Nikita Iziev is a London-based Graphic Designer and Art Director that works at the intersection of form, type and moving image.

Clients include Apple, Nike and The New York Times.

Feel free to reach out to me at nikitaiziev@gmail.com→

Nikita Iziev is a London-based Graphic Designer and Art Director that works at the intersection of form, type and moving image.

Clients include Apple, Nike and The New York Times.

Feel free to reach out to me at nikitaiziev@gmail.com→

Nikita Iziev is a London-based Graphic Designer and Art Director that works at the intersection of form, type and moving image.

Clients include Apple, Nike and The New York Times.

Feel free to reach out to me at nikitaiziev@gmail.com→

Nikita Iziev is a London-based Graphic Designer and Art Director that works at the intersection of form, type and moving image.

Clients include Apple, Nike and The New York Times.

Feel free to reach out to me at nikitaiziev@gmail.com→

Nikita Iziev is a London-based Graphic Designer and Art Director that works at the intersection of form, type and moving image.

Clients include Apple, Nike and The New York Times.

Feel free to reach out to me at nikitaiziev@gmail.com→

The New York Times Magazine
Palantir Cover Story, 2021



The New York Times Magazine
Palantir Cover Story, 2021

The New York Times Magazine
Palantir Cover Story, 2021

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

I was approached by The New York Times to visualise their 'The All-Seeing Eye' Palantir cover story. The goal was to create an ominous visual reflecting the ambivalent nature of the tech giant.

Find the Behind The Cover episode here→


 

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

I was approached by The New York Times to visualise their 'The All-Seeing Eye' Palantir cover story. The goal was to create an ominous visual reflecting the ambivalent nature of the tech giant.

Find the Behind The Cover episode here.

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

I was approached by The New York Times to visualise their 'The All-Seeing Eye' Palantir cover story. The goal was to create an ominous visual reflecting the ambivalent nature of the tech giant.

Find the Behind The Cover episode here.


CONTACT, 2020

CONTACT, 2020

CONTACT is a publication that explores how the use of technology shapes our reality; investigating the grey area between artificial wombs and
AI-powered surveillance cameras. The introduction revisits the birth of mankind after the fall from Eden and the existential crisis after religious disillusionment. The following is an excourse into the complexities of human identity in relation to technology.

The relationship between human/machine or natural/artifical is materialized through the use of uncoated white paper and clear acetate overlays on the cover and inside the book. While the paper pages try to communicate information as effectively as possible, the acetate pages create visual context that interacts with the imagery below.

'CONTACT' is a publication that explores how the use of technology shapes our reality; investigating the grey area between artificial wombs and AI-powered surveillance cameras. The introduction revisits the birth of mankind after the fall from Eden and the existential crisis after religious disillusionment. The following is an excourse into the complexities of human identity in relation to technology.

CONTACT is a publication that explores how the use of technology shapes our reality; investigating the grey area between artificial wombs and
AI-powered surveillance cameras. The introduction revisits the birth of mankind after the fall from Eden and the existential crisis after religious disillusionment. The following is an excourse into the complexities of human identity in relation to technology.

The relationship between human/machine or natural/artifical is materialized through the use of uncoated white paper and clear acetate overlays on the cover and inside the book. While the paper pages try to communicate information as effectively as possible, the acetate pages create visual context that interacts with the imagery below.

CONTACT is a publication that explores how the use of technology shapes our reality; investigating the grey area between artificial wombs and
AI-powered surveillance cameras. The introduction revisits the birth of mankind after the fall from Eden and the existential crisis after religious disillusionment. The following is an excourse into the complexities of human identity in relation to technology.

The relationship between human/machine or natural/artifical is materialized through the use of uncoated white paper and clear acetate overlays on the cover and inside the book. While the paper pages try to communicate information as effectively as possible, the acetate pages create visual context that interacts with the imagery below.



