The projects in this portfolio illustrate my approach to design, covering everything from preliminary research and idea generation to the finished visual identity.

Task: Developing a recognizable identity for the «Botanical Greenhouses» cultural and exhibition complex—a venue for exhibitions, film screenings, lectures, art mediations, and children’s programs.

Сoncept: The design code for the space is built on contrast and dialogue: architectural details of the estate are reimagined through pixel art. Each element of the visual identity—whether a fragment of a bas-relief, a keystone, or the intricate metalwork of a fence at Arkhangelskoye—is processed through a digital filter. This module becomes a new unit of heritage: contemporary in form, yet rooted in culturally significant elements.

Problem: The current design does not reflect the seriousness and scale of the event. Style preferences: modern, minimalist, and intellectual design.

Solution: The core concept behind the visual identity—created primarily through typographic techniques—is to inspire the act of creative writing. Letters form images, and words are tucked between the lines. The style is concise and captures the essence of the event.

Problem: Grief is a powerful emotion that society does not know how to navigate or process. There are no products or tools on the market designed to help ease this experience.

Solution: The calendar is designed to encourage the processing of loss through a journaling approach—specifically, by making entries and keeping photographs. It also includes theoretical information drawn from the book «Life After Loss: The Psychology of Grieving» by Vamik Volkan and Elizabeth Zintl.

Problem: Prior to this, there had been no visual studies that explored the subject exhaustively and linked it to global trends.

Solution: The subject of this study is the ceramics of the Abramtsevo Circle. The book is structured to shed light on the context of the era and the prevailing trends in the field of ceramics, and subsequently to trace the connections between Abramtsevo ceramics and these developments.