My task was to create the visual identity for LA NOTE, a digital cultural publication focused on contemporary art, exhibitions, photography, and the emerging artistic scenes of Paris. The project was conceived as a subscription-based media platform with a clear editorial rhythm, where each issue is built not around the news cycle, but around a single theme, a single observation, or a single cultural shift. From the outset, the visual language was intended to convey not decoration, but focus, precision, and editorial rigor.

Initially, the client expected a more refined, distinctly French-style logo, with serifs and a recognizable Parisian cultural tone. I proposed a different approach and built the mark around dense typography, rhythm, and the discipline of print layout. This led to a logo in which the name merges with abstract lines of text, immediately setting the tone for the publication.

The next task was to reduce the mark without losing its character. The shortened version was created for situations where the full logo would be impossible or impractical to use: in limited space, at small sizes, and across more compact formats. At the same time, it was important to me that it would not feel like a simplified symbol, but would retain the core elements, structure, and rigor of the original solution. As a result, the reduced version works as an independent part of the system while preserving the character of the main mark.

After creating the mark, I translated this logic into the publication’s homepage. Here, the visual identity unfolds more fully and operates not only through the logo, but through the editorial structure itself. Article previews, the introductory block about the publication, a strong visual focal point, sections, and subscription are brought together into a single, coherent system. It was important to me that the homepage would not simply present LA NOTE, but immediately show how the publication is structured, what kinds of themes it engages with, and what reading rhythm it offers.

Title, concept, and visual identity of Denis Orlov’s novel.

This is a novel about a man who follows an elusive goal. His movement becomes a form of existence and a way not to disappear. He lives in a new environment where the familiar has lost its shape. The world around him loses density, turning into a network of reflections and surfaces. Reality feels like a program, and its glitch holds the memory of the past. He is not looking for an answer but for the sensation of purpose, like a snake reaching toward a point that cannot be caught.

Usually a designer joins the process when the idea is already complete and only the text needs to be shaped. Here it’s different. At an early stage, we work with the author to identify the story’s core, define its axis and title. From this foundation emerges the concept, which evolves into a visual language and image that set the direction for the novel.

The cover and visual imagery are not decoration. They are part of the statement, the same line that resonates in the text. The visual code makes meaning visible, giving the story form and a point of entry for the reader.

See also 

• Poster “THE ICON”
• Poster “THIS IS LOVE”

I designed a logo for my personal media archive — Sirius.

Another small tool for my workspace. And one more logo.

I created a small tool for my workspace and decided to design a logo for it. It matters to me that even a utilitarian thing has a simple, recognizable cover: in the Obsidian interface, in the repository, and in the portfolio, the project immediately comes together as a coherent object instead of looking like a collection of files.

This is not about a brand or a service, but about a neat working tool. There is a calm version for everyday use, and an accent red one for moments when you want to present the project as a standalone artifact.

In 2022 my friends and I created a small men’s Telegram chat. A private place where you could drop something interesting, share news, arrange meetings, or argue, finally. We launched it during one of our gatherings in Minsk — spontaneously, in just a couple of minutes. There were no ideas for a name. Why not just put a fruit emoji 🍑 instead of text? Perfect.

For three years we didn’t touch or change anything. It worked well enough. This year I decided to play with the group’s visual identity using AI. The task was simple: to pull the peach out of the emoji world into reality.

First I drew our main character. Now it’s an image you can use as an avatar, send to friends, print, and even hang in a frame.

But of course I didn’t stop there. I created a boyfriend for our peach so it wouldn’t be lonely. After all, it’s good when fruits have friends.