Sefsaf is an education center that improves Arabic language among American diploma students in Egypt. Sefsaf posters include foldable poster with the full touchpoints, promotional posters,and Arabic grammar posters, which their layout was inspired by the circle grids found on medieval Islamic astrolabes. Sefsaf education center was done as a group project in Global Communication Course I in the 6th semester by the group members: MennatAllah Tarek, Nada Ali, and Sarah El-Sharkawy.

This work reflects scenes and feelings going on inside the artist’s mind The recipient is left with the painting confronting his feelings in the subconscious mind

Cats are everywhere in Cairo! This zine based on the satirical narrative of ‘What if cats took over’. Many Egyptians hold exaggerated fear towards street cats; what if cats were actually thugs that terrorize and overtake the streets of Cairo? The theme of trespassing, survival, and fear is illustrated by picturing cats as thugs, but it also shines light on the struggles of street cats.

The artist was self – studying how to illustrate, and also was studying the use of textures, learning how to experiment with them without overusing them.

This is a heartfelt reminiscence about a grandmother who would always play a cherished game called (The Egg), a game that brought joy to every visit. The simple yet delightful game involved a five-part song, with a finger taken down with each line until all fingers were down, ending in laughter. This cherished memory stayed meaningful even after her passing and was later shared with a younger sibling, becoming a beloved part of their childhood.

This publication showcases the contemporary cultures of Arab countries, aiming to reflect their true image and current realities. Through interviews with 22 artists and photographers from 13 nations, it documents the diverse creativity and cultural expressions shaping the modern Arab world. The project seeks to challenge stereotypes and provide an authentic insight into the region’s vibrant and evolving identity.

It was an artwork created for an open call by Type Campus for their annual exhibition, ‘Fight for Kindness,’ and was displayed there. The artist later decided to transform the artwork into a poster.

A publication that explores a fictional yet sinister dystopian world that reflects the future that humanity might one day experience.

Poster for a short film directed by Samir T. Radwan

A fun poster designed for @habashtakanatmag’s competition, inspired by “the visual chaos that is Cairo.” The challenge invited artists and designers to create a spontaneous, last-minute poster reflecting their unique perception of the city. This submission draws inspiration from the surreal, almost otherworldly character of Cairo — as if it exists in a galaxy of its own — earning it the title “Kawkab El Qahera” (Planet Cairo).

This booklet is a collection of scans from my sketchbook, created during my time in Berlin. The Arabic lettering is inspired by the city’s graffiti, blending the bold, raw energy of Berlin’s streets with the beauty of traditional Arabic script. It’s a personal exploration of how two different cultures and art forms can come together in a unique and creative way.

Poster created as a specimen for TS Maghribe Thuluth typeface by Tarek AlSawwa

Fisheye studio is a production house based in Mansoura, Egypt. The studio focuses on production services and content creation, made with Gen Z minds who wants to seek a unique + authentic look.

The fishes in logo represent the “finger frame”, it’s when you make a frame with your fingers to see through that frame. The negative space is in 16:9 ratio, which is most used ratio for screens, divided by 3 represents “rule of third”. The three arabic dots represent the three co founders of studio.

The cover for a publication with the name “The Four Industrial Revolutions.” This publication delves into the transformative journey of humanity through the four industrial revolutions. By guiding readers across these pivotal periods — from mechanization to digitalization and beyond.

The project is a visual representation of the narrative mawwal “Aini Ra’et Taira” by Mohamed Farahat, which describes the chapters of a failed relationship caused by betrayal. The project outcome is a video displaying nine narrative mawawil along with a publication of a small Leporello. The visuals used are metaphors to connect the typography and translate the emotions of the mawwal by experimenting with typography using different materials and techniques (cyanotype, clay, cymatics, etc.).

The artwork captures a moment of transition. Ahmad deliberately included official markings and stamps, viewing them not just as administrative details but as symbols of the process and the reality of this pivotal shift. His expression conveys introspection, uncertainty, and anticipation, reflecting the emotions he experienced at the time. The piece explores themes of stepping into the unknown, balancing individuality with collective duty, and discovering growth in unexpected places.

The identity draws inspiration from the vibrant energy of Downtown Cairo and its posters (with paper tears and overlapping prints), the landmarks of Downtown (like Talaat Harb’s statue), the elegance of Egypt’s royal colors, and the timeless allure of Egyptian vintage posters, prints, and its textures, encapsulating our rich cultural heritage.

Wegz made history as the first Egyptian singer to perform at the FIFA World Cup Final, captivating the audience at Lusail Stadium in Qatar during the 2022 tournament. Ahmad’s created this illustration to celebrate Wegz global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression.

Marwan Mousa and Afroto in London and Berlin. I created an illustration to celebrate their global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression. Their fresh voices and unconventional lyrics, which differ from traditional music, have caused them to clash with society and old Egyptian traditions.

This poster highlights the issue of double standards in how people react to global issues, focusing on Palestine. Inspired by Cairokee’s song *”Telk Qadeya,”* it explores the inconsistency in empathy and action, urging viewers to reflect on the importance of justice and standing firm against oppression, no matter the context or location.

Decycle seeks to address the environmental crisis of textile waste and the efforts done in Egypt’s fashion industry. By blending upcycled materials, particularly denim, into statement pieces, the project highlights the value of sustainable fashion. Its dual approach combines a newspaper publication to educate on sustainable practices with creative experiments that transform discarded fabrics into meaningful fashion statements, encouraging conscious consumerism and challenging fast fashion norms.

Inspired by Kawkab Zomorroda, a “for girls only” segment on the Arabic cartoon channel Spacetoon, Zomorroda is an antithesis to a childhood shaped by binary constructs. Amethysts and liquid greens paint an alluring and forbidden world, where colour pools like memories in motion. Through gleaming lights and ambiguous forms, Zomorroda represents access to a world once gatekept.

Following the success of Wegz’s concert in London, I created an illustration to celebrate his global achievement. It also highlighted the rise of Egyptian artists as part of a new wave, who have faced criticism and hatred for their artistic works and unique way of expression. Their fresh voices and unconventional lyrics, which differ from traditional music, have caused them to clash with society and old Egyptian traditions.

Hours later after posting it Wegz liked and appricated it.

This poster tells a story from my father’s time in Germany in 1991. While waiting for a bus at an empty stop, he noticed people gathered across the street. Confused, he stayed until his friend told him “Stand where the Germans stand.” This phrase became a family metaphor, reminding us to observe and follow the locals when in doubt.