This booklet is a collection of scans from my sketchbook, created during my time in Berlin. The Arabic lettering is inspired by the city’s graffiti, blending the bold, raw energy of Berlin’s streets with the beauty of traditional Arabic script. It’s a personal exploration of how two different cultures and art forms can come together in a unique and creative way.

Poster created as a specimen for TS Maghribe Thuluth typeface by Tarek AlSawwa

Fisheye studio is a production house based in Mansoura, Egypt. The studio focuses on production services and content creation, made with Gen Z minds who wants to seek a unique + authentic look.

The fishes in logo represent the “finger frame”, it’s when you make a frame with your fingers to see through that frame. The negative space is in 16:9 ratio, which is most used ratio for screens, divided by 3 represents “rule of third”. The three arabic dots represent the three co founders of studio.

The cover for a publication with the name “The Four Industrial Revolutions.” This publication delves into the transformative journey of humanity through the four industrial revolutions. By guiding readers across these pivotal periods — from mechanization to digitalization and beyond.

The project is a visual representation of the narrative mawwal “Aini Ra’et Taira” by Mohamed Farahat, which describes the chapters of a failed relationship caused by betrayal. The project outcome is a video displaying nine narrative mawawil along with a publication of a small Leporello. The visuals used are metaphors to connect the typography and translate the emotions of the mawwal by experimenting with typography using different materials and techniques (cyanotype, clay, cymatics, etc.).

The artwork captures a moment of transition. Ahmad deliberately included official markings and stamps, viewing them not just as administrative details but as symbols of the process and the reality of this pivotal shift. His expression conveys introspection, uncertainty, and anticipation, reflecting the emotions he experienced at the time. The piece explores themes of stepping into the unknown, balancing individuality with collective duty, and discovering growth in unexpected places.

The identity draws inspiration from the vibrant energy of Downtown Cairo and its posters (with paper tears and overlapping prints), the landmarks of Downtown (like Talaat Harb’s statue), the elegance of Egypt’s royal colors, and the timeless allure of Egyptian vintage posters, prints, and its textures, encapsulating our rich cultural heritage.

Wegz made history as the first Egyptian singer to perform at the FIFA World Cup Final, captivating the audience at Lusail Stadium in Qatar during the 2022 tournament. Ahmad’s created this illustration to celebrate Wegz global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression.

Marwan Mousa and Afroto in London and Berlin. I created an illustration to celebrate their global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression. Their fresh voices and unconventional lyrics, which differ from traditional music, have caused them to clash with society and old Egyptian traditions.

This poster highlights the issue of double standards in how people react to global issues, focusing on Palestine. Inspired by Cairokee’s song *”Telk Qadeya,”* it explores the inconsistency in empathy and action, urging viewers to reflect on the importance of justice and standing firm against oppression, no matter the context or location.

Decycle seeks to address the environmental crisis of textile waste and the efforts done in Egypt’s fashion industry. By blending upcycled materials, particularly denim, into statement pieces, the project highlights the value of sustainable fashion. Its dual approach combines a newspaper publication to educate on sustainable practices with creative experiments that transform discarded fabrics into meaningful fashion statements, encouraging conscious consumerism and challenging fast fashion norms.

Inspired by Kawkab Zomorroda, a “for girls only” segment on the Arabic cartoon channel Spacetoon, Zomorroda is an antithesis to a childhood shaped by binary constructs. Amethysts and liquid greens paint an alluring and forbidden world, where colour pools like memories in motion. Through gleaming lights and ambiguous forms, Zomorroda represents access to a world once gatekept.

Following the success of Wegz’s concert in London, I created an illustration to celebrate his global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression. Their fresh voices and unconventional lyrics, which differ from traditional music, have caused them to clash with society and old Egyptian traditions.

Hours later after posting it Wegz liked and appricated it.

This poster tells a story from my father’s time in Germany in 1991. While waiting for a bus at an empty stop, he noticed people gathered across the street. Confused, he stayed until his friend told him “Stand where the Germans stand.” This phrase became a family metaphor, reminding us to observe and follow the locals when in doubt.

“Tails of the Citadel” is a children’s picture book that introduces young readers to the rich history of Egypt’s Citadel of Salah El Din. Through the eyes of a curious hamster who finds himself lost within the Citadel, children embark on a magical adventure. Along the way, the hamster meets a grumpy cat and a friendly pigeon, both of whom help guide him through the Citadel. As the story unfolds, readers explore the Citadel’s famous landmarks, like the grand Mohammed Ali Mosque.

Medium: Silkscreen on fabric
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They wanna call me Cleopatra is a book / carpet or blanket. Whatever you need in the moment to feel at home. This research work was based in the struggles Taher experiences as a Dutch-Egyptian women living in Europe. This goes from fetishization to privilege. They wanna call me Cleopatra ultimately shows that non of this is what she actually needs and goes back to the land of Masr. The land, the sand, the water.

These pictures were taken around Cairo from 2019 until now. Cairo, or Qahira in Arabic, always draws me in. It’s the magic of Om Kalthoum’s music playing softly in the background. I love this city that never sleeps—a place full of warmth, stories, and the kindest souls.

An astronaut embarks on a journey through the world of the EP, but their helmet unveils a deeper narrative—a skeleton within, symbolizing the inevitability of mortality. The visor, shattered by a fiery cosmic explosion, becomes a vivid contrast between life, death, and the mysteries of space evokes a powerful reflection on the fragility of existence and the boldness of exploration.

KALAM AFLAM track music is a collaboration track between Riff and El Wailil. This feature was the ticket for the “M3 Salama” EP world that already submitted as “Goodbyes” poster I kept the bold illustration style with clean lines and vibrant contrasts, while integrating the look and feel of the main cover. Styled like a vintage cinema ticket.

Anybody that knows Yehia knows how much he admires where he spent all his life to this day in, Manial – المنيل and as he & El Manial grew together over these past 23 years we have went through changes & changes only to wake up one day and realize its now time for its turn to go through ‘’Urban Development’’ , while I was in complete disbelief at first bit by bit it was sinking in they are taking away a part of myself and he couldn’t help but grief it every single day

Nora Taher explores identity and belonging, shaped by growing up with a parent from a different culture who remains silent about their struggles. Her installation, inspired by her father’s walks along Amsterdam’s tram tracks symbolizes his journey. Carpets adorned with patterns designed from her Egyptian family photos and stories reflect shared narratives. Taher encourages diaspora families to share their stories to heal, feel at home, and embrace the importance of their bond.

Bilal, a 50-year-old falconer, poses with kestrel, that’s used to hunt falcons and eagles. Falconry, a traditional sport with roots in ancient Egypt, where the falcon symbolized divinity and protection, is not as common as it once was. However, the legacy of the falcon lives on in modern Egypt, as seen in the eagle symbol on the national flag, representing unity and pride in the country’s history.

The poem «Egypt» belong to the Russian poet N. Gumilev, in poster translated into arabic, where the author plays the famous Egyptian saying: «Whoever drinks from the Nile will always return to it» (Who has tasted the water from the Nile/He will always strive for Cairo).
The meaning of the poster lies in the symbolism of the image of the river, its distortion through time epochs: from Ancient Egypt to the Arab world. As Herodotus said in the «Description of Egypt»: «Egypt is the gift of the Nile

Egyptians love clutter! From expired medicine to paper scraps, Robabekya is an experimental journal that documents and sells clutter found in every Egyptian home.

*All imagery used in this publication is authentically sourced from Egyptian homes.