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All | Brand Identity | Campaign | UX/UI | Editorial | Packaging | Typographic Design
All | Brand Identity | Campaign | UX/UI | Editorial | Packaging | Typographic Design
Monkey E-Bike Station Conectando personas, bicis y paisajes inolvidables.
Amazònies Ancestral interaction in contemporary graphics.
Stanley Kubrick B&W CollectionA visual homage to classic black and white cinema.
Magik Typographic magic.
Goutu Haute cuisine within everyone's reach.
Modus Operandi Museum Museum of fear and truth.
Helios Emporio Elegance and flavour in every jar.
Flora Fauna Film FestNature and cinema in harmony under the stars.
Santa Semilla Cultivating community in a sacred environment.
Tito Ramírez Psychedelic aesthetics for a unique tour.
70th Anniversary Conde de Godó Trophy 70 years of tennis history.
Teatre Lliure The art of theatre reimagined.
6 Patas Explorations that strengthen bonds.
2025
Brand Identity
Visual Language
Digital
Designer:
- - Eric Mallafré.
Client:
- Eli and Adrià
(Monkey E-Bike Station Founders).
Typography:
- - Dita
- (Lettermin).
- - Nunito Sans
- (Google Fonts).
The logo conveys the essence of the project: the Montseny mountain as a symbol of adventure, the circles of the pedals as a reference to sustainable mobility, and the electric bicycle integrated into the design. The typography has been adjusted to reflect dynamism and modernity, while maintaining a friendly and accessible character. The colour palette was selected after an exhaustive analysis of the sector, seeking differentiation and alignment with the values of closeness, nature, and active experience. The chosen tones establish an emotional connection with the target audience, who are looking to explore the natural environment without great physical effort.
Monkey E-Bike Station not only aims to position itself as an option for active tourism in the heart of the Montseny Natural Park, but also aspires to expand to other natural parks in Catalonia and Spain. The visual identity, clear and coherent, communicates approachability, a connection with nature, and an immersive experience that invites exploration and enjoyment of the mountains. Furthermore, this visual system is designed to maintain its consistency and recognition in future openings, thus facilitating the brand’s growth as a benchmark for active and sustainable tourism.
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2025
Brand Identity
Visual Language
Campaign
Content
Naming
Illustration
Designers:
- - Eric Mallafré.
-
- Sofia Ardid.
-
- Arnau de Pablo.
Typography:
- - Neue World
- (Pangram Pangram Foundry).
-
- Helvetica
-
(Linotype).
Project submitted to the ADG Laus Awards 2025 in the category: Students - Free Work.
Visual elements were extracted from religious cards depicting virgins and saints, such as ornamental frames and medallions, abstracting particular shapes to adapt them to the graphic language. Additionally, colours typical of the religious tradition were employed, which also connected with vitality and nature, transforming the environment to make it more welcoming and promoting social and community interaction.
In this way, the sanctuary became a meeting space where cultivation activities, picnics, workshops, and community events were celebrated. Santa Semilla not only beautified the space but also introduced an educational component, raising awareness about sustainability and urban agriculture. The art direction emphasised the connection between the temple's historical heritage and the new functionality of the community garden, highlighting nature and people, creating a balance between the traditional and the contemporary. Respect for the Catholic Church was taken into account throughout the design, achieving a transformation that promoted social interaction while respecting its original significance.
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2024
Brand Identity
Visual Language
Digital
Content
Naming
User Experience
User Interface
Editorial
Illustration
Social Media
Designer:
- - Eric Mallafré.
Client:
- Mn Juan Pablo Calvo
(Parish Priest of de Dalt i de Mar).
Typography:
- Latin CT
(CastleType).
- News Gothic
(Linotype).
The name "De Dalt i de Mar" was chosen because it referred to the location of the parishes: Sant Joan de Vilassar de Mar and Sant Feliu de Cabrera de Mar, which were near the sea, and Santa Creu de Cabrils and Sant Genís de Vilassar de Dalt, which were inland. The design focused on two key concepts. First, the Patron Saints of each parish and their most distinctive elements, used to visually represent the qualities and history of each parish, creating a deep connection with the community. Second, the stained glass windows of the parishes, an artistic expression deeply rooted in ecclesiastical tradition. The patterns and colours of the stained glass windows were reinterpreted in the design elements, allowing each parish to maintain its unique visual identity while sharing a common design language.
Regarding typography, Latin CT was chosen for headings due to its robust and clear presence, and News Gothic for subtitles and body text for its solidity and clarity. This combination of typefaces enriched the visual identity of the parishes, ensuring accessible and attractive communication. The colour palette included black and white for logo outlines and two specific colours for each parish, one light and the other more saturated and luminous. Additionally, two extra colours were used for specific cases that required a different touch or for the joint communication of the four parishes. The colours were chosen in reference to representative elements of each parish. All communication elements were structured on a precise grid, combining typography, images, and illustrations harmoniously.
