Inácio Nascimento
Brand and marketing. Available from May 2027.
I grew up between London and Rio, and I study economics at Boston College. I have never treated the economics and the creative side as two separate interests, which is why most of my time outside class goes into brands. I do the design and the images myself, and I also handle the ads and the sales side. I pull ideas from everywhere rather than only from marketing, mostly books, music, magazines and film.
A lot of what is here is unfinished. Two were real businesses, one is a concept I never took to production, and the sites are still work in progress. I am showing them anyway because they are the clearest record of how I think.
GoFit America
Campaign key visual. The headline reads todos esses sabores em uma só garrafa de água, or all of these flavours in a single water bottle.
GoFit sold a water bottle with scent pods. You clip a pod to the lid, drink plain water and your nose does the rest, so the flavour is there with no sugar. Air Up had proven the idea in Europe and nobody was selling it properly in Brazil. I founded it, ran it on my own, and it made R$10,000 at a 30 percent margin on creative I made myself.
The thing I was really big on was motion. GoFit is about movement and a healthy lifestyle, so nothing in the images sits still. The pods are falling, the ice is dropping into the drink, the splash is coming off it. In three of the four product shots nothing lines up. The fruit sits at odd angles, like it had been dropped there rather than placed. The one in the tray is the exception, laid out neatly, and that was deliberate too. The small curved texts were my own addition, bent along the motion lines.
All of it came from one flat photo of the bottle on a plain white background. No shoot and no budget, so I composited every scene in Adobe, and the part that took longest was holding one light source across objects that were never in the same room. Blue was for the water. Orange because it is loud and alive, and only later did I notice that loud reads as flavour. Most of what I know about image design I taught myself.
Product set. Every scene composited from the same single plain-background product photo.
I ran Meta Ads and organic TikTok at the same time, treating the creative as the main variable and reading it against cost per purchase. I filmed and edited the TikToks myself and the best of them passed a million views, which was reach I had no way of buying at that budget. I could see what was converting in the ad account and go make more of it the same afternoon.
Run on my own, with no agency, no outside budget and no photo shoot.
Atins
Can wrap, Zenberry. Flat artwork as it runs around the can, with the Lençóis dunes along the base.
Atins is a brand I built for a caffeinated juice. It started from not wanting a drink that crashes you. Guaraná gives the energy and does not drop you the way coffee does, and L-theanine takes the edge off, in real juice instead of carbonated water. It is for people who do not want an energy drink and people who cannot drink coffee at all.
It is named after a village in the Lençóis Maranhenses, where freshwater lagoons sit in the gaps between white sand dunes, and that is what I wanted one sip to feel like. The no-crash idea then runs through the whole design. There are stars in the sky, a camel with people walking behind it, water running down through the dunes. Nothing on the can is steep. Everything flows, because nothing about the drink should suggest a spike and a drop.
The two icons are the lightning for the energy and the mindfulness symbol for the L-theanine. The line on this can reads observe one tree, any tree, just, like, really look at it, then sip. The plan was a different one on every can, silly and a bit sarcastic, making fun of the mindfulness thing the brand is genuinely built on. I think that makes it more likeable than playing the wellness angle straight.
Where it started. The wordmark and the ingredient list on blank white, before the can existed.
I started here, with the ingredient list and the logo on blank white, and built outwards to the full can. The logo carries the flavour in its colour, strawberry running into passion fruit, and the scenery behind it is almost completely desaturated, which is what makes that work. The mark is the only saturated thing on the can, so colour alone can carry the flavour and future flavours just shift the grading.
The mark is a sparkle with uneven points rather than a symmetrical star, so it reads as the shooting star in the scene, and it doubles as the A.
It never went to production. I took it far enough to present as a venture concept in my entrepreneurial management class, and it is still the one I keep coming back to.
Turn the can around in 3D →Fábio Cardoso
Fábio Cardoso is an architect in Rio. He had the projects and nothing digital that matched them, so the job was to build an image that did not exist yet. I did this through Amplify, the agency I was running at the time.
I started with the typeface and spent a long time looking. It had to read classy and architectural, but also carry the materials he actually works with, the wood and the nature and the Brazilian side of it. The site had to be sophisticated without ever getting in front of the architecture, because the architecture is the reason anyone is on the page.
I am not a trained developer. I built it by researching, pulling apart how other sites solved a problem, and iterating until it worked the way I wanted. It came together with him over a lot of conversation and a lot of changes, and it is the piece I am happiest with.
Home.
He wanted his showcase film on the site. I put it in the hero so you hover one button and it starts playing behind the title, which stops it feeling like a separate thing bolted on the side. The home image is a single photograph of one of his most personality-heavy projects. From there I wanted everything to flow into everything else rather than sit in blocks.
Projects.
I wanted the projects to read like flipping through a magazine. A photograph that takes the whole screen, then smaller ones, then text, so the rhythm keeps changing as you scroll instead of repeating one layout down the page. The palette stays pastel and quiet so nothing competes with the photography.
Amplify Serviços Digitais
Amplify was a small agency I ran with two collaborators, building websites and brand positioning for early-stage clients.
I split the work by strength and reviewed everything before it went out. If something was not good enough yet I said so. Every site started from deciding what it had to make you feel, and then the type, the colour and the motion came out of that.
Both of these are recordings rather than links. The transitions and the hover states are the part worth seeing and none of that survives a screenshot.
Nightlife and ticketing, Rio de Janeiro.
Dark, because it is nightlife. The white light moving across the page is meant to read like a light in a party. I like texture on a site and I like it to feel alive. A page that sits completely still reads as flat to me, so there is grain and movement behind everything.
At the same time it is a ticketing site and people are there to find a party and buy, so it had to stay minimal with the events up front. The other constraint was that almost every image on the page belongs to someone else. Event flyers are loud and all different, so the interface had to go quiet and hold them in one grid without any of them clashing.
Amplify. The agency's own site.
This one was pure showcase. It was our company site, so anyone landing on it had to come away believing we could actually bring some creativity to their brand. That is why there is so much interaction in it. The type changes size, the colours shift when you hover, and the background moves and changes behind the text.
It is the least finished thing here and there are parts I would rebuild now. I am showing the parts that work.
I graduate in May 2027 and I am looking for brand and marketing roles. I want somewhere I actually get to make the work, not just hand it off. Email me if you want to talk.