Sulaymon Ruziboev

I design the things people see before they decide whether to click: banners, thumbnails, covers, logos, key visuals. That constraint shapes everything about how I work — a piece has to land at 120 pixels wide on a phone, then hold up when someone opens it full size.

Most of what's in this portfolio started as a real brief: a channel that needed an identity, an Etsy shop that needed a storefront, an apparel drop that needed cover art. A few pieces — the Chanel and Monster Energy visuals — are spec work, made to push technique rather than to ship. They're labelled as such, because I'd rather you know.

On the motion side I work in After Effects: logo reveals, kinetic type and animated presentations. My rule there is that timing does the work. If an animation only reads because of an effect, the timing wasn't right in the first place.

How I work

Brief, then references, then two or three genuinely different directions — not one idea in three colours. You pick a direction, I refine it, and you get the source files plus every export size you'll actually need. Revisions are part of the price, not an upsell.