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'BABA TANYA!' is an experimental zine created as part of an exam; the topic was free. Here are some pages and the cover.
My idea was to bring together the childhoods of children from the post-Soviet area. The title came from the grandmothers who always sit on the bench in front of their apartment building, always watching you, watching where you go and where you enter. They're usually unpleasant characters, but they're remembered with a bittersweet feeling.
I tried to combine experiences and collected stories from my friends.
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From a blank canvas to a distinctive identity.
In this speedart, I explore the creation of a custom monogram built around M, combining sharp geometry with a continuous orbital element to create a symbol that feels both precise and dynamic.
The goal wasn’t just to make an M look good — it was to turn a simple letter into a memorable visual asset with its own character.
Every angle, connection and curve was intentionally designed to keep the mark minimal, recognizable and versatile.
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Awesome work👏🔥🔥
Is minimalism doing this label a favor, or losing what made it charming? 🤔
Found this while flipping through a Japanese book of vintage canned food labels and decided to give one a rework. Same ham, completely different shelf presence.
Vintage approach: hand painted illustration, full color, a lot happening at once.
Modern approach: vectorial line work, no color, one pattern and narrow type system holding the whole label together.
I need to know, if these two were sitting next to each other in a store, which one would you actually reach for?
43 voted
61%
27 voted
39%
70 votes
Closed
I prefer the Vintage Approach.
Sort of related: When I was reading your description for the Modern Approach and you wrote "...no color...", I suddenly remembered an article I read some time ago that talked about "how the world has gradually been losing its color" especially in...
For me, it’s cultural context. AI can generate references, but it can’t fully replicate lived experience. As a South African creative, so much of my work relies on instinct, memory, language and the nuances of how we actually experience our culture.
When I’m reimagining iconic or legacy South African brands, the success of the work depends just as much on what I bring to it as the tool itself; my lived experience, cultural memory, understanding of our language, humour, visual codes and the way South Africans actually experience these brands.
The technology can help me execute an idea faster, but it can’t replace the instinct behind why something feels recognisably South African, why a certain reference matters, or why one creative choice will resonate more deeply than another.
Fabulous work, I keep circling back to it! 🤍
If AI can generate beautiful illustrations in seconds… why would you still draw one yourself? 🤨
I'm currently working on a packaging project that I can't share just yet, but one part of the process stood out: the hero element is a custom vector illustration, drawn by hand from...
This lines up with what I see in branding work. The tool speeds up execution, but choosing which cultural reference actually carries weight is the part only lived experience gets right, and that instinct is what makes the work feel local instead of generic.