The stories of natural therapists, years of fire, witches and white canines ended up being Ceneri di Pietra, a videomapping piece made with sound artist Livia Borzetti, who invested the week translating the regional dialect while Tatiana sketched signs. The ended up work is a moving structure of light, poetry and quadraphonic noise, which was forecasted straight onto cliffs of the Dolomiti Lucane throughout The Breath of Light, a worldwide rock-mapping residency run by the town and Basilicata Creativa in June 2026– it likewise went on to win very first reward at the residency. “What I remember most vividly is standing in front of the mountain at night and seeing something that had existed only in our imagination become part of the landscape. Quite literally the biggest canvas I’ve ever worked on!”
Fabrica
The path to that mountain started in Moscow, where she made a bachelor’s degree in Visual Communication and discovered to operate in black, white and one additional colour, typically red. She studied under Anna Kulachek, then signed up with Strelka Institute, whose identity was created by OK-RM.
The task taught her “to think across formats, embrace bold compositions, refine typography down to the millimetre”Her Strelka bar posters from that duration reveal what she suggests, with neon letters fanning out like phase lights in hot pink and electrical blue. A stint at Readymag followed, where developing a web publishing tool implied working for “a particularly curious and demanding audience” of fellow designers. After that came identities for movie celebrations, movement graphics for style titles and art instructions for Material Bank, Benetton and Condé Nast.
Colour was something that actually clicked for Tatiana throughout a journey to Palermo about 10 years earlier. “The sky, the sea, the greenery and flowers, the fruit, the painted walls and frescoes, all these colours existed together in one perfectly natural composition,” she keeps in mind. “I didn’t so much understand how to use colour as feel it. Since then, colour, Italy and I have been pretty much inseparable.” You can see the lead to her IndieLisboa posters, where brilliant colours break into a confetti of rectangle-shaped shapes, and in her flower plates, where blue and gold petals flower throughout white china.
National Museum of Moldova
When Tatiana relocated to Milan, she ended up being motivated by its city language– particularly the important things she would discover in store windows. She started gathering old store indications, product packaging, handwritten notes and “things people have made with more enthusiasm than technical skill”She includes, “There are so many shop windows and signs where someone clearly put their whole heart into choosing a decorative font or arranging a display. I find that incredibly touching.” Checking out Susan Sontag’s Notes on “Camp” strengthened these impacts. “I realised that this was exactly what had fascinated me all my life: the unintentional, the sincere, the accidentally beautiful.”
Her referrals extend far beyond style and into folklore, poetry, architecture and the method a pink-and-red pairing in a Prada collection shows up in graphic style 6 months later on. “I think the important thing is to stay curious about the world rather than just about design,” she states. “Otherwise, designers risk making references to other designers who are referencing other designers.” She includes, “We’re such a boring bunch!” and would take a night with a forensic psychologist, a poet or a ballet dancer over another designer’s moodboard.
Before turning to any screens, Tatiana digs through her research study up until something triggers. “I often find that the answer is already hidden somewhere within the material,” she states, and after that she grabs a pencil. “I love starting with my hands,” she discusses, pricing quote a movie line that stuck to her: “I draw with a pencil because my thoughts move at the same speed as my pencil across the paper.” She compares the phase to a carver measuring a block. “I need to touch it, feel its weight, volume, texture, temperature and resistance. Is it marble or clay? Do I need to add some water or reach for a chisel?” By the end of a job, the instinct has actually solidified into a visual system developed to grow and adjust without losing its character.
That believing shaped her identity for Fortune Cookie, an Italian interactions firm, for which she developed the logo design and site in between 2024 and 2026. The name offered her the idea. “Everything a brand needs is already somewhere inside it, just waiting to be discovered and brought to light.” She turned it into folded ribbons of colour bring messages like “Do not panic” “The end is near” and “You are loved”a few of which changed the trademark name entirely.
As the brand name grew and brand-new graphics were being developed, and the group started wandering from the standards, she vibe-coded an online tool that lets them create their own fortune-cookie graphics within the guidelines. “A good identity shouldn’t depend on its designer being around forever. It should be able to grow on its own.”
Next, she wishes to bring her business and artist work more detailed together with more setups and residencies in the works. Whatever she’s making– an identity, ceramic plate or poster– humour will nearly constantly be at the centre of it, showing that style does not constantly require to be major. “I’m very aware of the darker sides of life, and perhaps that’s exactly why I’m so drawn to humour, colour and playfulness. It’s not about pretending that difficult things don’t exist, but about reminding myself and others that they’re not all there is. There’s still beauty, absurdity, tenderness and plenty of reasons to laugh.”
Verstappen stated.”That was clearly the greatest issue, however the reality that Kimi is doing so well at that age is really remarkable. “
