Industrial designer exploring where hand, material, and machine intelligence meet.
Selected Work
Glitched Teapot — AI × Ceramic Design, Final ProjectThe Sinking Kettle — Electric Kettle ConceptBucket Hat Made from Shed Dog Fur — Material StudyConnecting Cultures — Concrete & CeramicSmart-Home Grasshopper Farm — ConceptXbox Controller — Reverse-Engineered
Building My Own Tools — Creative Coding OngoingAn Evolving Product Design Process — AI in the Design ProcessProfessional Work · Elephant LabsBelvedere VodkaFrom brand research and concept development to CAD, material specification and production documentation.View project →Anemone Pin — In Memory of October 7thWater Pump Pulley Tool — Mechanic’s Tool
Let’s make something interesting.
Open to collaborations, design opportunities and commissions.
I shared this methodology as the closing talk of the July AI series by מעצבות תעשייה · Women in Industrial Design — “A work methodology for the age of AI”, together with an introduction to Krea.
July 2026 · Online
What?
How AI fits into my product design process — from the first research to building personal tools.
Why?
New tools come out every week, but real adoption means starting from your own process and choosing the tools that belong in it.
How?
For each stage of the double diamond — Discover, Define, Develop, Deliver — what AI takes on and what stays with me, followed by a real project.
Read the full story
How AI fits into a product design process — from the first research to building personal tools.
New tools come out every week, but real adoption takes time and a good knowledge of your own process. So I start from my own needs and the experience I have built, and only then choose which tools belong in it. For each stage of the double diamond — Discover, Define, Develop, Deliver — the slides show what AI takes on, and what stays with me as the designer, followed by a real project.
An evolving product design process — how AI fits into product design, from the first research to building personal tools
Methodology first, tools second — start from my own needs and experience, then choose the tools
Discover — AI organises information and summarises interviews; I observe, meet users and find the needs
Define — AI tests alternative framings and spots gaps; I decide which problem we solve, and for whom
Develop — AI widens the visual options and supports CAD; I explore, choose directions and understand materials
Deliver — AI helps with documentation and technical tasks; I prototype, test and make the production decisions
Real project · Research — the brief, observations and research summaries gathered in NotebookLM
Real project · Persona — consolidating the persona and the research conclusions
Real project · Concepts — early hand development and quick visualizations
Real project · Development — hand development, quick visualizations and materials
The full process — too much to show here; for the full details, get in touch
AI × Ceramic Design — Final Project, supervised by Luca Or
Glitched Teapot
Final form, ceramic
What?
My final project: a ceramic teapot used as a framework for asking what the industrial designer’s role is in the age of AI.
Why?
AI is changing how products are designed. I wanted to find out, through a real object, what stays distinctly human: judgment, intuition, material knowledge and choosing a direction.
How?
A year of moving back and forth between AI (exploration, iteration, dialogue) and sketching, SolidWorks and ceramic production. The gap it exposed led to an idea: designers building their own digital partners.
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Final project exploring how AI changes the role of the industrial designer. What is the role of the industrial designer in the age of AI?
My final project used the design of a ceramic teapot as a framework for exploring that question. Over the course of a year, I experimented with AI across different stages of the design process, from generating and filtering hundreds of directions to developing concepts through an ongoing dialogue between digital tools, CAD, physical making and ceramic production.
Rather than searching for a single "AI-designed" object, the project became an investigation into what remains distinctly human in the design process: judgment, intuition, critical thinking, material knowledge and the ability to choose a direction from an overwhelming field of possibilities. The process moved back and forth between human and machine. I sketched, modeled in SolidWorks, tested physical constraints and worked with ceramic processes, while AI was used for visual exploration, iteration and dialogue.
At its best, it accelerated ideation and helped expose new directions. At its worst, it produced noise, shallow technical advice and an excess of possibilities that still required human judgment to navigate. Designers should not only learn how to use AI tools. We should take part in shaping them.
