Friends of The Highline commissioned us to create an illustration to promote a night of Storytelling & Comedy.
"Stories, stand-up, and super fresh interviews with hosts Jon Ronson and Maeve Higgins.
Get together over a slice of pie, and enjoy a warm summer evening with some of New York's best-est."
Based in the core subject of the night (There will be pie!), the illustration tells a story with paper elements and a surreal construction.
Poster Design for Blood and Water, a film by Emily Iason.
Living for the moment, Flo is a 22 year old student attracted to the neon dive bars of the East Village and the women she often picks up there. One semester, her world is turned on its head when she falls for one of her professors. Recognizing that the attraction defies her usual fleeting instincts, Flo puts herself on the line, risking everything for the potential of a deeper human connection.
Watercolor by Lucia Pechersky
Ü Lofts is the latest project from the Architecture firm Bit.arquitectos.
Located in the hillside of the San Javier mountain in the city of Tucumán, Argentina; the lofts have been designed to take advantage of the natural context.
Providing different characteristics, the units adapt to many of the needs of its future tenants.
Josefina Scaro is a film and theater actress with a long trajectory in both fields.
Strongly attached to be in front of the camera, the look and feel of her website highlights the fact of her being an actress and an artist in the other side.
Freecell Architecture is an architectural firm based in Brooklyn NY. Since 2005, Freecell Architecture finds it essential to engage with materials, methods, and structures to solve design problems. The Firm’s approach is always personal and strongly artistic. Most of their projects involved the experience, the sensorial: projects always feature a back and forth with the interpreter, through the quest for new experiences.
Freecell were in need of new and representative identity that would appeal to both artistic and high-end clients, aiming also to bigger architectural projects.
Our guiding concept behind FA’s branding identity was the Perception of Space
This concept is based on the multiplicity of views that a structure has in relation to the space around it. The Branding is the result of the sum of the declinations of a main Symbol (its multiple views); this relates directly to the capability of the FA team to adapt and solves different type of problems with their own unique view.
To construct the brandmark, a primary shape is ‘projected’ on three different irregular surfaces, each one with its own slopes and inclines, thus creating the first three declinations of the Symbol. Each one the first three declinations can be viewed from four different angles: Front, Right, Left and Top.
This different views make up a second set of declinations, resulting in 12 different incarnations of the Symbol. This twelve incarnations can be rendered in three different ways, three ‘skins’: Plain, Wireframe and Lines.
Aside from the surfaces, views and skins, there’s one more variable, a spelling alternative of the word ‘Freecell’, as already present as the current web-site’s domain name, ‘FRCLL’ (frcll.com).
To round it all off, there's two different lockups for the brandmark: Lockup A, the Symbol stacked over the word architecture, and Lockup B, where a second variable of the symbol can perform as a background.
Due to the multiplicity of combinations, the Branding is a dynamic system of coexistent variables, where the possibilities are endless.
Paper cut handmade collage for the Annual Appeal Postcard from CUP (Center for Urban Pedagogy).
Poster Design for Stone Cars, a film by The Green Brothers.
Stone Cars is a coming of age love story set in the shacks of Khayelitsha township, one of the most dangerous areas in the world. April is faced with a decision that ultimately she will have to live with the rest of her life.
"Getting arrested can have serious consequences for non-citizens living in the United States. Even a minor crime or dismissed case could lead to deportation. But many non-citizens, their families, and even the lawyers representing them, don’t know about the potential immigration consequences of their cases. An uninformed decision can be the difference between going home or being deported."
We collaborated with CUP, The Immigrant Defense Project (IDP) and designer Petra Farinha, to produce this interactive graphic to help non-citizens, their families, and lawyers to navigate the legal system and avoid deportation. A digital choose-your-own adventure, Don’t Get Iced shows what can happen to non-citizens who have been arrested. The site also provides information for lawyers to learn how to better advise their non-citizen clients.
Bardo de Autor is a branch of Bardo Industries; as a matter of fact, it's where Bardo Industries got his name from. It started as a messy personal project back in 2011; tired of working in front of the computer all day, we had the need to make something tangible.
Bardo was born as a series of typographic pillows and quickly became a renowned product brand in Argentina, sold in more than 30 shops across the country. Among the products we have created and sold are kitchen towels, bed trade tables, pillows and tote bags; all of them designed, build and silk screened in Argentina.
The core of Bardo de Autor was to bring graphic design to the houses of people in the form of conventional objects. For some of our products we have invited local artists (like SuperDD and Pablo Gamba) to collaborate.
