graphic design thesis yale

School of Art 2019 – 2020

Areas of study, graphic design.

The graphic design program focuses on the development of a cohesive, investigative body of work, also known as the student’s thesis. At Yale, the graphic design thesis is conceived as a loose framework within which each student’s visual method is deployed across many diverse projects during the two-year course of study. While every thesis project is unique, there are several common features: a focus on methodology, the application of a visual method to studio work, and the organization of the work in a thoughtfully argued written document and a “Thesis Book.”

The individual collection of graphic design work by each student is supported on several levels simultaneously: studio work led by faculty meeting weekly; small six-person thesis groups meeting biweekly; individual sessions with writing and editing tutors; and lectures, presentations, and workshops.

Although the School of Art provides digital lab facilities, all graphic design students are expected to have their own personal computer. Each student has a designated work space in the design studio loft and has access to equipment including bookbinding materials, wide-format printers, a RISO duplicator, Vandercook letterpress, and work spaces in the School of Art buildings. More resources supporting interdisciplinary projects including motion capture and VR are available at the nearby Center for Collaborative Arts and Media. In addition, students draw on the extraordinary resources of Yale University courses, conferences, films, lectures, and museums, and especially the extensive research and rare book collections of Sterling, Haas, and Beinecke libraries.

Each year, up to twelve students are admitted into the two-year graphic design program, and up to seven students are admitted into the preliminary-year program. Two-year-program students are expected to have substantial and distinguished experience in visual studies and related professional experience. Students applying to the preliminary-year program typically have relevant experience in a field of study outside design and demonstrate evidence of visual acuity. After successful completion of the preliminary year, these students automatically continue on in the two-year M.F.A. program.

Credit Requirements

42 credits in area of concentration, including ART 949a, and 18 additional credits, including a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

Preliminary year, minimum credits, first year, minimum credits, second year, minimum credits, painting/printmaking.

Instruction in the program is rooted in the investigation of painting as a unique genre with its own complex syntax and history. Within this setting, the program encourages diversity of practice and interpretation, innovation, and experimentation.

Approximately twenty-one students are admitted each year. At the core of instruction are individual and group critiques with faculty, visiting critics, and visiting artists. In addition, students participate in a variety of seminars taught by faculty members. The study of printmaking is integrated into the painting program, and a student may concentrate in painting, printmaking, or a combination of the two.

Students work in individual 300-square-foot studios at 353 Crown Street adjacent to Green Hall. Students have access to a printmaking workshop in the Crown Street building, equipped with two etching presses and a lithography press, a fully equipped silkscreen facility, as well as digital resources available in the print studio, throughout the School, and at the Center for Collaborative Arts and Media.

Photography

Photography is a two-year program of study admitting ten students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.

The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.

The sculpture program offers students the opportunity to develop their work in a supportive environment consisting of critical feedback in a broad array of diverse voices. The field of sculpture includes a varied collection of working methods and outcomes—one set of tools is not privileged over another—creating a healthy and experimental program that mirrors the issues facing artists outside of the institution. Students work independently in individual studio spaces and have access to common areas for the critique of their work. 36 Edgewood houses the sculpture program and has a woodworking shop, a metal shop, and a computer lab, while additional resources are offered by the School of Art and the University at large. No metal-casting or ceramic facilities are available.

The main focus of this program is to facilitate the development of conversation and constructive critique among students and faculty. Our aim is to articulate student work vis-à-vis its own trajectory and in relation to art history and the current moment. This conversation is formally structured to take place one-on-one between students and faculty, in small groups, and within a larger group involving the whole sculpture department.

Approximately ten students are admitted each year.

Lecture Program

Each department has its own visitors program in which professionals from outside the School are invited to lecture or take part in critiques. There is also an all-school lecture program in which ideas of general and cross-disciplinary importance are explored by visiting artists and members of the faculty.

