You know what makes your business special. The tricky part is getting everyone else to see it. That's where I come in. I'm Tezay, a brand designer and creative lead based in Berlin. I turn ideas, ambitions and the things that make a business different into visual experiences people can connect with. From brand identities to websites and motion, I like finding the right way to tell a story. And making sure it looks as good as the idea behind it.
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FACTORY-C had grown beyond the identity people knew. The challenge was to bring Gaming, Tech and Edutainment together without losing what made the company familiar. A custom typeface and a cast of Companions helped turn that ambition into a distinctive visual world.
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Crowd Ukraine needed to communicate an ambitious investment concept for rebuilding Ukraine. I combined web design, illustration, motion and film to help people understand how the proposed model works and what it aims to make possible.
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Gaming Aid had a decade of projects, initiatives and stories behind it. Before redesigning the website, we worked out which of them deserved the spotlight. That editorial groundwork became the foundation for a clearer website and a more expressive identity.
Explore Gaming Aid ↗Especially the small things. The curve of a letter. The space between two shapes. That tiny adjustment that suddenly makes everything feel right. I started out drawing letters and eventually found myself designing entire brands. Somewhere along the way, websites, animation and creative direction joined the picture. I also spent several years leading a team of ten designers, which taught me that good ideas get even better when people work well together. Today, I move between strategy and craft, between the big picture and the details that make it interesting.
I've spent a ridiculous number of hours drawing letters. Not because there weren't perfectly good fonts around, but because sometimes the right shape simply doesn't exist yet. There's something wonderfully stubborn about lettering. You can move a curve by a millimetre and suddenly a word feels completely different. Or spend an afternoon making that same curve worse. That happens too. I still love that process. And even though my work has grown into brand identities, websites and motion, drawing letters remains one of my favourite ways to give an idea its own personality.
Explore my lettering workSelected work: STAEDTLER · Berlin Natural Runners · La Petite Véganerie
I love making things. But before I open Illustrator, I'd rather understand what we're actually trying to achieve. Because sometimes the most interesting part of a project is discovering that the real challenge isn't quite the one we started with.
I ask questions. Quite a few, actually. About the business, the people behind it, the audience and what isn't working yet. I want to understand what makes something worth choosing before deciding what it should look like.
Somewhere in all those conversations, there's usually something that deserves more attention. A strength nobody talks about. An idea that's been buried under too much information. That's where I like to start.
Sketches, experiments, unexpected connections. This is where things get messy in the best possible way. I explore different directions, sometimes with AI, sometimes with a pencil, and often with both. The tools change. The question stays the same: does this idea actually make sense?
Typography, imagery, movement, the tiniest details. I bring the pieces together until they feel like they belong to the same world. This is the part where I can get wonderfully particular.
A beautiful concept is a good start. But it also needs to survive a website update, a presentation made in a hurry or someone else picking up the files. I think about the people who'll actually use the design, long after the project is finished.
We put it out into the world, see how it works and learn from it. Good design isn't something you put in a glass cabinet.
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