Dana Elkis

Typography-oriented designer specializing in creating design systems, interactive web, and experience design. Drawn to design that has relevance, longevity, and purpose. Trained as a graphic designer at the Bezalel Academy of Art and Design, Jerusalem [2015]. She is a recent ITP—NYU (Interactive telecommunications program) graduate and a current research resident.

Dana was born and raised in Haifa, is currently based in Brooklyn, NY.

Senior Designer, 2020 - Current
DSI - Design System International

ITP, NYU Research Fellow, 
Design specialist, 2020-2022
Fresh grad of 2020 by AIGA, NY

About Me

Web Design
>The Bureau of Push Notifications
> 873 Civil Defense Sirens
Adjacent - Issue 07
Adjacent - Issue 06
Adjacent - Issue 05

Interaction Design
Typographic Dynamics
> Posture Torture
> Reflective Landscapes
> Walking Garden
> Creative block
> Interface
> Flashlight

Motion Design
> Tel Aviv Musueum of Art logo

Print Design
> Bodies and Borders 
> A MEMO FOR 2061
The bridge is Dead
> Dan Arav
> Alchemy of Words
> pharynx
> SubSahara
> Plato
> SubSahara 2
> Shevet Afik
> Utopian Loops
> 50 Years for Israeli Television
> Computer Mouse Confrence
> The Coding Lab
> Ophir Awards 2017
> Bambina

The Bridge Is dead 

Role Book designer
For Studio Michal Sahar 
Date February 2018
Type  Print, Book 
The Bridge is Dead offers a conceptual analysis of an artistic, cultural, universal phenomenon - the popular song. The book sheds light on the new definition of popular local Israeli music as well as original perspective on the Israeli culture and local music icons. The book was designed for
Jonathan Turgeman as part of his doctoral thesis in musicology The text contains more than 10 different type-hierarchies.

The Hebrew language is not rich in Italic weights commonly used in Latin. The tools for the differentiation of hierarchies in Hebrew are usually font substitution, extreme leading, underline and many other creative solutions.  This book was designed using all the different weights (including a new  set of Hebrew serif/san-serif italic) of the Fedra typeface (Michal Sahar Typotheque, 2015). This choice makes it possible to differentiate an express the different types of content. In places, the typography almost  becomes an  image to enable fluent reading.

Book 219 pages / 13.5x19 CM  / Digital Printing A.B prints, Tel Avi / Binding PUR Binding