Exhibitions

The School of Art’s galleries in Green Hall and EIK at 32 Edgewood Avenue provide a year-round forum for the exhibition of work by students, faculty, and special guests in the four graduate departments of the School and the undergraduate program. Green Gallery is open to the public daily from 12 noon to 6 p.m. when exhibitions are scheduled. EIK is open during limited hours for specific exhibitions and events. Information: 203.432.2605.

This website exists as an ongoing collaborative experiment in digital publishing and information sharing. Because this website functions as a wiki, all members of the School of Art community—graduate students, faculty, staff, and alums—have the ability to add new content and pages, and to edit most of the site’s existing content.

Content is the property of its various authors. When you contribute to this site, you agree to abide by Yale University academic and network use policy, and to act as a responsible member of our community.

Page last changed by: Lindsey Mancini

Today a Reader

Graphic design mfa thesis show.

May 11 – 20, 2019

Featuring Micah Barrett, Severin Bunse, Evan Chang, Hyungseuk Cho, DhoYee Chung, Simone Cutri, Emma Gregoline, Willis Kingery, David Knowles, Zhongkai Li, Rosa McElheny, Zack Robbins, Haeok Shin, Soomin Shon, Hua Shu, Tania Alvarez Zaldivar, and Liyan Zhao.

Dear Reader,

We invite you to a public reading by the Yale School of Art Graphic Design Class of 2019.

On May 18, Rosa will describe the art of reading, Zack will skim his surfaces, Severin will playback his tape, Tania will talk to her images, Emma will unfold her book, Liyan will reenact her films, Evan will work in shadows, Soomin will speak from a distance, Hua will deliver a TED Talk, Hyung will tell you a story about Buster Keaton, Simone will turn the screen ON, Willis will compile a text, Kai will narrate his life, Micah will let his computer do the talking, David will hawk his books, Dho Yee will hide in the audience, and Haeok will read to you from under her hood. The day starts at 3pm, followed by drinks at 6!

Any day between May 11 and 21, you are welcome to come inside, sit down, and read. On view will be our seventeen thesis books, as well as other projects made during our time at Yale.

Micah Barrett, Severin Bunse, Evan Chang, Hyungseuk Cho, DhoYee Chung, Simone Cutri, Emma Gregoline, Willis Kingery, David Knowles, Zhongkai Li, Rosa McElheny, Zack Robbins, Haeok Shin, Soomin Shon, Hua Shu, Tania Alvarez Zaldivar, Liyan Zhao

today-a-reader.com

Last edited by: Lindsey Mancini

Edit access: Everybody

Spring 2019 Gallery Hours for Graphic Design Thesis Show:

Monday-Friday: 10am-5pm

Saturday-Sunday: 1pm-5pm

Find this exhibition on Facebook >>

MFA Graphic Design : 2024 Thesis Exhibition

May 13 – 21, 2024

Public opening on Saturday, May 18, 6 to 8 pm 

Featuring: Simon Charwey, Julio Correa Estrada, Yiwei Dai, Sara Duell, Kayla Hawkins, Darnell Henderson, Junyan Hu, Claire Hungerford, Kaming Lee, Siri Lee, Daedalus Li, Lobbin Liu, Xinyi Liu, Neeta Patel, Orlando Porras, June Lihua Yu, Qiang Wang, Ken Wenrui Zhao.

During all other gallery hours, exhibitions are only open to the Yale Community (current ID holders) and their invited accompanied guests.  

Related artists

Simon Charwey

Julio Correa Estrada

Kayla hawkins, darnell henderson, claire hungerford.

Daedalus Guoning Li

Neeta patel, orlando porras, june lihua yu, ken wenrui zhao.

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Featuring the work of 2024 MFA GD candidates   Simon Charwey ,  Julio Correa Estrada ,  Davy Dai ,  Sara Duell , Kayla Hawkins ,  Darnell Henderson ,  Junyan Hu ,  Claire Hungerford ,  Kaming Lee ,  Siri Lee , Daedalus Guoning Li ,  Lobbin Liu ,  Xinyi Liu ,  Neeta Patel ,  Orlando Porras ,  June Lihua Yu,   Qiang Wang , and  Ken Wenrui Zhao .

