This is the collaborative result of five people from Numo Team. We conducted a mini-research about color, and ran a workshop where everyone visualized their idea as a separate image. The starting points were brain color perception peculiarities, individual and cultural interpretation, physical nature and thought experiments.

The images were randomly combined into a single composition using an algorithm. We had no control over the end result, and used randomness as a creative tool along with the involvement of each participant.

This is the collaborative result of five people from Numo Team. We conducted a mini-research about color, and ran a workshop where everyone visualized their idea as a separate image. The starting points were brain color perception peculiarities, individual and cultural interpretation, physical nature and thought experiments.

The images were randomly combined into a single composition using an algorithm. We had no control over the end result, and used randomness as a creative tool along with the involvement of each participant.

This is the collaborative result of five people from Numo Team. We conducted a mini-research about color, and ran a workshop where everyone visualized their idea as a separate image. The starting points were brain color perception peculiarities, individual and cultural interpretation, physical nature and thought experiments.

The images were randomly combined into a single composition using an algorithm. We had no control over the end result, and used randomness as a creative tool along with the involvement of each participant.

“Access” is part of a series of works based on everyday observations of the urban landscape, on the commute to my studio. As I move around the city, I get in contact with many urban elements which can be seen as abstract pieces of art in themselves, but go rather unnoticed in the context of daily routine. This work is inspired by all the doors that open for me, in a daily ritual, leading me, one by one, into chaos, stress, pressure, but also into the diverse, colourful and comfortable life in the city.

Kintsugi is a Japanese technique that people use to repair broken objects with a golden glue. In this way, the object is given a second life, and it becomes more beautiful than before. This poster depicts our planet, that we broke with our activities, but if we commit to repair it, it will live again.

Dyslexia has been a very defining part of my life. To make sense of any dyslexic strifes, this publication was made out of my flaws to represent and raise awareness of the learning disorder.

The publication focuses on defining ‘dyslexia’, and it includes existing articles that explain the encounter and understanding of dyslexia. It also consists of personal photographs that are mostly disordered and shifted to mimic the mind of a dyslexic individual.

With a wink and an optimistic mind, it captures a personal feeling with which many people can identify in the last year’s crisis. The subject matter aptly depicts the constant insecurity and instability we have been confronted with in recent months and shows in an honest and yet expressive way: Everything is fine – despite adverse circumstances I will always get up again.

If a rainbow would be skateable and some rabbits join your Ride.

Our identity for the London Centre for Book Arts has been developing over the course of a year, a dialogic process which allows us to shape how the designs are taken up and used in real time, to give LCBA a tailored and functional identity. The look relies heavily on a fat logo set in Original Sans, and on bold use of Caslon Ionic – both typefaces which hint to local history as the Caslon foundry’s last site. We combined this slightly heavy-handed branding approach with a vibrant colour palette to reflect the multicultural, LGBTQ+ friendly, alternative scene around LCBA, and play with materials and processes as much as possible, crucially producing all printed matter in-house.

My design explores arabic typography and print of the word ‘Salam’. Salam means peace in Arabic.
I choose the type in arabic for multiple reasons. Arabic in a formal form of symbol comes across as rigid and if religiously related would be considered blasphemous. (KSA flag, IS flag etc). I wanted to create such a type that can be read from top to bottom eliminating that ‘fear’ of where’s/ what’s right or wrong. Also on the note of xenophobia, i created this type with traditional Arabic pattern ‘Kiffiye or Shamagh’ which is a symbol of freedom but has now become such a strong political symbol, and i choose to pair it with peace. Salam x Peace

a part I cle, particle a part apart • one can not choose when is one born • in which body • where • one can choose an attitude…

Tampieri is an important industrial group, leader in different fields. Sign and colour form a single system of meaning and relationship that conveys the values of the multifaceted Tampieri universe.
For their traditional open-day, under the guidance of +fortuna it was decided to break away from the traditional form of communication linked to photography and introduce colourful illustrations with the industry skyline. A set of identical images coloured with different palettes of complementary colours, inspired by the contrasting combinations typical of Pop Art. The diverse activities referring to the same group are so emphasised by Andy Warhol’s detached and iconic use of polychromy.

