Interviews with W Design Bureau
Designer profileDesigner Interview
6 July 2025
From a very young age, I felt a distinct lack of beauty in my surroundings — as if something essential was missing. It wasn’t just a visual gap; it felt more like a trace of genetic memory, a deep emotional imprint from places I may have known in previous lives. That feeling became a powerful inner impulse — a quiet but persistent force that shaped the course of my life.
Initially, I studied marketing to understand the psychology behind decision-making and perception. But soon I became fascinated by the transformative power of design — how it could alter not only visuals but entire experiences and emotional landscapes. As I immersed myself in the craft, I began to create projects that could elevate the aesthetic quality of everyday life, guided by the vision I had carried with me since childhood.
Design, for me, is not just a profession — it’s a personal mission to restore beauty where it’s missing, and to help shape a world that feels more whole, human, and inspiring.
Initially, I studied marketing to understand the psychology behind decision-making and perception. But soon I became fascinated by the transformative power of design — how it could alter not only visuals but entire experiences and emotional landscapes. As I immersed myself in the craft, I began to create projects that could elevate the aesthetic quality of everyday life, guided by the vision I had carried with me since childhood.
Design, for me, is not just a profession — it’s a personal mission to restore beauty where it’s missing, and to help shape a world that feels more whole, human, and inspiring.
W Design Bureau is a project born out of shared values and a common direction — to do what we love and to create work that has a genuinely positive impact on the visual and emotional quality of the world around us.
We are a small, focused team by choice. This allows us to remain true to our purpose and work closely on projects we deeply believe in. We consciously choose to collaborate only with clients who share our values — people and brands who see design not just as decoration, but as a meaningful tool for change.
At its core, W Design Bureau is not about scale — it’s about alignment, intention, and beauty as a form of contribution.
We are a small, focused team by choice. This allows us to remain true to our purpose and work closely on projects we deeply believe in. We consciously choose to collaborate only with clients who share our values — people and brands who see design not just as decoration, but as a meaningful tool for change.
At its core, W Design Bureau is not about scale — it’s about alignment, intention, and beauty as a form of contribution.
For me, design is a way of thinking — and more importantly, a way of feeling. It’s not just about solving problems; it’s about shaping presence, emotion, and identity.
Design has the power to recalibrate our surroundings — to make them more thoughtful, more intentional, more alive. It’s a bridge between what is and what could be. A conversation between culture, memory, and aspiration.
At its best, design is invisible in its effort, yet transformative in its impact. It restores balance where it’s lost. It invites beauty where there was noise. And when done with clarity and care, it becomes a quiet force — one that helps shape not only brands, but the atmosphere we live in.
Design has the power to recalibrate our surroundings — to make them more thoughtful, more intentional, more alive. It’s a bridge between what is and what could be. A conversation between culture, memory, and aspiration.
At its best, design is invisible in its effort, yet transformative in its impact. It restores balance where it’s lost. It invites beauty where there was noise. And when done with clarity and care, it becomes a quiet force — one that helps shape not only brands, but the atmosphere we live in.
We primarily work with brands in the HoReCa and real estate sectors, where we focus on packaging, editorial systems, and brand identity. These areas allow us to work closely with tactile materials and emotional storytelling — something we truly enjoy.
At the same time, we’re always curious to expand our experience. Recently, we’ve completed three projects for European medical brands. This field has proven to be especially exciting for us — full of untapped opportunities for meaningful, human-centered design.
We’re already looking forward to 2026 to begin publishing a new wave of releases from the healthcare space — a sector we believe holds huge potential for design-driven transformation.
At the same time, we’re always curious to expand our experience. Recently, we’ve completed three projects for European medical brands. This field has proven to be especially exciting for us — full of untapped opportunities for meaningful, human-centered design.
We’re already looking forward to 2026 to begin publishing a new wave of releases from the healthcare space — a sector we believe holds huge potential for design-driven transformation.
Each project holds something special — a unique story, a challenge, a breakthrough. And with every new project, that overall sense of fulfillment only grows stronger.
In many ways, everything we create is part of one larger design — a continuous body of work shaped by love, thought, and intention. That’s what makes it a favorite. Not a single object, but the ongoing process of building something meaningful and sharing it with the world.
In many ways, everything we create is part of one larger design — a continuous body of work shaped by love, thought, and intention. That’s what makes it a favorite. Not a single object, but the ongoing process of building something meaningful and sharing it with the world.
It was around 2013 or 2014. At the time, I was working as a creative director on the client side, overseeing the collaboration with an external design agency. The result of that project became my first experience in design that went on to receive two Pentawards.
Although I wasn’t the one creating the visuals directly, I led the project from the client’s perspective — that experience became a powerful source of inspiration and helped define the direction I would take as a designer.