Working this way for a year also meant constantly relearning the tools themselves — new models, new interfaces, whole workflows rebuilt every few months as the tools changed under me. That instability became a lesson of its own: continuous adaptation isn't a phase design practice passes through on its way to AI settling down — it's becoming a permanent part of what the job is.
The project ultimately exposed a gap between digital AI systems and the tacit, physical knowledge held by designers, craftspeople and workshops. Ceramic knowledge, for example, is deeply embodied and difficult to translate into datasets. Rather than seeing that gap only as a limitation, I began to see it as a design opportunity.
What if designers could build and train their own digital partners, shaped by their methods, values, material knowledge and way of thinking? The next design tool might itself be something we design.
“I have a confession — I don’t know what will be.” The project in 40 seconds, sound on
Printed studies — many directions, 3D-printed and compared side by sideA faceted direction — printed in white to judge the form
A conceptual electric kettle with a tilted, “sinking” silhouette.
Why?
To see how a familiar white appliance can gain character through form rather than color.
How?
A white, restrained exterior where shape and proportion do the work. Lifting the kettle off its base reveals a hidden, glossier surface.
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A conceptual electric kettle exploring how a familiar white household appliance can gain character through form rather than color.
The project began with the idea of a sinking form, which inspired the kettle's tilted silhouette. I chose to keep the exterior white and restrained, using shape, proportion and interaction as the main design gestures.
When the kettle is lifted from its base, a previously hidden surface is revealed. This area was designed with a glossier finish, creating a subtle material contrast between the familiar exterior and the part of the object normally concealed from view.
Final form — render, KeyShotLifting off the base — render, KeyShotExploded assemblyConcept developmentProcess, form refinementTechnical drawing, dimensions & section
Small pieces of software I build for my own creative process, through conversation with Claude Code.
Why?
Instead of adapting my process to existing software, I want tools shaped around the way I work.
Next?
Growing these experiments into a personal design studio. Three of them are live below — try them.
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I'm exploring how far I can extend my role as a designer by building the tools I design with. Each project starts with a need in my own creative process, then becomes a small piece of software built through conversation with Claude Code.
Over time, I want these experiments to grow into a personal design studio: a collection of tools shaped around the way I work, rather than adapting my process to existing software.
Image Playground
Instead of adapting my images to existing effects, I wanted a space where I could manipulate them more freely and see the result in real time.
A modular playground for breaking an image into cells, symbols, grids and glow, with direct control over how the image is interpreted. Part of the inspiration comes from the language of thread — cross-stitch and embroidery as a way of reading an image in grids and stitches.
I wanted to see if an image could be stitched digitally — read the way a needle reads it, cell by cell, row by row.
This is one of the results I keep coming back to. The characters sit on the grid like stitches, and the flower dissolves into something that feels woven, not printed.
It’s not finished. It’s a direction. How close can a digital grid get to the texture and rhythm of thread?
Mockup Studio
I wanted to present my photography in realistic framed mockups without relying on Photoshop, while keeping control over the final result. So I built a tool for placing artwork into spaces and adjusting its presentation.
Screen capture, placing artwork into a mockup frame
Result 1
Stipple Studio
I wanted my Cricut to draw, not just cut — portraits made of thousands of pen dots. Its own software can’t generate that kind of drawing, so I built the missing piece.
Stipple Studio turns an image into a pen drawing — photocopy-style grain, smooth Voronoi stippling, a halftone that switches between up to three pens, or engraved cross-hatching — and exports SVG files ready for Cricut Design Space. An optional vector mode first traces the image into flow lines, so the dots and hatching follow the movement of the original drawing.
From image to paper — the tool, the Cricut, the drawing
On paper
Ongoing experiment · Work in progress
G-code Designer
I wanted more direct control over what a 3D printer actually does, beyond the settings offered by a traditional slicer.
