Empty Cocacola plastik bottels on wodden cross as a consumption warning.

An illustration I have made for the project Čierne diery (Black Holes). The project is focused on forgotten architectural monuments and interesting places in Slovakia. I have created for them an illustration of an abandoned socialistic building from famous Slovak architect Vladimír Dedeček. A part of it is a visual quote of a relief decoration of the building from painter Ivan Vychlopen. Printed on Risograph with soya bean colors.

An illustration I have made for the project Čierne diery (Black Holes). The project is focused on forgotten architectural monuments and interesting places in Slovakia. I have created for them an illustration of a house of culture from a famous Slovak architect Ferdinand Milučký. The modernist-brutalist architecture was realized in the 70s in Pieštany. The interior was made by the architect in cooperation with a designer Júlia Kunovská. I like their work with structures, patterns, and colors. I made a geometric illustration that involves simplified patterns and details from the interior and also the exterior shape of the building. Printed on Risograph with soya bean colors.

Visual identity and packaging design for a natural cosmetics brand Modrá púpava (Blue Dandelion). Design is dimensioned for small packaging. The identity responds to the established brand name with a playful color scheme. Colors create a system for categories and collections and help to navigate through the product range. Brown glass is the most suitable way to store cosmetics. The design works with author typeface Plastic completed by a logo of a dandelion seed. It is placed freely on the bottles as if it would be blown on by the wind. The rotation of the seed is also reflected in the composition of the typography. The boxes are folded without adhesives, the inside contains how to use tips.

Auf bald! Prost, ihr Lieben.

Sweet Memories is a collection of my family’s story. Memories from my family’s and my country’s colonial past, where traditions, language and culture were destroyed. We forgot our language, we forgot our names, we forgot who we were.

The collection started on 22 March 2021 and will be published throughout the year. Like an old photo album, I will replenish this box of memories. Every day I will try to remember a part of my story.

Think of the collection as a metaphysical photo album, where each piece is a separate story. Which, while appearing vividly, fades away and dissolves like a memory.

Colors, shapes and grids have meaning at SuperHi. The considerate design system differentiates and brands each creative discipline of the online education platform. Vibrant, eye-catching and playful, these are the three covers of the First Steps Guides. The intent of these free downloadable guides is to introduce people to SuperHi’s three main skill pillars, in a way that’s approachable, real, fun and practical, with a lens on helping people make and use these skills, no matter what role or career path they have or wish to have.

Show love to you and to each other!

One from a series of images based on Southern California landscapes and culture.

Posters and flyers for the conservatory of music and dance of Metz. Two versions have been imagined in order to differentiate the music section from the dance section. On the dance version (pink), the waves drawn for the visual represent the random movement of the bodies and on the music version (orange), they represent the rhythm orchestrated by the scores.

Poster: 297 x 420 mm / Munken print 150 g/m² / neon pink 813U + neon orange 804U + cooper 875U
Flyer: 148 x 210 mm / Munken print 300 g/m² / neon pink 813U + neon orange 804U + cooper 875U
Typefaces: Messine & Work Sans

The editorial design of the graduate catalog of the ÉSAL (art school in Metz, France) is based on two key notions: openness and light. The fluorescent gradients that spread from the heart of the catalogs literally highlight the graduates’ works. The composition plays with the white of the page: texts presenting the approach of the young artists are placed opposite to the respective photographs. The school logo (based on similar issues) appears on the cover of the catalog. The sheet separates the reading of the term “École Supérieure d’Art de Lorraine” in order to bring up the word “art”. We choose one Pantone neon color per year: 805U for 2017, 804U for 2018 and 803U for 2019.

Colour and composition of 5 letters from a typeface that I am developing. The typeface is based on a set of 4 differently sized circles and lines that orbit around these circles to create individual letters.

However, in these renders, the structure is abandoned as the components of the letter seem to float away, as through a lack of gravity.

The editorial concept of 2020 graduate catalog of the ÉSAL (art school in Metz, France) was completely renewed: this new version present not only the works of the graduates but also the graduates themself in a selection of documentary photos taken during the installation of their diplomas. The sewn binding with visible spine allows the book to open flat and makes it easier to handle. The green Pantone color develops on all pages and helps separate the different parts of the content.
190 x 250 mm / 160 pages / Paper: Multioffset 120 g/m2 and Maxi offset 350 g/m2 / sewn binding
Offset printing CMYK + 1 Pantone 2252 U
Typefaces: Messine & Work Sans

Plastic is a variable monospace font, formed by four master styles — Chain Black/Thin and Simple Black/Thin. Thanks to two interpolar axes it is possible to generate thickness instances and also sets the openness of the characters. It is inspired by a plastic toy called C’s, a Czechoslovak socialist phenomenon of the ’80s. Chain styles keep the chaining principle, which was the ground principle when designing the font. Simple style is more conventional. The font is complemented by a stylistic set of width alternatives of capitals and numbers created in double width of the glyph. Promotional postcards were printed on risograph. Text and visuals were inspired by C’s phenomenon.

A lot of young girls and grown up women are still struggling with Period Poverty or intolerance. Why is it still a topic that we have to hide?
It should not be a luxury to afford hygienic products, or shameful to be bleeding.

As I was a child, I hardly knew any people of other color in the little village I grew up. For my daughter it’s so everyday, that she meets people with all kind of skin tones. When she is drawing, she does need more than only one “skin tone” crayon.

Because seven was too many. A piece created on a playful Monday morning.

Fair and bright shines the man in the moon tonight, for that the children could watch his spectacular shadow play: the fox and the rabbit, one the hunter, the other the prey.

When I was a child I often looked at the sky or the sun through glass marbles. I was fascinated by the many colors that you could see because the glass broke the light, like a prism. This poster visualizes that experience.

did you know that green is a fresh color ?
Green is my therapy.

Vases & Flowers