Cyrillic support for two of the game's primary fonts, with glyphs created and adjusted manually to match the original typography.
The project required reverse engineering the proprietary font-resource pipeline, including DPC containers, SDF atlases, BC3/DXT5 data, compression, glyph mappings and resource rebuilding.
A Halloween type study. One line, eight typefaces, eight ghosts. Each frame holds the same words and composition while the letterform, palette and figure change, from blackletter to dot-matrix to brush script.
I designed every frame in Figma, then used AI image-to-video to hallucinate the transitions between them, so the type melts, drips and reforms into the next face while the ghost dissolves into smoke and re-forms. The result loops like a bad dream that keeps changing its mind.
I'm Ukrainian, and I grew up proud of the people who shaped our culture, so I went looking for one of them: Heorhiy Narbut, whose Ukrainian Alphabet (1917–1919) I found on Wikimedia Commons.
I turned seven of its letter pages, cropped to the illustrations only, into a Recraft Style and asked his dense ink hatching to draw things he never could: drones, scooters, video calls and a coffee pouring robot.
The result, Alphabet of the Cossack Mystic, is a lost museum catalog from an alternative history: every letter has a three word caption, in Narbut's manner, and a handmade invention of wood, bone, clay, brass and leather.
Each Cossack wears a vyshyvanka, sharovary and sash, with a scalp-lock and moustache, so the Ukrainian heritage is in every detail.
Three pages answer Narbut's originals directly: В, З and О.
A bold visual identity built around abstract forms, striking red accents, and experimental typography. The system balances raw textures with a minimal, high-contrast aesthetic to create a distinctive and cohesive brand experience across application