(Source: yalemfathesis.viewingrooms.com )

Yale School of Art Open Studios 2024

Saturday, April 13 & Sunday, April 14 12PM – 6PM 1156 Chapel St. & 36 Edgewood Ave., New Haven, CT

Studios are free and open to the public, and located across Yale’s campus in downtown New Haven. Register to attend  here .

Poster designed by Ken Zhao, June Yu, Kaming Lee

Exhibition identity by Sarah Elawad and Kyle Richardson, Graphic Design MFAs ‘23.

Exhibition identity by Jisung Park and Cat Wentworth, Graphic Design MFAs ‘23.

(Source: art.yale.edu )

Exhibition identity by Filip Birkner, Jisung Park, and Lester Rosso, Graphic Design MFAs ‘23

Squint , Typeface

Cat Wentworth (MFA 2023)

cat-wentworth.com

Yale School of Art Graphic Design MFA 2022 Thesis Exhibition

and here in,

Exhibition Design: Alvin Ashiatey, Jessica Flemming, Miguel Gaydosh, Rok Hudobivnik, Kathryn-kay Johnson, Mengjie Liu, Mike Tully, Immanuel Yang (all MFA ‘22)

ALL AT ONCE Yale School of Art Graphic Design MFA 2021 Thesis Show

From April 22 to April 28, a continuously evolving live feed of work will be broadcasted 24/7 at allatonce.space—while the physical show will be on view in person at Green Hall Gallery during regular hours.*

*The gallery is only open to current members of the SoA community because of Yale University’s orange covid alert status.

Design: Kathryn-kay Johnson (MFA ‘22)

Typeface: “Redaction” by Forest Young (MFA ‘06) and Jeremy Mickel

Design: June Lihua Yu (MFA ‘24)

Keep reading

(Source: yaleschoolofart.eventcalendarapp.com )

Design: David Bordett (Sculpture MFA ‘23)

Design: Darnell Henderson (MFA ‘24)

Vignelli theme by Robbie Manson

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Hindsight: Fifty Years of the Yale Graphic Design Thesis

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Design instruction in higher education evolved from the prevailing societal concern for building an artistically trained student-citizen who would inform a public through graphic communication and thereby aptly compete in a worldwide marketplace. Suggested Citation: Rosner, T. L. (2019). Design Curricula in Higher Education. In The International Encyclopedia of Art and Design Education (eds R. Hickman, J. Baldacchino, K. Freedman, E. Hall and N. Meager). doi:10.1002/9781118978061.ead070

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Publishing Archaeology

Friday, february 1, 2013, edward tufte and graphics.

• Comparisons : A graphic should show comparisons, contrasts, and differences.
• The Minard map compares the two legs of the campaign, and it also compares the army's progress and army size with temperature data.
• Causality, Mechanism, Structure, Explanation : A graphic should illustrate causality.
• Tufte suggests that Minard's maps is thin on causality, not going beyond the temperature  explanation.
• Multivariate Analysis: A graphic should show many variables.
• Minard's map shows latitude and longitude, army size, the size of the army, the chronology of the campaign, and temperature.
• Integration of Evidence: graphics should combine "words, numbers, images, and diagrams" in clear and explanatory ways.
• Minard's map nicely integrates the graphical and textual.
• Documentation: A graphic should establish its credibilty by citing sources and using other mechanics of scholarly documentation and rigor.
• Not surprisingly, Minard cities his data sources clearly, provides his own name, etc.
• Content Counts Most of All: A graphic should be tailored to present the basic information or ideas of interest. The form of the graphic is less important than its content. 
• Minard did not set out to produce a jazzy graphic, bur rather to illustrate starkly the horrors of war.

