Friends

Rafael Nascimento

Graphic designer specialized in branding, working since 2015 as Creative Manager (LATAM) for consumer products on Cartoon Network and Warner Bros.

15+ years of experience working as an art director in advertising agencies, as well as freelancing on branding, illustration and typography projects; my personal portfolio ranges from experimental music to corporate identity and interface design, I like to keep it as diverse as possible.

Designer gráfico com especialização em branding, trabalhando desde 2015 como Gerente Criativo (LATAM) para produtos de consumo no Cartoon Network e Warner Bros.

Tenho mais de 15 anos de experiência trabalhando como diretor de arte em agências de publicidade, assim como freelancer para projetos de branding, ilustração e tipografia. Meu portfólio pessoal varia de música experimental a identidade corporativa e design de interface, gosto de mantê-lo o mais diverso possível.

RESUME LINKEDIN BEHANCE

“And how can we expect anyone to listen if we are using the same old voice?”
Thank you.

Clients

Renault
Nissan
WWF
Itaú
Claro
Editora Abril
Camiseteria
Ideafixa
Boticário
Samsung
Google
Ballantine’s
Rede Globo
HSBC
Nestlé
Mostra de Cinema SP
MAM São Paulo
Burger King
Hering
Tilibra
Mondelez
Grendene
Havaianas

 

Hello, thanks for stopping by.
This is a selection of my work as a graphic designer and illustrator.

Enjoy your stay.

Swiss Grit

Swiss Grit is a typeface inspired by the work of my 90s design heroes and a passion for Letraset typographic dry transfers. Between various alternative characters and a set of dingbats, the idea is to emulate the dynamics and imperfections of decals, while paying a literal tribute to the work of @ashworthchris, one of those responsible for the visual deconstruction of graphic design in the 90s. Making my own broken version of Helvetica is an idea that has been with me for a long time and I am happy to be able to share it for free: download link here.
Assembled in Fontself. Issued under a Creative Commons license.

 
  • Year: 2020

Type + Music

Series of posters inspired by my passion for both music and typography. Edition of 100 each, Risograph prints on 90g Polen paper.

 
  • Year: 2019

Choripán

Choripán is a revival typeface based on a classic design: Frankfurter, by Bob Newman (Letraset studio, 1970).

It was always a personal favorite, but the lack of a proper lowercase, special characters and diacritics have always been a letdown for me in the digital versions of the font.
My humble intention was to expand the original set, adding the missing characters and a few features as alternates and ligatures. I also designed a dingbat set to add a contemporary and fun flavor to it.
It is meant for use in large sizes: titles, letterings and logos.
Reinforcing alternative models of cultural production and distribution, the font file is available for free download at the following link, under a Creative Commons license.

 
  • Year: 2020

Sinewave

Sinewave is a Brazilian music label for experimental and instrumental bands born in 2008. Its main mission was to create a streaming platform that would aggregate bands of these styles, and whose sounds would have synergy. After 10 years of existence, with a considerable history of festivals and curatorships held for events, it was time for Sinewave to reposition and visually redesign its brand in order to take on new flights and target new opportunities within the independent music market.
A project of contrasts for wandering music-making, the rebranding and visual identity for Sinewave – bringing together the aspirations of an active online community madly in love with authentic music – moves between paths of visual experimentation and real life challenges.

Despite Sinewave’s avant-garde aspect of foreseeing different modes of music distribution, the brand lacked professional communication planning, clear positioning, and consistent visual identity. From the definition of the problems and challenges facing the brand, began a research of mapping the context of operation and cultural and visual references, as well as possible strategies for the design approach. Overcoming the repetitions and formulas of designer-client relationships was also a problem presented, treated with a more collaborative and inclusive approach.

 
  • Client: Sinewave
  • Ag.:
  • Year: 2019

Volume Dealer

Volume Dealer is a typeface revival with references in photocomposition (Black Body, by Peter Steiner, 1973) and the classic lettering of the album Vol 4 by Black Sabbath.It is indicated for use in large size: titles, letterings and logos. Punctuation, accentuation for Latin languages ​​and a good set of alternative characters are also included.Reinforcing alternative models of cultural production and distribution, the font file is available for free download at the following link, under a Creative Commons license.

 
  • Year: 2020

MANIVA

Identity and graphic design for electronic music nomad event MANIVA.

Inspired by the clash of amazonian rhythms and visuals and urban culture, events held in São Paulo and Taipei.

 
  • Client: Maniva
  • Ag.:
  • Year: 2019

BLKND

BLKND is display typeface in 2 styles.

It is inspired by Letraset eccentric designs, brutalist architecture and times of reclusion. Assembled in Fontstruct and issued under a Creative Commons license. Download here.

 
  • Year: 2020

Dead Fish Store Concept

Visual concepts for Branding and products from the Dead Fish band online store. Two proposals were developed based on the band’s cultural references: hardcore punk from the 80’s and 90’s and Soviet graphic design.

 
  • Client: Dead Fish
  • Ag.:
  • Year: 2019

Fazer Chover em SP

Interactive installation based around the idea of the severe drought São Paulo experienced in 2015. A rain dance game was developed to raise awareness to the theme as well as citizenship. The result was projected in FIESP building, right in the middle of Avenida Paulista in real time. More about the project here.

 
  • Client: FIESP
  • Ag.: Webcore
  • Year: 2015

American Hardcore

I started this project as a visual mixtape/homage to the bands that influenced me over the years, in style and ideology. It took shape as designs based on the songs I relate to the most.

The american punk breed (Bad Brains, Black Flag, Dead Kennedys, Gorilla Biscuits, Agnostic Front, etc.), specially that of the 80s and 90s, left a very wide and strong legacy, seen even today in a variety of cultural activities. Each city has or had its particular scene and the traffic between bands and tours ended up mixing and spreading this whole movement beyond US borders. And so across time, as some of these bands were short-lived or had an explosive creative apex, their music and ideas remaining strong today.

For me, besides listening to these songs for as long as I can remember, their ethos and ideology were equally remarkable. The fact that people were producing and promoting their art and music in such an independent way, apart from any kind of mainstream acceptance or endorsement, makes more and more sense these days and is something I constantly seek in my own work.

This was also one of those shelved personal projects until an opportunity came to bring them to life in a stencil live session. I’ll keep adding new designs and pictures from the eventual results here.

 
  • Year: 2015

Chippanze

Since 2009 I have been responsible for the visual parts of the low-tech electronic/experimental/chip music collective and label Chippanze, designing everything from flyers to cover artworks and printed matter.

 
  • Year: 2009-2014

I Buried Paul

Cover designs and assorted graphics for the experimental music project I Buried Paul.

 
  • Client: I Buried Paul
  • Ag.: Escaphandro
  • Year: 2012

Assim é se lhe Parece

Series of animated pieces (and a few outtakes) I created, along with my brother Vitor Cervi, for the documentary ‘Assim é se lhe parece’, directed by Carla Gallo. The film goes around the life and works of brazilian post-modernist artist Nelson Leirner. We received some quotes that would mark moments of the cut, and had a lot of freedom to conceive the images. The layouts were based mainly on vintage propaganda and Pop Art, but we also had this idea, fundamented by my feelings concerning Leirner’s work, that there should be no visual identity connecting the animations, just a misplaced sense of popular and common stuff.

Check the video here.

 
  • Client: Coala Filmes
  • Ag.: Escaphandro
  • Year: 2010-2011