National brands designed in-house at a Skopje creative agency — a leasing bank, a casino, a national magazine — plus direct freelance clients in the United States and Bahrain. Magazine covers on pharmacy shelves, a billboard read at speed from a motorway, and social systems that hold a brand together across hundreds of posts.
Adobe Certified Professional in Photoshop, Illustrator and InDesign — plus the Visual Design credential earned across the suite. Every one independently verifiable.
Visual DesignAdobe Certified Professional in Visual Design — the credential earned across the full suiteAdobe · Creative CloudThree chapters: a poster competition I won as a student, a year inside a Skopje agency, and the clients I now work with directly.
A real client brief handed to a whole cohort of design students at Semos Education in Skopje. Around twenty of us presented. They chose mine, printed it, and put it up around the city.
The debut edition of a festival in Galicnik. One poster carrying a five-act lineup, the date, a tagline and fourteen sponsor logos — and still legible from across a street.
A vinyl record setting over a synthwave horizon, with the road to Galicnik running through it. Built twice for both orientations and set in Cyrillic and Latin — the third image is the printed poster in a Skopje bus shelter.
In-house designer at a Skopje creative agency. Inside a single year: seven magazine issues for Betty Магазин, a roadside billboard for Grand Casino Admiral, and ongoing campaign work for Sparkasse Leasing and ESI — agency pace, agency standards, brand guidelines that do not bend.
A roadside billboard for the “My Next Win” campaign — designed to be read in the two seconds a driver gives it, at a size where every soft edge would have shown.
Left: the artwork under construction, guides still visible. Right: the same board installed and live on the street.
Complete editorial design for a free monthly health and lifestyle magazine distributed through pharmacy chains across North Macedonia — seven issues, 133 pages, every one built on the same grid.
Seven covers, June to December 2024.
Inside the issues — contents pages, interviews, step-by-step features, custom infographics, recipes and advertorials, all on one grid across 133 pages. Photographed from the printed copies.
Campaign and collateral design for a leasing bank, including the “15 years in Macedonia” anniversary campaign. Financial brands have narrow guidelines and no tolerance for drift; the work has to look effortless inside them.
A high-volume social campaign for a recruitment agency: bold, repeatable layouts built to stay recognisable as a set while each post carries a different message.
Work I won, scoped, priced and delivered myself, for clients in the United States and Bahrain — working directly rather than through an agency.
A six-month creative retainer for a US home-improvement contractor — twelve finished visuals a month on a fixed weekly schedule, from raw job-site photography through to published post.
A short 3D animation made in Blender for an online render challenge. It was selected and played in full on the organiser’s stream, where the entries were reviewed live on camera.
Plays on loop. Modelled, lit, textured and animated from scratch.
A water-filtration business with no brand and no online presence. I drew the mark, set up the channels, and produce the posts — the whole path from nothing to a running account.
The mark first, then the system it has to live inside — one lockup, one palette, one type hierarchy, repeated across every post.
Campaign artwork and portrait retouching for a breast cancer awareness fundraiser in Bahrain, carrying six sponsor brands without letting any of them crowd the message.
The same campaign built twice — landscape and portrait — so the hierarchy survives both crops.
Studio portraits retouched for the campaign: skin and hair cleaned up, tone evened, background rebuilt — without making the subject look like anyone other than himself.
I would rather hold a brand than take a one-off job. A fixed weekly rhythm is what keeps a brand consistent — and it means you are not re-briefing a new designer every month.
Based in North Macedonia on Central European Time — a full working day of overlap with Europe, and the morning with North America. Available for freelance and contract work, and I invoice internationally.