I revisited and reworked a piece from 2015 to more forcefully apply digital mappings of bobbin-lace form-building strategies and, by reducing the symbol system, to ensure that every line carries concept-bearing meaning. The work honors women—working women as distinctive cornerstones of society. By adopting the traditional feminine craft language of lace-making, I rendered motifs tied to women inventors. This simultaneously foregrounds the importance of women’s intellectual work and the modern zeitgeist’s openness that enabled women to contribute life-improving inventions.

Core motifs come from women-related inventions, complemented by female-associated ornament in Hungarian folk art—such as symbols of fertility and immortality. The double-line construction reflects the spatiality of lace. The result is a poster-scale work merging illustrative and infographic elements, technically reconciling traditional and contemporary image-making. It reveals both historical traditions of women’s self-expression and contemporary avenues of achievement—celebrating creators whose dedicated, high-quality intellectual labor contributes to a form of “immortality.”

I extended the concept by inviting others in – collaborating with professionals and engaging amateurs through participatory singing. The pieces hold a mirror up to intuition and open free associative space, built again from my archival sounds plus new field recordings. I curated for joy and liberation so the act of composing itself remained in a state of ease – and that state could be embedded in the music. I constructed the dramaturgy as one would craft lace: meticulously, sound by sound, second by second. Repetitive yet shifting patterns offer safety and discovery at once – like a bedtime story whose ending you know, freeing you to explore details anew. The analog synth and software rhythms, together with the noises, follow the laws of natural sound: pulsing, interacting, swelling, fading.
Its inner image for me is travel – one journey, over a lifetime, toward the core self. In the music this is symbolized by a recurring rail-borne vehicle sound: steady, forward, always a little different in each environment. The lyrics invite others into my inner world and seek resonance, often via nature symbols akin to the folk tradition. The process recalled my childhood “Veni-radio,” when I imagined the universe listening as I recorded, uniting performer, audience, and announcer – an urge to synchronize with my innermost self and share that with the world.

Péter Cseh is a jazz guitarist and faculty member at the Bartók Conservatory and Újpest’s Erkel Gyula Music School. Beyond performing his own music with the Cseh Péter Trio (with Marcell Gyányi and Ambrus Richter), he is active in multiple ensembles (Electric Bebop Band Budapest, Nagy Emma Quintet, Mester Dániel Trio, Tóth Viktor Skylark Metropolitan) and has shared stages with leading Hungarian and international artists including Mihály Dresch, Attila László, Mihály Borbély, Tibor Tátrai, Soweto Kinch, and Hamid Drake.

His music is marked by breadth, refined arrangement, and a high level of improvisational presence. His originals open both lyrical and propulsive worlds, remaining proportionate and sensitive in every detail. His playing honors classic jazz traditions while embracing modern, fusion-tinged sound exploration. Whether acoustic or overdriven, his guitar work is nuanced and expressive; the varied structures of his pieces turn performances into compelling journeys—balancing drive and lyricism, discipline and freedom.

The logo’s minimalist language nods to the guitar’s silhouette while evoking the poised, free-flowing quality of his playing. The strings appear at the sound hole—the point of motion—while the hole itself, whose role is to “release” the resonance of the body, stands for the music’s fullness and projection. The supporting typography counterpoints a subtle pulse with geometric regularity, preserving airy lightness alongside structural harmony.

The primary concept was to set texts that fully convey the intended message even as prose, and then to shape them into songs that others can easily sing and pass on. I strove to apply previously explored musical tools in the clearest, most minimal way, putting the communicative power of song at the center. For me, “song-ness” is both structure and channel: it holds the simplicity of folk melody while embracing the freedom of a contemporary sound. The arrangements also bear István Bata’s authorial fingerprint throughout.

