In Saudi Arabia craft is not a product — it is memory made tangible. A complete identity and CI manual: logo system, a thirteen-colour palette, typography, iconography, illustration, textures and full event applications from kiosks to merchandising. Heritage is not something you preserve behind glass; it is something you hand to the future, still warm from the maker's hands.

Most directions on the table were chasing energy: speed, spectacle, motion. But the audience that defines this category — serious collectors, auction houses, family-office buyers — is not impressed by volume. The direction was approved, and the city stopped hosting the event: it became it. In this category the loudest brand always loses; the quietest one belongs.

WATHB — the leap. One Arabic word charged with movement and the will to go before the path appears. The mark came from wild mountain animals at the peak of a leap; the colours were pulled straight out of the terrain — desert gold, ember orange, resilient green, mountain black. Seventy percent of Saudi Arabia has never been explored: that was not a statistic, it was a positioning waiting to be claimed. Explore the Unseen.

The two cultures were never far apart — an empire, a cuisine, a faith, and a way of receiving guests that treats the kitchen as the most important room in the house. The same tea glass in Istanbul and in Cairo. A complete cookware and glassware identity, from packaging and stationery to digital and signage. Two cultures, one kitchen. Not a fusion — a reunion.

Nomaede — the nomad, reimagined. The category sold places; the name sold a way of moving through the world. A heraldic cheetah crest with multiple lockups, a concierge-coded seal language, a landscape-drawn colour system and a three-register typographic voice, applied from stationery to magazine, folder, UI and events. The cheetah doesn't run to be seen running. Luxury is not where you go — it is who you are when you return.

Surge — the moment a machine breaks from rest into full force, the spike on the dyno graph. A speed-cut wordmark, an op-art warp system, a five-colour charged palette and Basic Sans typography, built as the modern, youthful counterpart to Monarch's institutional restraint. Same event, same brief, two answers: one quiet enough to belong, one loud enough to be felt the moment it arrives.

The audit wrote its own sentence: this place is the artists' portal to the world. The logo had always been read as a hangar, a roof remembering its industrial past: one mark, one idea, and an entire system: story, architecture, assets, and motion. JAX didn't get a facelift; it got an end to the dispersion. The hangar stopped being a roof over the art and became the doorway the world walks through to reach it.

Architecture is not decoration — it is structure that creates freedom. The process began with extraction, not sketching: a single geometric unit built on a precise grid, from which patterns, layouts and every touchpoint were generated. The logo became a generator. A system that scales from a business card to a building facade without losing its logic.

Every design begins with a blank white space — pure, overwhelming potential, which is another word for chaos. The grid is what organises it. A Bodoni wordmark with a shape language generated from its own geometry, the Manifesto Red palette, a postage-and-manuscript visual world and an editorial layout grid. Structure for the chaos. Soul for the machine.

Keek is the sound of a camera click — the decisive instant, the director's eye finding the angle nobody else would. A production house identity that solved the trust problem not by looking safe, but by looking so confident it became impossible to doubt. The ordinary eye sees a scene; a director sees a story.

We started before the logo — at the name. "The Private Office" borrows the language of family offices and private banking, but says it with the discretion of a members-only world. Four logo systems, a restrained colour and typography language and a suite of premium tactile applications took a government line item and made it a brand the world's wealthiest families would want to belong to. Before the oil, there were pearls.

The answer was hiding in the veins of a mulberry leaf — the leaf that feeds the silkworm, the origin of silk itself. Nothing about it is loud; everything about it is precise. A full brand book for a luxury abaya house: persona, archetype, voice, colour philosophy, packaging and launch plan. While competitors compete on embellishment, D'Eliganza competes on the confidence to say less, perfectly.

Finance is not about money — it is about direction: capital moving forward with intention. The answer was inside the name: the stroke, one diagonal cut into the heart of the wordmark. Unveiled at one of the world's most significant financial gatherings, in front of the leading figures of global finance and technology, and it held the room. Capital doesn't follow noise. It follows direction.

A custom suit is not a purchase, it is a decision. The X in Executive was cut to carry the silhouette of a formal jacket — sharp shoulders, structured lines. A calm, confident teal moved the brand away from every menswear cliché. The tagline said the rest in four words: Sharp as Your Silence.

