diellza veliqi
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01The Monumentality of the Everyday2022

Design and art direction together with Lira Gjikolli for the Kosovo Pavilion exhibition at the Venice Art Biennale, “The Monumentality of the Everyday,” by artist Jakup Ferri. The identity was heavily inspired by the artist’s multidimensional work. Our focus was to showcase Ferri’s art visually across promotional materials using a mix of characters from his drawings, paintings, and textiles. 
           The project included various digital and print promotional materials, such as the catalog and the pavilion’s web page.

Artist: Jakup Ferri
Curator: Inke Arns
Commissioned by: Alisa Gojani–Berisha
Supported by: The Ministry of Culture, Youth 
and Sports (MCYS)

02Portable Measuring Tape Tool2024
This project was developed in the Web to Print class at California College of the Arts MFA Design program. I first designed a user manual for a portable measuring tape using Google Sheets, focusing on numbers. Working within Sheets’ constraints, I later reverse-engineered a layout from my manual and recreated it as a web page using HTML, CSS, and JavaScript. This was my first coding experience, making it a unique way to explore design and code.

Instructors:
       Jon Sueda & Mathew Kneebone

03A Day at the Garden2025
Drawing inspiration from a school field trip to the San Francisco Botanical Garden, this publication for Hybrid Business class mirrors the organic rhythms and rich textures of the natural world. By layering effects onto the photographs taken during our visit, the images evoke the soft, expressive quality of Impressionist paintings, blurring the line between documentation and art.

04X in Crisis
2024 Inspired by Ines Cox’s methodology of Design Cannibalization, this project reinterprets the structure of a Twitter/X profile as a framework for poster design. The approach abstracts the platform’s interface into a system of building blocks to convey information visually. One poster disrupts the framework by overlaying "X" symbols, referencing the platform’s rebrand and visually echoing its transition. The other remains true to Twitter’s original profile layout. Together, the posters reflect the identity crisis triggered by the platform’s transformation—one that mirrors the uncertainty of its users.

05Art in the Fight for Peace
2024

Concept and identity created for a salon dinner project in Ethnography class at MFA Design, CCA. The task was to develop an idea for a salon dinner, theme, visual identity, and experience design. Given the state of the world at the moment and inspired by various art movements in protest of wars, my idea was to have a dinner where the topic would be Art in the Fight for Peace. 

Instructor: Cari Borja

06Notan Architectural Design2022
Architectural plans and geometric shapes formed the foundation of the studio’s visual identity. The logotype is designed for flexible use in various forms, while the letter “o” serves as a standalone brand icon.

07 Tintiriniti Typeface2023
Tintiriniti Typeface is an experimental modular typeface inspired by Jip and Jakup Ferri’s project of the same name. Influenced by technology and video games, their handmade carpets informed vivid, intersecting letterforms. 

Photos: Leonit Ibrahimi

08 Not Typeface2023
Not Typeface was initially developed as part of the brand identity of Notan Architecture Studio. The modular lowercase typeface was inspired by architectural plans of buildings, as seen in presentations of architectural projects. As a result, the letters have been constructed on a square grid to achieve the desired outcome. The plan is to develop this typeface further and craft the uppercase letters too. 

09 Diell Typeface2023
Diell—meaning 'sun' in Albanian, falls in the realm of modular typefaces inspired by the De Stijl movement, to be more precise, in one of the earliest sans-serif modular typefaces designed by co-founder Theo van Doesburg. The typeface is created on a grid of small squares, and its main characteristics lie in the lowercase letters. In the future, the main goal is to design versatile alternatives for various letters, such as the examples seen above.

10The Archaeological Museum of Prizren2022 The Archaeological Museum of Prizren, housed in a 15th-century Ottoman-era Hamam, became a museum in 1975. Its identity design draws inspiration from the building’s Ottoman architecture, particularly its arch-shaped interiors and the bold rectangle of the 1948 Clock Tower. The goal was to create a modern, flexible identity for both print and digital use.
           Along with the identity, I designed the museum’s signage, information panels, and exhibition materials, integrating my background in architecture and graphic design to enhance visitor experience.

Implemented by: Kosovo’s Ministry of Culture, Youth and Sports (MCYS)

©Diellza Veliqi, 2025. All rights reserved.