“The Department of Architectural History and Monuments Preservation at the Budapest University of Technology and Economics (BME) celebrated the 150th anniversary of its foundation—and that of its predecessor institutions—in 2020. The department is one of the key pillars of Hungarian architectural education: beyond teaching architectural history, heritage conservation, and architectural theory, it played a fundamental role in laying the foundations for architectural design education in Hungary. For the anniversary, a new visual identity and a volume presenting the department’s work were created.

The identity’s central element is the Esztergom rose window, a motif of profound symbolic meaning. Since antiquity, the rose has symbolized beauty in European culture; in Christian iconography it is associated with the heavenly realm, paradise, and the Virgin Mary—appearing, for example, in Cistercian architecture. The rose also signifies a paradisiacal, fulfilled state and eternal life.

The rose window is the architectural manifestation of this symbol and represented one of the greatest professional challenges in the Middle Ages. Shaping heavy stone structures into lace-like forms and dematerializing them through incoming light required extraordinary craftsmanship. In general, the window expresses the dematerializing power of light and the continual transformation of interior surfaces; together with stained glass—as described by Abbot Suger—it became the most precise instrument for creating a transcendent sacred space. The logo’s woven, delicate linework alludes to this celestial, light-filtered radiance.

The circularity of the rose window carries the Neoplatonic symbolism of the circle: an image of the world’s wholeness and perfection—an ideal architecture itself strives for. Architecture is bound to historical periods yet seeks timeless dimensions: enduring tools of spatial formation and abstract relations that have always existed. The rose window thus stands as a symbol of timelessness.

A missing segment in the logo’s outer ring refers to the department’s heritage-preservation profile—its work with ruins and fragments. It also hints at the department’s mission to search for architectural completeness: the seven spokes signify the fullness of the world, which resolves in the middle ring. The form also reflects the department’s distinct methodology in Hungary: research grounded in measured drawing and faithful survey, and the conviction that by revealing geometrical and structural laws, we can approach architecture’s enduring relations.”

—Prof. János Krähling, Head of Department

Pushing Unfold’s concept further, I aimed for even greater freedom—releasing the compulsion for form to take precedence over the emotion or thought to be expressed. I wanted to exclude formal self-purpose entirely so that in creation only an instinctive answer remained: “just because.” I tried to reach a raw, immediate presence where the music could exist without external expectations or constraints—like scribbling with eyes closed until the pure, feeling-filled instant is all that’s left.

This poster was created for the Bauhaus 100 exhibition organized by Graphifest, as a tribute to Áron Jancsó (1986–2015), one of Hungary’s most influential contemporary typographers. His Ogaki typeface — a calligraphic yet experimental display font — merges architectural structure with organic flow, embodying both precision and expressive freedom.
In this design, I reimagined the letter “H,” unfolding its organic qualities through the visual language of lace — a metaphor for delicacy, interconnection, and the handmade tradition. The concept connects Hungarian folk craft and cultural heritage with modern digital design, situating Jancsó’s universal and cosmopolitan work within a Hungarian cultural context.

This graphic was made for the cover of my first album of original compositions and symbolically embodies the essence of the creative process it represents. The digital self-portrait captures the self-expressive concept of the music, while the background sketches recall my formative years of academic drawing.
One of my defining experiences was when my first and most influential mentor, László Zoltán Kiss, demonstrated in a single quick sketch the essence of a portrait — showing me how observation becomes image as the three-dimensional world transforms into two dimensions on paper.

My search for color has always been a deeply sensory experience. Because of my synesthetic perception, colors are not merely visual choices but emotional resonances that guide me intuitively, much like the compositional flow in songwriting.

Thus, the album cover is not merely an accompanying visual, but an integral part of the music itself: a personal, emotionally charged self-portrait bridging past study and present experimentation.

The Hegyvidék Cultural Salon opened in 2011 and moved to its own dedicated building in 2018. Designed by architect Péter Lenzsér, the new venue embodies a modern, minimalist style with materials and spatial design that harmonize with its surroundings, radiating quiet elegance.
With the opening of the new building, the Salon sought a refreshed identity — one that would align with the new architectural environment while preserving its long-standing butterfly motif. My concept was to design a butterfly that reflects the logic of the building itself: the solidity of brick structures, the delicacy of perforated window surfaces, and the strength of metallic frameworks.

