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Daria Osypchuk

Offer Daria work on your next project.

Ukraine Czernomorsk, Ukraine
7 hours 18 minutes back
Available for hire available for hire
3 Safes completed
3 months 7 days back
3 clients
age 34 years
on the service 8 years

Rating

Successful projects
100%
Average rating
9.8 out of 10
Rating
640
Interface Design (UI/UX)
251 place out of 2658
Gaming Apps
45 place out of 554
2 projects
Artwork
1 project
AI Art
1 project
Clothing design
1 project
Illustrations & Drawings

Skills and abilities


Writing

Portfolio


  • Audit

    Interface Design (UI/UX)
    Design Audit — From AI Abstraction to Human-Centered Design

    Initial Observation

    As part of the experiment, I decided to explore how the perception of the interface changes with a gradual transition from a fully AI-generated design to a design that incorporates human logic and real work artifacts.

    To this end, three versions of one website were created.

    ---

    Version 01 — AI

    The first version was completely created by artificial intelligence.

    Strengths:

    - modern visual aesthetics;
    - appealing color palette;
    - striking gradients;
    - quality composition.

    However, after viewing, the question arose:

    "What does this company do?"

    Most of the objects served a decorative function:

    - chair;
    - plant;
    - lamp;
    - abstract shapes.

    They created an atmosphere but did not explain the product.

    As a result, the site looked beautiful, but the meaning had to be guessed.

    ---

    Version 02 — AI + Design Direction

    In the second stage, I preserved the strengths of the original concept but began to guide the AI through a design task.

    Main goal:

    to replace abstract objects with understandable visual metaphors.

    The interface included:

    - laptop;
    - notebook;
    - phone;
    - color palette;
    - elements of the workflow.

    The site became significantly clearer.

    A connection emerged between the objects and the studio's services.

    However, most of the content still remained conceptual and could belong to almost any design team.

    ---

    Version 03 — AI + Human Curation

    In the third stage, human design was involved in the process.

    I began to replace abstract images with real work artifacts:

    - interfaces;
    - diagrams;
    - strategies;
    - game projects;
    - real cases;
    - client stories.

    The feedback section was also completely redesigned.

    Instead of perfect template quotes, there appeared:

    - photos of clients;
    - real reviews;
    - signatures;
    - elements of paper notes.

    The site began to tell not only about the visuals but also about the studio's thought process.

    ---

    Key Difference

    Version 01

    AI creates atmosphere.

    Version 02

    AI creates atmosphere and begins to explain the product.

    Version 03

    AI creates the foundation, while humans add context, meaning, and evidence.

    ---

    Conclusion

    This experiment revealed an interesting pattern.

    Artificial intelligence excels at creating aesthetics and visual mood.

    However, it is the human who determines:

    - which objects make sense;
    - which elements inspire trust;
    - which artifacts better explain the product;
    - how the design tells the story of the business.

    As a result, the final version became not just beautiful.

    It became understandable, human-centered, and focused on real user tasks.

    The main takeaway from the project:

    AI can create a visual shell. Humans turn it into a product experience.
  • Analytics. Earning on Pinterest

    Banners
    Task

    I took a popular topic of earning through Pinterest and decided to look at it not as an advertising banner, but as a system.

    The problem with most similar layouts is that they immediately show results and promises of income, but do not explain how it works.

    My idea

    I wanted to show the journey itself.

    How content gets onto Pinterest, attracts audience attention, turns into traffic, and leads to results.

    How I approached the task

    I structured the composition like a visual funnel.

    The top part shows different types of content and niches that can work through Pinterest.

    Then the focus shifts to analytics, SEO, and promotion tools.

    Next, the entire flow converges into a central point — the PIN, which then transforms into clicks, traffic, and conversions.

    At the bottom is the final result — analytics and a working dashboard.

    Conclusion

    Instead of another banner about "easy money," it turned into a visual story that shows not a promise of results, but the mechanism for achieving them.
  • Pinterest

    Banners
    Concept of an advertising layout for Pinterest

    Task

    Most materials on promoting on Pinterest are built around graphs, icons, and template marketing elements. Such solutions convey information but rarely explain the actual value of the platform for business.

    The goal of the project was to show not a set of features of Pinterest, but the user journey from content creation to acquiring a client and making a sale.

    Solution

    Instead of traditional infographics, I built the composition as a visual story.

    The layout is based on a clear sequence:

    Content → Pinterest → Client → Purchase

    Real content categories, workflow elements, and visual markers of results were used: order, new subscriber, notes, and author annotations.

    Approach

    - Replaced template icons with real images of content.
    - Used a layered composition to create a sense of a workspace.
    - Added handwritten notes and stickers to emphasize human involvement in the process.
    - Focused on the results of the work rather than abstract analytics.
    - Built the layout based on the principles of visual storytelling, where each element supports the main idea.

    Result

    The final concept is perceived not as yet another marketing infographic, but as a real workspace of a specialist using Pinterest to attract clients.

    This approach helps to convey the value of the platform more quickly and makes communication more lively, understandable, and emotionally engaging.
  • Wardrobe analysis

    Banners
    Wardrobe Analysis

    How I Turned a Static Banner into a Story of Movement

    When I first saw the original layout, I thought it explained the service well, but it didn’t evoke any emotions.

