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NightCut

Collage nights in Lisbon
Lisbon is full of places to be seen. There are almost none where you can slow down and make something. NightCut is an evening without screens: paper, scissors, wine and three hours that belong to the table rather than the phone.
Role
Co-founder & Art Director
Year
2026
Place
Lisbon
Scope
Identity · Digital · Print · Event
The table at close range under candlelight: a single white carnation in a ribbed glass, a stack of cut magazine pages, scissors, and a dark painting on the wall behind.

An evening without screens

The format is three rules long, and none of them is about design. They are what the evening has to keep to stay the thing it is.

  • Ten seatsOne long table, and it does not grow
  • No lessonsNo teacher, no right way to cut
  • No networkingNobody has to say what they do
The mark being made: the wordmark alone on black, a pair of scissors travelling across it from the right, and the cut opening through the letters behind the blades — the line the identity is built on, drawn once.

Night and cut

Night and cut. The evening, and the gesture that makes the work.

Paper, scissors, three hours at one table. The cut in the wordmark is not an ornament — it is the method the club is built on: made once, never redrawn.

  • Angle8° — rises to the right
  • EntryInside the word, not at its edge
  • ExitPast the last letter, into the field

The cut — magnified

The wordmark enlarged until only the h and t of Night fill the frame, the cut line entering between the two letters.
EntryThe line begins between the letters.
The wordmark enlarged at the junction of Night and Cut, the cut line passing straight through the counter of the C rather than over the top of it.
CrossingIt passes through the counters, not over them.
The wordmark enlarged at the final t of Cut, the cut line leaving the last letter and continuing into empty black field.
ExitIt leaves the word and keeps going.

Colour and material

The palette is not chosen from a chart. It is what the table is made of: wine, wax, paper, silk and steel under candlelight, with the cold interruption of projected light.

Colour never appears as a flat field on its own — it always arrives on a material.

Values

Night black#000000Field, paper stock, the dark of the room
Deep burgundy#290610Silk, backgrounds, highlight covers
Ritual red#A02020The cut, wax, accents
Paper beige#D3CABDKraft, cards, printed matter
Projector blue#BFDCFCThe only cold light in the room
Warm white#FFFFFFWordmark on dark, candle flame

Materials

Burgundy velvet raked by low light, the pile throwing long soft folds across the frame.
Burgundy velvetThe table under everything.
A glass of red wine standing on crumpled silver satin, the fabric catching hard specular highlights.
Silver satinThe light catcher.
A single lit candle photographed close, the flame the brightest thing in an otherwise black frame.
Candle waxThe only warm light.
A pair of open scissors lying on black, the blades and finger loops picked out in cold reflected light.
SteelScissors, the tool of the night.
A red wax seal stamped with the mark, pressed on a dark envelope with the brass seal still resting beside it.
Printed paperCut, torn, reassembled.
A face from a projected black-and-white film falling across the wall in cold blue, split by the scan lines of the projector.
Projected lightThe only blue in the palette.

Three voices, one language

A hierarchy built for darkness, attention and intention. One face speaks, one explains, one counts — and nothing on a NightCut piece is set in a fourth.

AM Gazet Angled

Medium / Display

  • Headlines, posters and statements
  • Angled, expressive, directional
  • Always set in caps

Roboto

Light – Medium / Sans

  • Body text and explanations
  • Clear, neutral, easy to read
  • Upper and lower case

Roboto Mono

Light – Regular / Mono

  • Data, time, seats and details
  • Precise, structured, functional
  • Numerals never set in the display face
AM Gazet Angled specimen: a large angled Aa beside the name, the weight, the capital alphabet and the numerals, all set in caps.
AM Gazet AngledMedium · display.
Roboto specimen: a large Aa beside the name, the weight, the capital and lower-case alphabets and the numerals.
RobotoLight to medium · sans.
Roboto Mono specimen: a large slashed-zero 01 beside the name, the weight, the monospaced alphabets and the numerals.
Roboto MonoLight to regular · mono.

Hierarchy in use

The hierarchy as the deck sets it, four steps down one scale: THE FIRST CUT at 96 px in the display face, SESSION 01 at 48 px, 22.08.2026 19:00 SEAT 04 at 18 px in the monospace, and FÁBRICA MODERNA, LISBON at 11 px.
Session title · number · date, time, seat · place.

One invitation

The invitation as the deck sets it: A COLLAGE RITUAL AND WINE. in the display face, then — An evening of collage and wine. Cut, compose and create in the dark, with intention. — and a monospaced row reading DATE 22.08.2026, TIME 19:00, SEAT 04, LOCATION FÁBRICA MODERNA, LISBON.
One evening, four facts.

Gazet Angled speaks · Roboto explains · Roboto Mono numbers

Shot by candlelight

No flash, no staging, no posing. The camera sits at the table and waits for the gesture.

The table seen wide: dark red roses and white flowers massed at the centre, brass candlesticks and wine glasses around them, a black-and-white film projected on the wall behind.
The table, as the camera finds it.
Two ringed hands working a pair of scissors through a sheet of paper, lit only from the side.
HandsNever the face.
Wine being poured into a glass in front of a burning candle, the stream lit red from behind.
WinePoured at the table, not staged.
A torn paper edge in extreme close-up over a printed face, the fibres standing up along the tear.
PaperThe tear, at reading distance.
Brass candlesticks and flowers on the table with the projected film falling across the wall behind them in cold blue.
ProjectionThe cold interruption.

Low light · Hands, not poses · Tactile close-ups · Candle as key light · Projected blue as interruption

In print

Poster

One per session, reprinted every month

The session poster: red satin and white flowers with a torn edge running through the frame, 22 AUGUST set large in the display face at the upper left over SESSION 01 and THE FIRST CUT.
Session poster22 August · Session 01 · The First Cut.
  • The date is the headlineNot the name. The mark is already known — the date is the news
  • Type block sits upper leftAlways left, always the upper third, never centred
  • The image is cut, not croppedA torn edge runs through the frame — the poster is already collage
  • Colour comes from the tableWine, wax, satin. No ink colour is added to the photograph
  • Nothing else entersNo logo lockup, no sponsor row, no venue plan

Ticket

210 × 74 mm / tear-off stub

The full ticket: the wordmark and COLLAGE NIGHTS IN LISBON at the head, SESSION 01 and THE FIRST CUT below them, a monospaced row reading DATE 22.08.2026, DOORS 19:00, PLACE FÁBRICA MODERNA, and the seat number 01 / 10 on the stub past the perforation.
One ticket, one seat, one perforation.
The torn-off stub alone: SEAT set small above 01 at display size, / 10 beneath it, and the date, time and place in monospaced red at the foot.
StubWhat the guest keeps.
  • Roboto Mono carries every factDate, doors, seat. Gazet speaks, mono is evidence
  • The seat number is the largest thing on the stubTen tickets exist. Eleven never will
  • The perforation is the first cut of the eveningTorn at the door, before the table

Session card

148 × 105 mm / front and back

The front of the session card: the NightCut wordmark large on black, Night in white and Cut in ritual red, the cut line through it and S01 set small beneath.
FrontThe mark and the session number.
The back of the session card: five collage plates in a row, headed FRAGMENT, REMOVE, AUGMENT, MUTATE and EMBED with each initial letter in ritual red, and a two-line instruction under each.
BackFive ways to cut.