Each pictogram is designed with a different representation of the wheels, emphasizing its individuality and variation within the same visual system. The arms and legs remain positioned at the same angle, with their placement determined by the level of load and the dynamics of the depicted movement. In this way, the system maintains a consistent visual identity while subtle changes in details communicate the different functions, states, and characteristics of each pictogram.

A collection of weather pictograms developed through a simple and recognizable visual language, based on two fundamental geometric elements — the semicircle and the line. Using a minimalist approach, the symbols communicate different weather conditions while maintaining consistency, clarity, and a contemporary graphic expression.

The initial letters of each animal name, combined with a colon representing the eyes, create recognizable animal silhouettes.

This project explores the revitalization of Croatian letters through the reinterpretation of graphemes derived from Slavic orthographic systems of the 19th century. The starting point of the project is the inconsistency of the existing system, in which certain characters do not always correspond to their phonetic values. One example is the digraph “nj”, which represents a single phoneme in words such as “konj” and “njuška”, while in words such as “konjunkcija” and “injekcija” it functions as a sequence of two phonemes.
By developing new indigenous graphemes, I propose a unified system of Croatian handwritten letters without the use of diacritical marks or digraphs. The new graphemes are based on the principle of palatal formation and are constructed from their fundamental letters. The project also reexamines the placement of certain letters within the alphabetical order — the grapheme “ć”, derived from the combination “t + j”, should follow the letter “t”, while “đ”, derived from the combination “g + j”, should follow the letter “g”.

Bosančica is an authentic script developed during the Middle Ages in Bosnia and surrounding regions, used in various forms of writing, from charters and legal documents to personal correspondence. This project explores the revitalization of bosančica through a contemporary interpretation, preserving its distinctive forms and historical identity while adapting them to today’s visual language and new forms of use.

A system of 63 new graphemes developed through a simple construction logic based on a fundamental vertical stroke and six possible horizontal elements with their variations. By combining these basic elements, a new system of symbols is created. The project explores the possibilities of creating a consistent visual identity through a limited number of structural components, where differences between characters are achieved through changes in the position and combinations of individual elements.

The initials of two words form the basis of the visual solution, where the letter “M” takes the shape of a men’s suit. By adding a circle symbolizing a human head, the symbol is transformed into a simple figurative form that connects the typographic element with the representation of a person.

The letter “M” is used as the fundamental element for creating two “A” graphemes, with two horizontal lines incorporated into the center structure.

The symbol “Z” represents two neighbouring areas whose position and relationship simultaneously form the letter “Z”. The construction of the mark is based on the connection of two elements that together create a recognizable form.

The original name of the town was “Sanctus Laurentius” (Latin “Laurentius” — crowned with laurel), later shortened through forms such as “Stlovreć” and “Stovreć”, leading to the present name “Stobreč”. In this work, the diacritic mark on the final letter is replaced with two laurel leaves, transferring the historical meaning of the name into a contemporary visual form.

Since this is a logo for a construction company, the initial letter or symbol is shaped through the motif of a “road” as a fundamental element of construction and connection. The negative space of the symbol additionally creates an association with the letter “H”, combining the initial letter of the name with the company’s core activity within a single mark.

The initial letter “n” is enhanced with foot-shaped elements that symbolize the clinic’s field of work, specifically the treatment of injuries and disorders of the locomotor system. By modifying the basic letterform, a visual connection is created between the institution’s identity and its area of expertise.

The symbol represents stylized bull horns, derived from the meaning of the name “Mochos”, which refers to a bull. The form of the mark is based on a simplified interpretation of the horns and their characteristic lines.

By adding a vertical line to the initial letter of the logo, the letterform is transformed into an arrow symbol.

The symbol represents a stylized seahorse, whose distinctive form has been transformed into a visual sign. The shape is derived from the characteristic contours of this marine animal, creating a connection between the symbol and typography.

The initial letter of the word “Retrospective” is horizontally rotated as a visual interpretation of the word’s meaning — “looking back”. By changing the usual position of the letter, a connection is created between the form of the symbol and the concept of retrospective vision.

Alongside the initial letter of the logo, the “X” symbol represents human legs and arms lifting a weight. The form of the mark is based on the representation of strength, movement, and physical effort, with the human figure interpreted through simple graphic elements.

