People-pleasing is boring, passive and inauthentic. Carla creates influential and provocative brand experiences by challenging people to make bold and unconventional statements that acknowledge current social tension, cultivating meaningful connections between progressive brands and socially conscious audiences with high expectations. Working as an independent freelance designer and art director, Carla works predominantly with beauty, fashion, food and lifestyle brands from all around the globe. With an extensive creative network, Carla forms specialist teams that cater to the individual needs of her clients, resulting in strong collaborations and more impactful results. From conception to outcome, Carla uses finely-tuned processes in conceptual design and strategic thinking to execute on aesthetically striking visual identity systems, boutique packaging and thought-provoking advertising.

We all have too many tabs open in our browsers and in our brains. In an increasingly overstimulated world overwhelmed with mental noise and constant online bombardment, Mort & Max is a CBD sparkling water beverage created by two brothers targeted at busy creative professionals who are over-stimulated and over-caffeinated. Mort & Max’s mission is to help creatives make space for journalling and pave their way forwards in an increasingly backwards world.


From the brand language through to packaging and campaign design, we needed to create something unapologetic, audacious and forward-thinking to stand out from the increasing number of CBD products in the drink aisle. The brand needed an identity that would speak to people immediately and entice a unique and tailored brand experience through outspoken and unmissable typography and color.


Centering the logo mark as the hero of the brand, the brand identity uses forthright and loud typography combined with a mixture of san serif and serif typefaces for secondary typography, visually communicating motion and a positive shift forward for consumers within their working and personal lives. The brand typography is paired with a bright color palette that boasts confidence, clarity and empowerment to the masses of overwhelmed creatives with the masses of wrong products available to them.



A dedicated and creative Art Director in a variety of projects. Ensuring that the clients’ desired message and image is conveyed to consumers through visual aspects of branding, advertising and media campaigns. Overseeing the page layout of catalogs, magazines, cover art for books and production of websites.



A+M is a full advertising, marketing, branding, media, publishing and communication agency in the US. A+M maintain top share in the local advertising industry as a leading advertising agency and top direct media buying house in the US.


Aleksander Znosko is a graphic designer specialised in designing visual identities, posters, publications and websites.

He lives and works in Warsaw. Aleksander has majored in both Media Art and Design at the Academy of Fine Arts in Warsaw and has participated in various collective exhibitions in Poland and abroad.


Marceli Adamczyk

Publication designed for Marceli Adamczyk. The book contains 57 artist’s sketches from trips to three cities: New York, Prague and London.

PFC Brutball

Art Direction and Graphic Design of the newest collection “Brutball” for Polish Football Casuals. The project was inspired by brutalist architecture and casual subculture from that period.

21 Postulatów Młodych Ponad Podziałami

Visual campaign which was a part of the social action “21 Postulatów Młodych Ponad Podziałami” organized by European Solidarity Centre in Gdańsk. Project’s purpose was to illustrate the third postulate about the independence and objectivity of public media in Poland



Redesign of one of the most iconic Polish rap albums “SKANDAL”. The project was realized in collaboration with Kuba Bogacki and Krzysztof

Supernulla Creative Studio is born from the friendship between Marcello Raffo, Nicolò Tromben and Marco Venturi.

They met each other in Ferrara, Italy, where they graduated in product design at the local university. After a few years of experiences in graphic design between Porto, Venezia and Ravenna, they decided to run their own graphic design studio in January 2020. They were smart working before it was cool, working together from their homes in Thiene, Vicenza and Lugo. Supernulla creative studio is specialised in Brand Identity, Editorial Design, Motion Design and Illustration.


The studio took the name Supernulla (literally “super-nothing”, in English) for the fascination of the members for the contrast between everything and nothing, absolute and relative.

The concept of the studio identity couldn’t step away from these ideas. Typography with minimal attitude aside flat surfaces in black or white (all and nothing), contrast and harmony. Finally, a wireframe black hole, as an icon of the meaning of the name.


Inspired by the very specific context of  Fabbrica Altra and the people the artist has met, Marie Lelouche develops a set of works all assembled in an exhibition named “Failed to Synchronise”.

Fabbrica Saccardo, with the help of Saverio Bonato, commissioned us to design the identity of the exhibition.

We developed two different poster formats and the explanatory papers, playing with images and typography recreating the message given by the exhibition title.


Music event identity for SUBPHONICS Collective based in London, specialised in experimental electronic music.


The prolific collaboration with the Bronson universe led us to design different outputs for any of the fields of the entertaining company. Here’s a selection of posters we made for different music artists during the last two years.

Our work is not limited to poster design, but it also involves the complete package a live club, record label, bar and restaurant needs for the promotion of its image.

Thanks to this collaboration we have the occasion to get in touch with several international music artist and personalities.


Sandro Grottesco is a semi extended typeface family with three different weights (Light, Regular and Bold) and the relative italic versions. All the glyphs are designed with a big contrast between rigid and soft shapes to obtain a funny and dynamic personality. As others sans serif typefaces, Sandro is perfect to create artworks with big titles and strong hierarchy.



