Designer. Barcelona. Brand & content systems.
I work with founders and cultural projects that need a visual identity to hold up in a carousel, on a flyer, in a pitch deck — and, increasingly, in motion built with code.
Clients: solo founders · boutique agencies · event promoters. Currently taking on work for 2026.
Kømandø
A new Barcelona collective promoting industrial electronic events. Complete brand system from logo to event collateral — designed for their inaugural event and ongoing identity.
The brief was an event identity for an underground electronic night — something atmospheric enough to belong to the scene, structured enough to scale from flyers through motion to live signage. The constraint was a single accent — the metallic fragment mark — that had to hold at every size and survive formats it was never originally designed for. The tradeoff: I leaned hard into industrial restraint over decoration, trusting that one strong mark held with discipline would do more than a dozen variations.
Intro
A music collective built as ritual, not party.
Kømandø is a new Barcelona collective focused on industrial electronic events. A group of friends launching their first promotion with a clear vision: bring specific artists, create atmospheric experiences, avoid typical club marketing.
I designed their complete visual identity from zero — logo, aesthetic language, event flyers, social presence. Everything except promotional videos, which one member handles internally.
This case study documents the full system across six chapters: brief and context, creative direction, brand identity, campaign design, digital extensions, and live implementation.
Visual language
Event flyers × 7
Motion graphics × 5
Social presence
RA listing assets
Direction
Designed as ritual, not advertisement.
The aesthetic draws from abandoned industrial spaces — underground venues where light cuts through darkness. Deep reds against charcoal blacks. Metal and concrete textures. Typography that feels forged, not designed.
Three keywords guided every decision: atmospheric, underground, ceremonial. This is not club marketing; it's an invitation into a space. The visual language speaks to those who already understand.
References: derelict warehouses, brutalist architecture, gothic metal typography. Palette: void blacks, deep crimsons, metallic highlights. No bright colors, no clean surfaces, no comfort.
Identity
Flyers
A campaign built for revelation, not advertising.
A complete promotional ecosystem for one event: teaser without lineup, full reveal with artists, two timetable options as the brand evolves, individual artist announcements. Each piece tuned to its purpose — mystery, then portrait, then arrival.
The atmospheric photography stays constant — abandoned spaces, red lighting, industrial textures. Typography hierarchy shifts with content density. The identity flexes but never breaks character.
From mystery (teaser) to announcement (lineup) to portrait (artists) to logistics (timetables). Told at every cadence for their inaugural event.
Motion
Static becomes ritual. Motion becomes atmosphere.
Five animated treatments extend the campaign beyond static posts. Each animation matches its purpose: sinister glitch for the teaser, metallic shimmer for the lineup reveal, industrial decay for the timetables, ritualistic countdown as the date approaches.
No smooth transitions or polished effects. Everything feels harsh, mechanical, abandoned. Flickering lights, metal textures, dark matter distortions. Motion that makes the viewer stop scrolling and enter the space.
The goal: transform promotional content into atmospheric experience. Make people feel the venue before they arrive.
In context
The work in the wild. Event pending.
May 16th approaches. The identity lives on Instagram, TikTok, and Resident Advisor's event listings. On RA, Kømandø cuts through the noise — dark, atmospheric, uncompromising among the bright promotional clutter.
Early response confirms the approach: the aesthetic stops scrolls, builds anticipation without explanation. The work speaks to those who understand. 74 people attending and growing.
Documentation pending: event photography, crowd response, flyers in physical space. One month until the complete story.
Presskits
Presskits for electronic artists. One repeatable system, tuned per artist.
Three artists, three different sounds, one workable system — a presskit format reusable per artist without going template-y. The constraint was that deliverables had to be both print-quality (A4, exportable) and a live document, with clickable links to SoundCloud, Bandcamp, Instagram. The tradeoff: I fixed everything — grid, type, page architecture — except one variable, the accent colour, so each artist still feels distinct without breaking the system.
The service
Presskits for electronic artists. One repeatable system, tuned per artist.
A disciplined 8-page architecture — cover, about, live, tracks, riders, contact — shared across every commission. The grid stays. The type stays. The palette changes with the artist.
Every presskit is immersive — not a static PDF. Album covers link to SoundCloud or Bandcamp. Video thumbnails open YouTube. Social icons open artist profiles. The presskit becomes a live portal, not just a page.
The system
About
About
About
The three
Powerful, precise, immersive — a hypnotic presence built on the weight of hardgroove and raw techno.
Cover · Bio · Live
Rider
Equipment · Contact
Experimental and tribal — deep atmospheres, shifting intensities, immersive sonic journeys.
Cover · Bio · Live
Rider
Equipment · Contact
Dark and hypnotic — ritualistic grooves, slow-burning atmospheres, after-hours ceremony.
Cover · Bio · Live
Rider
Equipment · Contact
Single-post system for two GTM executives. Same architecture, different voices.
A content design system for cold-outbound B2B founders — posts that don't look like junior-marketer work, with frameworks that scale across topics. The constraint was that LinkedIn's feed punishes anything visually loud, and the audience scrolls fast. The tradeoff: a small kit of strict templates (the 1% framework, the pyramid, the dark Tech Stack), with palette doing the variety, so a single post is unmistakable and a series builds recognition.