Although I wasn’t the one creating the visuals directly, I led the project from the client’s perspective — that experience became a powerful source of inspiration and helped define the direction I would take as a designer.
Our primary medium is paper — and we love exploring its full potential. We often experiment with embossing, foil stamping, die-cutting, and other tactile production techniques that elevate the sensory experience of design.
In terms of platforms, Behance is where we consistently share our work, Adobe Creative Suite is the foundation of our process. Our daily toolkit includes Illustrator, InDesign, Photoshop, and After Effects — tools that allow us to bridge concept and execution with precision and flexibility.
In terms of platforms, Behance is where we consistently share our work, Adobe Creative Suite is the foundation of our process. Our daily toolkit includes Illustrator, InDesign, Photoshop, and After Effects — tools that allow us to bridge concept and execution with precision and flexibility.
I feel the most creative when I see the first glimpse of the final result — the moment when all abstract thinking, intuition, and intention come together into something tangible and real. That sense of arrival sparks a new wave of ideas and fuels the desire to go even deeper next time.
I always begin with strategy — diving into analytics, context, and market positioning. For me, design is not decoration, it’s direction. A good brief built on business logic and cultural understanding becomes the foundation for everything that follows: form, tone, visual identity, and experience.
Design evokes a wide range of emotions — just like life. Every project is a journey filled with unexpected situations, insights, and impressions. There’s excitement, doubt, clarity, tension, and eventually — resolution. That complexity is what keeps the work alive and meaningful.
It’s a luminous feeling. When a design comes to life, it feels like a small yet meaningful fulfillment of purpose. It’s more than professional satisfaction — it’s the realization of something that once existed only as a vision. In some way, that’s one of the deepest goals in life: to materialize meaning.
Many factors define success, but at its core, successful design begins with successful brand management. It’s about precision in brand foundations, strategic marketing, and clarity in design direction. From there, the professionalism of those who implement and sustain the brand plays a critical role. When all these elements work in harmony — from strategy to execution — the result feels cohesive, intentional, and truly successful.
Building on the previous answer, I first look at the quality of the brand’s strategic foundation — how clearly it’s positioned and how well the identity communicates across every touchpoint. When there’s resonance between the brand and its audience — a rhythm of understanding and trust — that’s the most telling sign of good design.
This is a truly important question — one that can define the direction of our industry and the future of the planet itself. I believe a designer’s responsibility begins with awareness: realizing the impact of what we create, what we produce, and what we encourage. That awareness should shape not just materials and sustainability decisions, but also the cultural and emotional tone we bring into the world.
It feels like the future has already arrived — the field of design is expanding by the day. This acceleration is driven largely by the rapid development of artificial intelligence. While the shift may not feel fully tangible yet, the scale of possibilities is becoming increasingly clear. I believe this evolution will lead to a new level of design presence in the world — one that is more integrated, intelligent, and multidimensional.
One of my most recent exhibitions in digital format was through the A’ Design Award platform. It marked an important milestone in sharing my work with a broader design audience.
In today’s world, staying inspired isn’t difficult — if you know how to curate what you consume. My Pinterest account alone holds over 57,000 images, organized into folders by themes, disciplines, and stylistic references. I gather inspiration from global design communities, whether focused on contemporary aesthetics or academic tradition. This ongoing research fuels my intuition and creative flow.
I often view design through the lens of fashion. Before we finalize any identity system, I imagine how it would look if worn — how it would live as clothing, as attitude, as presence. This helps me evaluate whether the design truly aligns with the everyday reality and social identity of its audience.
This intuitive method helps me understand the brand’s cultural fit — whether it resonates on a human, emotional level. It’s not a formula; it’s simply the way I see and feel the world.
This intuitive method helps me understand the brand’s cultural fit — whether it resonates on a human, emotional level. It’s not a formula; it’s simply the way I see and feel the world.
I currently live in Turkey — a country deeply shaped by its cultural heritage. Even breakfast here is so rich and ritualistic that it’s being considered for UNESCO heritage status — or perhaps it already is. That alone tells you something: if you can begin your day beautifully, you can create beautifully, too.
Turkey inspires me. It’s a place where tradition lives in every detail — in textures, people, colors, and rhythm. As a creative director, I find inspiration in everyday interactions with the culture. It offers a rare sense of continuity between past and present.
Turkey inspires me. It’s a place where tradition lives in every detail — in textures, people, colors, and rhythm. As a creative director, I find inspiration in everyday interactions with the culture. It offers a rare sense of continuity between past and present.
Whenever possible, I work directly with company founders. That first-hand connection allows me to understand the core of the brand and the real motivation behind the brief. From there, I shape the process based on clarity, trust, and shared vision — which often leads to much deeper creative outcomes.