Nature is not one green. Look at a single landscape mid-season — the warmth of the sun, the fire of the earth, the clarity of water, the freshness of new growth — and it reveals its whole spectrum. A grid-built monogram, a five-colour nature-spectrum palette and a bilingual geometric system. Not another green logo asking the world to feel guilty, but a youth alliance with the optimism to say: go ahead.

The answer was in the name. Not "The Agency", not "The Studio" — The Narrative, a name that quietly renames the entire job. An event is not an event, it is a chapter. A logo and symbol system generated from a modular grid, a serif-and-grotesque voice, a disciplined black–blue–grey palette, and applications from stationery to exhibition booth and brand magazine. A moment is spent the day it happens; a narrative grows stronger the longer it lives.

Media, Entertainment, Gaming and Sports are not four parallel businesses — they are four faces of one economy: the attention economy. A football fan, a Netflix subscriber, an esports player, a film viewer: same person, different rooms. A wordmark, a diagonal-slash device, an institutional palette and a full suite from programme materials to investor decks and environmental design. Four worlds were already in one word.

The name had already done the strategy: shift one letter and the Middle East becomes the Middle Feast — a region renamed after the thing it does best. A complete identity built for appetite and built to scale. It doesn't enter the market as another shawarma spot; it enters as what the category never had — a Middle Eastern food brand with the confidence of the global chains and a personality they could never copy.

The contradiction was the brand: the future of protein is both organic and engineered — biology turned into infrastructure. The identity refused the false choice between "natural" aesthetics and "tech" aesthetics. A Bio-Wave gradient device, an institutional typographic stack and a scientific-editorial photography direction. The future of food isn't a vegetable, it's a supply chain — and the brand had to look like both.

Not many companies — many horizons, one vision. The breadth was never scattered services; it was a single frequency expanding. A cymatics-built logo, the Horizon Glow gradient system, a warm terracotta-and-black palette and bilingual Archivo and Tajawal typography. The one thing the multi-sector category almost never earns: a single ownable idea that makes breadth look like vision instead of scatter.

Numou is the Arabic word for growth. Not finance, not lending, not debt: growth. A bilingual wordmark, an ascending chevron device, a trust-and-momentum palette of royal blue, navy and digital green, a rising-bar pattern system and a co-branding framework with Hub71. It turns the slow, fragmented hunt for capital into a single rising moment where the market competes for you.

The name held the answer: Creatives. A school that calls itself creative cannot present itself with a rigid crest-and-tie identity — the brand has to behave the way it wants its students to think. A monogram, a geometric pattern language, conceptual key visuals and applications from Early Learning to High School. Knowledge, built one shape at a time.

A bottle earns its place by becoming part of the day. For Saudi brand TAIN, Marllex Studios built a complete campaign around that everyday connection. Original product and lifestyle photography, bold colour compositions and direct Arabic and English copy translated features into reasons to choose the product. I led creative direction and execution across photography, design, copywriting, campaign planning and media buying, carrying the work from the first shot to paid distribution. The campaign generated over SAR 2 million in sales.

The flavour sets the scene. A social campaign for Red Bull Editions, created in Egypt and used across international markets, including Brazil and Canada. Oversized cans anchor vivid compositions of fruit, liquid, and bold typography, with each edition opening into its own colour world. Coconut and blueberry become a snow-covered landscape; apricot and strawberry burst into orange; kiwi and apple fill the frame with green. The can becomes the starting point for an adventure.

A market comes alive through the people who bring their craft to it. A launch campaign for Souq Al-Dar, developed by Marllex Studios for Saudi Arabia’s Social Development Bank. Pottery, textiles and architectural textures meet vivid colour blocks, expressive Arabic lettering and geometric patterns. Carousels and social posts move from introducing the event to inviting businesses to register, explaining participation and counting down to the deadline. An invitation for local craft to find its next customer.

