A channel identity from wordmark to end card, title sequences for three shows, and a reel of eight works cut to the beat of one track. Seven more films underneath.
CHEERS
The mood of wine → a channel’s identity
Channel identity · spec · 2024
A broadcast identity for a wine channel: wordmark, palette, idents, lower thirds and end card, all cut to move.
one system, in motion · After Effects · Premiere · Photoshop · Midjourney · 1:07
Grabbite
The language of dating apps → a burger campaign
Two dishes that shouldn’t work together, and do. So every ingredient gets a dating profile, a swipe and a match, and the burger is the date. At the end two letters drop out and Grabbite becomes Grab it.
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 itself.
Three ways to make an image without a camera: posters made in Midjourney and Runway in the language of real NGOs, a film drawn entirely in p5.js, and a typeface cut from handwriting.
א ב ג ד ה ו ז ח ט י כ ל מ נ ס ע פ צ ק ר ש ת
מאיר אריאל
מאיר אריאל
Handwriting → a typeface · a song → images in code
Typeface & generated visuals · 2024
A typeface built from handwriting, letter by letter, and every image in the film generated in code with p5.js.
A poem you can take apart. And put back differently.
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.
a visitor · the interface, in use · the poem, on screen · the printed book
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.
What the data said back
01The word won. Given ten ways to replace it, what people kept most often was the word itself.
02Abstract beat literal, three to one. Offered a picture of the thing, people reached for what refused to name it.
03It held. Eight nights in strangers’ hands, 380 visitors, and the piece never once went down.
What I changed because of it
01Measured from night one. Logging went in on the opening night, so the piece could report what actually happened instead of what I hoped.
02Two fixes shipped on night two. The image bank was re-downloading 19 MB between visitors, and long words overflowed their cells. Both were found by watching, both were live that night.
03Then the verdict I didn’t want. 1,710 dead taps. Four of the top five were things that look interactive and aren’t: the restraint that makes it beautiful is the same restraint that hides the controls.
04So this site has a visible affordance for every control. That is what the finding was for.
The process
01
On paper first
Seventy words, seventy torn swatches, arranged and rearranged by hand until the colours argued correctly.
02
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.
03
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.
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.
01
On paper first
Seventy words, seventy torn swatches, arranged and rearranged by hand until the colours argued correctly.
02
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.
03
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.
two more spreads
the cover · fanned, on its plinth in the show
I design because I want a better world. So I show a worse one.
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 typeface from a hand. Images from code.
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. During the degree: graphic design at Shaldor, product characterisation at BRIA, and an independent art exhibition produced end to end.
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. Behind the films: my own photography, and production experience that is not on this site.
Grabbitecampaign brief in a daynow in the reel
Title sequences & filmsAfter Effects, by hand · 8 filmsnow in the reel
