SH My first steps toward graphic design go back to when I started experimenting with Photoshop CS6 in my free time at around age twelve. At the time, I was mostly collaging images I found on Google into new, often surrealistic compositions. A lot of the knowledge and inspiration that influenced me back then came from YouTube’s early design community.
My more formal education in design started when I attended an art/design pre-college program, followed by a bachelor’s degree in visual communication. Those years were crucial in helping me develop a design process that balances conceptual thinking with technical experimentation.
I became especially interested in how clear visual language can be combined with bold, eye-catching elements and motion.

SH There are many designers and movements that inspire me, but let me mention a few that stand out: C2F has had a strong impact on my understanding of typography and visual precision through their crisp, high-contrast work. Agencies such as DEPT and Verve inspire me through their motion-driven identity systems, which show how animation can become a fundamental part of a brand language rather than simply an addition.
Beyond studios and agencies, I’m drawn to movements such as Brutalism, particularly because of its unapologetic material honesty and strong structural logic. These qualities often influence how I approach composition and visual hierarchy in my own projects.

SH I want people to feel naturally intrigued when they encounter my work. We’re surrounded by an overwhelming amount of visual noise every day, and I believe that clean, honest, and playful design can act as a counterpoint to this information overload by giving people a moment to pause and look at something that genuinely piques their interest.

SH My creative process typically begins with a structured questionnaire paired with a detailed conversation with the client or collaborators.This allows me to better understand the goals of the project, the context in which the design will appear, and the specific challenges that need to be addressed.
From there, I usually begin breaking down the topic to its essence in order to start thinking about possible conceptual and visual translations.
Once the conceptual direction is clear, I start experimenting with visual approaches; often combining clear visual language with bold elements and motion to create solutions that communicate the concept as effectively as possible.

SH This poster was created as part of the promotional campaign for the ARCHITEKTUR exhibition at the Akku Kunstplattform art gallery in Lucerne, Switzerland, where I was commissioned to develop the exhibition’s visual identity and promotional campaign.
The central concept of the exhibition was to present the diverse facets of architecture on a spectrum ranging from the micro to the macro scale. The artworks on display ranged from small objects to depictions of individual buildings and up to large-scale city planning projects.
To reflect this idea visually, I developed a 3D animation that leads viewers through a journey from the macro to the micro level of architecture and lets them experience the field’s diversity in a visual way. This animation became the main source for the visuals featured in the poster.

SH Conceptually, I was given a great deal of creative freedom, which allowed me to explore several directions before arriving at the final solution. During the development process I created four distinct visual concepts, which were gradually refined together with the client through several iterations.
The final design is based on a clear grid that helped organise the information while maintaining a balanced composition. Visually, the poster has a clean, modern yet somewhat rough feel to it that reminds of building materials such as steel or concrete. This is reinforced by the use of all-caps typography and narrow tracking. The use of a limited colour palette further helps to keep the design concise.

SH One of the most challenging aspects of the project was integrating the large number of participating artists’ names into the composition while maintaining a clear and balanced visual structure. Because the layout is built around a strict grid system, every typographic element needed to be carefully positioned so that the information remained legible without disrupting the overall rhythm of the design.
Finding that balance between information density and visual clarity required a number of iterations, but it ultimately helped refining the final outcome.