career in cinema and theatre plays with images present throughout his work. Sober typography in the interior is interleaved by moving headlines positioned over the visible topographic grid printed on the following page. The cover photo showing the Andes (printed in a metallic ink) is followed by one of the ocean, suggesting the monumentality of his legacy and introducing the reader to the nerudian universe.
11 × 20 cm
228 pages
Photography Nino Andrés
The Contemporary Theatre Collection is a growing series created by Javali with the goal of publishing affordable paperbacks that celebrates contemporary authors. The theatre script structure was deconstructed into a system that uses two different typefaces, one acting as the passive voice that describes the scenes and the other as what is being spoken by the characters, creating an efficient structure for both conventional readers and rehearsing actors. Each book cover features a different typeface that reflects the book’s content and that permeates the interior whenever possible.
12.25 × 18.5 cm
With Amanda Goveia
Organized by Elen de Medeiros and Sara Rojo, Dramaturgies & Anarchical Drives is a book compiled of texts about non-hierarchical approaches to theatre and the role that freedom plays in the creative process. A grid with classical proportions is constantly broken by side notes which invade the primary text area, creating an unstable structure that receives formally orthodox academic texts. The texts’ title and the authors names are vertically set in two typefaces that constantly change direction/alignment and that are interchanged. A typeface was customized to be used on the folios where some of the numbers are vertically mirrored or replaced by letters. A diagonal die cut on the denies the role of the cover as the text block protection.
13.6 × 21 cm
192 pages
With Amanda Goveia
For the cover of the Brazilian edition of the classic Small is Beautiful by E.F. Schumacher, an economical typographic solution prioritizes half of each surface (front and back covers). The typeface used is a contemporary reinterpretation of the one featured in the first edition, published in 1973.
14 × 21 cm
Photography Nino Andrés
A project aimed at analyzing objects partially devoid of their original meaning. Artifacts were collected and documented between October 16th and January 23rd (2017–2018), resulting in a series of one hundred photographs.
Graphic identity and poster for a play written and directed by Vinícius Souza, featuring two childhood friends who are supposed to rehearse a speech for an award that they might win. The graphic language was imagined as a translation of the oscillating tension the script was built upon, reflecting a crumbling polarized society and the neverending search for a Brazilian identity. The double-sided poster also plays the role of program, highlighting the themes and people involved in the play.
30 × 44 cm
With Letícia Naves
Graphic design of the book "O Teatro Negro e Atitude no Tempo, o Tempo no Teatro Negro e Atitude", written by Evandro Nunes and published by Javali. The graphic elements used throughout the book dialogue with the concept of spiraling time developed by Leda Maria Martins. While the blocked quotations highlight the importance of past works for the construction of later narratives, the exaggerated scale of page numbering and chapter names emphasize the temporal dimension of the publication.
13.5 × 20.5 cm
176 pages
Photography Nino Andrés
Maurício Tizumba’s performative character is emphasized in the design of the book that houses Júlia Tizumba’s master’s thesis. Elastic typography, intense colors and a laid-back positioning of photographs reflect his performance at the crossroads: interdisciplinary and syncretic. Published by Javali.
13.8 × 20 cm
160 pages
Photography Nino Andrés