After being consumed exclusively as a premium ice cream bar for many years, famous European ice cream brand King, for the first time on the market it is available as the dessert in a cup. The change in format required a noticeable, playful and contemporary design. A stylized shape of the crown was used, which symbolically communicates how the moment we consume our King in a cup turns into: a royal moment. The product comes in 4 flavors, but the classic ways of displaying flavors to which the manufacturer has been accustomed so far (photos of ingredients), now has been replaced by the emotion that ice cream provides and the suggestion of flavors is given by a thoughtful choice of colors.

During the pandemic and the first lockdown, people hung messages of hope outside their windows, posters with a hand-drawn rainbow and the words “everything will be alright” written on them. I found myself dreaming that those rainbows would turn into bridges to escape with the imagination from the walls that at times seemed to imprison us. Moreover, I wished they would lead us to a new world, in the hope that this terrible situation could be transformed into a positive drive for global renewal.

fractals and mandalas as visual representations of mathematicals principles fascinate me. pushing my analog pixel art into this area of op art/minimalism, i am researching the effects of acrylic colors on canvas. the work is created digitally beforehand, therefore printed in RGB. in the process, i try to get as close as possible to the digital sketch, naturally failing in greens and orange. i consider this an experiment in creating visual stimulus for experiencing an area beyond thought, therefore the naming interfaces.

In the virtual room installation “Radiant Philistinism”, which was realized using 3D software, I contrast various lifestyles. Dignified ambience meets neon tubes that proliferate in the room. Lighting moods inspired by works of Dan Flavin. A place that seems surreal and familiar at the same time. We celebrate color, we celebrate diversity!

A sketchbook collection Spectrum is a celebration of vibrant colours and variety. Inspired by the word itself and meaning behind, I wanted to showcase Spectrum as a unified set where each individual product is represented by a strong and bold colour. Taking this meaning a little bit further, Spectrum also as variety of opinions and meaning. Technically speaking each single sketchbook is made using a sole section case binding technique where the text block consists of 64 pages of 100gsm Fedrigoni Arcoprint Milk Blank Paper, end sleeves are decorated with Arabic and Islamic patterned paper and hard cover itself is wrapped in solid full colour book cloth. 

in colors we trust
Diversity in any sense is the only way to get a decent outcome. Life is color.

We designed this two pinball posters for an exhibition in public space near Brest, Bretagne (commissioned by Éditions Ultra) and we also printed copies for art collectors. We mixed different graphic skills and personal mood of the moment, this work is dedicated to Gilet Jaunes movement.

A rallying cry to people to wake up and realise their leaders lie and mislead them on a daily basis to suit their own political agendas. This print was created on a western proofing press and uses a combination of wood letter type, ornament and laser cut plates.

Selected and included in the Protest Posters – reverting to type exhibition at the Standpoint gallery in London 2020/21

Size: (w) 32cm;

We designed this two pinball posters for an exhibition in public space near Brest, Bretagne (commissioned by Éditions Ultra) and we also printed copies for art collectors. We mixed different graphic skills and personal mood of the moment, this work is dedicated to Gilet Jaunes movement.

The work is based on the outcome of the 36daysoftype challenge on instagram. The difference from other type projects is that only one letter was designed per day instead of designing a group of letters from the beginning. I started early to make variants of each letter though, which makes the typeface more versatile and flexible to use. I experimented with simple and geometric shapes and reused those shapes for the following letter whenever possible. The typeface grew slowly and became playful, funny and funky. Since I love playing with colors as well, color became another important element in the series for 36daysoftype.

The joy of colour comes from it’s ability to expand, clash and mix together. This is an attempt at creating a space for colour to shows it ability as a autonomous tool. Much needed space for judgment free creation of colour.