Studio YNNH
Making brands look less… branded
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An exhibition for things nobody asked to see.
The Museum of Ordinary Things (M.O.O.T.) is an experimental campaign built around a simple idea: what happens when we give completely ordinary objects the attention usually reserved for something important?
Receipts, lost keys, plastic chairs and lonely socks become museum-worthy artefacts through experimental design, analogue collage, bold typography, photography and a little dry humour.
It’s about playing with the familiar, finding personality in the overlooked, and proving that even the most ordinary things can become interesting when you look again.
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Small plates. Big personality.
AMADA started with a simple thought: restaurant content doesn’t have to look like restaurant content.
For this experimental tapas campaign, I wanted to move away from perfectly styled plates, polished food photography and predictable social templates. Instead, I mixed analogue collage, editorial photography, playful typography, hand-drawn details and imperfect print textures (with plenty of breathing room to keep it feeling light rather than chaotic.)
The result is a little messy, a little cheeky and very human. Hands reach across tables, food gets eaten, napkins get crumpled and glasses leave marks. Because a good restaurant isn’t really about the perfect table setting -it’s about wanting to stay for one more.
Each piece also has a job to do: introduce the brand, make the food irresistible, sell the atmosphere and, eventually, get someone to book a table. The visuals may be experimental, but the content still has a purpose.
This kind of direction works especially well for restaurants, cafés, bars and hospitality brands that have a personality worth showing, and would rather be remembered than blend into another perfectly curated feed.
Good food gets people through the door. A good brand makes them curious enough to open it.
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Same world. Different lens. 👁
PARALLAX is an experimental eyewear campaign built around one idea: the way we see things is never completely fixed.
I mixed retro-futuristic visuals with analogue editorial collage; fragmented photography, bold type, print textures and a little controlled weirdness to create something that feels caught somewhere between the past and the future.
This one was mostly about experimenting, breaking a few design rules and seeing where it went. Because sometimes the interesting stuff happens when everything isn’t perfectly polished.
A little strange. A little futuristic. Very much on purpose.
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Who said good design had to be quiet?
SIGNAL 77 is an experimental visual campaign built around bold colour, oversized typography and a little retro-futuristic chaos. Inspired by analogue music culture and editorial design, I wanted this project to feel loud, tactile and slightly unexpected; the kind of content you notice before you even realise you’ve stopped scrolling.
I’m a big believer that brands shouldn’t be afraid of colour, boldness or having a little personality. Not every brand needs to whisper in beige. ;)
That doesn’t mean every brand needs to shout either. I love adapting my design approach to the personality in front of me; from refined, minimal and luxurious identities to colourful, expressive brands like SIGNAL 77.
Different brand, different voice. That’s the fun part.
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