Visual designer Brand · Motion · Product · Image Tel Aviv
Interfaces I stand behind. Research, prototype, build, ship, then measure what people actually did with it. I write the code myself, so nothing is lost between the idea and the thing.
Solving problems by composition
Interactive exhibition · 2026
A poem you can take apart and put back differently. 380 visitors came in; 81% changed the poem.
The poem, on screen · a real visitor’s poem from the last night, the clip carries it read aloud
A machine allowed to be unsure
Speculative interface · 2025
A machine given something it was never built to have: a soft spot. Ask it for anything.
Running here, live
Instruments, built before the piece
Curation software · 2025–26
Software to hold 700 images against seventy words across ten archives, and to see at a glance what was still missing.
The colour system · one of the tools
Seventy words, seven hundred pages
Print design · 700 pages · 2026
One image per word, seven hundred pages, bound with an exposed spine to open the way Hebrew reads.
The book, open at its title · two of its spreads
A channel identity from wordmark to end card, title sequences for four shows, and a reel of eight works cut to the beat of one track. Ten films underneath.
Letting the cut do the talking
1:26
Eight works, one cut, on the beat.
A channel’s identity, in motion
Channel identity · spec · 2024
A broadcast identity for a wine channel: wordmark, palette, idents, lower thirds and end card, all cut to move.
Four frames from the identity film
02.3 Film library · click to play above · spec = a study brief, not a commission
Three ways to make an image without a camera: AI posters in the language of real NGOs, a film drawn entirely in p5.js, and a typeface cut from handwriting.
Designing a better world
Adoption posters for people · 2025
A speculative future where humans wait in shelters to be adopted, written in the language of real welfare NGOs.
א ב ג ד ה ו ז ח ט י כ ל מ נ ס ע פ צ ק ר ש ת
מאיר אריאל
Handwriting, and code that draws
Typeface & generated visuals · 2024
A typeface built from handwriting, letter by letter, and every image in the film generated in code with p5.js.
The typeface, live · three frames generated in p5.js
Contact
Looking for a brand, motion or product role. Tel Aviv or remote, available now.
leeleesksk@gmail.comWritten by hand. No framework.
Lea Goldberg’s האמנם, a poem everyone here grew up with, taken apart into seventy words, and every word given ten possible bodies: a photograph, a colour, a definition, a GIF, or the word left alone.
Choosing them took months. Around 700 images, placed one at a time by judgement and never by keyword: which photograph can hold בסליחה, which colour is יבואו. That decision, repeated 700 times, is the work.
The piece asks whether an image can carry what a word carries. Visitors answered by choosing.
Visit haomnam.com, it speaks for itself ↗
Made for strangers’ hands. It forgets whoever sat there before you, so no one inherits someone else’s poem. Any word can be looked up. And the film you end up with leaves with you.
On paper first
Seventy words, seventy torn swatches, arranged and rearranged by hand until the colours argued correctly.
Then a colour system
The board became data: a colour assigned to each of the seventy words, argued one by one, and a tool to re-sort and test them.
Then the index
Software to hold it all: 700 images, seventy words, ten archives, and a way to see, at a glance, what was still missing.
Play with one of the tools, live ↗
sensitiveinjection asks what happens if you give a machine something it was never built to have: a soft spot.
Speculative research, Shenkar 2025: an interface that looks familiar and behaves like no product would. It runs here, live. Ask it for something, and see what it does with the request.
Before I could make the piece, I had to make the things that make it.
On paper first
Seventy words, seventy torn swatches, arranged and rearranged by hand until the colours argued correctly.
Then a colour system
The board became data: a colour assigned to each of the seventy words, argued one by one, and a tool to re-sort and test them.
Then the index
Software to hold it all: 700 images, seventy words, ten archives, and a way to see, at a glance, what was still missing.
The tools kept coming as the piece needed them: a bank browser, a colour sorter, a curation workspace, a scan archive, a book builder, a sound-sync mapper for the poem read aloud, a clip renderer. The same tools ran the exhibition, the printed book and the film that leaves with each visitor: one image bank, one colour map, several outputs.
The exhibition’s poem, fixed on paper: every word of the poem with the image that was chosen to carry it, one pair per spread, 20×20 cm, offset, bound with an exposed spine.
Hebrew reads from the right, so the book is paginated the way Hebrew reads: it opens on the right page, and every spread is a pair, a word facing its image. Around 700 images, placed one at a time by judgement and never by keyword.
צער בני אנוש: adoption posters for people. Made with AI, leaning on AI’s own aesthetics: a speculative future in which people live in humanities, shelters, but for humans, waiting to be adopted.
Deliberately near anti-design, in the language of real welfare NGOs. It echoes the society we are becoming, and who we are today. Three posters, 1080×1920, looping: a person, a collar, a leash, and one button, הוספה לסל.
בואו לקחת חבר לחיים, ולהציל חיים.
A short film for a Meir Ariel song. The letters are a typeface built from handwriting, glyph by glyph, through a Calligraphr template; everything that moves behind them was generated in p5.js.
Type design, sound and motion in one piece: the lines, the orbits, the branches and the clouds are all code.
B.Design, Shenkar 2026. Before design: six years as an intelligence officer, research and analysis.
Since: a final project that ran as a public exhibition for eight nights, a channel identity, four title sequences, a typeface, and the tools to build all of it, written in code.
Looking for a brand, motion or product role, Tel Aviv or remote. Get in touch.
