I’m a senior visual designer who solves problems. In 9+ years of design work, I’ve rebuilt brand guidelines and redesigned packaging for 50+ products. I’ve handled ten client accounts at once and built a system that turns product images into AI-generated videos.
Eight identities from my independent practice. I developed each one from the initial brief to its applications.
Brazil without the postcard clichés. I drew Doraiza’s D as a landscape: waves and mountains in its curves, the sun resting on the horizon and a bird flying out of the empty space between them. It feels like the first morning of a trip.
A DJ school with the warmth of a friend’s house. I adjusted the letters by hand, then used the same forms to draw a symbol that hints at a home. Terracotta brings the warmth into the palette.
A barbershop built around the person in the chair. Deep wine red and heavy type bring the confidence, and the open space around them keeps it calm. I wanted the identity to have presence without raising its voice.
For a lawyer with Lebanese roots, I built the name like a piece of architecture. Repeating vertical modules recall classical columns and give the lettering a firm footing. Deep blue and gold give it the formality of a legal signature.
Vicentini builds his tracks layer by layer. I brought that sense of structure and movement into a solid monogram, where sharp cuts open into curves like a sound wave. Heavy type keeps the beat.
Felipe turns sports science into advice endurance athletes can use. I gave that clarity a visual rhythm: geometric type sets the pace, while a quiet palette leaves room to focus.
A smile changes the way someone walks into a room. For Astra, I drew a star that hides a tooth: you see the shine first and the dental reference a moment later, like a good result that doesn’t need to announce itself.
Made with care, served with love. Poiate’s line is an invitation before the first bite. I took the identity from the storefront to the packaging, carrying the name wherever the food goes.
Bring me the problem. These are real situations from the last nine years.
At Maxima, I rebuilt the brand guidelines from scratch as an interactive manual. I also produced the design work across its digital channels.
MaximaI handled design across ten accounts and took responsibility for creative reviews and final approvals. I also mentored two junior designers.
BangbooAt Bangboo, I redesigned every package in Deusa Alimentos’ farofa range. The food brand has over 80 years of history.
BangbooI redesigned the packaging for 50+ Em Casa Tem products while handling eight accounts at Fabrika.
FabrikaAt Leve, I translated complex fintech information into materials for people outside the industry. My work included the complete onboarding kit in print and digital formats, as well as presentations and HubSpot emails.
LeveI built a system that turns product images into short vertical videos, with scripts and captions generated by Gemini. I also created UGC-style content using a consistent AI persona.
IndependentI was Trinca’s only visual designer, working remotely with a team of around 100 people. I designed internal communications and employer branding materials, including work for events and onboarding.
TrincaTurning product images into videos.
I use Gemini Omni Flash to create TikTok Shop videos with a consistent AI persona. I also built the workflow below to generate short vertical videos from product images, with scripts and captions prepared in the same system.
I built the admin panels and automation to take a product from upload to a downloadable video. The system keeps track of generation jobs and brings the finished videos and captions into one panel.
I enter the product photo and TikTok Shop link in the admin panel, along with commission details and notes for Gemini.
Gemini 2.5 Flash generates the product’s script and caption.
Veo 3.1 generates the vertical video, subject to a daily quota.
I built the queue using Cloudflare Workers, D1, Durable Objects and Workflows. The system checks each job’s status and retries failed requests.
The final panel groups completed videos by day. I can download a video and copy its caption and product details for posting.
I used Google Flow to generate New Balance product imagery for Natural One, a large retail franchise in Paraná. These images were created for social posts.
Deusa Alimentos has been around for over 80 years. At Bangboo, I redesigned the packaging across its entire farofa range.
I made product videos for Star Point, a surf shop in Maringá, featuring brands such as Hurley, Volcom, Approve and The Saint.
I was responsible for all graphic design across Maxima’s digital channels. Alongside the ads and motion graphics, I rebuilt the brand guidelines as an interactive manual. I also produced homepage assets and web banners, as well as CRM materials.
I handled the design work across Maxima’s digital channels and rebuilt the brand guidelines as an interactive manual.
I developed brand identities and icon sets at Dzigna, alongside storyboards and AI-assisted mockups.
I handled visual communication for 10 client accounts at once and redesigned the entire farofa packaging range for Deusa Alimentos. I also reviewed creative work and mentored two junior designers.
As the only visual designer, I created materials for internal communications, employer branding, events and onboarding.
I was one of two designers at Leve. I created a complete onboarding kit in digital and print formats, along with presentations and HubSpot emails.
I led branding and campaigns for eight accounts at once and redesigned the packaging for 50+ Em Casa Tem products.
I designed e-commerce and social media content, with work in product photography and retouching. At Ui! Gafas, I was the only designer and also produced email content and motion graphics.
Through Manto Studio, I’ve created 30+ visual identities from scratch. I handle the client relationship and every stage of the design work, from the brief to final delivery.