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Yale ipch fellowship supports preservation of cultural heritage in africa.

Participants of IPCH’s Yale Directors Forum met with South African fashion designer Laduma Ngxokolo, second from left, during the program’s inaugural symposium, which was held in February in Johannesburg.

Sixteen leaders of cultural institutions from across Africa have embarked on a ground-breaking initiative with Yale’s Institute for the Preservation of Cultural Heritage (IPCH) to develop museums, libraries, and other organizations that preserve material collections and tell the stories of the continent’s diverse civilizations and cultures.

The individuals, hailing from 11 countries — and representing museums, cultural centers, libraries, archives, and heritage sites — compose the inaugural cohort of IPCH’s Yale Directors Forum, a first-of-its-kind fellowship program for global leaders in the cultural sector. The 18-month program will help the fellows enhance their executive leadership skills, expand their professional networks, and strengthen their institutions’ capacity to preserve and care for their respective collections ranging from visual art to rare books.

Their journey kicked off last month with a four-day symposium in Johannesburg, South Africa , which brought together more than 35 experts and fellow practitioners in the cultural heritage space to learn, connect, and develop strategies to support cultural heritage preservation on the African continent.

“ The Yale Directors Forum embodies the principle that locally led institutions are the cornerstone of thriving communities and a vibrant cultural ecosystem,” said Charlotte Ashamu, director of international programs at IPCH. “We aim to create a unique platform to foster learning, creativity, and innovation within the cultural sector.”

The inaugural group of fellows includes Wanjiru Koinange, an award-winning Kenyan writer and co-founder of the Book Bunk Trust, a non-profit organization the seeks to revive Nairobi’s libraries; Ghana’s Kwame Akoto-Bamfo, a multidisciplinary artist, cultural activist, and founder and director of Nkyinkyim Museum in Ada Foah; and Makhosi Mahlangu, a chef, food entrepreneur, and founder of Sivalo Food Museum in Zimbabwe.

“ The program is unique in that it relies on a network of global expertise that extends beyond Yale’s campus to include practitioners from across the globe. It’s a new model of global engagement in which much of the programming occurs overseas and within the communities where the fellows live and work,” said Susan Gibbons, Yale vice provost for collections & scholarly communication. “Its goals align with those of the Yale Africa Initiative, which President Peter Salovey established in 2013 in part to strengthen relationships between Yale and African institutions.”

Africa’s cultural institutions face daunting challenges, including a lack of funding for operations, critical staffing and infrastructure needs, and limited opportunities for professional exchange among peers on the continent. Overcoming these obstacles, Ashamu said, requires a collaborative, multifaceted effort that draws on diverse partners and expertise in the humanities, heritage conservation, and business, among other fields.

The four-day symposium, held Feb. 6-9 in Johannesburg, embodied this approach. Its educational component focused on three topics that the fellows identified as priorities: collections care and management, fundraising and resource mobilization, and board leadership and governance.

The fellows connected with Yale faculty and staff, including Mae-ling Lokko, assistant professor at the Yale School of Architecture; Nontsikelelo Mutiti, director of graduate studies for graphic design at the Yale School of Art; Mark Aronson, deputy director and chief conservator at the Yale Center for British Art; and Jennifer Newman, associate artistic director at the Yale Schwarzman Center.

The symposium also enabled the fellows to interact with and learn from experts from India, Cote d’Ivoire, the United Arab Emirates, and the United States.

“ This program is going to have an enormous impact on the African continent, ensuring that future generations will be able to learn from and be inspired by the region’s museums, heritage sites, and other cultural institutions,” said Brent Leggs, executive director of the  African American Cultural Heritage Action Fund  and senior vice president of the National Trust for Historic Preservation. “I’m looking forward to continuing to share ideas and best practices with leaders across the continent so we can center a future where heritage values thrive.”

