Problem

In Israel, the sun shines year-round, yet people neglect protection. The products on the shelves look either like women’s cosmetics or like pharmacy items, which creates resistance.

Concept

An eclipse is a natural phenomenon that covers the sun—simple, wordless, pure physics, and character. This metaphor became the foundation for the entire visual language and the packaging mechanics.

Character

Confident energy and elegant simplicity. Everyday packaging that demands nothing of the user.

Result

Concept project, tested on a shelf mock-up with 12 men aged 25–40. 10 read the packaging as protection rather than cosmetics; 8 would pick it up without hesitation. The eclipse reads at a glance and pulls the product out of the white-and-yellow blur on the shelf.

Problem

The market has a strong concept: accessible books, thoughtful curation, a warm atmosphere, and a charitable component. However, the visual identity failed to convey this tone or link the event to the organizer’s brand.

Concept

Every book here undergoes careful curation, so the identity is built on the idea of a stamp—a mark of quality and a sign of belonging to the market. The logo form echoes the organizer’s identity and refers to book culture: publishing marks and ex libris.

Character

The additional icons are built using contrasting stroke weights, which creates a sense of rhythm and visual harmony with the typography. A cozy, homey atmosphere is brought in by a character—a cat whose shape evokes a bookmark. This character embodies the marketplace’s core values: generosity, warmth, and care for the reader.

Result

Feedback from the organizer: «A very cohesive, wonderful project—the colors, fonts, and illustrations are all highly pleasing to the eye. I tried to find something to critique, but there was simply nothing to complain about.» The marketing team decided to keep the concept for future events and invited the designers to work on upcoming design requests for the center, even though a different visual identity was chosen for this year’s edition.

Problem

Following the first festival, the visual language—comprising clown figures and urban symbols—was perceived as being for a children’s event, even though half the audience consisted of adults. Since 2026 marks the 125th anniversary of the birth of Karandash [the famous clown], the promotional materials needed to avoid appearing exclusively for children while remaining contemporary, vibrant, and cheerful.

Concept

A reimagining of the vintage poster through the lens of pop art. The fairground—conceived as chaos and energy—is expressed through geometric patterns, saturated color, and dynamic typography, entirely devoid of literal depictions of clowns or urban landmarks. The slogan serves as the primary visual element, allowing the poster to assert the festival’s ethos rather than merely describing it.

Character

Bright, loud, geometric. Radial compositions and diagonal typography draw the eye toward the center, then fling it back out—the rhythm of a fair.

Result

The shortlist for the «Karandash-Fest 2026» open poster competition. Printed in A0 format and displayed at an exhibition. Three posters, one cohesive system: they read as a series from across the street, yet reveal distinct individual personalities up close.

Problem

A tear-off calendar is purely functional, with nothing about it that invites users to keep it. A carpet, on the other hand—the most commonplace object in a home—carries an entire language of symbols that almost no one knows how to read anymore.

Concept

This calendar reveals the secret language of carpets. It is a weekly tear-off calendar: each card features a pattern on the front, while the back explains the symbol’s meaning or tells a story, with space provided for users to record their own memories from that week.

Character

Warm and nostalgic. The tone evokes childhood: you drift off to sleep while gazing at a rug, transported into a world of fantasy. The fonts and dot-matrix graphics are a nod to the art of weaving.

Result

Printed and produced. The calendar hangs at home and is used every week; one copy is mine, while several others were given as gifts and now hold the memories of other people

My Process

• I think in systems, not just in visuals.
• I begin with meaning and metaphor.
• I guide the design all the way through to production.
• I collaborate in a team and carefully consider the project brief.
• I stand by my decisions while remaining open to constructive criticism.

Tools

• Figma
• Adobe Creative Cloud (Illustrator, InDesign, Photoshop, After Effects)
• Blender
• AI tools