Brand identity and guidelines, campaigns, paid ads, packaging, editorial design, presentations, icons, motion graphics, web assets
Figma, Illustrator, Photoshop, InDesign, After Effects, Premiere Pro, Lightroom, Framer, HubSpot
Higgsfield, Veo 3.1, Gemini, Nano Banana, Seedance, Kling, Wan, Firefly, ComfyUI, Claude, ChatGPT
Hi, I’m Matheus. I’m looking for a remote senior design role with an international team.
© Matheus Mantovan · Maringá, Brazil · UTC−3
For a company taking people on expeditions across Brazil, I wanted the identity to carry the feeling of setting out. The landscape became my starting point, with a sense of order to balance the invitation to explore.
I drew waves and mountains into the curves of the D and placed a yellow sun on the horizon. The gap between the forms becomes a bird in flight. There’s a small landscape to discover inside a single letter.
Kommon Grotesk Extended gives the name rounded forms and enough weight to sit beside the symbol. I spaced out EXPEDITIONS to give the signature room to breathe. The greens and warm ivory bring in the landscape; yellow picks out the sun.
The identity moves from the website and app to campaign materials and travel items, including caps and bottles. ‘We don’t sell tours, we create experiences’ carries the same invitation in words.
Casa Groove was conceived as a place to learn electronic music and meet people in Maringá. I wanted the identity to feel like an invitation to join in, with room for each person to find their own sound.
The name gave me the idea: casa means home. I adjusted the wordmark’s proportions and spacing by hand, then drew a symbol from that same structure. The house is suggested in the letterforms.
The main typeface and its monospaced companion create a change of rhythm, connecting music with the digital tools around it. Terracotta and other earthy colors give the identity the warmth of somewhere you’d want to stay.
I designed the identity to hold together across physical and digital materials as the school explores new formats. Since opening, Casa Groove has had 50+ graduates.
The barbershop’s approach begins with understanding how each client sees themselves and wants to look. I took that attention to the individual as the starting point for the identity.
The ambition is to build a cultural space, with plans for education, content and products. I kept the communication direct and conversational, close to the one-to-one attention at the heart of the service.
I chose a deep wine red for its maturity and warmth. It gives the identity a strong presence without an aggressive edge.
The type has weight, so I gave it space. Heavy letterforms establish the structure; the open areas around them let that strength settle into something calm.
Naim El Gharib’s practice carries Lebanese roots and a sense of continuity. I made the name the center of the identity, treating the lettering as something that could stand on its own.
I built the letterforms from repeating vertical modules, with classical columns as a reference. Their repetition gives the name a measured rhythm, like moving past the supports of a building.
Alignment and proportion do the quiet work here. I kept the composition restrained so the structure of the letters could carry the authority of the practice.
Deep blue and gold give the lettering its formal character. The symbol also works as a seal, turning the name into a signature across the practice’s materials.
Vicentini’s tracks unfold in layers, shaped by repeated adjustments. I took that relationship between control and feeling as the basis for the identity.
I drew a solid monogram with sharp cuts that continue into curves. The eye moves between those edges and flowing lines, following a rhythm that refers back to sound.
Heavy typography gives the composition a steady base. Against it, the monogram’s curves feel freer, much like movement held within the structure of a track.
I kept the communication clear and spare, in keeping with his patient approach to making music. The expression sits in the contrast between the mark’s rigid structure and its flowing lines.
Felipe works with endurance athletes, connecting sports science with the demands of the sport. I wanted the identity to make that knowledge feel approachable and useful.
His positioning combines technical knowledge with simple, practical guidance. I carried that into the design by keeping the visual language restrained, leaving the information room to speak.
Geometric sans-serif type gives the identity a clear structure. The shapes bring an orderly rhythm to the lettering, fitting a practice grounded in technical knowledge.
I kept the palette neutral so color wouldn’t add unnecessary noise. Together with the typography, it gives Felipe a consistent visual language to accompany his work with athletes.
Astra’s starting point was the way a smile can change how someone feels and is seen. I wanted to give that change a visual form with the lightness of a small glow.
I combined a star with an implied dental shape. The star catches the eye first; the dental reference arrives a moment later, giving the symbol something to discover.
Precise construction gives the symbol its structure. I softened it with flowing contours to bring the care behind aesthetic dentistry into the drawing.
I kept the language direct and considerate, matching the restraint in the symbol. The identity suggests transformation through small visual cues, leaving space for the viewer to make the connection.
Poiate Salgados is a savory snack brand associated with Iza Poiate Confeitaria. I developed its identity through Manto Studio, taking the name into the shop and onto the packaging.
‘Feito com cuidado, servido com amor’ translates as ‘Made with care, served with love.’ It puts the feeling of being served something with care into a simple line.
I applied the identity to boxes, paper packaging and takeaway bags. The packaging gives the brand a place in that moment before the food is unwrapped.
The identity also appears on the storefront and aprons. The name greets people outside and stays present where the food is served.
Mantovan