The symposium also featured talks and visits with leading cultural entrepreneurs and figures in South Africa. For instance, award-winning fashion designer Laduma Ngxokolo explained how researching collections of Xhosa beadwork for his college thesis project inspired him to found MaXhosa Africa, a global fashion and lifestyle brand.

“ He helped us see the importance of making museum collections accessible, particularly to young people to inspire, educate, and generate ideas about using those collections in a contemporary way,” Ashamu said.

For fellow Silenkosi Moyo, regional director of the National Gallery of Zimbabwe in Bulawayo, the symposium provided valuable insights. But it also inspired her to value the networks and relationships she has begun to develop.

“ The symposium illuminated the importance of leveraging this social capital for the greater good of the community I serve,” Moyo said. “The Yale Directors Forum served as a catalyst, igniting a renewed sense of purpose within me to make meaningful and impactful use of my social connections in order to create positive change in my community.” 

Over the course of the fellowship, the fellows will examine their leadership skills and their institution’s top organizational challenges with the assistance of an executive coach. IPCH’s international programs team will visit each fellow’s institution and begin an assessment of the collections. They will work with the fellows to develop ways to effectively manage the respective collection through preventative conservation, stronger planning, and systems.

And at the conclusion of the fellowship, the 16 fellows will convene again to share insights with each other and the broader Yale community.

For Koinange, co-founder of the Book Bunk Trust, the program is off to a strong start. 

“ The recent symposium was truly a legacy building experience, as is the fellowship as a whole,” she said. “The curation was nuanced; the speakers were thorough and thoughtful about their presentations; and the time spent with other fellows was a reminder that while the work we're doing is challenging, it’s also precious, timely and urgent.”

Read more about Yale and Africa   |  Read more about the Institute for the Preservation of Cultural Heritage

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To see all photo portfolios sorted by date , go to:

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Currently, the photo portfolios for 2010 and 2011 are not available via Orbis but you can find them here , via Archives at Yale.

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To search for Yale photography thesis portfolios books, we recommend using Orbis , instead of Quicksearch.

From the Library home page navigate to Orbis .

For all available Yale photo portfolios, use these key words: yale M.F.A. photography thesis (see also Temporary Acccess to 2010 and 2011 Photography Portfolios )

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Once you find a thesis you want to see, use the link to Request for use in the Arts Library Special Collections and fill out the form to finish your request.

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Note: Once we create records in the library catalog, accessible via Orbis, we will discontinue access via Archives at Yale. 2019 and more recent years are not in Archives at Yale.

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Constantine Konovalov

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2030 Moscow Metro map

Personal project in collaboration with Natalia Moskaleva ・2021

Creating a Moscow Metro map is one of the most complex design challenges imaginable. The Moscow Metro can be compared to a tangled ball of threads that you have to unravel to figure it out. We designed the map in collaboration with Natasha Moskaleva, based on long-term development plans for the construction of the Metro. It shows what the Moscow Metro will look like in 2030s. More information about the map can be found on the project’s website.

Israeli railways’ map

Personal project・2022

Israeli cities are connected by railroad running along the sea shore. Some cities can only be reached by bus. I designed a new Israeli railways’ map that includes bus routes to major cities with a population of 20 000+ people. The map’s design is based on a classic 45-degree graphic grid. The geography of the country is simplified to a vertical rectangular format bounded by the Jordan River on the right and with the Mediterranean Sea shore on the left. For the convenience of the users the distance between the stations roughly corresponds to the real map. This allows the cities within agglomerations to be visually combined together. Permanent routes are visually separated from those that only run during the rush hour or on a special schedule. The map also shows shorter versions of each route within every line, which is not represented on the official map. 