A visual tool for shaping G-code directly through parameters such as twist, taper and wave, while making the toolpath itself easier to understand.
Visual G-code designer — twist, taper, waveReading a slice — travel, retract, time & filament estimate
Latest update — a new Weave mode for designing woven patterns directly as a toolpath: pattern, thread spacing and width, and layered strand builds, with a live 3D preview. Printed the first physical test to see how the simulated weave holds up in real filament.
A home breeding system for grasshoppers as a source of protein.
Why?
A speculative question from an Off-Grid course: what if animal protein becomes harder to access? Grasshoppers are a particularly efficient option for small-scale food production.
How?
Research into breeding, behavior and life cycle, including a conversation with Dror Tamir, CEO of Hargol, shaped habitats for each growth stage with controlled climate, food, water, waste collection and a cooled harvesting compartment.
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Developed as part of an Off-Grid design course, the project began with a speculative question: what happens if conventional animal protein becomes harder to access in the future?
I chose to explore protein scarcity and researched alternative sources, which led me to grasshoppers as a particularly efficient option for small-scale food production. From there, I developed the idea of a domestic breeding system.
The design was shaped by research into grasshopper breeding, behavior, environmental needs and life cycle, including a conversation with Dror Tamir, CEO of Hargol. The final system is divided into habitats adapted to different growth stages, with controlled temperature, humidity and ventilation, integrated food and water, breeding areas, waste collection and a cooled compartment for harvesting.
Every part of an Xbox Wireless Controller, modeled and dimensioned from scratch in SolidWorks, and rendered in KeyShot.
Why?
To practice the patience technical design asks for — the kind a render never shows.
How?
Reverse-engineered shell by shell, down to the vibration motors and the 3.5mm port, into a production-ready drawing set.
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A full reverse-engineering exercise in SolidWorks: every shell, bracket, button and motherboard of an Xbox Wireless Controller modeled and dimensioned from scratch, sheet by sheet, down to the vibration motors and the 3.5mm port — the kind of patience technical design asks for that a render never shows.
A red anemone pin created in memory of those murdered on October 7th. The anemone (כלנית), deeply rooted in the Israeli landscape, carries a strong connection to memory and remembrance.
In use — holding the pulley still while the ratchet loosens a bolt
What?
A mechanic’s hand tool for taking water pump pulleys off a car.
Why?
There’s almost no room around the pulley, so power tools don’t fit, and the pulley spins as soon as you try to loosen a bolt.
How?
A socket at one end locks onto one bolt so the pulley can’t turn, while the ratchet works through the long slot on the next. The slot fits different bolt spacings, so one tool fits many cars.
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A mechanic’s tool for dismantling water pump pulleys. Getting a pulley off a car is harder than it sounds: there is very little room around it, so electric and pneumatic tools often can’t fit, and mechanics end up using small hand tools or removing other parts first. On top of that, the pulley spins as soon as you try to loosen its screws, so everyone improvises their own way of holding it still.
This tool holds the pulley for you. A socket at one end locks onto one of the pulley’s bolts and stops it from turning, while the ratchet works through the long slot on the next bolt. The length of the slot covers the different bolt spacings of different vehicles, so one tool fits many pulleys.
The process moved from how the tool sits on the pulley, through proportions and side profiles, to how the hand grips it while pushing against the ratchet. I then shaped quick clay models to feel the forms in the hand before settling on the final one.
Handling studies — final model
How it works — sketchForm sketches & proportions, 200–250 mmGrip and ergonomics sketchesClay form models
Shed Fur, Felted — Bucket Hat Made from Shed Dog Fur
Campaign, street
What?
A bucket hat felted entirely from my two chow-chows’ shed undercoat.
Why?
Even when I leave the house without my dogs, they come with me and keep me warm. The dog is our best friend, but can it also be a source of material? A question that opens up moral ones.
How?
Brushed out and collected over months, then wet-felted by hand into cloth. To show the hat as a finished product, I created an AI fashion campaign with a model and dogs.