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2024
Brand Identity
Visual Language
Campaign
Content
Naming
Illustration
Social Media
Designer:
- Eric Mallafré.
Typography:
- Bronzier
(Arterfak Project).
- LL Circular
(Lineto).
The selected sports were Cesta Punta and Bolo Palma (Basque Country and Cantabria), Petanque and Bolos Serranos (Andalusia), Bitlles Catalanes and Bèlit (Catalonia), Calba and Tuta (Castilla y León) and A Chave and A Malla (Galicia). The name "Raigambre" refers to the essence and deep roots of traditions, a word that evokes Spanish history and culture, emphasising the connection with traditional sports.
The graphic design was developed using colours representative of each region, based on the colours of their respective flags, with orange as the general colour for the festival. This colour symbolises the energy, vitality, and cohesion present in the sports. The halftone line illustrations were created from the most representative element of each sport, adding dynamism and originality to the design. The Bronzier typeface was chosen for its robust and traditional character, which recalls the history and culture of these sports, complemented by the LL Circular typeface that provided legibility and versatility to the design.
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2024
Visual Language
Campaign
Content
Illustration
Social Media
Designers:
- Eric Mallafré.
- Sofia Ardid.
- Arnau de Pablo.
Typography:
- Acid Grotesk
(Folch).
The graphic concept was based on choosing an animal representing the artist's region of origin, interacting with the posters by functioning as a mask or die-cut through the works of the six artists. This interaction between the animal and the artwork symbolised the deep connection between nature and art, highlighting the inseparable bond between the environment and artistic creation. Black and white typography was used to highlight the vibrant colours of the artworks, creating a visual contrast that emphasised the chromatic richness and vitality of the Amazon rainforest.
The applications included environmental graphics, graphic applications in the exterior space of the CCCB, and graphic communication. This comprehensive approach ensured that each piece of the project contributed to a cohesive and immersive experience, inviting the viewer to dive into the message of conservation and appreciation of Amazonian culture.
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2024
Visual Language
Campaign
Illustration
Designers:
- Eric Mallafré.
- Sofia Ardid.
- Arnau de Pablo.
Sants station is a place of constant transit, where people rush towards the platforms, laden with stress and emotions from farewells. This project sought to humanise and energise the space, creating a visually stimulating environment that invited reflection and connection among transport users. By integrating vibrant illustrations and colours, the aim was to alleviate the sensation of hurry and tension, offering a more pleasant and friendly experience for all.
The central concept was the dot typography, inspired by the LED boards displaying train schedules inside the station. From this idea, a graphic grid was developed, integrating illustrations of diverse people, each with a unique and personal character. The chosen colours, a striking orange and lime, not only harmonised well together but also referenced the corporate colours of the station's transport lines, providing cohesion and representativeness to the project.
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2024
Visual Language
Packaging
Designer:
- Eric Mallafré.
Typography:
- Gotham
(Hoefler & Co.).
- Garamond
(Adobe).
- Bodoni
(Linotype).
- Gill Sans
(Monotype).
Firstly, the films were viewed to understand Kubrick's universe and analyse his references, selecting a visual language that was applied consistently across the individual covers and the box. The chosen concept for this collection was the vanishing point, a technique Kubrick loved for its ability to show depth and perspective in various scenes of his films. For this reason, it was decided to use this element on the covers and the box, showcasing a scene from each film with this graphic element.
Regarding typography, Gotham was chosen as the main typeface, as it is Criterion's typeface. Additionally, representative typefaces were selected for each film: Garamond for "Lolita" due to its classical elegance that complemented the film's sophisticated aesthetic; Bodoni for "Paths of Glory" for its solemnity and authority, fitting for the film's military theme; and Gill Sans for "Dr. Strangelove" for its modern and clean style, which highlighted the film's satirical and contemporary tone. This project was a homage to the legendary film director, integrating a unified and distinctive visual language that enhanced the identity of his works.
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2024
Visual Language
Typographic Design
Illustration
Designer:
- Eric Mallafré.
The tour promoted his album "El Prince" (El Volcán Música & Antifaz Discos, 2023), where the artist expanded his aesthetic range with new sounds and rhythms. The album was an extravagant journey through his influences such as psychedelia, Latin Soul, Garage, Mambo, Boogaloo, R&B and Gospel. His lyrics, loaded with hidden messages, revolved around love, sex, substances, indecision, revenge, power and wealth.
For the design, I wanted to highlight the artist in the foreground with a rebellious touch and surround him with the tour information. I created a hand-drawn typeface with imperfections, inspired by the styles of Bill Graham, Bonnie MacLean, Magic Pop and Gary Grimshaw, evoking the vibrant aesthetics of psychedelic rock. The colour combination, based on the era, ensured good legibility and captured the essence of the artist and his music.
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