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, every project is developed with careful consideration towards the specificities of content. Currently living and working in Belo Horizonte, Brazil, 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, Brasil

+55 31 971 711 080

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 printed
192 pages

Dramaturgias & Pulsões Anárquicas book cover.

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
offset printed

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.

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 printed
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.

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 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

Featured on Designboom; published on The Design of Dissent and Typography

22 × 24"

Fato — Na cidade de Nova Iorque existem mais prédios vagos e lotes do que pessoas sem moradia.
Close do cartaz anterior destacando sua textura.
Fato — A cidade de Nova Iorque têm número récorde de bilionários e pessoas sem moradia.
Fact — New York City has more vacant buildings and lots than it has homeless people.
Fact – New York City has record number of billionaires and homeless people.
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.


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.
Haiku and flower spread.
Long text spread.
Back of the Ampersand book.

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.


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.

8½ × 11"
16-page signature

Cyanotype booklet cover.
Spread of pages 4 and 5.
Spread of pages 6 and 7.
Detail of spread (pages 6 and 7).
Central spread, pages 8 and 9.
Spread of pages 10 and 11.
Spread of pages 12 and 13.
Detail of spread (pages 12 and 13).

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.

Fuck Committees

A tiny booklet for Tibor Kalman’s 1998 manifesto. Designed with one typeface, one color and one folded tabloid sheet.

2¼ × 3⅜"
16-page signature

Cover of the booklet.
First spread of the booklet.
Spread with big and small type.
Spread with running text.

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
offset printed

Folded poster sheet.
Programme spread.
Open poster.

Please Come to the Show

Curation and book design for a fictional MoMA catalog of printed invitations from the early 1960s to the present. The pieces that had a strong typographic appeal were selected and categorized into four distinct moments: typewritten, handwritten, serifs and sans-serif—with an enlarged ‘please’ dividing each one of the sections. The cover was screenprinted using a fluorescent red ink, begging for attention.

Published on Flipping Pages

14.8 × 21 cm
48 pages

Catalog cover.
Opening spread.
Spread with Warhol's invitation.
Spread with enlarged word 'Please'.
Closing spread.

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.

The Radiated Library

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 notions of 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.

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.