I’m realizing more and more how alien LinkedIn feels to me.
Not just uninteresting. Not just inconvenient. Alien in its very structure. It is a space of corporate busyness, robotic politeness, and constant self-packaging. There, a person seems to turn themselves in advance into a job description, a career signal, a neat professional silhouette.
And at some point I realized: I don’t want to be there even formally.
A good professional is not made of competencies alone. They are made of taste, character, attentiveness, experience, strangeness, pain, curiosity, mistakes, pauses, inner fire.
And LinkedIn seems to say:
“No, no. Leave only the title, the case study, the achievement, the team thank-you, and five bullet points about leadership.”
I wanted to make the packaging of an ordinary matchbox more noticeable and interesting. The visual idea is based on a match tied into a knot. I was interested in the paradox: a simple and familiar object begins to be perceived differently when its form becomes impossible.
Logo for an Obsidian plugin that processes and uploads images to my website. “Iskra” refers to the moment of a brief spark: a rapid transition from a local file to a processed and published result.
A typical battery collection container almost always looks like a technical necessity. It communicates its function, but it doesn’t attract attention. It can be placed in a store, accompanied by instructions and an environmental message, but the interaction itself still feels dull and impersonal. I wanted to turn an unnoticed, obligatory object into something people would want to approach.
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.
Short version of the logo
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.