This is an important question — and the answer can be surprisingly simple. Every company needs at least one person who truly understands how design and branding work. Having that internal competence allows for meaningful collaboration with designers and ensures that the brand will be implemented and developed correctly after launch, without losing its integrity over time.
Our process is structured and strategic. It always begins with analysis — market research, cultural insight, and positioning. From there, we move into concept development, creative execution, and presentation. Each step builds on the previous one with clarity and intent.
Probably the most design-driven object I interact with every day is my MacBook — it’s the center of everything I do. And of course, the PlayStation 5. Both combine technology with emotional connection, which is something I admire in design.
Lately, I’ve been appreciating the precision and aesthetic clarity of WMF kitchen appliances — especially their electric kettle, which feels like a sculptural object in everyday life. My Nespresso machine is another essential — a perfect example of how design can elevate even the smallest rituals.
And finally, porcelain — plates, cups, the tactile quality of well-made tableware. It’s not just about utility, but about creating a culturally rich environment at home. Design lives in those details.
Lately, I’ve been appreciating the precision and aesthetic clarity of WMF kitchen appliances — especially their electric kettle, which feels like a sculptural object in everyday life. My Nespresso machine is another essential — a perfect example of how design can elevate even the smallest rituals.
And finally, porcelain — plates, cups, the tactile quality of well-made tableware. It’s not just about utility, but about creating a culturally rich environment at home. Design lives in those details.
As strange as it may sound, people in design will understand this: work is life, and life is design. My passion became my profession — and that means most of my time naturally revolves around creative thinking, art direction, and collaboration. There’s not much separation — and that’s exactly how I like it.
Finding the right mentor can be one of the most important things in a designer’s journey. But even with that, personal growth is essential. Keep learning. Keep evolving. Your curiosity and commitment to progress will shape your future far more than any trend or tool.
Everything is relative — and very personal. If you do what you love, then for you, design will always be more of a gift than a burden. The challenges exist, but they’re part of the beauty of the work.
If the client doesn’t love their own project, it’s better not to start. It’s like cheering for a football team that believes in itself less than you do. Great design is built on shared belief and emotional commitment — anything less won’t stand the test of time.
Curiosity. Openness. The will to grow. And self-education. These are the foundations of everything else — from taste and vision to craft and clarity.
My core design tools include Illustrator, InDesign, and Photoshop — with After Effects becoming more and more integrated into my process. These are the technical essentials.
On the inspiration side, Behance has become a daily habit — not just as a platform for sharing work, but as a live stream of evolving design trends curated by some of the world’s most respected voices.
On the inspiration side, Behance has become a daily habit — not just as a platform for sharing work, but as a live stream of evolving design trends curated by some of the world’s most respected voices.
I stay in the flow — always involved in the work. But to avoid burnout, I structure my creative process in a way that keeps it enjoyable. If the rhythm feels right, energy follows naturally.
Typically, we allocate between 45 and 65 working days — this is what we include in contracts. That said, when the client has a clear vision and decisions are aligned early on, the timeline can be significantly shortened.
“Why does it cost so much?”
(joking — but also, not entirely joking).
(joking — but also, not entirely joking).
Many of the projects I’ve worked on have been recognized by major international communities — from Michelin-starred restaurants and The World’s 50 Best, to A’ Design Award, Pentawards, Dieline, World Brand Design Society, Packaging of the World, and of course, Behance curated galleries.
Each of these experiences gave me a deeper sense of direction. Being part of such respected ecosystems pushes me to grow and deliver work that resonates beyond borders.
Each of these experiences gave me a deeper sense of direction. Being part of such respected ecosystems pushes me to grow and deliver work that resonates beyond borders.
I once received a message from Hilton’s Dublin office. They discovered our work on Behance and reached out — and for a small, hands-on bureau like ours, that moment marked a real point of growth.
Right now, we’re developing a brand in the medical sector with global reach. I also had the honor of collaborating with the team at Creatsy — I’ve long been a fan of their work. And the list goes on: clients from different countries and industries.
For example, I’m currently preparing a Behance case for Emma — a Greek restaurant based in Thailand. And yes — we even once designed a race car livery for a team in the IndyCar Racing series.
Right now, we’re developing a brand in the medical sector with global reach. I also had the honor of collaborating with the team at Creatsy — I’ve long been a fan of their work. And the list goes on: clients from different countries and industries.
For example, I’m currently preparing a Behance case for Emma — a Greek restaurant based in Thailand. And yes — we even once designed a race car livery for a team in the IndyCar Racing series.
I enjoy the preparation stage — the point before any visuals appear. The clarity we gain during that phase defines how precisely the entire project will unfold. A strong setup always leads to a strong result.
It’s hard to say, because when I first started W Design Bureau, I built it as a personal portfolio hub — a curated space to present my work and use as a CV for applying to larger roles.
