Some of the logos that I made
poster story that i draw to a project.
A catalog on spectacles as a fashion item. The catalog covers the changing of multiple designs throughout the years and gives us a glimpse to the product that transformed itself into a major fashion accessory. the catalog contains information about sight, vision, and observation, including a display of the types of glasses over the years, articles, and visual illusions
Product Designer at Wix.com | Full-time | Aug 2019 – Present As part of the Wix’s Product Design team who are both masters of UX and have a pixel-perfect approach to UI. We define and design products that have an impact on almost 200 million users around the world. i working with a design system Collaborate with other UX designers, product managers, frontend developers, Illustrators, prototypers and cross-functional stakeholders to understand requirements and provide creative, thoughtful solutions inside and outside the team.
we were asked to redesign the Prosthetic hand and try to think about what can we be improved and renewed of the product. there an ascetic problem in the product. and it is not cynical for the older audience who wants to show more elements and even festive. our main goal was to create a product that is not only functional but also used as a fashion item. we wanna to express the user experience which takes part in the production process until the product reaches the consumer home.
AVNEI DERECH is a new alternative burial method that s based on ancient Jewish laws and guidelines that s called "the gathering of bones". I've developed and designed an innovative layout that s based on the terrazzo surface that s very commonly used in Israel. The shortage of burial space is worsening. The cemeteries are spreading and widening on our living spaces. In order to try to solve this problem the cemeteries have offered, burial on floors. This solution is quite expensive and does not totally solve the problem of space. The method of "gathering of bones" offers 65 times more burial space than in a regular burial in one dunam(1000sqm). In the process of "gathering of the bones" technique, there are two stages. Stage one: "the subsidiary burial" that is a temporary burial. Stage two: a year after the burial, the remains of the deceased are bones only. The bones are removed from their temporary burial plot and transferred to their permanent grave(made of stone or clay). This kind of burial is often reminded in the Jewish biblical sources and was extremely common in morocco. The choice of design will be offered to the client whilst living or to his family after their beloved has passed away with a vast amount of choices and considering the Jewish burial restrictions. The use of this technique is divided into a few stages. There is the catalog that contains all the information concerning the process, the reality that created this idea (the growing problem of lack of space) and its outcome. The ancient source of this technique is of Jewish origin, wit the history and products that are used. There is an assortment of designs available, texts and visual designs of the burial plots and forms. The catalog entails all the specifications of this technique. All the stages are explained and displayed in the catalog. The catalog is presented in the form of a large scale and focusing on a smaller scale of details. The first chapter the cemetery is presented, It s built and finally the burial plot and numbering of graves. In the second chapter, the actual grave is presented. The size of the graves (length of thigh and width of pelvis being longest bones). The grave is built as a hollow box and shall be built as high as four-floor levels above ground. The full height shall be two meters high. In addition, there are the shapes of the graves. The connecting part between graves creates a small slit that can be used as a small tray for accessories such a flower, stone, candles, Finally, the text is written on the grave. From a look above the shapes of the graves creates a magnificent sight of a unique geometric urban view. The third chapter explains to the reader the material used and the method itself. The offer of choice of basic colors and gravel. The client chooses the colors and size of his choice (with a ratio of 1:1). The density of the stones and finally the options used for the final finish of the grave. It s of importance to point out that all the stones, gravel and products are from recycled stone and environmentally friendly. It s easy to manufacture, highly resilient and of low cost. It s unique texture allows a wide variety of options. Finally and the most meaningful statement is that from ashes and stone we come and to ashes we return. In the fourth chapter, I'll present examples that are played out in colors and data. I 'll begin with one color of gravel mixed with one base color and work my way up. There is also the possibility of choosing only base colors. The goal is that every client can be provided with the possibility to create his own unique mosaic style and statement grave. A grave that s produced of a unique, innovative, exciting idea as a form of burial. Another implementation of this concept will offer a filing system with a colorful array available, as well as a form that will be filled out and a scanned key that displays the choices made by the client. Furthermore, there is an architectural small model that displays grave plots with a ratio 1:23, and an example of a grave with a ratio 1:1 in its square shape. All the tiles and stones are hand made from the same material. This project display s a new idea in which death has not yet conquered life but respects and intensifies the memory of our beloved. This technique changes our attitude to death and offers a solution concerning the growing current burial system.
The Chocolate, and the process it undergoes from seed to product, reminds me a lot of the process of a rock growing. Both start from nature as raw materials and end up a beautiful finished product. I chose a color pallete that reminds me of the desert view and decided to use basic and organic shapes to create a wild abstract. In order to give the package a postcard feel I’ve added rock textures and information about different mines on the back.
Spicy middle east
Working for a startup company is where i fell in love with sticky notes. Their colorfulness, their versatility, and the statement they make. So i chose to design my spice package with inspiration from my sticky friends, and their startup vibe. . I investigated. At first, I researched the shape of the sticky notes. They are square and and an easy size for writing, they are lean, like a startup. secondly, I wanted the colors to show through, so I created a window through which the package naturally reflects the vibrant colors of the spices. Lastly, I researched the world of middle eastern patterns and tried to match the colors and atmosphere to that of each spice. A very hot spice would reflect a much livelier pattern. For the package’s material I chose a compostable, eco-friendly cardboard, representative of the middle eastern culture and land. The package’s color is a neutral brown to accentuate the spice’s natural colors. The packages will stick anywhere in your kitchen, and turn it as lively and as vivid as the middle eastern they were inspired from.
An advertisement that simulates the state of wage gaps between men and women in Israel.
A Hebrew font course which includes all the symbols and numbers. I inspired by a biblical old logo I saw, And from there the font developed.