Graphic & Editorial Design

This project examines contemporary funerary urns. Developed as part of an assignment focused on selecting an industrial designer and creating a book cover around their work, the project explores how designers today are reimagining this object and how these reinterpretations influence understandings of memory, grief, and meaning. The final cover is quiet and minimal, intended to evoke calm and respect. Soft ash tones, a subtle grainy texture, and a photograph of a white urn that nearly dissolves into the background establish a restrained visual language. The urn appears open, suggesting transparency and dialogue while reframing familiar assumptions around privacy and containment. A typology of modern urns appears along the spine, introducing a subtle narrative layer and offering a quiet signal of the book’s content for readers browsing a shelf.

Created as part of the Book Design course at Typomania School.

Adapted version of an online article about Swiss typographer Max Caflish, prepared for publication in the print edition of Type Journal.

Created as part of the Book Design course at Typomania School.

Founded in 2009, SAND is a twice-yearly literary and art journal run by an international team based in Berlin. Both on and off the page, the journal strives to build a welcoming, community-driven space that challenges the often hierarchical and homogeneous world of publishing. Its mission centers on inclusivity, collaboration, and mutual support—values that guide everything from the editorial process to the work it celebrates. SAND features writing, poetry, translation, and art from both emerging and established creators around the world. It actively seeks out fresh, underrepresented voices and has long championed writers and artists who are LGBTQ+, BIPOC, women, non-binary, working class, international, geographically marginalized, as well as artists and writers with disabilities.

15 × 21 cm
152 pages
Printed on Munken Pure 1.13 90g

Founded in 2009, SAND is a twice-yearly literary and art journal run by an international team based in Berlin. Both on and off the page, the journal strives to build a welcoming, community-driven space that challenges the often hierarchical and homogeneous world of publishing. Its mission centers on inclusivity, collaboration, and mutual support—values that guide everything from the editorial process to the work it celebrates.SAND features writing, poetry, translation, and art from both emerging and established creators around the world. It actively seeks out fresh, underrepresented voices and has long championed writers and artists who are LGBTQ+, BIPOC, women, non-binary, working class, international, geographically marginalized, as well as artists and writers with disabilities.

15 × 21 cm, 124 pages
Printed on Munken Print White 1.5 90g

Kamchatka has long been a land of legends. For centuries, Indigenous peoples have celebrated their deep spiritual connection with nature through song, ritual, and offerings to the land. Among the most revered forces are the volcanoes—the proud guardians of the Kamchatka Peninsula.Volcano Day is a modern continuation of this reverence, celebrated annually as part of Kamchatka Region’s Tourism Days. The festival’s main site is the picturesque Nalychevskaya Valley, though in recent years it has expanded both in scope and location. Held each summer, the event brings together locals and visitors for mountain climbs to the Avacha and Kozelskiy volcanoes, sports and motorbike competitions, film screenings, educational lectures on the region’s flora and fauna, and traditional dance performances.

Online portfolio and business card design for Raquel Gómez Delgado, a Berlin-based photographer and documentary videographer.

This project was developed for a young Berlin-based winery launching a small family of two red wines, each aged differently.

Wine drinking is an inherently social ritual — it enhances shared experiences and fosters emotional connections between people. A bottle of wine becomes part of this togetherness, an intangible “heritage” passed from one person to another as stories and memories are exchanged around the table. From this idea came the concept of creating patterns from real hand and fingerprint impressions collected during a home-cooked dinner with friends. These impressions symbolize the “traces” people leave on a wine bottle and the emotional legacy passed quite literally from hand to hand. They can also be seen as a metaphor for the wine’s journey from the producer to the consumer. From the many handprints created, two visual styles were chosen: bold, expressive strokes for the mature wine, and lighter, more delicate strokes for the younger one.

The name und wein was inspired by everyday conversations in cafés and restaurants. It sounds like a natural continuation of an order, suggesting that wine is part of the whole experience rather than standing apart. The handwritten wordmark adds a warm, human touch to the identity.

Calligraphy by Evgeny Tkhorzhevsky
Labels printed on Meta Rough Air 90g