The initial letter of the word “Jedan”, which means “One” in English, is replaced by the number “1”, which is transformed into the grapheme “J” through vertical rotation. By changing its orientation, the number takes on a new function and becomes an integral part of the typographic solution.

The symbol represents the initial letter of the word “Split”, created by removing the diagonal contours of a basketball. By reducing the elements of the ball, the letterform is created, while the same visual elements maintain a connection with the sports motif.

By merging the initial and final letter “T” in the central area, the grapheme “M” is created. By connecting two identical letterforms, a new symbol is formed, emerging from the existing typography and transforming the letter into an independent visual element.

The initial grapheme of the logo represents a stylized elephant trunk, while the dot symbolizes the eye. By combining the same elements, the mark is created, inspired by the recognizable form of an elephant trunk.

The symbol is a combination of two elements derived from the company name “Dva Srca”, which means “Two Hearts” in English. By merging their symbols into a single form, the mark is created.

The initial letter “M” is designed as an association with a bridge, with its structure incorporating elements characteristic of the form and construction of a bridge together with the typographic solution.

The logo is based on the concept of balance, where the initial letter “L” is rotated by 180° and takes the role of the final letter “T”. By changing the position of the letter, a relationship is created between the initial and final elements within a unified typographic form.

The symbol combines a stylized boot shape with the initial grapheme of the “Ledenko” logo. By combining these two elements, the mark is created, where the letterform and the product shape complement each other within a unified graphic form.

The logo is divided into two horizontal parts as a reference to electrical energy and its fundamental characteristics. The division of elements within the mark interprets the structure and dynamics of electrical energy through a simple graphic form.

The typographic intervention was achieved by removing the horizontal strokes of the letters, emphasizing the elegance of a refined form.

The rectangle with a white diagonal line represents the recognizable recreational diving flag. The symbol is based on its distinctive visual structure, with the company logo integrated into the white diagonal as the central graphic element. In this way, the symbol connects the company’s identity with a clear association with diving.

“Ješka” in the Čakavian (Dalmatian dialect) dictionary refers to “fish bait”, while the initial letter of the logo is shaped as a hook symbol. Through a typographic intervention, the letter takes on a form connected to the activity and meaning of the name.

The initial grapheme represents a stylized owl Čuvita, the symbol of the island of Šolta. The form of the mark is based on the characteristic elements of the owl, interpreted through a simple graphic form integrated into the initial letter and typography of the logo.

The initial letters of two words are combined into a single form and represent the company symbol. By merging them, a unified graphic element is created within the logo.

This project explores the possibility of creating a new visual identity for the Croatian Tourist Board that communicates the authenticity, diversity, and recognizability of Croatia as a tourist destination through a contemporary approach. The concept is based on the national coat of arms of the Republic of Croatia and the checkerboard pattern as the most recognizable visual element of Croatian identity, becoming the foundation of the entire concept.
The visual identity is based on a modular grid composed of squares, where each square represents a space for an individual grapheme. Through their vertical and horizontal positioning within the grid, a flexible system of logos and communication elements is created.
According to the official division of the Croatian Tourist Board into seven tourist clusters, each region is represented through its own color palette, creating a visual representation of a diverse and colorful Croatia. The slogan “Colorful” further emphasizes the diversity of the destination and becomes an integral part of the modular communication system.
The visual identity is developed through various grid structures adapted to word length and specific communication requirements. The modular principle allows multiple applications, from logos to photographic and typographic elements, creating a consistent yet adaptable visual language.
Further development of the concept opens possibilities for exploring new grid structures, regional patterns, tonal color variations, and the relationship between typography and the visual-cultural context of individual areas.

The poster “Sarajevo 100” was created for an international open-call program marking the 100th anniversary of the Sarajevo assassination and significant historical events connected to the city. The concept is based on the complex social and historical structure of Bosnia and Herzegovina, shaped by the relationship between its three constituent peoples — Bosniaks, Serbs, and Croats.
The cocktail motif is used as a metaphor for the complex mixture of different identities, historical conflicts, and social tensions. A lemon slice with an additional diagonal line represents a symbol of peace within the composition, introducing the idea of balance and reconciliation through a visual element.

The poster explores prevention and protection during the coronavirus pandemic, where responsible behavior toward oneself and others becomes one of the key elements in reducing the spread of the virus. The face mask is used as the most visible symbol of protective measures.
The poster depicts a gas mask, with the traditional filters replaced by spikes that visually reference the symbol of the coronavirus. The combination of a protective object and a visual representation of the virus creates a contrast between defense and threat.

