How did you become designer?

To be honest, I didn’t even know graphic design existed until I was around 15 years old. At the time, I was attending art school, where most of the focus was on fine arts. It wasn’t until our annual school exposition that I stumbled upon a small corner dedicated to graphic design. I remember being especially drawn to the packaging design projects — it just looked like so much fun to do. That moment really stuck with me. From then on, I knew this was the direction I wanted to take with my career. I never really looked back, and I haven’t regretted that decision for a second.

How would you define your vision of design, your style? 

In my personal work, I tend to gravitate towards a clean, minimal aesthetic. I like using clear lines, limited color palettes, and consistent geometry. To push myself creatively, I often set up specific constraints at the beginning of a project—things like the number of colors I’m allowed to use, the angles I can work with, or even the stroke widths. These boundaries challenge me to find smart and efficient design solutions, and they help ensure my work remains visually coherent and recognizable. While client work often demands a different approach, I try to carry over that same clarity and intentionality into everything I do.

For the future, what are your professional projects?

My schedule is usually not filled months in advance, and I actually like it that way. It keeps things flexible, which allows me to take on new opportunities as they come in and stay responsive to my clients’ needs. At the moment, I’m working on several branding assignments and a book project — although I can’t say too much about them just yet. Looking ahead, I’d love to dive into more packaging design or illustration work for larger brands. There’s something incredibly rewarding about seeing your work in stores or out in the real world. That’s also why I always try to use my personal projects as a way to showcase what I can do — they’re great conversation starters for future collaborations.

What I love most is the variety. Even though I have a signature style, no two projects are ever the same. Each new brief brings its own unique set of problems to solve and creative decisions to make, and that keeps things exciting. The process can be challenging at times, but it’s incredibly satisfying when everything comes together and just works. And whenever I get to incorporate illustration into a project, that’s an extra bonus for me. It’s those moments — when the final piece feels both functional and beautiful — that make it all worth it.