Vitor is a graphic designer working on print and digital for clients spanning culture and commerce. With an interest for a nuanced use of typography and the conceptual dimension of materiality, each and every project is developed with careful consideration of its specificities. Vitor received his BFA in Graphic Design from the Universidade do Estado de Minas Gerais, completed after a year studying at Parsons School of Design in New York City.

Belo Horizonte, Brazil

+55 31 9 7171 1080

BDMG Cultural

In the context of the BDMG Cultural Institute 30th anniversary, this book compiles studies about a diversity of subjects into two sections: the first revolving around the city of Belo Horizonte, printed on gray paper stock; and the second around the state of Minas Gerais, printed on yellowish paper. While each article is introduced by a different kind of ruled paper, content originally written as footnotes was instead treated as sidenotes, making a subtle allusion to marginalia. A plastic dust-jacket commonly used on notebooks underlines the book's nature and protects the object produced to be freely distributed.

Print production with Gabriela Silva

15.8 × 22.5 cm
offset, 408 pages

Plastic dust-jacket of the book Studies About Belo Horizonte and Minas Gerais in the Thirty Years of the BDMG Cultural.
Book cover.
First section introduction spread.
Article title detail.
First spread of an article.
Article spread.
Article spread with photograph.
Second section introduction spread.
First spread of an article.
Article spread with table.
Book spine detail.

Agentes Invisíveis

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
offset, 288 pages

Contemporary Theatre Collection

The Contemporary Theatre Collection is a growing series created by Javali with the goal of publishing affordable paperbacks that celebrates contemporary authors. The very specific theatre script structure was broken down 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. For the first book in the series, Trilogia Abnegação by Alexandre Dal Farra, an obnoxious stacked all-caps Akzidenz-Grotesk echoes the author’s simple but rather strong use of language.

With Amanda Goveia

12.25 × 18.5 cm

Trilogia Abnegação bookcover.
Spread from the book Trilogia Abnegação.
First chapter opening spread from Trilogia Abnegação.
Spread showing technical information from the Trilogia Abnegação original play.
Trilogia Abnegação spread of pages 18 and 19.
Chapter ending spread from Trilogia Abnegação.
Second chapter opening spread from Trilogia Abnegação.
Third chapter spread from Trilogia Abnegação.
Third chapter spread from Trilogia Abnegação.

Pulsões Anárquicas

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 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 cover acknowledges the book as a man-made object while also subverting it.

With Amanda Goveia

13.6 × 21 cm
offset, 192 pages

Dramaturgias & Pulsões Anárquicas book cover.

Electronic Postcards

A series of postcards conceived to establish a dialog about the relationship between expired and contemporary tools. A collection of forty french postcards from the 19th century were overprinted using fluorescent blue ink as a metaphor for the screen, giving new meaning to a set of objects that had their previous lives expired.

9 × 14 cm

Set of two screenprinted postcards.
Set of two screenprinted postcards.
Screenprinted postcard.

Leo Santana

Website design and development for Brazilian visual artist Leo Santana, devised to organize his large body of work, spanning from as early as 1987. A simple yet refined typographic approach conveys a literary feeling to Santana’s work, which consists mostly of commissioned public pieces. Each one of the main pages were treated as to suggest the nature of their content: stillness, scale, permanence, ephemerality etc. The website was updated in 2017 to include an online store that aims to sell some of Santana’s small and medium scale pieces to potential collectors.

Website home page showing a list of projects with thumbnails.
Project interior page.
Biography page, listing all of the projects and exhibitions.
Storefront showing a selection of products sorted from A to Z.
Cristiano piece page.
Fullscreen photography of the previous work (Cristiano).
Mobile mockups of the website.

Bacha & Ferreira

Identity for a criminal law society working mostly for low-income clients. The logotype was designed by redrawing the letter ‘a’ of an otherwise austere typeface into a custom single-case version. The printed matter dials down the presence of the logotype in favor of a clear presentation of the contact information.

With Júlia Maia and Augusto Brant

Bacha & Ferreira business cards.

Dead Objects

A project meant to explore 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. The project’s website was designed and developed to showcase each object individually, creating a tongue-in-cheek atmosphere of an art gallery that is reaffirmed by its use of white space and a black-only hanging grotesque typeface. A comprehensive index alphabetically or numerically sorted serves as the website’s main navigation.

Visit website

Accessibility brick page.
Cláudia Magazine page.
Bycicle air chamber page.
Compact video cassette tape page.
Floppy disk page.
Wood type ampersand page.
Index page.
Responsive pages.

Os Indicados

Graphic identity and poster for a play written and directed by Vinícius Souza, featuring two anonymous childhood friends who are supposed to rehearse a speech for an award that they might win. The one-hour play’s fast-paced and sober structure revolves around the struggle to find a voice and take a stand amidst a political crisis. The graphic language was imagined as a translation of the oscillating tension the script was built upon, reflecting a crumbling polarized society and the never ending search for a Brazilian identity. The double-sided poster also plays the role of programm, highlighting the themes and people involved in the play.

With Letícia Naves

30 × 44 cm

Folded poster sheet.
Programme spread.
Open poster.

The Holocaust

A type-only pocket-sized paperback book made from a wikipedia article and designed by articulating heaviness and voidness. A series of typographic devices were used to keep the body of text as heavy as possible while maintaining a degree of readability. Quotations inside the text were treated like fading memories and the introduction to each of the chapters fall into the gutter in order to create a slight feel of discomfort.

4¼ × 6.88"
136 pages

Cover of the book with the introduction of its text.
Opening pages of the book, continues the text previously on the cover.
Ending of the introductory spreads with oversized type.
Spreads showing the book's layout system.
Cinematic entrance to one of the book's chapters that reads 'Wansee conference...'.
Continuing the text of the previous image—'...and the final solution 1942–1945'.
Another spread showing the book's layout system.