The poster for the international competition “We Want Jazz” on the theme “Polish Composers” interprets the connection between national identity and Poland’s musical heritage. The main motif is based on the Polish coat of arms, consisting of an eagle and a shield, with the eagle reinterpreted as a violin clef symbol, connecting the national symbol with musical creation and the theme of Polish composers.

The poster for Jean-Baptiste Molière’s comedy “The Imaginary Invalid” interprets the theme of hypochondria, referring to a person who exaggerates or imagines their own health problems.
The concept of the poster is based on the transformation of the familiar hospital symbol “+”, or cross, which is rotated by 45° and becomes the symbol “X”. By changing the position of the symbol, a visual association with imagined illness and a distorted perception of one’s own health condition is created.

The poster references the cover artwork of the first album “The Velvet Underground & Nico”, designed by Andy Warhol, one of the most influential figures of the Pop Art movement. While the original cover features an unpeeled banana, the festival poster reinterprets the motif through a hot pepper as a symbol of resistance, energy, and courage.

The poster addresses the issue of gender inequality and the position of women in contemporary society, highlighting that despite global efforts, discrimination and violence against women still remain present.
The visual concept depicts a screaming female head as a symbol of expression, resistance, and the need for visibility. In the lower right corner, a mute symbol is placed as a metaphor for a 21st-century society in which women’s voices are still not heard enough.

The Historical Museum of Bosnia and Herzegovina is the only museum that presents the complete history of Bosnia and Herzegovina, from the first mention in historical sources (949, Constantine Porphyrogenitus) to the contemporary and independent state of Bosnia and Herzegovina.
The poster presents a sarcastic reference created for the exhibition “70 Years of the Historical Museum”. By transforming the museum’s logo into a target, a symbolic connection with war is established, while simultaneously introducing the motif of peace — a white dove disguised in a military camouflage pattern. The museum, as a national monument and a representative symbol of the history of Bosnia and Herzegovina, becomes a critical reference to the war-damaged building that remains in the same condition today. Its neglected state symbolizes post-war disregard and ongoing social tensions within the complex relationship between the three constituent peoples.

The theme of the international competition at the Magdalena Festival was “Water Privatization”, addressing the transformation of water from a public resource into a commodity whose value depends on supply and demand. When drinking water becomes a resource controlled by corporate interests, its availability becomes a matter of social responsibility and common good.
Within the symbol of the key, specifically its head, a reflection is added, while the negative space takes the form of a water droplet. By combining the symbols of a key and water, the mark represents the preservation of water as a public resource against various private and commercial interests.

The poster addresses the issue of fake news, a form of propaganda based on disinformation and mass public deception. Fake news often relies on sensational headlines designed to attract attention and encourage reading without verifying the source or content.
A cone was added to the official competition symbol, transforming it into an ice cream. The concept of the poster is based on the connection between the phrase “I scream”, referring to sensational headlines that scream for attention, and the ice cream symbol on the poster. These expressions are spelled differently but pronounced the same, creating a play on words related to the theme of fake news.

The theme of the International Graphic Design Festival in Iran was the mythical and symbolic expression of justice through the ideas, beliefs, traditions, and cultures of different peoples around the world.
The concept of the poster is based on the combination of a cross and a sword, two symbols connected with Christian symbolism. In the Bible, the sword represents the Word of God, while the cross symbolizes Jesus’ martyrdom and sacrifice. Their combination emphasizes the idea of Jesus as the Savior and bearer of divine justice. Instead of the inscription “INRI” on the cross, the acronym “ITIOJ” is used, referring to the competition theme “In the Imagination of Justice”. The background features a yellow-black radial gradient as a reference to the resurrection of Jesus.

The poster addresses the consequences of climate change and humanity’s relationship with the future of the planet. Global warming, melting ice caps, rising sea levels, and increasingly extreme weather conditions emphasize the need for a more responsible approach toward the environment.
The concept is based on replacing the traditional image of the globe with a rotten apple, presenting the planet as a damaged and endangered system. Shakespeare’s quote “Something is rotten in the state of Denmark” is reinterpreted as “Something is rotten in the state of Earth”, creating a connection between a literary reference and the contemporary environmental crisis.