The system
Same architecture, different voices.
Two executives at one GTM company. One template, two color systems. Weekly production cadence, ongoing.
The client arrived with a brand framework. I rebuilt the design identity for LinkedIn.
Frameworks
Strategy, distilled to one image.
Long-form thinking compressed into single posts. Each is a self-contained argument — a system, a framework, a stack.
Palette study
Same post. Three palettes.
Scaling Traffic Generation, rendered three times. The system flexes for tone — charcoal, navy, brighter blue — without breaking character.
Stack
Tools, made visible.
A recurring series — each post pairs a tool with Claude. Same template, purple palette, weekly cadence.
Styles
One system. Many skins.
The same frameworks, generated in completely different visual languages — so a weekly series never looks repetitive, and every post still feels built, not templated.
How it's made
Idea to feed, in an afternoon.
Every post runs through the same short pipeline — AI-assisted for speed, hand-finished so it never looks generated.
In motion
When a post stops being still.
The newest layer of the system: the same frameworks, animated in code with Remotion — a static image becomes a scroll-stopper without ever leaving the brand.
This one is a perfect 15-second loop: a radar sweep that lights each of the seven intent signals in turn, then starts again with no visible seam.
I also built a full motion set for arrel.ai.
Arrel AI
A pitch, told in their own brand — then set in motion.
arrel.ai is a B2B sales-tech startup building outbound prospecting tools. To win them as a client, I didn't send a deck — I rebuilt a proven LinkedIn post series entirely in their visual language, sampled by hand from a single real post of theirs. Then I took the step most designers stop before: I animated the posts with motion built in code (Remotion), so a static feed became something that moves. Self-initiated — a spec project made to prove the level.
The pitch
Speak their language before they ask.
arrel.ai lives in cold-outbound B2B — the same world as the content system I already run. So instead of pitching in the abstract, I rebuilt that series as if it were already theirs.
One accent green, one warm espresso ground, cream tags, a copper dot. Every post reads as arrel before you read a word — proof I can design inside a brand, not just around it.
Brand match
Brand locked — now in production.
Sampled from a single reference, the system is now fixed: sage-green pills (#93b19f→#37624c), an espresso gradient ground, cream map-labels, a copper accent (#c07a34), and a bold grotesque headline. With the kit locked, every post snaps into the brand — here it is across three very different layouts.
In motion
The same posts — animated in code.
Not After Effects. Each piece is built in React with Remotion, so the design and the animation share one source. Every reaction is triggered by the story: the line lights the signals, the tiers ignite in sequence, the layers stack and breathe.
A glowing ball follows the line and lights each signal as it passes.
Four tiers ignite top to bottom, each rebuilt as its own layer.
Five 3D layers stack with a soft bounce, then levitate on a slow wave.
How it's built
A pipeline, not a plugin.
I designed each post in Figma, recoloured it to arrel, then rebuilt it as code so it could animate. The whole thing runs from one render command — change a number, re-render, done.
This is the part I learned after this portfolio first went live: motion design driven by code, not timelines.
Marks
Two marks shipped, two different worlds. One paid commission for a Catalan business association; one live brand for a hospital workers' Olympic event, running at @bcnsalutgames.
AEPLMV
Sustainable spaces. Stronger futures.
A visual identity for the Associació d'Empresaris/es i Propietaris/es dels Polígons d'Activitat Econòmica de Manlleu i les Masies de Voltregà — a regional Catalan business association of industrial polígons, commissioned and paid. Usually this brief ends in a corporate sans and a glass-and-steel render. The constraint was that the association's pitch is sustainability, but the audience is small-town business owners — modern, not techy; civic, not bureaucratic. The tradeoff: I rendered the polígons as living things — buildings with leaves growing through them — pushing toward eco-architecture and away from generic local-government work.
Building today. Inspiring tomorrow.
Salut Games
Salut Games is the Olympic Games for hospital workers — healthcare staff competing in athletic events. The mark has to hold both halves at once: the athlete on the track, and the worker in the ward.
The constraint was that healthcare brands skew sterile, sports brands skew aggressive — neither tone fit. The tradeoff: a single hand-painted brushstroke for the runner, paired with a hand-drawn heart-and-cross — texture instead of polish, gesture instead of geometry. Delivered for someone I knew, the mark went on to become the brand's working identity, now live at @bcnsalutgames.
Black shadow + red body. A runner mid-stride, motion compressed into one painted gesture. Red carries forward; black anchors behind. Speed and weight together — a pulse on the move.
Hand-painted, not vectorised. This is a brand for people who heal — texture beats precision. The roughness is the point: it reads as human, not corporate.
The small mark in the upper right is what pins it to healthcare. Without that heart-and-cross, this is just a sports logo. With it, the runner is unmistakably one of them.
The mark is alive — BCN Salut Games runs it across an active Instagram presence and a proposed web identity. Real audience, real reach.
Let's make
something.
Open to studio roles, freelance commissions, and anything in between. Brand, editorial, after-hours culture.
This portfolio is my design CV. Read it slowly.