Projects & Visual Essays

All | Editorial | Branding | Poster | Experimental | Fonts


Re-interpretation of the dystopian novel by American writer Ray Bradbury, first published in 1953. The novel presents a future American society where books are outlawed and "firemen" burn any that are found. By the end of the book, the main character meets a group of renegades that ran away from the regime. They have each memorized books should the day arrive that society comes to an end and is forced to rebuild itself anew. I think this book is still very relevant due to current distressing movements in human society. My interpretation for the book was to redesign it as a "Rote-Learning" book. Each scene is composed as a different memorization technique such as: Acronyms, Rhymes, Gematria, Hymns, Lyrics, Memory game, Visual and graphic associations, written and spoken texts and more.

Book Design Course, Shenkar, 2019 | Guidance: Noa Schwartz


Book design for a collective of artists from the HfMT (Hochschule für Musik und Theater) and HAW that deal with sound and space. The book contains 9 texts, six were written by the individual artist and three texts were written by guest authors.

Designed in collaboration with Leoni Roosen & Claudia Schulz.

HAW Hamburg, Master Program 2022 | Guidance: Heike Grebin
& Lea Sievertsen


Visual research atlas of vernacular design found in store signage at main roads within Israel. The book contains documentation and research of more than 2,019 signs that were documented in 14 different cities throughout the country.

I have always been drawn to the chaos that is present in the world, especially the ebb and flow within the street, of not just people but the immersed design of advertising. Through the encounter with the shop sign I found a way to decode such disorder, that demonstrates an antithesis through a connected system of rules, patterns and order that are insidious within the environment.

The book contains an array of comparisons and contrasts the signage of the past via archives, an intrigue in the differences between small and large businesses, and the aesthetic visualization of trends and patterns that seem to be apparent (or not). All of which fall under a socio-economic status, defined by local demographics.

Featured in Portfolio Magazine
Featured in La-Culture Magazine
Graduation Project, Shenkar, 2019
Guidance: Nadav Barkan and Merav Shacham
Self-publishing, edition of 4 copies, Munken Lynx, 120 GSM, Digital printing on HP Indigo 10000 Digital Press. Presented in the annual graduate Exhibition, July 2019


Short article design about space

Original Photographs by: Hideo Kobayashi
Typography Course, Shenkar, 2017 | Guidance: Michal Pauzner


Commissioned poster and title design for „mute“ ״מיועד להריסה״. A student film made by Eilon Bar Tal and filmed by Ori Ben Ari. Best Israeli student film award at the 24th Tel-Aviv International Student Film Festival.

Commissioned work, 2021


Commissioned logos & marks for various clients throughout my career as a graphic designer.

Credits: Studio 58 created with Dan Alexander & Co. Hamachon - done in collaboration with Itai Raveh. HKU-TLV & Yayoi Kusama Retrospective exhibition - done in collaboration with Noa Schwartz. 88 - done in collaboration with Ofir Liberman


Various methods of creating irregular readability using type in circular motion. The experiments include methods such as: Thaumatrope, Strobescope and Zoetrope. In order to conduct the experiments machines were built to sustain the circular motion. Typographical elements were adjusted in order to create the illusion or readability/illegibility; these “amended” glyphs were printed on the circular element of the machine. Furthermore a type specimen booklet was printed together with small booklets documenting the experiments.

Thaumatrope Method
Strobescope Method
Zoetrope Method

Experimental Typography Course, Shenkar, 2018 | Guidance : Nadav Barkan


Poster serie for a talk with Ferdinand Ulrich about the process and history of typography being digitised, or the process of typography being created in a physical manner into digital process.
Created as a part of "Letter shapes are entirely described by numbers", HAW Hamburg, Masters program, 2021 | Guidance: Prof. Pierre Pané-Farré


“I wonder what ants do on rainy days” - is a quote by the Japanese author (and my favourite author) Haruki Murakami from his book "Norwegian Wood". As known, Murukami writes in an indirect/direct way about emotions. This graphical interpretation is my own personal way of describing the feeling from reading this quote.

Personal Project, 2020 | Presented at “Posterwall” exhibition, curated by studio Othertypes


Every year, in September I make a small digital postcard celebrating the new jewish year. In these experiments I test the boundaries of the Hebrew typography and try to create experimental typographical units that are based on simple shapes and grids.

Personal Project, 2019


Poster serie done during the corona crisis contemplating capitalism in design.

Personal Project, 2020


Collaboration with Nir Halali, Audiovisual Generative Installation consisting of projected graphics that respond to live music. The installation is controlled by a midi-keyboard that enables transitions between graphics and effects.

Watch full video here

Audiovisual laboratory, Shenkar, 2019 | Guidance: Ben Benhorin, Ofir Liberman. Music: Zaïre, Garden City Movement


Hebrew script font design, based on radial shapes and straight lines. The original inspiration came from an old washing detergent company logo. The font includes open type features, swashes, laundry icons and ligatures.

Available for purchase here

Font Design Course, Shenkar, 2019 | Guidance: Avraham Cornfeld


A publication about abandoned architecture and the transience of our existence. The publication examines empty places that used to serve for leisure. Most of them were built by famous architects and built to grandiose dimensions.

