Experimental Typography

The basis for this collage is a Soviet still life by Anatoly Shumilkin. I was drawn to its unconventional perspective, and I decided to experiment with it in my work.

To create the digital collage and emphasize the Soviet aesthetic, I used the NATASHA font. The effect of contrast and volume in the piece is achieved through the repetition of text.

A dramatic contrast—large typography and deep black—became the key element of the portrait. The heroine’s hair smoothly flows into an infinite cascade of letters.

In the digital collage, I utilized the BEBAS typeface and the metaphor of a vertical barbershop business card, limiting myself to just two words. Everything else was rendered in numbers and symbols.

I use large type not only in portraiture but also in architectural applied collages. The thickness of the overlay and the building’s background layer also appear.

In the digital collage, I actively use text about the Overhead Crane Workshop, playing with various typefaces, horizontal and vertical lines, as well as very small lettering. The antique typeface used is NWT Bodoni.

In letter design, my letters came alive, gaining their own personalities and expressive character.

A blend of archaic Neanderthal-era motifs and cutting-edge nanotechnology—that is the defining characteristic of this experimental typeface. I believe it is perfectly suited for the 'Cave' brand—a museum dedicated to Neanderthals.

For newspaper design, I employed a compositional technique where all elements are placed along the edges of the page, creating a sense of openness and drawing focus to the partially blank white space. Additionally, a bold OT Cyrillic typeface was developed.