Posters
Posters are my creative playground.
Posters are my creative playground.
Posters are my creative playground.
They allow me to express ideas beyond commercial constraints while continuously testing my abilities in concept development, visual experimentation, typography, and execution. Every project is an opportunity to learn, refine, and push my craft further.


Poisonous happiness, 2026


Fireworks, 2026


Propaganda, 2026
2026, International Cyprus Poster Triennial (CPT)
The poster is built around the contrast between human emotion and the invisible nature of radiation. At its center is the image of a person with their head thrown back, their expression suspended between laughter, a scream, and agony. Rendered in an X-ray aesthetic, with the skull and spine subtly emerging beneath the surface, the portrait symbolizes the invisible biological damage caused by ionizing radiation. The transition from deep red to intense yellow evokes both heat maps and radiation exposure, suggesting a body overwhelmed by an unseen force.
The background, composed of repeating atomic-inspired structures, represents the invisible environment that surrounded Chernobyl after the disaster. The poster emphasizes the most terrifying aspect of radiation: it cannot be seen or felt while it is already altering the human body at the cellular level. Created for the 40th anniversary of the Chernobyl Nuclear Power Plant disaster, the work serves as a reminder that the tragedy extended far beyond the explosion itself—it lived on in the invisible consequences that continue to resonate decades later.
2026
This poster explores how perception is shaped and manipulated in the digital age. At its center, a hand lowers a red triangular symbol into a crowd with raised hands, evoking the visual language of popular video platforms and recommendation algorithms. The gesture becomes a metaphor for invisible influence, suggesting that what we consume is often carefully selected before it reaches us, gradually shaping our beliefs, emotions, and understanding of reality.
The raised hands symbolize passive acceptance, while the stark geometric composition emphasizes the imbalance between those who control information and those who receive it. Rather than criticizing a single platform or technology, the work raises a broader philosophical question: Who decides what we see—and how does that shape the way we see the world? The poster invites viewers to reflect on the power of digital media, algorithmic curation, and the subtle mechanisms that influence public perception.
2026, International Cyprus Poster Triennial (CPT)
The poster transforms the inner lid of the Chernobyl reactor into a cross—an image that simultaneously symbolizes sacrifice, remembrance, and hope. From the opened reactor, an overwhelming beam of light erupts upward, representing the invisible force of radiation released on April 26, 1986. Suspended within the light are the fragmented words of a child asking, “Mommy, is this fireworks?”—a reference to the tragic reality that, in the first moments after the explosion, many residents did not understand what they were witnessing.
The contrast between the child's innocent question and the reactor's symbolic cross emphasizes the devastating gap between perception and reality. What appeared beautiful from a distance was, in fact, the beginning of one of history's worst nuclear disasters. Created for the 40th anniversary of the Chernobyl Nuclear Power Plant disaster, the poster reflects on lost innocence, human sacrifice, and the invisible consequences of an event whose true scale became clear only after it was too late.


— designer, 2026


The Burden, 2026


Daddy, 2026
2026, INTL Poster Competition
The poster is a photograph of a gallery wall. On the left — a fragment of someone else's work: bright, present, admitted. On the right — a blank white sheet with a single line at its centre: Work not admitted. Below it, a museum label: Vitaly Kozin / Russian, born 1986 / — designer / 2026 / Paper, print.
The poster does not explain a situation. It reproduces one.
I am a Russian designer living in emigration after 2022. Despite leaving Russia, opposing the war, and continuing to work — I find myself reduced to a nationality before I am seen as a person or an artist. The cancel culture directed at Russians is real and widespread — yet the reality is far more complex than a blanket judgement. Not every Russian is the state. Not every passport tells the whole story.
The blank sheet is not empty because there is nothing to show. It is empty because the work was not admitted.
The viewer encounters the installation as they would in any gallery — and for a moment, they too look past the blank space without noticing. That moment of not noticing is the poster.
2026, Dignity / posterfortomorrow
A house filled with bodies — the weight of a world built on those who suffer and those who benefit. A man pulls it behind him without a rope, because he cannot let go. Not because he must — because he cannot.
On one side, the dead press against the walls. On the other, a child stands looking back at what was — refusing to face what is.
This poster asks questions without answers: Does dignity survive collective guilt? Can a person remain dignified when judged for the actions of their government? Can the past be preserved when mountains of bodies stand between then and now?
There are no answers here. Only the weight.
2026
This poster reflects on the grief of children whose fathers never returned from a senseless and brutal war. Unable to comprehend the permanence of loss, they continue waiting at the window, believing that one day their father will come home. Each silhouette represents a child suspended between hope and reality, trapped in a moment that never ends.
The endless gray apartment block becomes a metaphor for emotional imprisonment—a massive concrete monument where grief, trauma, and unanswered questions are sealed behind identical windows. The repetitive facade suggests that this is not a single story but the shared experience of countless families. The work is not about the battlefield itself, but about the silent, lifelong consequences of war that continue long after the fighting has ended.
Competitions & Exibitions
International Poster Competition — Participant (2026)
International Cyprus Poster Triennial (CPT) — Participant (2026)
Poster for Tomorrow: Dignity — Participant (2026)
Posterheroes 15: Still Human — Participant (2026)
The end is
always a beginning
All the works
Academic background in graphic design and fine arts, combining strategic brand thinking with strong visual execution.
Purrweb
Current
Prime 6 Brands
2021-24
Center for Media Arts
2019-20
Semrush
2018
Gmail
Currently based in Montenegro. Open to new opportunities.

Idea creates form
Academic background in graphic design and fine arts, combining strategic brand thinking with strong visual execution.
Purrweb
Current
Prime 6 Brands
2021-24
Center for Media Arts
2019-20
Semrush
2018
Gmail
Currently based in Montenegro. Open to new opportunities.

Idea creates form
Academic background in graphic design and fine arts, combining strategic brand thinking with strong visual execution.
Purrweb
Current
Prime 6 Brands
2021-24
Center for Media Arts
2019-20
Semrush
2018
Gmail
Currently based in Montenegro. Open to new opportunities.

Idea creates form