The Map of Tel Aviv Metropolitan Transportation System

For Metropolitan Mass Transit System Ltd (NTA) In collaboration with Daria Vinokurova  ・2023

A new transportation system is under construction in Tel Aviv, consisting of three subway lines and three light rail lines. It will connect Tel Aviv with the rest of Dan area through fast and comfortable public transportation. The project is very ambitious and highly anticipated in Israel. NTA, the company in charge of its design and construction, approached us for a new map of the system that would clearly and vividly show its structure to future users. The map represents the final state of the system. By the time the map was created, the red line had already been built and was being prepared for launch, and the green and purple lines were under construction.

Night bus routes map

For the Department of Transportation of Moscow・2016—2022

Since the Moscow Metro does not work at night, night bus routes were launched in 2013 as an alternative. The route network partly duplicates the Metro lines: 14 routes depart from the city centre and go to the residential areas, and one extra circle route goes around the centre along the Garden Ring.

Striving to improve the readability of the map, I simplified the geometry of the city by straightening the lines just like it was done on the Metro map, so I got 14 rays diverging from the centre. In the centre of the map, I worked out the geometry, so that a complex interchange area looked as simple and impressive as possible. 

New Paris Metro map

Personal project・2013—2016

In 2013, I lived in Paris for several months and fell in love with the Paris Metropolitaine — it is old but so cozy. I disliked the official metro map of the Paris subway. I found it chaotic and complicated, so I decided to draw my own version of the map. The project took about 2.5 years. In my free time, I tested various map design approaches. As a result, I got a map with a round circle line and a unique graphic grid of 60°.

Many Parisians liked the map; people buy it to hang on walls of their homes. The map’s website is visited daily by thousands of Parisians and visitors to the city who need to plan their journey. I wrote a big article about the map’s design process for Smashing Magazine. While working on this project, I truly fell in love with the process of transit map design.

Pictograms of Moscow

Personal project ・2017—2020

Moscow offers a huge variety of attractions of different historical eras. I drew about 100 of the most recognisable buildings of the city in a uniform style. Today these pictograms are used on Moscow maps, transit schemes and other elements of wayfinding. While working on the project, I tried to preserve the recognisable proportions of the buildings and to convey the details. The uniformity of the pictograms makes it practical to use the entire set in various projects. Thanks to their conciseness and easy recognition, they look extra good in small size on maps, diagrams and similar formats.

Moscow Metro logo

For th e Mo scow Metro・2013—2014 In collaboration with Art.Lebedev Studio

The Moscow Metro’s logo in the form of a letter “M” emerged simultaneously with the opening of the subway in 1935, but for a long time there was no standardised; in fact, the logo changed its shape often and quite chaotically. I conducted the research and studied the history of the Metro symbol, and later we designed a standardised logo based on the historical image of the symbol in collaboration with Art.Lebedev Studio. The updated sign became the official logo of the Moscow Metro. I described the design process in detail at the Art.Lebedev Studio website.

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For the Department of Transportation of Moscow・2018

In 2019, the Moscow Central Diameters were launched in Moscow. It is an analogue to Berlin’s S-Bahn or Parisian RER: pre-existing railway lines are integrated into the subway system to improve transit connectivity between the central city and the suburbs. I designed an official logo for the new service.

Signs for the MCD lines

For the Department of Transportation of Moscow In collaboration with Natalia Moskaleva・2019

The new MCD service needed not only a logo, but also the signs to indicate five new lines. The goal was to design signs that will blend in with the icons of the metro lines, but at the same time stand out to show that the MCD is a separate entity. Graphically, the signs are similar to the MCD logo due to the same shape, so it is easier for passengers to understand what service they represent. We selected unique colours for the signs that have not yet been used on the metro map. We also studied the prospects of the development of the subway system in order to choose the right colours so that lines with similar colours don’t intersect with each other on the map in the future.

Photos: Sasha Derivanov

Pedestrian wayfinding in Moscow

In collaboration with the team of the Department of Transportation of Moscow・2016—2018

In 2016, we designed the pedestrian wayfinding stands in collaboration with the team of the Department of Transportation of Moscow. The stands contain all the information needed by tourists or Muscovites in an unfamiliar area.

