Vitor Carvalho
Graphic Design

Vitor Carvalho is a graphic designer from Brazil who often works in print and identity projects for clients spanning culture and commerce, with emphasis in articulating different languages. His work has been published by Designboom, Folio, Sandu Publishing &c.

Vitor received his BFA in Graphic Design from the Universidade do Estado de Minas Gerais, completed after one year studying abroad at Parsons School of Design, in New York City. If you want to know more you might want to download his resume or get in touch:

+55 31 985 618 597


Homelessness in New York City

A series of posters designed after sorting New York City’s facts and myths on homelessness. A set of four posters were screenprinted on top of The New York Times’ real estate section and then hung/discarded on the streets.

22 × 24", screenprinted in one color

Featured on Designboom and Folio

Homelessness Poster #1
Homelessness Poster #2
Homelessness Poster #3
Homelessness Poster #4
Discarded Poster
Discarded Poster
Discarded Poster

The Molecular Basis of Blueprinting

A cyanotype-printed booklet explaining the chemistry behind the process. The goal of this project was to interpret and translate a given color into a letter-sized, sixteen-page booklet.

The assigned color being Cyan, the interpretation followed a juxtaposition of a seemingly impenetrable scientific paper on blueprinting written by the chemist Mike Ware and the printing process’ itself by handprinting the entire booklet in Cyanotype.

8½ × 11", 16-page signature printed in Cyanotype

Featured on AIGA’s Member Gallery

Spread 4–5
Spread 6–7
Spread 6–7 Detail
Spread 8–9
Spread 10–11
Spread 12–13
Spread 12–13 Detail

Fuck Committees Manifesto

A tiny booklet for Tibor Kalman’s 1998 manifesto. The assignment constraints served as a way to explore the expressive possibilities of typography. Made with only one typeface, one color and one folded tabloid sheet.

2¼ × 3⅜", 16-page signature

Spread 2–3
Spread 6–7
Spread 14–15

Vânia Braga

Bilingual editorial project for brazilian sculptress Vânia Braga with photography by Rui Alves.

Braga’s work consists of creating animals—mostly felines—sculpted in real life sizes. The book’s main motif uses diagonals within a grid to move small boxes of text, enabling a dynamic experience and establishing a dialog between the book’s structure and the sculptress’ work. The introduction to each of the book’s sections shows an oversized cut-out number to mirror the sculptures curvilinear quality.

29 × 29cm, offset print, hardcover
200 pages

Featured on Student Show

Index Spread
Photography Spread
Photography & Description Spread
Section Intro Spread
Manufacturing Spread

Leo Santana

Website for sculptor Leo Santana, devised to organize his large body of work, spanning from as early as 1987.

A simple yet refined typographic approach was manipulated in order to convey a literary interpretation to Santana’s sculptures—which consists mostly of commissioned pieces as opposed to self-initiated. Each one of the pages were treated as to suggest the nature of their content: stillness × scale, permanent × ephemeral, etc.

Visit website

Home page
Inside a sculpture page
Exhibitions page
Inside a exhibition page
Biography page
Biography page detail
Mobile page

Please Come to the Show

The goal for this project was to curate a selection of MoMA’s invites and create a collective meaning by turning them into a printed book. The invites that had a strong typographic appeal were selected in order to divide the book into four moments: typewritten, handwritten, serifs and sans-serifs—using the word “please” to create a pause between each section. The cover was screenprinted using a fluorescent red ink as to convey the idea of wanting attention.

14,8 × 21cm (A5), 48-page signature

Featured on 123-Layout

Please Come to the Show Cover
Please Come to the Show Spread 4–5
Please Come to the Show Spread 8–9
Please Come to the Show Spread 26–27
Please Come to the Show Spread 46–47

Flower Power

A poster designed with an excerpt of Abbie Hoffman’s famous quote from Workshop in Nonviolence magazine, 1967: ‘The cry of Flower Power echoes through the land. We shall not wilt. Let a thousand flowers bloom’.

14¾ × 18¾", screenprinted in 3 colors

Flower Power Poster #1
Flower Power Poster #1 Detail
Flower Power Poster #2

The Holocaust

A type-only pocket-sized paperback book made from a wikipedia article and designed by playing with both ideas of 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 printed and perfect bound at

The Holocaust Book Cover
The Holocaust Spreads 2–3
The Holocaust Spreads 4–5
The Holocaust Spreads 10–11
The Holocaust Cinematic Spreads
The Holocaust Cinematica Spreads
The Holocaust Spreads 50–51


A book for my partner, who at the time was living an ocean apart. Made with a collection of scientific illustrations of flowers and a selection of haikus by Paulo Leminski, permeated occasionally with a chronicle written by the Neo-Concretist Ferreira Gullar.

3½ × 5¼", 80 pages

Featured on Betype

Ampersand Book Cover
Ampersand Table of Contents
Ampersand Spread
Ampersand Spread
Ampersand Spread
Ampersand Spread
Ampersand Back

Electronic Postcards

A series of postcards conceived to emphasize the relationship between analog and contemporary digital tools as a working methodology.

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 already had their previous lives expired.

9 × 14cm, screenprinted in 2 colors

Iteration #1
AIteration #2
Iteration #3
Iteration #4
Iteration #5


Santos-Dumont is an upcoming documentary movie about the life of the homonymous Brazilian inventor.

In order to raise funds from potential investors, a poster / information sheet was designed with two typographic voices, juxtaposing a documental tone with a more personal and poetic one. The folded sheet was distributed inside plastic bags to underline the historical-documental nature of the movie and the poster itself. The sheet unfolds to reveal more information about the movie, images and upcoming relevant dates—typographically treated as newspaper headlines. The back contains a blown-out photograph of moments before Santos-Dumont flew his first invention, the Brasil balloon, dated 1898.

29,7 × 42cm, riso printed in 2 colors

Folded sheet
First opening
Front of the poster
Back of the poster