Since then, I’ve connected with teams from Pepsico, Pearlfisher, and JKR, while also growing my own structure and client base. Maybe while I wait for the “big offer,” I’ll simply become the big company myself. Who knows?
Since then, I’ve connected with teams from Pepsico, Pearlfisher, and JKR, while also growing my own structure and client base. Maybe while I wait for the “big offer,” I’ll simply become the big company myself. Who knows?
I always prefer to work as a team — collaboration increases the chance of reaching exceptional outcomes. Creative dialogue, shared perspective, and specialization make the process stronger at every stage.
We’re currently working on a full rebranding for a global condom brand — and it’s truly something special. Once the project is complete, we hope to share it through competitions and publications. It’s bold, human-centered, and unlike anything we’ve done before.
You can always reach out to me directly through social media or via my Behance profile — I’m open to conversations, collaborations, and connections.
Thank you for the interview — and for the opportunity to reflect on this journey. It’s been meaningful to share not just the work, but the thinking and people behind it.
Grand Interview
22 October 2025 · Fabrika Coffee Packaging
The idea emerged from a deep understanding of the brand’s target audience — coffee enthusiasts who value both craftsmanship and authenticity. During the development process, we referenced visual cues commonly seen in the coffee industry, while aiming to infuse the packaging with a contemporary and relevant tone.We discovered an opportunity to create both a symbolic and physical connection between the product and the brand’s visual system — through a die-cut element that echoes the grinder blades in the logo. This became a defining gesture: it reveals the product inside, reinforces brand identity, and adds a tactile layer of expression that helps the packaging stand out on the shelf.
We approached this balance with intention. Typography became our grounding element — inspired by classical coffee packaging — while the structural detail (the die-cut window) served as the expressive gesture.We introduced rich, expressive colors to differentiate varieties and elevate the personality of the brand. This combination allowed us to remain rooted in coffee’s heritage while signaling a fresh, design-forward attitude.
We deliberately chose a textured kraft board to evoke tactility, warmth, and a sense of hand-crafted quality. In a market saturated with glossy, overly polished materials, this decision helped us express the brand’s values of honesty, rawness, and artisanal care.The material’s recycled nature and density offered durability while aligning with our broader sustainability goals. By choosing a substrate that isn’t yet standard for premium packaging, we hope to inspire a shift toward more responsible material usage without sacrificing shelf appeal.
The color system was developed by Helen Trofimova, our art director and color strategist. She explored an extensive Pantone range to curate hues that would feel distinct yet harmonious when placed together.Each SKU was assigned a tone that reflects its personality — from bold and bright to earthy and mellow — while ensuring that the range looks like a single, unified brand family. It’s a system rooted in emotional color logic, not just differentiation for differentiation’s sake.
One of the main challenges was rethinking the conservative codes of traditional coffee packaging while aligning them with the fast-growing trends dominating the segment. We recognized that although the audience for modern coffee brands is expanding rapidly, a large conservative segment still holds its place in the brand race. This helped us define a niche — a space where we could craft something visually universal and emotionally clear for both types of coffee lovers.
We didn’t try to reinvent the wheel here — instead, we approached the design with a sense of respect for the established visual traditions of coffee packaging. Perhaps the most quietly innovative choice was the use of a universal layout grid. It proved effective not only for the physical packaging but also later for the brand’s website and digital materials.
It’s a great moment to explore a more sustainable design direction — one that blends the DNA of traditional coffee aesthetics with the new-school spirit. Whether this approach sets a new tone, we’ll see soon enough — especially through the brands being presented at this year’s competitions.
Strangely enough, ziplock closures are still quite rare in coffee packaging. Often, customers have to rely on clips or clothespins to seal the bag after opening. We felt this detail could really enhance both convenience and elegance — the product stays fresh, and the packaging becomes more pleasurable to interact with on a daily basis.
The Fabrika Coffee packaging became a reflection of Shokoladnitsa’s long-standing expertise and established identity. We translated the brand’s values into a contemporary coffee design language — one that respects its legacy while engaging with a new generation of coffee drinkers.
Tactility was a key element in the creation of the Fabrika Coffee packaging. From the outset, we aimed for a design that would not only look expressive but also feel pleasant to the touch. This is an essential part of emotional engagement with the brand — especially in the coffee category, where purchasing often involves a personal, even ritualistic, decision.The matte surface provided a soft, warm texture, while the spot UV varnish added contrast and helped highlight key elements of the identity — such as the logo and the die-cut area. This interplay of finishes enhanced the premium feel of the product without relying on excessive gloss or visual noise, making the packaging feel both modern and refined.Overall, we approached the packaging as a multi-sensory experience — not just visual, but also tactile. This dimension is especially important for the shelf presence and for the daily interaction at home.