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A bucket hat felted entirely from the shed winter undercoat of my two chow-chows — brushed out, collected over months, then wet-felted by hand into cloth.
The idea started from a simple feeling: even when I leave the house without my dogs, they’re still with me, keeping me warm. From there the concept grows wider. The dog is our best friend, but beyond friendship, could it also provide us with material? And what moral questions does that open?
To present the hat as a complete product, I created a fashion campaign with AI, featuring a model and dogs.
Detail, wornTexture, stitchingProcess, raw fur to finished hat
A vintage European teapot and an Arabic coffee pot, joined by concrete.
Why?
To explore connection, identity and cultural boundaries — Israeli society as a meeting point between East and West, old and new.
How?
Concrete, a material everywhere in the Israeli landscape, acts both as a connector and as a boundary. The reflective surfaces put the viewer inside the conversation.
Read the full story
An exploration of connection, identity, and cultural boundaries through material and form.
The project began with a simple question: what does it mean to connect two objects? I experimented with different joining methods and materials, testing both the physical strength of the connection and the meaning created by bringing two objects together.
The final piece connects a vintage European teapot and an Arabic coffee pot using concrete, a material deeply present in the Israeli landscape and architecture. The two ceramic objects carry different cultural histories, while the concrete acts both as a connector and as a boundary between them.
Their reflective surfaces introduce another layer to the work: the viewer sees their own reflection within both objects, becoming part of the conversation around identity and belonging.
The project reflects on Israeli society as a meeting point between East and West, old and new, and multiple identities existing within the same complex reality. Do our identities truly connect, or do they remain separate behind visible and invisible boundaries?
← Experience — Designer, AI Design Lead — 2025–2026
Elephant Labs
Designer at a studio for brand experiences — from brand research to installed displays.
Over the year I worked on many brands; the projects below are a few examples. On each one I did the design work end to end — research, concepts, visualizations, client presentations and preparation for production. The studio then built the pieces in-house or passed my drawings on to its suppliers.
Project Examples
Belvedere Vodka — From Brand Language to Built Objects
An example of working with a brand. Before designing anything, I studied Belvedere in depth — its values, its audience and the message it wants to carry. So whenever a brief for a new product came in, there was already a deep understanding of what to make, and how to make it meet the client’s needs.
01 — Understanding the brand
Brand board — colors, values, materials and light, distilled from the brand
Research — the brand’s campaign world, “Live Better, Live Off Script”
Look & feel — brushed metal, reflection and light
Look & feel for the event — brushed metal, mirror, reflection and light tubes
1 / 4
02 — From brief to object
Each product brief started from that understanding. A few of the objects designed for the client: a DJ booth in two material directions, taken down to a production drawing, and a bottle stand built around a maze of shelves.
DJ booth · Direction A — Alucobond panels with a brushed stainless finish, a white LED strip at the base so it seems to float, and a backlit logo
DJ booth · Direction B — milky Perspex panels lit from inside by vertical LEDs, metal frames, and a laser-cut stainless-look logo
DJ booth · Material specification — Alucobond in brushed aluminium, 3 mm, with a mirror-finish Perspex logo (notes in Hebrew, as sent to the manufacturer)
DJ booth · Production drawing — Direction A, dimensioned for the manufacturer (mm)
Bottle stand · CAD model
Bottle stand · Render — a maze framing a single bottle
1 / 6
Jack Daniel’s — A Window Display, From Concept to the Street
The same approach with another brand. Starting from Jack Daniel’s heritage and its confident voice, I developed two window concepts for a liquor store — and the bottle-silhouette concept was built and installed.
01 — Understanding the brand
Brand language — heritage, craft and a confident voice: “It’s not Scotch. It’s not Bourbon. It’s Jack.”
