Vitor Carvalho

Graphic Design

Projects——

Contemporary Theatre Collection

The Contemporary Theatre Collection is a growing series created by the publishing house 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.

Keeping the red as the series brand, 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 × 18,5cm, offset print, paperback
Trilogia Abnegação: 208 pages

Featured on Bonde

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.
Epilogue spread with running text from Trilogia Abnegação.
Last spread of the epilogue section from Trilogia Abnegação.
Third chapter spread from Trilogia Abnegação.

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

Overprinted typographic ligature on top of a postcard of the architecture of a french cathedral.
Overprinted typographic ligature on top of a postcard of the interior of a 16th century cathedral.
Overprinted typographic ligature on top of a postcard of an old french castle.
Overprinted typographic ligature on top of a yellowed postcard of a crowded french beach.
Overprinted typographic ligature on top of a postcard of the interior of a king's bedroom.

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

Poster with black and white flowers and type that reads 'We shall not wilt'.
Close-up photo of the poster highlighting its texture.

Leo Santana

Responsive 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 a CMS and an online store that aims to sell some of Santana’s small and medium scale pieces to potential collectors.

Visit website

Website home page showing a list of projects with thumbnails.
Project interior page.
Exhibitions page, showing a list of exhibitions that took place between 1987 and 2016.
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.

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.

Street photography by Vitor Meuren

22 × 24", screenprinted in one color

Featured on Designboom and Folio

Published on The Design of Dissent (Milton Glaser & Mirko Ilic) and Typography (Sandu Publishing)

Fact — New York City has more vacant buildings and lots than it has homeless people.
Close-up of the poster highlighting its texture.
Fact – New York City has record number of billionaires and homeless people.
Myth – Outsiders abusing NYC's right to shelter are the cause for homeless record.
Myth – Homelessness is not a housing problem—it is only a jobs problem.
Poster on the ground of a park in New York.
Poster on the ground of a park in New York, children passing by its side.
Poster being shown on a ad display in New York.
Poster on the Union Square main subway entrance, New York.

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 growing 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 programme, highlighting the themes and people involved in the play.

With Letícia Naves

30 × 44 cm, offset print

Folded poster sheet.
Programme spread.
Open poster.

Ampersand

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

Ampersand book cover.
Summary spread.
Flower and haiku spread.
Flower and haiku spread.
Haiku and flower spread.
Flower and haiku spread.
Long text spread.
Back of the Ampersand book.

The Radiated Library

Graphic Design BFA final thesis designed and developed during the period of four months under the guidance of Cláudio Santos. This project seeks to translate the experiences that defines the medium of the printed book and the physical library into a website.

Taking Paul Otlet’s concept of the Radiated Library and what he understood as the social context of documents, the website structure takes clues from the sensorial experiences of navigating through documents in a library and translates them into metaphors of behavior. The site’s foundation is defined around the idea of navigating through scale, time and volume, each defining a different way to experience an entire collection of texts that wouldn’t otherwise be directly related.

Each individual document is represented by a shape that symbolizes its transition from paper to screen. The texts were organized into different categories that were assigned to different typefaces, enhancing each category inherit linguistic texture. Instead of opening each text individually, the texts are laid out juxtaposed to one another, creating a cacophony of different verbal and visual expressions.

Watch behavior videos

Homepage of the website.
Website menu showing scale, time and volume.
A straightforward timeline representation for the time mode.
Volume is represented by the vertical space each text takes on screen.
Juxtaposed texts.

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 Lulu.com

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.

Cyanotype

A cyanotype-printed booklet explaining the scientific process behind blueprinting. The goal of this project was to interpret and translate a given color into a letter-sized, sixteen-page booklet. The assigned color was Cyan and the interpretation was materialized through the juxtaposition of a seemingly impenetrable scientific paper on blueprinting and the printing process’ itself by handprinting the entire booklet in Cyanotype.

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