Hi, my name is Benito, I am a graphic designer and junior art director based in Paris (FR). I recently graduated with a master's degree in art direction with a specialty in typography. My work pays strong attention to research and the experimentation processes. My practice revolves mainly around typography and editorial design. As a designer, I’d like to share and communicate around things I like as contemporary art, fashion, sciences, industrial design and many other things.

I'm available as well for freelance works, collaborations and opportunities. Please don’t hesitate to get in touch.
instagram: benito.cool

*I'm way cooler than the one you thinking about






‘AIRBAGS’ is first and foremost a research work linking the notion of tension through science and contemporary art. By mixing narratives, rational theses and theoretical texts, the ‘AIRBAGS’ project examines both ontology and sustainability in the sphere of art as well as its potential scientific schematic representation linked to defined works. The associations of images that I used are made by personal analogy. The combination of these different sources creates a personal, singular and hybrid object that aims to convey a sense of questioning and surprise.

The scientific iconography comes from a thesis named “Study and modeling of the cyclic behavior of Shape Memory Alloys” by Luc Saint-Sulpice.
The other images come from Google (he was one of my best friend during the quarantine).
Photography by @gabilincoln

Pages: 368
Size: 220×310×50mm
Cover: vermillong ink screenprinted on yellow slipcase, laser engraving on PMMA Plexiglas® slipcase and digital printing
Papers: Novatech white satin 100g and Olin bulk 80g
Typefaces: Franklin Gothic URW (URW Type Foundry), JJannon (Optimo) and Apple Garamond  (Apple)
Printing: digital




‘A, B, C... MARQUEZ !’ is the thesis that completes my 5th years of study in master graphic design specializing in typography. In this book, our discourse is centered around the question ‘What is the status of typography in a brand identity?’. We study wich way the typographic typeface can be an identity element of a brand; to what extent it transmits or not, the values of the brand, according to its design or its uses, as a command, redesign or use of an already existing typeface. We are fortunate to have exchanged in person with Cléo Charuet, Karl Saffré, Christophe Badani, Matthieu Cortat, Violaine & Jérémy and Aaron Levin. These various interviews allowed us to support our reflection and our discourse in order to push as far as possible certain fundamental questions to our discipline. All this analysis, where texts and visuals are present in profusion, is transcribed in an editorial object that takes the form of an archive file.
(collaborative work with Liana Korios & Lou Rainaldo)

Pages: 212
Size: 185×250×12mm
Cover: black ink screenprinted on natural cardboard
Papers: Edixion white offset 70g & Bengali grey 80g Typefaces: Telegraf (Pangram Pangram), Louize display (205tf) and Cousine (Google font)
Printing: digital




Lettering I made for a fictionnal fashion magazine named ‘CHEWBACCA’ using glyphs.app. I then came up with a cover template that would work by changing the photography and colors.
Images that I used are from Julia et Vincent, Louis Vuitton, Ren Hang and @yuhanwangyuhan.




Art direction for Van Cleef & Arpels supervised by Christophe Renard for a class exercise. Pictures are from the real Van Cleef & Arpels’s catalogue from 2013 and were taken by Audrey Corregan.
(collaborative work with Lætitia Brun)