Before moving to Milan we put Bardo products in the freezer and we are planning to take them out and put them in the oven now in New York.
Sleeve design for Grillo Matto's eponymous debut album. Our aim was to convey, aesthetically, the sharp nature of their music and the darkness of the lyrics. The composition is crossed by metalanguage, and is meant to be read in layers, to be explored.
Brochure for the Secretariat for Public Affairs, part of the Organization of American States (OAS). Format: 11 x 17 in open 8,5 x 5,5 in closed.
[finalist pitch on New Brand ID and creative for Atlantic Avenue]
Atlantic Avenue, Brooklyn, NY - Case Study
From the concept ‘Brooklyn Chic’, we’ve gone a few steps back to see what makes Atlantic Avenue be Brooklyn Chic.
We’ve arrived to the conclusion that it represents the conjunction of two ideas: Best Of and Mixing.
Mixture, one of Brooklyn’s standout attributes, is the reason why Atlantic Avenue has so much to offer… but it’s not the procedure of mixing what produces a fine product, but the quality of the elements used.
And this is what makes Atlantic Avenue different: we’re not just mixing, we’re mixing the Best of Brooklyn. This mixture can only happen in the appropriate place, somewhere where all the conditions are given to produce a successful product, and that place is Atlantic Avenue, for it’s geographical convenience, strong appeal and trendy attitude.
“Unlike neighboring shopping areas, our product is a beautiful boulevard with very high quality goods and casual, friendly, neighborly service”
The branding should reflect the concept, but in a subtle way; the idea of combining two or more elements -or part of them- to generate a unique symbol that conveys both a sense of mixture and a high end feel.
The two most remarkable aspects of Atlantic Avenue are:
1. The fact that it is a shopping street (boulevard) and
2. The high quality of the products being offered.
To build this brand, we’ve decided to blend parts of two different typefaces: one with a strong urban and historic feel (A), and the other charmful and refined (B).
Typeface A is a modern approach on the old hand painted street signs, still visible today in some subway stations, while Typeface B relates to the fashionista character and high quality of products and shops of Atlantic Avenue, the kind of typography that has been long-time associated with high end products, shops and services.
The result is a mix of these two characteristics of Atlantic Avenue, being 100% original and trendy yet fun.
This characteristics may not be obvious to the reader but are unconsciously linked to collective knowledge and are easily recognizable.
For the wordmark, we’ve decided to use one of the typefaces used in the construction of the brand; it emphasizes the nature of our product (a street), but with some slight alterations in spacing and the balance between visual weights, thus resulting in a contemporary and elegant take on the historical street sign.
If necessary, it could work as a standalone application of the brand.
We were commissioned by Buenos Aires-based La Golondrina Studio to develop the branding and packaging for an upcoming bakery focused on cupcakes. The goal was to achieve a classic yet current product, with a funny feel to it, and at the same time distance Yuppy from their competitors.
Narcizo NYC is designer Constanza Fuentes' textile jewelry brand. The products at Narcizo are modern, simple and polished yet with the coziness of traditional handcrafting.
Branding and stationary design for Bit.Arquitectos, a young architecture firm founded by Matías Cordoba and Darío Cohen Imach.
Irving Flores commissioned us trough Corey Wascinski to create the art for his latest album, "American Influences". The music in it has a strong danzon jazz signature with influences from american jazz, represented in the artwork by the Cuban Poster aesthetic approach.
Parque Lezama is a Theater play adaptation from the original "I'm not Rappaport" (late became a movie) of Herb Gardner. Adapted and directed by the Oscar award winner Juan José Campanella.
Starring Eduardo Blanco and Luis Brandoni.
We were commissioned by 100Bares Productora to create the identity and collaterals for the first Theater play of the Oscar's winner Director Juan José Campanella.
Lucia Cuba is multifaceted artist and activist from Perú.
"My work constitutes a critical approach to fashion design and the construction
and exploration of garments as performative and political devices.." extract from luciacuba.com
Lucia Cuba has been exploring many themes and developing many projects that address various social, ethical and political issues. The common thread of all Lucia's projects is her particular approach to these issues, using garments as a vehicle for commentary.
Each project addresses its own set of socio-political concerns, but is ultimately driven by a larger conversation that Lucia Cuba is generating through the language of clothing.
Visually defining this conversation was the focal point behind the various identities we developed.
To highlight this feature we used typography as the main graphic element that connects the projects to each other but simultaneously allows each to carry its own identity. As an umbrella of sub-brands (projects), the mark of Lucia Cuba serves as the container for these sub-brands, each of which is an essential part of the parent brand.