I've spent the last seventeen years designing at the intersection of craft, production, and systems. The work has moved through distinct chapters.

I started in print and brand identity. Zagreb. Agency pace. Typography, large-format production, and the discipline of making something that had to be right before it went anywhere. That foundation still shapes how I approach every project. Details first, system second.

Entertainment pulled me into scale. Years inside streaming and series production pipelines, title design, 3D, logo systems, typography for global audiences on tight release windows. The craft stayed. But now it had to survive territories, teams, and timelines. This is where I stopped thinking about assets and started thinking about systems that produce assets.

Dubai reshaped the practice. Leading creative for fintech and crypto in regulated markets meant designing at the edge of speed and compliance. Brand architecture, multi-channel rollout, pipelines that let small teams ship at studio output. It's also where I started integrating AI across the full creative stack, not as a tool but as a layer in the pipeline itself.

Somewhere along the way, the role changed shape. I stopped being a designer who uses tools and became a designer who builds them. Today my practice spans brand and visual systems, 3D and VFX, motion, UX/UI, full web and application builds, and creative logic powered by Anthropic and OpenAI models.

What connects all of it is one question. How do creative teams actually operate once intelligence is native to the workflow? That research is developed under the name CrOS.