Multimedia designer working in the mixed field of digital and physical spaces. Arts and Design professional with an MFA in Design & Technology | Parsons School of Design, and a BA and MA in Graphic Design | St Petersburg University. Currently focuses on visual and motion design, creative technology, game design, and XR.

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Glyphs of Another World project aims to build a digital myth inspired by the history of nomadic shamanism and ancient petroglyphs. The mysterious world of glyphs has no logical function or precise understanding. Incredible though it may seem, their world seems to exist separate from all parallel realities. It is impossible to find out their real purpose, functions, or capabilities. Their origin, evolution, and exact structure are unknown.

It is known that from time to time they become perceptible to individuals whose mind abstracts from the present and ceases to focus on life. This happens rarely and the images sensed in this manner are always very vague. They remain in memory as dreams, or come suddenly as deja vu, but only in the form of an abstract feeling. They cannot be seen or interacted with. Nevertheless, since ancient times some have been trying to capture them in art or in stories. The project aims to create one of these rare captures.

02: glyphs in motion

Glyphs of Another World project is a mixed medium for artists, seekers, and strangers to evoke a sense of suspense, confusion, and thoughts about alternative spaces and beings in the context of infinite time.

03: Glyph 05 and 16

Based on archaeological insights of petroglyphs of Kazakhstan, traditional myths, and my own speculation, I am trying to create an environment unfamiliar to us, where we can travel and communicate with the unknown creatures by methods we do not know and a language that we do not yet understand.

O4: Tamgaly. Zhetysu region, Kazakhstan

The project consists of various multimedia to present a new speculative world based on fictional organisms; to illustrate an unknown environment and potentially other forms of living creatures.

Software: Cinema 4D, Illustrator, Photoshop, InDesign, PrePress, Unity, Rokoko Suit & Studio, Reason, After Effects.
Tools: print, clay, wire, mold, drawing, sewing.


05: glyphs’ models 

06: Alienation

Materialized glyphs form communication devices; objects materialized in our physical world. They modified the appearance and look different than in the digital or unseen world. They can be used as ritual artifacts for alien communication. (almost like in nomadic shamanism). The physical glyphs can be human body extensions like outer bones trying to reach another matter. They form shadows and can be perceived differently at each angle. They can be combined and seen in a dissimilar environment. We can make sounds out of them by scratching on a surface. The shadows form more glyphs and scenes of the invisible world.

07: Bestiary of Tengri

Most of the information about the world of Glyphs is unknown, including whether they are older than our era or exist simultaneously. This study tries to organize and reveal some of the glyphs, the glimpse of which were captured in a moment. Our species cannot observe glyphs with our senses, but sometimes we can be aware of their presence, though their appearance might be different and each individual perceives them in their own way. In this research most of the Glyphs appeared in a time of mental isolation, not necessarily in an obscure state, but rather as a moment of thought, which appears and disappears.

08: glyphs in NYC environment

Installation aims to create a space for each medium to exist together and also dissolve into each other to make more possible interactions through the play of light, shadow and amorphic shapes.

The project is a Thesis proposal made at the Design & Technology program at Parsons School of Design 2022.

Thesis Faculty

Colleen Macklin
John Sharp
Loretta Wolozin
Andrew Zornoza

Special thanks

Jonathan Beilin, Kyle Li, Anthony Dunne, Fiona Raby, and all Design & Technology people.

more media documentation will be published soon.

© 2023 Ardak Mukanova