The Humans of Zeyna Studio

Elif started Zeyna in 2017 after a decade leading design teams in fashion, culture and tech. She is less interested in what looks current than in what will still hold up in five years, and she asks that question out loud before anything ships.

She runs a small letterpress workshop at weekends and thinks every designer should set type by hand at least once.

Jonas turns the vague half-sentence a founder keeps repeating into positioning the whole company can say out loud. He came here from ten years in advertising planning and has not missed the pitch theatre once.

He reads three newspapers a day and will happily explain why the sports pages are the best-written part of all of them.

Sofia owns the visual standard on every project that leaves the studio. She builds identity systems that survive contact with real marketing teams, which usually means designing the awkward cases first.

She trained as an architect before she moved into design, and she still measures rooms she likes.

Tomas builds the sites the rest of us draw, and he is the reason they stay fast once a client starts adding pages. He treats the performance budget as part of the design rather than a cleanup task afterwards.

He restores old bicycles and holds strong, entirely unsolicited opinions about gear ratios.

Priya takes the projects that do not end at launch: dashboards, onboarding, the screens people open every morning. She is unusually good at saying no to a feature without anyone taking it badly.

Four years into learning classical piano, she describes her progress as slow but measurable.

Noor decides how everything moves, from a logo reveal down to the way a page settles after it loads. Her rule is that motion has to explain something, otherwise it is just decoration.

She shot documentary film before she found animation, and she still cuts like an editor.

Ben handles the interaction layer, the part between a handsome static mockup and something that actually feels right under a cursor. He tests on the cheapest phone in the office on purpose.

Outside work he coaches a junior football team and insists the tactics transfer.

Clara writes the words that ship with the work: names, taglines, and the long unglamorous pages nobody wants to write but everybody reads. She cuts about half of what she drafts.

She is a compulsive collector of badly translated signage, photographed on every trip she takes.

Yusuf keeps schedules, budgets and expectations pointing the same way, which is why projects here rarely need a rescue week. If you get a straight answer about a deadline, it came from him.

He cooks for the whole studio once a month and refuses to write any of the recipes down.