Look & feel — charred wood, dark stone, warm light and bold No. 7 lettering
1 / 2
02 — Two concepts
Concept A · Bottle silhouette — a lit outline of the bottle framing a single bottle, the brand line on the glass, and a No. 7 wrap on the facade
Concept B · Layered typography — laser-cut layers of brand lettering around the bottle, lit from above (the concept slide, with its notes in Hebrew)
Concept B · On the storefront — visualization
1 / 3
03 — On the street
Installed — the bottle-silhouette window and the No. 7 facade, filmed on site
More Concepts
Hennessy × LeBron James — Window Display
Translating Hennessy’s “Spirit of the NBA” brand space into a street-facing window for a liquor store.
Inspiration — Hennessy’s “Spirit of the NBA” brand space
Before — the store window
After — window display concept
Corona — Window Display & Drinks Display Unit
A window treatment and a wooden in-store display unit built around Corona’s identity.
Window — concept visualization
Display unit — render
In store — visualization
The Role
A year at Elephant Labs, a creative studio specializing in interactive branded experiences, installations, and experiential environments. My work focused on translating brand identities and client briefs into physical experiences.
Where I found I could contribute the most was at the start of each project: researching the brand and its world, gathering inspiration, reading its design language, and shaping concepts that feel true to its values. From there I developed the visualizations and client presentations, and carried selected designs through to production across wood, laser-cut components, metal, and printed graphics.
I also led the studio's adoption of AI tools into its day-to-day workflow — introducing new tools, training the team, and folding AI into research, presentation development, visual exploration, rendering, and marketing video production.
Alongside my design role, I managed the studio's Instagram presence, including filming and editing content, planning the publishing calendar, and managing paid social campaigns.
One project I particularly enjoyed was developed for Pilon, an earlier child-focused branch of Elephant. What made this project especially interesting to me was how central research was to the design process. I studied the developmental needs of children across different age groups, mapped the physical environments and their constraints, and conducted market and precedent research around play, music, theatre, and creative activities.
The research, together with ongoing client feedback, helped us define several areas of opportunity and develop concept directions around them. Rather than starting with a product and working backwards, the concepts grew directly out of the user needs, developmental differences, spatial constraints, and patterns we identified through the research. I then developed several concepts for play systems and activities, which were later taken forward for further development by the studio.
A year of volunteer graphic design work for WIZO, designing social-media posts and flyers for events, campaigns, and community programs run by the organization — talks and lectures, support groups, holiday greetings, and awareness and fundraising campaigns.
Drawing offers a different mode of thinking than design. While design often requires structure, planning, and conscious decisions, drawing creates room for instinct, intuition, and a certain loss of control.
Things often emerge on the page before they can be explained or understood. Sometimes their meaning only becomes clear afterwards, as if drawing allows the subconscious to speak through the hand.
I use female figures as a lens through which I explore femininity. They give me a space to express emotion, identity, vulnerability and strength, and to reflect on the many ways femininity can be felt and understood.
2026
Drawn during the war with Iran, which began on February 28 with joint U.S.-Israeli strikes.
Framed, installation view
Facial expression is also an important part of how I communicate emotion. I'm interested in the moment when a look can carry as much meaning as a pose. The women in my drawings express themselves not only through the body, but through the eyes, the mouth, and the tension of the face.
Touching the Shadow
When an artist chooses to look inward, there is no guarantee that what appears will be beautiful or reassuring. Some parts of the inner world are tangled, uncomfortable, and difficult to understand. There is not always an answer, and not always a clear way out. This drawing is about the choice to reach toward that darkness anyway.
I've always been curious. I'm pretty sure I was born this way, and at this point I've accepted it as a mildly chronic condition.
I'm an industrial designer who likes moving between objects, materials, technology and art. I enjoy figuring out how things work, making things with my hands, and occasionally building my own tools when the existing ones don't do what I want.
I see design as a way to solve problems, but also as a way to tell stories, experiment and connect seemingly unrelated worlds.
Mostly, I want to keep making things I'm curious about.
