Graphic designer in Coimbra, Portugal. Brand identities from the mark up, and the visual systems that carry technical work: infographics, maps, diagrams and the reports around them.
Currently at KEO International Consultants. Always interested in good, clear design.
I am a graphic designer at KEO International Consultants, working out of the Porto office
on infrastructure and engineering projects. Most of my week goes into making technical
material readable: infographics, network diagrams, maps and the reports they live in. On a
large master plan in Saudi Arabia I was the only designer across the infrastructure, fire
life and safety, and sustainability chapters, running those streams alongside a design
lead and coordinating through the project manager.
The other half is brand. Marks, colour systems, type and the collateral that follows, for
a gelato studio and for a village association. I do not think of these as separate skills.
Both are about deciding what a reader needs to understand first, then building a system
that keeps saying it consistently.
Based
Coimbra, Portugal
Now
Graphic Designer, KEO International Consultants, since 2024
Before
Design intern, KEO Abu Dhabi, 2023, via INOV Contacto
Study
BA Multimedia, Instituto Superior Miguel Torga. Erasmus in Audiovisual Arts, Jagiellonian University
Languages
Portuguese (native), English (C1, IELTS Academic)
Tools
Illustrator, InDesign, Photoshop, AutoCAD
Let's work together.
Send me a message about your project, or have a look at the PDF version of this portfolio.
A gelato studio that treats flavour as colour. The mark had to survive being printed at
cup size, so the whole identity is built on a single silhouette: an elliptical scoop with
a swirled crown, drawn at one line weight and resolved before any type was added.
The wordmark stacks above and below the scoop for symmetry, and the palette stays soft,
pistachio and cream and apricot, so the product photography remains the loudest thing on
the page. Montserrat Semibold and Thin carry the system across signage, packaging and
merchandise.
Fig. 1.1Mark construction, silhouette to final logo
Fig. 1.2Colour system, typography and applications
Rebrand
Visual identity
Associação Sócio Cultural Recreio e Desporto de Pereiros
Type
Rebrand for a Portuguese community association
Basis
Pro bono
Year
2026
Tools
Illustrator
The existing emblem tried to hold everything at once. An arch, a flag, figures, a
landscape and the full name, all competing, and none of it survived being reduced. The
rebrand keeps the meaning and drops the accumulation.
The arch stays, because it is the association's own building and the thing members
recognise. Inside it sit two figures for participation across generations, a flame for
continuity, a leaf for the rural setting. One line weight, symmetrical, legible at badge
size. The blue and gold palette is documented in hex and CMYK so a print shop can use it
without asking.
Fig. 2.1From the original emblem to a reducible mark
Fig. 2.2Final mark, colour specification and typography
Event identity
Print and screen
KEO Lisbon office opening
Type
Invitation and event collateral
Client
KEO International Consultants
Scope
Designed from scratch
Tools
Illustrator, InDesign
An engineering consultancy opening its first Portuguese office and announcing it to
clients and partners. The invitation had to read as corporate without reading as generic,
and had to work in print and on a phone screen.
A flat Lisbon skyline in three tints of the KEO blue does the work. It sits under the
type on the front, then becomes a near white watermark on the back so the RSVP details
stay the only thing you read. Setting the headline in outline keeps the weight of the
page low and lets the logo hold the only solid block of colour.
Fig. 3.1Invitation, front
Fig. 3.2Invitation, reverse
Fig. 3.3Vertical format for screen
Infographics
Illustration
Parking futures
Type
Four part infographic series
Client
KEO International Consultants
Use
Client deliverable
Tools
Illustrator
The argument: cars in the Gulf have grown for forty years straight, parking assets last
forty to sixty, and planners are still sizing bays to yesterday's fleet. Four plates carry
it. What people actually drive, why electric vehicles need more room than the bay itself,
the planning factors that follow, and what it costs to get them wrong.
Everything is built from one icon set at one stroke weight, on two blues. The vehicle
outlines are drawn rather than photographed so the comparison stays about footprint, and
the recommendation sits in its own block at the end of each plate, so a reader can take
the number without reading the argument.
Fig. 4.1Vehicle size pressure on parking design
Fig. 4.2Dimension growth and electric vehicle infrastructure
Fig. 4.3Technical, financial and long term risk
Diagrams and maps
Information design
Mobility and environment diagrams
Type
Journey diagrams, network maps, street sections
Context
Master plan reports, infrastructure and sustainability chapters
Role
Sole designer across the infrastructure, fire life and safety, and sustainability streams
Tools
Illustrator, AutoCAD, InDesign
Engineering chapters arrive as models, spreadsheets and CAD files. These are the pieces
that turn them into something a client can follow: how a visitor gets from the regional
city to their front door, where goods consolidate before the last mile, which streets take
which right of way, and what actually sits inside a cross section.
The constraint across all of them is the same. One legend, one icon set, one colour logic
per drawing, so a reader who learns the key on the first page keeps it for the rest of the
chapter. Project names and site references have been removed for publication.
Fig. 5.1Mobility as choice, trip structure and distance bands
Fig. 5.2Public transport network structure
Fig. 5.3Freight consolidation and reverse logistics
Fig. 5.4Micromobility and bus network map
Fig. 5.5Street cross section, zones and street elements
Fig. 5.6Utilities layout, infrastructure services plan
Fig. 5.7Climate adaptation and mitigation
Editorial design
Layout
Master plan documents
Type
Landscape format technical report design
Context
Master plan reporting, Saudi Arabia
Role
Layout, figures and graphics within a client supplied template
Tools
InDesign, Illustrator
Hundreds of pages of engineering narrative, tables and plans, set to a template the
client's lead architect supplied. My work is what happens inside it: how a full bleed plan
meets a two column argument, where a legend sits so it can be read against the drawing,
how a table of utility demand stays scannable at print size.
Text and project references are replaced with placeholder content here.
Fig. 6.1Chapter opener and data spread
Fig. 6.2Opener and land use plan
Fig. 6.3Diagram spreads in sequence
AI workflow
Method
Directed, not generated.
Generative tools sit inside my production, not at the end of it. They are fast at
producing raw material and bad at deciding what a page needs, so I use them for the
first and keep the second. The test I hold them to is simple: if the finished piece
looks like it came out of a model, the work is not done.
Me
Direction
Decide the argument, the visual system, the palette and the stroke weight before anything is generated. Everything downstream is held to it.
Me and Claude
Prompt construction
Build paired prompts, one for the full scene and one for the icon alone, so a set comes back consistent instead of six unrelated images.
ChatGPT
Image generation
Generate reference imagery against the fixed palette. Treated as raw material, never as final art.
Adobe Firefly
Vectorisation
Concept to Vector turns approved concepts into editable vector icons, which is where a generated image stops being an image and becomes an asset.
Me, in Illustrator
Assembly
Redraw what does not hold, unify every stroke, build the legend, set the type. This is where the set becomes a system.
01Composition, hierarchy and what the reader should understand first are never delegated.
02Typography is always drawn by hand, never generated.
03Anything going to a client is rebuilt as editable vector, so it can be corrected, translated and reused.
04Tools used: Claude, ChatGPT, Adobe Firefly, Midjourney. The list changes; the method does not.