Giorgio and Ivana are a couple. They have a very strong passion about nature and environmental issues that involve people in everyday life.

Together, they started to create nice terrariums, to bring the passion they have in common in their own house. Soon the passion became a mission: to bring their message to all the people that needs to feel closer to the nature, to restore a contact with it, even without leaving home.

Palme di Montagna is born.

They got us into this project asking to design the visual identity of this new brand, an identity that could pop out from the standards of the usual nature-centered brands.

Matteo Vandelli is a freelance graphic designer, specialised in visual design for both print and digital. He works on commissioned and self initiated projects like books, visual identities, exhibition design and websites. His work is driven by a minimal and versatile approach, in the belief that each project represents a new dialogue, capable of exploring new solutions.

For the 2019 season of the Arena Borghesi, the historic outdoor cinema of the city of Faenza, Matteo Vandelli creates a visual identity where typography becomes texture. Starting from the title of the edition “Spettacolare! L’Arena Borghesi c’è”, a phrase particularly used in sports by reporters to enhance a goal or a victory, Matteo creates a visual capable of reminding a stadium choir that through its different applications turns into something more complex but visually coherent.

Callin Mackintosh is an independent, London-based Scottish graphic designer specialising in typographically driven editorial and identity design. Callin’s 9 years of industry experience include working at established London studios, as well as leading the design output during his 3 years as design director helping establish a newly founded studio.

He is experienced working with a wide range of clients including art galleries, architects, book publishers, start-ups, breweries, jewellery designers, film festivals, musicians and fashion designers.

Notable projects include creating the identity and brand guidelines for the Sundance Film Festival 2020 in Utah, USA.

Callin’s passion for designing books also lies in collecting them. It was this dedication that led to him starting OOP (Out of Print Books), a small online bookshop selling rare, hard-to-find, art & design books. The aim being to get these important books back into the right hands to inspire and educate a new generation of designers.

Ancient Dieties.

Rhiannon Rebecca Salisbury and Arusha Gallery have called upon eighteen selected artists to invoke and create an ancient deity. The chosen deity from each artist as reflected in new artworks (painting, sculpture, sound and installation) are presented in a new group exhibition which seeks to reawaken a host of awe inspiring and mystical entities, bringing them back to the forefront of people’s consciousness.

The exhibition identity created by Callin Mackintosh takes inspiration from researching ancient alphabets and deity symbolism, exploring their simple, geometric forms. The selected display typeface feels both primitive and alien much like the gods themselves. The addition of a crucifix and inverted crucifix in place of the letter ’T’ represents the good and evil of these mythological beings.

The folded concertina invite works both as a poster and functional document with all additional exhibition details on the reverse.

Álvaro Fernández is a spanish graphic designer based in Madrid. He has been part of different studios and art schools in Málaga, the city where he was raised, but now works as a freelance in the capital of Spain.

His work could be described as minimalist and conceptual, always in search of the visual metaphor. Specialized in branding and events identity, he is also very involved in the national music independent scene, collaborating with several bands, labels and festivals.

Visual identity for the art project “ESTADO REAL. Ampliando a Cano Lasso, de 350 a 10.000m2”, exhibition of Elvira Solana,  architect and painter.

The image of the ephemeral exhibition ESTADO REAL was intended to generate expectation around the artistic intervention of the architect and muralist Elvira Solana, as well as the production of a series of printed pieces such as posters, invitations and explanatory room sheets. The work consisted in the relocation of a luxury home in Madrid from a series of murals painted on its walls, which showed the views of its new seaside and fictional site.

With the aim of enhancing the dialogue between painting and architecture, the designer chose two complementary typographies that represented the traditional pictorial world and the avant-garde technical universe, respectively. The palette of colored papers represent the pigments used in the murals. The invitations included a piece of cloth resulting from the process of uncovering the walls of the house, previously covered.

Photography by Ana Amado.

Graphic system for Fosbury Fest, a music festival that takes place in Madrid and is based on the idea of friendship, love and affinity.

Named after the north american olympic athlete that changed the high jump technique forever, the center of the identity is born from the union of a heart and the olympic rings.

Due to the idiosyncrasy of the festival, celebrated in three different venues and two consecutive days, the poster was designed with a color system to inform when and where each band was playing.


Rebranding for LA GAUSS, a design and arts school located in Málaga.

The old x-shaped logo is restyled under a new concept: “a school that leaves mark”. The isotype is used to create a grid system that gives birth to a bunch of symbols. The blades of the X untie to flow across the new brand universe.

Mon Dvy is the solo project of musician and producer Martín Muñoz, halfway between pop, jazz and urban music.

The goal was to create a graphic universe that would combine the aesthetics of “sad boys” and old jazz album covers.

Among the references given, there were abstract symbology and dark thoughts. The result: a graphic system built from 13 symbols (one per song), that facilitates the design of every single that is published.