One direction, from screen to street. An integrated campaign for Dinar, developed with Revenue Studio in Riyadh, spanning media production, social content and outdoor advertising. My role combined art direction with hands-on execution, carrying the visual approach through each application. From the pace of a social feed to the scale of an outdoor placement, the work brought the campaign together across formats, with every piece speaking the same language.

A skill becomes a livelihood when it finds opportunity. Visual direction by Marllex Studios for a series of targeted campaigns supporting the Social Development Bank’s 2024 Freelance Event. A Saudi figure framed by a smartphone connects digital possibility with the tools of craft, design and culture. The master composition expands into distinct campaign messages through vivid colour, expressive Arabic typography and recurring symbols, giving each audience a point of connection within one coherent visual world.

One number carries the message. An outdoor and social media campaign for Arab Investment Bank, developed in Cairo with Triopia Creative Solutions. Oversized, dimensional 0% lettering anchors a world of everyday purchases, with the bank’s green palette holding the compositions together. Product arrangements and city backdrops bring the offer into a familiar setting. As Senior Graphic Designer, I worked on the campaign visuals across social and outdoor formats, keeping the central message clear at every scale.

Confidence begins with understanding. A social media campaign for Malaa, developed with Revenue Studio in Riyadh, bringing app features, financial information and product guidance into a coherent visual language. Purple-led compositions sit alongside lighter layouts, combining interface elements, charts and dimensional illustrations. My role covered art direction and hands-on execution across the campaign, shaping a system that could move from a product announcement to a detailed walkthrough while keeping the information approachable and the brand recognisable.

A new opening, announced with appetite. A billboard campaign for Domino’s Pizza across Türkiye and Cyprus, developed with Kodo. Pizza and suspended ingredients bring movement to the compositions, while the brand’s red and blue frame bold typography announcing the arrival. Art direction centred on a clear hierarchy between food, brand, and message, built to read at street scale. A familiar brand making its presence felt in a new neighbourhood.

Numbers carry stories. The visual direction for this Argaam campaign gave those stories a distinct graphic language: modular geometry, vivid colour and layered imagery, brought together through bold Arabic typography. Developed with Sawir in Saudi Arabia, the system uses repeating shapes as frames, patterns and compositional anchors, giving different messages a shared visual rhythm. My role as Art Director was to shape that language and carry it through the campaign’s key visuals.

Information needs a way in. A selection of infographic work for brands across Saudi Arabia, covering economic updates, aviation, public initiatives and institutional communications. Arabic typography, charts, illustration and image-led compositions give each subject a clear reading sequence, while adapting to the character of each brand. The work moves between compact social formats and longer editorial layouts, organising figures and context into stories that readers can follow. Different subjects, each with its own path to understanding.

Opportunity takes the shape of an open doorway. A social media and outdoor campaign for SNB Capital, translating the message of easier access to the Nomu market into an architectural visual language. Saudi landmarks, rising towers and repeated arches frame the compositions, with green tones connecting the imagery to the brand. Across the campaign, gateways and expansive skylines give the message a sense of depth and possibility, carrying one visual idea from the social feed to the street.

Some burdens are easier to recognise when you can see them. A social and outdoor campaign for Taajeer Group, developed at Manifest across Saudi Arabia and the UAE. In the Ramadan execution, a man carries an impossible stack of household appliances, turning everyday financial pressure into a literal visual weight. Exaggerated scale, image compositing and conversational Arabic copy bring the message of support into a familiar human situation, with compositions adapted for the feed and the street.

Delivery is a promise measured in time and distance. Art direction for WeDeliver’s campaign across Saudi Arabia, the UAE and Palestine, bringing speed, reach and everyday occasions into a recognisable visual language. A vivid yellow palette connects playful compositions: a scooter paired with a stopwatch, location markers set within familiar landscapes, and products placed at the centre of a city. Service messages and seasonal content share the same direct approach, making each idea easy to grasp at a glance.

Behind every response is someone ready to act. A campaign for the Saudi Red Crescent Authority, developed at Nasher in Saudi Arabia. Dramatic ambulance and paramedic imagery sits alongside brighter compositions built from portraits, geometric forms and clear information layouts. Red connects the different treatments, while service figures and messages recognising field teams bring both the people and the scale of their work into view. Public information, given a human face.