I love working on tiny artsy projects besides heavy work. The poster I designed for my friend's u...I love working on tiny artsy projects besides heavy work. The poster I designed for my friend's u...
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I love working on tiny artsy projects besides heavy work. The poster I designed for my friend's upcoming short film: dejection.
This is my first time designing a movie poster :) What do you think?
I just joined Contra and I’m still figuring out how things work around here, so I thought I’d introduce myself instead of quietly lurking.
I’m Mariya, founder, strategist and lead designer behind Mariya Design. I’ve worked internationally since 2015, and today I run a boutique branding studio focused on brand identity systems for premium and luxury-led brands.
Most of my work sits somewhere between identity, packaging and the wider system around them. I’m particularly interested in what happens after the logo: how typography, color, packaging, digital applications and brand rules actually hold together as the business grows.
One project I’ve been revisiting recently is SAE-REN, a premium beauty and wellness identity system. I’m currently rebuilding some of my case-study presentation system, so it felt like a good one to share here first.
And since I’m genuinely new to Contra, I’d love to hear from people who have been active here for a while:
What actually helped you become part of the community here?
Was it sharing work regularly, joining conversations, applying to opportunities, or something else entirely?
Any early mistakes worth avoiding are welcome too.
Generated these looks in Midjourney — but the layout is what really pulls it together.
Grid, crosshairs, typography, detail callouts: same images, but the presentation makes them read like an actual editorial spread instead of just pretty pictures.
The grid, crosshairs, and detail callouts do more than decorate the Midjourney output—they turn it into an editorial system. Great example of how art direction can make a set feel like a coherent campaign.
Sometimes, the work is good. The direction is clear. The conversation is productive. And then the timeline doesn't quite line up.
That was the case with Cylindrique.
The project ended before we could take this concept all the way through, largely because we couldn't find alignment on the timeline. That's part of working in design. A good creative process still needs a practical agreement around time, feedback, and decision making.
But I didn't want the concept to disappear with the project.
The idea started with something deliberately simple: a cylinder.
From there, I explored how that form could become a modern industrial mark for an AI company, using geometry, segmentation, negative space, and perspective to create a sense of structure and depth.
No generic AI symbols. No unnecessary complexity. Just a system built from one strong form.
I would have liked to see where the identity could have gone with the full process.
Still, some concepts are worth showing even when they don't become the final answer.
Not every design has to become a brand to be worth making.