The result is a butterfly composed of dual line thicknesses — graceful yet strong, delicate yet structured — paired with a refined geometric typeface. Together, they capture the Salon’s essence: lightness, elegance, and enduring stability.

Interior designer Bianka Sziráki’s work is characterized by clean forms, contemporary urban sensibility, and subtle historical details. She believes design should make every home a space for restoration, comfort, and self-expression.
Her logo reflects this philosophy: derived from her monogram, it forms a minimalist window motif — a threshold between interior and exterior, self and world. The letter B becomes the window frame, while the divisions within create rhythm and variation, symbolizing how harmony in a home arises from the balance of details and the gentle dynamics of everyday life.

The design mirrors Sziráki’s own approach: thoughtful, elegant, and rooted in the idea that space is a living extension of the person who inhabits it.

Kézműves Kultúra is the personal ensemble of trumpeter and composer Ádám Meggyes, created to perform his original works. Rooted in classical tradition yet unfolding in the realm of free jazz, his music builds an intuitive flow inviting listeners into imaginative and emotional participation.

The logo reflects this dynamic through a minimalist visual form: an “x” borrowed from musical notation — the sign marking fixed points where musicians must meet in time. It thus symbolizes the balance between composed structure and improvisational freedom that defines the group’s performances, where every concert is unique yet guided by the composer’s intent.

Conceptually, the “x” also raises questions about cultural continuity and craftsmanship: what does handmade mean today, in an era of digital mediation and shifting creative paradigms? How do we sustain tradition while embracing transformation?

Typographically, the diacritics resemble MIDI symbols, referencing modern composition tools and linking acoustic creation with digital innovation — a reflection of Meggyes’s full creative spectrum. The emblem ultimately distills his one guiding request: “make it look good.”

The owl was the obvious choice for Dr. Gergely Baglyos’s personal logo — a rare case where linguistic and visual symbolism resonate so completely. The motif embodies wisdom, learning, alertness, and insight — all essential virtues of the legal profession — while also directly referencing the name Baglyos (“owl-like”).
The challenge, therefore, was not to choose the right symbol, but to create one unlike any other: distinctive, minimalist, and elegant, yet approachable and refined. The final emblem captures the harmony between intellectual depth and professional clarity, balancing sophistication with human warmth.

Aulich Five is the first and only Hungarian beauty salon to represent Natura Bissé, the globally acclaimed, family-owned Spanish spa brand founded in 1979. The client’s request was for a logo that would express commitment to excellence and professional confidence with minimal visual means. The resulting design reflects refined quality, purity, and precision — values shared with the brand’s philosophy of advanced skincare, well-being, and aesthetic sophistication.

This logo was created for Zsuzsanna Bán, a certified senior supervisor and master coach, founder of supervision-based coaching in Hungary since 2003. As one of the field’s pioneers, she initiated numerous educational programs, including the Supervisor-Coach Postgraduate Program at Károli Gáspár University and the Leader as Coach executive training.

The logo embodies her professional clarity, balance, and humility. The lowercase rendering of her name reflects modesty and grounded professionalism, while the uppercase professional titles signify authority. The fine, harmonious letterforms convey stability, and the subtle motion of the accent mark symbolizes growth, renewal, and responsiveness — the defining qualities of her work and presence.

The concept behind the label design for Jásdi Winery’s 2013 Falcon Cuvée was to reinterpret the falcon motif in an abstract yet illustrative way, evoking associations related to wine tasting and sensory experience. The line-drawn feather motif symbolizes both the physical and spiritual dimensions of soaring — representing at once a part of the wing and, as a writing tool, a metaphor for intellectual flight.