Typography Course, Shenkar, 2018 | Guidance: Tamar Bar Dayan


Index book containing 48 contraceptive methods throughout the history of human kind. The book is divided into two chapters: modern contraceptives and ancient contraceptive.

The book is organized by chronological order and contains some of the most known contraceptives - such as condoms, IUD, pills etc.. and some of the most obscure contraceptives such as crocodile dung, lemon half, pennyroyal tea and Coca-Cola.

I tried to design the book as if there was a Museum of History of Human Behavior/Sex in Israel, the fonts are very formal and the layout reminds an encyclopedia or a history book. Although the design is very classic I tried to mix in contemporary elements to the design system.

Featured on Experimenta
Typography Course, Shenkar, 2017 | Guidance: Michal Pauzner


Baking materials Packaging influenced from the Austerity regime in Israel. From 1949 to 1959, the state of Israel was, to a varying extent, under a regime of austerity (Hebrew: צנע, Tzena'), during which rationing and similar measures were enforced.

The design draws values of simplicity, functionality and meagerness. Each package has a red mark that indicates the opening.

Featured on DesignBoom
Featured on Packaging of the World 
Featured on World of Packaging Design 
Featured on Fonts in Use
Selected as semifinalist on The Print Center Annual Exhibition 
Selected as semifinalist on Adobe Awards
Packaging Design Course, Shenkar, 2018 | Guidance: Dekel J. Maimon


The project “The Alphabetical Room” is a systematic exploration into the boundaries and limits of writing within a strictly calculated mathematical three dimensional grid within the flat digital space. Treating the three dimensional grid in the second dimensional digital space was always an intriguing matter for graphic designers, programmers, creative coders and visual artists.

Starting from Josef-Müller Brockmann’s grid proposal for the design of interior spaces in 1961, the perspective of the viewer changes throughout the pages of the leaflet as does the resolution of the three dimensional grids in which the hypothetical letterforms are displayed. In addition I wrote a short introductory essay on the historical and on-going fascination of graphic designers, programmers, creative coders and visual artists on that topic.

TDC Tokyo award nominee.
Created as a part of "Letter shapes are entirely described by numbers"
HAW Hamburg, Masters program, 2021 - 2022, 55GSM newsprint, 350x500mm, self publication | Guidance: Prof. Pierre Pané-Farré


Type specimen poster for Fontimonim Type foundry presenting the remake of  “Chaim” typeface, a modern geometrical Hebrew font that was created during the 20s in east europe, Screen Print A3.

Personal Project, 2019


Various artworks & posters from the archive.

Personal Projects


Bi-langual brand identity & logo for a drawing school in Tel-Aviv. The target audience is mostly young millennials that don’t necessarily speak Hebrew.

A memory that most people have from their first drawing lesson in school is the magic that is created through the mixture of primary colors (red, blue and yellow) in order to create the whole spectrum of colors. In this identity we tried to connect the target audience with his own childhood memory and to face their own inhibitions from drawing in a playful and creative way.

The Hebrew font Narkis Hen is the equivalent font to the latin Souvenir that is associated and influenced from the Artneveux and Arts & Crafts movement that is strongly associated with drawing and painting. Furthermore inspirations from the Bauhaus movement that is strongly connected to Tel-Aviv were incorporated in the visual identity.

Commissioned work, 2022


Self promoted business cards as a freelance Graphic Designer. Screen printed with white ink on 300 GSM black paper. Printed into an A3 poster.

Personal Project, 2019


Poster & logo design for an exhibition at the Bender Gallery in Weißensee Academy of Art Berlin. The exhibition was about a surreal flight experience.

Poster workshop, Student exchange program, Weißensee Academy of Art Berlin, 2018


Type specimen posters for Hafontia Type foundry presenting the new bi-langual “Leon” typeface, Riso Print (34,5X26 cm).

Personal Project, 2021


Branding for React software development company based in Tel Aviv. The company provides quick, tailored end-to-end technological development services. Gimoby was established to fill this perpetual need and supply the market with fast, custom-made interfaces.

In software development, there are ones and zeros, and then there’s the developer. Three parts that come together and make a program. This concept was used as inspiration for the Gimoby logo: three elements resembling brackets – a shout out to the very brackets used in coding – that merge together to create a three-tiered unit.

The design language is minimalist, evoking vibes of hi-tech innovation with three shades of blue. Here, again, the triple-actor element was brought to life. The banner a three dimensional representation of the logo, to inspire a sense of realness, nearly plastic, of the product itself. This is technology incarnate – ideas and code materializing.

The rest of the website follows a very minimalist theme – linear icons in three variants of blue, alongside black texts in Gill sans, a font associated with a sort of restrained professionalism. The larger bold fonts grab the attention of the reader and attract their attention.

Commissioned work, 2019
Creative Director & Designer: Liad Shadmi
3D Animation: Elad Malca
Icon Animation: Ron Baltuch


Poster serie made from politicians portraits. 

Personal Project, 2018-2019
Original photograph of Benjamin Netanyahu by Platon
Original photograph of Mahmoud Abbas by Medea
Original photograph of Donald Trump by Finlay Macky/Trunk Archive

Image Credits: Store Closing Everything Must Go, Safe-Sex, Austerity Baking Brand, Kleen (P. 1, 2) and Typography in Circular Motion (P. 1, 9) were shot by Keith Glassman. Fahrenheit 451 was shot by Revital Topiol.

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