Multidisciplinary design is the practice of working across several disciplines — such as typography, photography, illustration, calligraphy, textile, and sculpture (in my case) — rather than staying within a single specialty. It is not about doing many things superficially; it is about letting different ways of making inform one another, so that a typographic solution can draw on photographic thinking, and a printed object can borrow from handcraft.

A multidisciplinary designer approaches each task as a whole, looks at it from several points of view, and chooses the method the problem actually asks for. In this sense, multidisciplinarity is less a list of skills than a way of thinking: a wider view that connects fields instead of separating them.

For a long time, the question followed me: isn’t multidisciplinary work just scattered work? Shouldn’t a designer pick one field and stay there? I heard it from others — and, honestly, asked it myself.

Instead of choosing one lens, I approach each brief as a whole — from several points of view at once — and look for answers across different fields.

It began in childhood: I graduated from three schools in parallel — and at the same time ran to pastry courses. Doing many things at once was never a plan; it was simply how I learned.