The rose on the poster has barbed wire instead of a stem. The pistil of the rose symbolizes love, referring to “Paquita”, while the barbed wire is associated with “Bolero”, representing pain and suffering.

The poster depicts Sancho Panza riding a donkey and Don Quixote mounted on a rocking horse. The concept is rooted in the idea of childhood dreams, ideals, and the aspiration to reach beyond one's limits, encouraging the viewer to step outside their comfort zone and confront personal challenges. Don Quixote on a rocking horse alludes to his legendary battle with the windmills, transforming it into a metaphor for idealism, courage, and perseverance in the face of seemingly insurmountable obstacles.

The primary association with film festivals is the red carpet, an iconic symbol of the film industry and ceremonial events. As this is a Bosnian-Herzegovinian film festival, the poster reinterprets this familiar motif through the traditional Bosnian carpet, distinguished by its red background and ornamental patterns.
The left and right edges of the poster subtly reference the perforations of a film strip, creating a visual connection between Bosnia and Herzegovina’s cultural heritage and the medium of cinema within a unified composition.

The theme of the 18th Split Film Festival was “Tolerance”. The concept of the poster is based on the number 18, symbolizing adulthood, the ability to make independent choices, and the transition into maturity.
The festival symbols are depicted with moustaches as a symbol of maturity, humorously emphasizing both the festival’s coming of age and its established identity. At the same time, the motif refers to the process of growing up and gaining the freedom to choose, in line with the festival’s theme of tolerance.

The theme of the 22nd Split Film Festival was “Harsh Reality >< Virtual Reality”. The concept of the poster is based on a reinterpretation of the central detail from Michelangelo’s fresco The Creation of Adam, one of the most recognizable works in art history.
Adam’s left hand is replaced by a virtual, holographic hand, emphasizing the relationship between humanity and technology. By transforming one of the fresco’s key elements, the poster suggests that virtual reality is gradually replacing the human presence, so that God’s outstretched hand no longer reaches toward a human being, but toward a digital counterpart.

The theme of the 25th Split Film Festival was “Artificial Intelligence and Media”. The concept of the poster is based on the image of a brain divided into two hemispheres, symbolizing the relationship between humans and artificial intelligence.
The left hemisphere represents the human mind, while the right symbolizes artificial intelligence. Both are connected by a central “play” symbol, representing the media and the art of film while establishing a connection between human and artificial intelligence.

A set of four lottery tickets designed for the Lottery of Bosnia and Herzegovina. The design is based on a unified visual concept that connects all four tickets into a consistent graphic system while preserving the recognizability and individual character of each design.

The book cover design dedicated to the haiku poetry of Matsuo Bashō is inspired by the simplicity and purity of his poetic expression, as well as by nature, the primary source of his inspiration.
The concept is based on the four seasons, interpreted through illustrations characteristic of each time of the year. The typographic treatment of the title references the traditional vertical arrangement of Japanese writing, creating a visual connection with Japanese culture and aesthetics.

Each fruit tea package features an illustration of its corresponding fruit, complemented by a smoke motif symbolizing the aroma of the hot beverage. The combination of these elements creates a distinctive visual system that differentiates each flavor while maintaining the unified identity of the product line.

A studio photograph of the female body explores nudity as a visual object, examining the body through the relationship between form, proportions, light, and shadow. The focus is not on the literal representation of nudity, but on its aesthetic and formal value within the photographic composition.

A photographic series of the abandoned “Koteks” shopping center in Split explores the architecture of one of the significant examples of socialist postmodernism. The shadows in the photographs refer to the building’s current state, creating an atmosphere of abandonment and an association with traces of the past.

The packaging concept is based on the naturalness and simplicity of locally produced honey from untreated cultivation. Through a subtle and understated visual approach, the authenticity of the product is emphasized, without unnecessary decorative elements.
Each type of honey is represented by a distinctive flower from which bees collect nectar, highlighting its botanical origin. The green string symbolizes the flower stem, connecting the illustration with the natural source of the honey while further emphasizing its organic character and close relationship with nature.

The project is a homage to CD covers from the former Yugoslavia, exploring the aesthetics of kitsch, visual excess, and deliberately exaggerated bad taste characteristic of a specific period of music production. The focus is on striking and unconventional visual elements of the covers, as well as imaginative and often unexpected song titles that together shape the distinctive identity of each musical release.