Pancracio

Pancracio was a small, local chocolate company with a presence in very exclusive shops. In this new phase, the aim was to grow and reach broader markets without compromising its premium positioning and quality. All elements of the packaging and graphic system were analysed in depth in order to determine which should be retained and which should be updated.

The decision was made to preserve the logo, valued for its strength and distinctive character. White backgrounds were introduced to allow images and text to breathe, alongside a centred composition in which information hierarchy and balance play a key role in conveying confidence. Carefully selected product photography completes the visual language.

The result is packaging that is both elegant and approachable, with particular attention paid to the unboxing experience—making it especially suitable as a gift.

Valencia Tourist Brand

This logo communicates the idea of Valencia as a dynamic, open, and modern city—vibrant and alive with energy (brand concept developed by the Weaddyou agency). It does so through a graphic device drawn from the world of illustration and comic strips, where parallel lines follow the outline of a figure to create a sense of vibration. In this case, the device is applied to typography.

Although it is a tourism brand, preliminary studies and surveys revealed that it should not focus solely on conventional sun-and-beach tourism. Valencia is also a major city with strong economic, cultural, and infrastructural conditions for hosting conferences, as well as cultural, professional, and business events.

For this reason, we designed a logo in which movement and vibration are present in the letterforms, yet contained within a rectangular frame—a compact shape that conveys strength and solidity. At the same time, the result is sufficiently unique and distinctive within the field of city branding to be easily recognised and remembered.

Viñas de Anna

The task was to redesign Viñas de Anna, a wine originally launched in 2015 that Codorníu had decided to update. We began with an iconic bottle design that reflects the attributes of the wine: delicate, feminine, bright, luminous, fresh, and full of personality.

Our inspiration came from elements of the winery’s modernist architecture, designed by Puig i Cadafalch. The label’s die-cut echoes the building’s characteristic parabolic arches, while the embossing reproduces fragments of its ornamental details. The overall composition, typographic treatment, choice of paper, and the use of stamping and embossing provide the delicacy and elegance required by the brief.

Treintaytantos

It is often from the age of thirty onwards that people begin to drink and truly appreciate wine. It is as though a more mature stage of life has been reached—one better suited to the calm and tranquillity required to enjoy it. This idea is the origin of the wine’s name, as well as the starting point for the label design, conceived as a way of representing this ambiguous notion of being thirty-something.

The underscore _ is an invitation to complete what is missing. When a form asks someone to fill in information, an underscore is commonly used. We chose to place only 3 on the front of the label, die-cut into white paper, allowing the wine itself to provide the colour.

The Little Houses of Utopick

Paco Llopis is a Master Chocolatier, constantly exploring new possibilities in flavour, quality, and texture. He is deeply involved in the world of bean-to-bar production, creating chocolate from cocoa beans that he personally selects and sources in Colombia and other Latin American countries.

We had previously designed the packaging for the brand’s bean-to-bar tablets, and the next step was to create a box for its chocolates and cookies. One of the key requirements was that the packaging be environmentally responsible.

We developed a cardboard box adaptable to two different capacities, designed to meet the main objectives set out in the brief: it had to work as an attractive gift, stand out on the shelf, and—ideally—not be discarded immediately. Instead, it was conceived to remain in the customer’s home, both to enhance sustainability and to extend its visibility over time.

The proposed design takes the emblematic form of a small house (casita), featuring a circular window that reveals the product inside. Colour is limited to the roofs and follows a scheme consistent with that already used in the brand’s bean-to-bar chocolate packaging. These little houses also offer an added value: once the product has been consumed, they can be reused as toys or as decorative objects in children’s rooms, thereby extending their useful life.

The boxes are made from recycled cardboard, and the bags containing the product are produced from biodegradable PP.

The Great Fusion

This was a global project in which all the brand’s communication elements were developed: naming, logo, visual identity, packaging, photography art direction, and website (web development by Nectar Studio).

The Great Fusion is an indie beauty brand that views the individual as a whole, offering products designed to promote calm and inner peace by acting on the skin—so that external care also becomes a moment of personal balance and inner well-being. The brand is the result of combining traditional botanical knowledge with advanced technology, bringing together three key ingredients: hemp, cica, and oats.

The main graphic element of the packaging design consists of three circles that merge, emphasising the union of these ingredients. These circles also function as a recurring graphic device across the brand’s printed materials, website, and social media. The circle represents perfection: it both highlights and isolates, and is often used as a visual counterpart to the brand’s discourse, drawing attention to what is essential and reinforcing key messages.

The logo is structured across two lines, separating the two core concepts—Great and Fusion—and is set in the PP Eiko typeface, which is also used consistently throughout the brand’s communications.