English National Ballet, 2019

English National Ballet, 2019

English National Ballet, 2019

Donor list projection for the English National Ballet's new building designed by We Not I. The hierarchies of a traditional list are broken through the circular shape, while allowing every donor to have their own celebratory moment through a tilt-shift blur.

Typeset in Aktiv Grotesk drawn by Dalton Maag.

Donor list projection for the English National Ballet's new building designed by We Not I. The hierarchies of a traditional list are broken through the circular shape, while allowing every donor to have their own celebratory moment through a tilt-shift blur.

Typeset in Aktiv Grotesk drawn by Dalton Maag.


Lush Space Type Generator, 2019
with Lasse Mejlvang Tvedt

Lush Space Type Generator, 2019
with Lasse Mejlvang Tvedt

A web-based type physics generator for staff to create an endless variety of animations to be used in the window screen displays.

'CONTACT' is a publication that explores how our use of technology shapes our reality; investigating the grey area between artificial wombs and AI-powered surveillance cameras. The introduction revisits the birth of mankind after the fall from Eden and the existential crisis after religious disillusionment. The following is an excourse into the complexities of human identity in relation to technology.

A web-based type physics generator for staff to create an endless variety of animations to be used in the window screen displays.


The Degree Show, 2019

 

The Degree Show, 2019

The Degree Show, 2019

Proposal for Ravensbourne's 2019 Degree Show that was built off the notion of 'departure'. Ravensbourne's forward-thinking approach to education was visualised through blurring the lines between print, digital and physical space by extending the identity onto projections that played with the buildings architecture and AR activated invites.

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

Proposal for Ravensbourne's 2019 Degree Show that was built off the notion of 'departure'. Ravensbourne's forward-thinking approach to education was visualised through blurring the lines between print, digital and physical space by extending the identity onto projections that played with the buildings architecture and AR activated invites.


Discover Unica, 2019

Discover Unica, 2019

Discover Unica, 2019

A web campaign that aims to celebrate and immortalize Toshi Omagari's revival of the 'forgotten' typeface.

The navigation of the website is based on swivel shelves, usually found in archives to optimise space. All elements first appear blurry, small and insignificant, but upon hovering over them, the user can discover Unica’s history, resembling the sense of discovery type designers feel upon finding references that might inspire their next typeface.

The second touchpoint is a glyph generator, that uses all letters of Unica’s Latin, Cyrillic and Greek glyph set and cuts them up in different grids. The user can then randomise and click on the tiles to change the composition, allowing for a completely unique experience for each person. The final outcome can then be saved and shared on social media.

A web campaign that aims to celebrate and immortalize Toshi Omagari's revival of the 'forgotten' typeface.

The navigation of the website is based on swivel shelves, usually found in archives to optimise space. All elements first appear blurry, small and insignificant, but upon hovering over them, the user can discover Unica’s history, resembling the sense of discovery type designers feel upon finding references that might inspire their next typeface.

The second touchpoint is a glyph generator, that uses all letters of Unica’s Latin, Cyrillic and Greek glyph set and cuts them up in different grids. The user can then randomise and click on the tiles to change the composition, allowing for a completely unique experience for each person. The final outcome can then be saved and shared on social media.



Explorations, Ongoing

 




Explorations, Ongoing

Explorations, Ongoing

Ongoing visual experimentation that ranges from excercises in technical proficiency, personal style and interior meaning. A research-driven approach ties those aspects together in order to create a deeper methodology that sits the center of my practice.

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

Gail Bichler, creative director: “This week’s cover story is about Palantir, a software company that specializes in data integration and helps governments, law-enforcement agencies and other clients decipher vast amounts of information. At first, the cover looks like a collection of complex data in the shape of an eye, but soon the headline emerges, alluding to the process of sorting data.”

A series of ongoing visual experimentation that ranges from excercises in technical proficiency, personal style and interior meaning. A research-driven approach ties those aspects together in order to create a deeper methodology that sits the center of my practice.