Welldon is an independent graphic design studio run by a senior art director. We build complete visual identities, editorial systems and custom illustrations for cultural brands, associations and small local businesses. Our work is made to be printed, held and remembered.
Every project starts with structure, not decoration. We define a typographic hierarchy and a grid before choosing colors or shapes. This keeps the identity consistent across posters, packaging and signage.
Type is the backbone of every visual system we build.We work mainly with bookshops, festivals, craft producers and neighborhood associations. These clients need an identity that speaks to their community, not a generic corporate look. We listen to the context first.
Good branding grows from the place it belongs to.Most of our deliverables end up on paper: posters, labels, brochures, signage. We design with ink, paper texture and production constraints in mind. This makes the final result feel tangible and honest.
We design for the press, not just for the screen.We take on a limited number of projects at a time. This means direct contact with the senior designer, clear feedback loops and a shorter distance between your brief and the final artwork.
Your project gets a senior eye from day one.Each case study on this site documents the creative journey: research, typographic choices, color palettes, iterations. We share this openly so you know exactly how your visual identity will take shape.
Transparent steps build trust and better results.Welldon Graphiste is a small team of designers and production partners who share a common method: every project starts with listening, then moves to research, then to print-ready files. We work with cultural venues, associations and local shops that want a visual identity with a clear point of view.
Meet the full teamFifteen years in editorial design, with a background in print production for small publishing houses. Diego leads the creative direction on every project and keeps the studio focused on typography, rhythm and legibility rather than decoration.
Ricardo builds the visual systems behind each identity: colour palettes, grid rules, logo variations and the practical guidelines that let a client apply the brand without breaking it. He has worked on chartes graphiques for museums and municipal cultural programmes.
Natalia draws the custom illustrations that appear on packaging, posters and signage. Her work is always tied to the subject: a plant for a soap label, a facade pattern for a festival poster, a reading corner for a bookshop. She prefers ink and paper, then digitises the final linework.
Fernando handles the technical side: print specs, paper choices, proofing and delivery schedules. He is the person who makes sure a two-pass silkscreen run stays within budget and that the final CMYK files match the proof the client approved.
Independent studio built around a simple belief: a brand is not a logo, it is the sum of every printed piece, every poster, every label and every sign that carries your name. I work with cultural venues, associations and small local businesses to give their visual presence a clear voice, a consistent tone and a memorable face. The goal is not decoration. It is coherence — so that when someone meets your brand on a poster, a package or a shopfront, they recognise the same hand, the same palette, the same typographic logic.
From a single desk in a shared workshop to a full visual identity practice, the path was shaped by local clients, printed matter, and a stubborn preference for serif type.
The studio's first commission was a run of forty A3 posters for a weekly market in the 11th arrondissement. No brand guidelines, no digital assets, just ink and a deadline. That job set the tone: work close to the ground, print first, and let the paper do the talking.
After two years of one-off flyers and event visuals, a local theatre asked for a complete charte graphique. That meant logos, stationery, signage, and a typographic system that could survive a season of late-night rehearsals. The project changed how the studio priced and scoped work, moving from single pieces to coherent systems.
A small publishing house commissioned a series of book covers and an internal editorial grid. The studio leaned into Libre Baskerville and a restrained palette of mustard and night blue. The result was a quieter, more confident portfolio that attracted cultural clients rather than generic commercial briefs.
Working with a family soap maker and a craft brewery pushed the studio toward packaging design. Labels, kraft paper, and two-colour printing became recurring materials. The lesson was practical: good packaging survives a shelf, a market stall, and a damp hand.
The studio now runs a documented process: brief, typographic research, palette tests, printed proofs, and a delivery guide for each client. The portfolio is built around case studies that show the decisions behind each visual system, not just the final image.