The most successful work in this steady run of experimental flyers and prints always seemed to be the ones Vlad designed for friends or ‘small’ events: “the one flyer that I think, received the most attention last year was Doomscrolling Live for a small ambient listening night organized in Antwerp by my friends SYSTM. I don’t remember how many times people have come up to me and said ‘Oh I loved that poster you did with the goblin’,” he says. “Doing self-initiated things, local things, things for your friends does pay off.”
Vlad has noticed a transition in his visual style over the years, his older work was full of abstract shapes and typography, and perhaps much more loose and experimental. “I think I’ve become more mindful about the tools and resources I use, learned to appreciate the basics more, and not be afraid to seem ‘boring’ or repeat myself sometimes if the idea really does make it worth it,” he says. This more systematic approach feels less like he’s just doing visual stunts to stand out but paying attention instead to how to best communicate the concept behind each project. “I feel like I’m actually starting to enjoy things now, after a lot of struggle and dissatisfaction with my work being ‘not there’ or comparing myself to others,” he says. “After all, no matter how deep it gets, we’re all just people making images.”
The designers recent NYE campaign for Colour Factory, a music venue in London, was his favourite project from 2025. It was another foray into the audio visual world that surfaced some crazy colourful, nostalgic visuals for the clubs largest event of the year. Typical of Vlad’s layered and playful use of type and form, the visual identity for the venue drew its inspiration from the ‘vectordelia’ aesthetic, a design flavour that defined the early 2000s with high-contrast, vibrant and maximalist vector graphics and minimalist grotesk fonts. “Apart from just being currently trendy, it also made me think of how intense and global the new year’s eve of 1999 must have felt, especially the excitement of entering a new millennium,” Vlad tells us. “Even though I wasn’t even born yet it makes me feel somehow careless and lightweight.”