Detailed large-scale maps showing the surrounding area are always rotated to match the direction of sight. This allows to quickly orient yourself in space without thinking where north and west are. We created stands of different widths for various streets: narrow stands are used on small streets not to interfere with the passage, and wide “queen size” stands with a huge map are placed on the squares and in the parks, allowing to plan the most complex route.

Nowadays there are more than 1000 wayfinding stands in this design installed in the streets of Moscow.

Photos: Alexey Solnyshkov

Design for the GULAG History Museum

For several years, I had been doing projects for the GULAG History Museum in Moscow. I visualised complex historical data both for the museum’s exposition and for external projects related to the history of Stalin’s repressions.

The map of the resettlements of the peoples

When talking about the repressions in the USSR, we usually recall either the GULAG camps or the mass executions in the 1930s. However, another important component of the repressive machine of the era were the forced resettlements of the peoples. The relocations took place against the will of the people, based on their ethnicity, social class or political views. It was almost impossible to show the full scale of the migrations in a single frame (too many episodes of the resettlements happened simultaneously), so I decided to make a visual animation. Dots flash chronologically on the USSR’s map showing when and where people were forcibly resettled. The radius of the starting point represents the scale of the event: the more people were relocated, the larger the circle is. The map is part of the permanent exhibition of the museum.

The map of the GULAG camps

I visualised the geography of the forced labour camps in the USSR during the Stalin era in collaboration with the GULAG History Museum scientific team.

We collected data on the largest camps, each confining 5000+ people at a time. In order for the museum’s visitors to better understand the scale of the tragedy, I visualised the population of each camp based on the data from the museum’s scientific department. The red line at each camp represents the number of prisoners: the longer it is, the more people there were. We mounted the map in a way that the visitors can come close to it, find the city of interest and the camps next to it. 

Two years later, we decided to convert the map to a digital format so that everyone could have access to the data online. In collaboration with the team of developers and map specialists form URBICA, we designed a website with a digital map of the camps. We added data on the number of the deaths in the camps and a timeline that allows to learn about the scale of the camp system throughout the years.

Interactive website with a map of GULAG camps

A fragment of the exposition of the GULAG History Museum that shows how the radical statements of the leaders of the Great October Revolution of 1917 gradually made way for the legal acts, and later for the repressive Stalinist laws of the 1930–1950s. On a large wall, we mounted quotes of political figures and fragments of legal documents in a chronological order. The most stringent laws that included long terms of imprisonment, exile of relatives and the death penalty as punishments, are placed on the right. The plaques are interconnected with red threads showing how particular statements and events could make way for the particular laws in the future. We used threads as the most appropriate visualisation of how political views and decisions of the leaders can lead to mass repressions against their own people.

The legal basis of the repressions in the USSR

In collaboration with  Dasha Vinokurova

Stop-motion animation

In collaboration with Irina Neustroeva, we founded a video production studio Teeter-Totter-Tam, where I used to shoot commercials and festival videos in a frame-by-frame and time-lapse animation techniques. From 2010 to 2018, we shot several works that participated in 40+ festivals and shows around the world. Stop-motion animation is a fairly complex process that requires attention to detail: each frame is a separate photograph, and fast-forwarding frames creates an illusion of objects coming to life.

More projects

I described the most significant and interesting projects in detail on this page above. But there were lots of other fun projects.

Today I live in Israel, but for almost all my life I lived in Moscow, hence there are so many projects about this city in my portfolio. I love to work on large and complex projects in the fields of pubic transport and museum design.

Work experience: Freelancer 2017 — Now

Art director at the GULAG History Museum 2015 — 2017

Lead designer at the Department of Transportation of Moscow 2014 — 2016

Designer at Art.Lebedev Studio 2013 — 2014

Animation Director at Tetter-Totter-Tam Animation 2010 — 2018

Education: Bauman Moscow State Technical University Electronic Equipment Design and Technology 2006 — 2012

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