About me
I’m Yuliana Adamchuk, a fourth-year Communication Design student at HSE Art and Design School. I’m looking to join a design studio and grow as part of a creative team.I believe every project calls for its own visual approach. I aim to combine clear communication with visual appeal, finding simple yet unexpected solutions.I work on real client briefs and participate in design competitions (Sreda, ArtMasters, HSE Creative Open). I draw inspiration from art, cinema, and everyday life.
An identity that fits
I enjoy turning client briefs into distinctive visual systems that not only attract attention but also solve specific communication challenges.
Visual Identity for fashion market «ВЕЩЬ»
A temporary fashion market by Sobaka.ru magazine in Nizhny Novgorod. Conceived as more than a shopping destination, the market brings together people interested in Russian fashion.
Task
Create a versatile, stylish, and timeless identity for a mid- to upper-middle-market audience. The client preferred a restrained black-and-white palette and a visual language that would not be tied to a particular fashion trend.Solution
The identity draws on familiar elements of a fashion space. The logo references the shape of a clip hanger, while the typography spreads apart like clothes sliding along a rail. This visual metaphor became the foundation of a flexible identity system across different applications.
I know when to get playful
During a design thinking workshop, I developed a visual identity concept for World Egg Throwing Championship.
Visual identity for World Egg Throwing Championship
Since 2006, the World Egg Throwing Championship has been held in the United Kingdom, featuring unusual disciplines such as egg Russian roulette, throwing, and catching.The identity revolves around comical winged eggs. They fly chaotically, gather in flocks, and tease competitors with their elusiveness. This playful imagery forms the basis of a dynamic visual system that turns a sporting event into a visual game.
Made in dialogue
Together with Daria Tsekhmisterova, I worked on a real brief from the Kargopol Museum to develop a visual identity for a permanent exhibition of unique traditional costumes from the Kargopol district, dating from the late 19th to the early 20th century.
Visual identity for an exhibition of traditional costumes from the Kargopol district
TaskCreate a restrained, elegant, and contemporary visual language that highlights the beauty, craftsmanship, and cultural significance of the costumes. The identity needed to reflect their materiality, rich textures, and continued relevance today.Solution
The identity is built around fabric folds that shift and distort typography, drawing attention to the costumes' distinctive patterns, textures, and cuts. The folds also serve as a metaphor for time and memory, with each crease holding a story waiting to be revealed.
We developed the concept and visual identity together, continuously exchanging mockups, discussing ideas, and refining each other’s work. The project emerged through an ongoing creative dialogue, with every stage shaped by our shared decisions.
Different sides of my practice
Beyond visual identity design, I also have experience in other areas of graphic design.
Type design
Caligari Font is a custom display typeface inspired by German Expressionist cinema. It features two styles and supports both Cyrillic and Latin scripts
illustration
A 2026 calendar featuring illustrations in different styles, reinterpreting horse imagery in traditional Russian folk crafts.
Editorial design
A visual research publication about Karelian marble, where I explored multi-page layouts, typography, and composition.