    The banner featured a girl, text, and a list of what the service includes. Everything was clear, but there was nothing for the eye to catch. The viewer simply looked at the information.

    I wanted to change the way it was perceived.

    Instead of describing the wardrobe analysis through a list of benefits, I wanted to show the feeling a person gets after this service.

    ---

    Idea

    During the work process, I came to a simple thought:

    Wardrobe analysis is not about clothes.

    It’s about the transition from chaos to order.

    When there are many items, they seem like a random collection of objects. After analysis, a system emerges, an understanding of one’s style, and confidence in what to wear and buy.

    I decided to embed this idea into the composition itself.

    ---

    What I Changed

    First of all, I abandoned the static pose of the character.

    I wanted the girl not to stand inside the layout but to literally break out of it.

    Thus, dynamics, movement forward, and interaction with the viewer emerged.

    The hanger was brought to the foreground and directed straight at the camera. Thanks to this, the viewer stops being an observer and becomes a participant in what is happening.

    ---

    Visual Path

    I paid special attention to the movement of the gaze.

    It was important to me that the objects didn’t just fly around the character but helped tell the story.

    Therefore, the clothes and accessories were arranged in a sequence:

    Blazer → Bag → Scarf → Hanger → Button

    As the movement progresses, the objects become simpler and smaller.

    Thus, the composition gradually leads the gaze to the headline and helps convey the idea of transformation.

    ---

    Working with Typography

    I didn’t want the headline to look like a separate block of text.

    So the letters became part of the space.

    They are directed into the scene and work together with the movement of the character and objects.

    For me, this was a way to unite graphics and story into one system.

    ---

    Result

    In the end, it turned out to be not just an advertising banner.

    I wanted to create a sense of movement, choice, and change.

    So that the viewer not only understood what the service was about but also felt the result even before reading the text.

    Essentially, this project became an exercise in visual storytelling — an attempt to tell a story through composition, movement, and interaction of objects within the frame.
  • WBH

    Interface Design (UI/UX)
    WBH
  • QUIKL — pressure as a source of movement

    Corporate Style
    QUIKL — not a concept art of a creature and not an illustration of a fictional organism. This is the design of a biomechanical system. The organism was developed as an interconnected structure, where each form is a consequence of rules, not an artistic decision. At the core of the project is the idea of using the external environment as a source of energy. Quikl does not produce movement in the traditional way — it converts the pressure of surrounding water into stored elastic energy and releases it at the moment of jumping. Each element of the organism was designed through function:
    — segmented body structure
    — compression chambers
    — reactive acceleration
    — hydrodynamic adaptation
    — heat exchange
    — tissue regeneration system
    — material limitations and extreme operating modes
    The project built the internal logic of the organism:
    medium pressure
    → compression
    → energy accumulation
    → release
    → cooling
    → recovery
    The form of the organism was not created manually as a decorative image. It was derived from a set of conditions: geometry, biomechanics, states, environmental constraints, and system behavior. The project explores the question:
    can an organism be calculated rather than drawn? QUIKL is an attempt to design a living system as engineering architecture.
  • TOP’ I AM

    Interface Design (UI/UX)
    TOP’ I AM
    Object Typography Exploration
    This work began as an experiment with the question:
    Is it possible to assemble typography not from letters, but from the relationships between objects?
    The starting idea was simple — each letter should exist as an independent scene and remain readable as a form.
    Project rules:
    — letters are not drawn directly;
    — the object must retain its own logic;
    — the form appears as a trace of action, not as a pre-constructed sign.
    Examples:
    T — a person on a bicycle forms the vertical and the crossbar;
    O — a lifebuoy becomes a spatial pause;
    P — the action of a fisherman forms the outline;
    I — presence instead of construction;
    A — the body of an animal creates the shape;
    M — the connection between characters becomes the structure of the letter.
    During the work, a shift occurred.
    Initially, the goal was to create decorative typography.
    Later, the focus shifted to another question:
    what happens if part of the work is left for the viewer to recognize?
    From this came: — different levels of letter readability;
    — traces of construction;
    — variable density of details;
    — local anomalies of materials (glass as an event, not as a style);
    — preservation of negative space.
    The final idea of the project:
    not to illustrate text,
    but to build a system where the viewer first sees the world, then discovers the letters, and only after that assembles meaning.
    Result:
    not object lettering and not illustration,
    but an experiment at the intersection of typography × worldbuilding × narrative composition.
  • Character

    Artwork
    Character
  • Social Poker UX/UI Concept

    Interface Design (UI/UX)
    Behavior-driven multiplayer interface focused on social atmosphere, player psychology, and cinematic interaction design.
  • The Falling Girl

    Interface Design (UI/UX)
    An atmospheric hero experience blending whimsical fantasy, dream distortion, and cinematic worldbuilding. The visual direction focuses on emotional movement, surreal perspective, and soft interface integration to create the feeling of entering a living storybook dream.
  • FORNO Pizza as an Art Form

    Interface Design (UI/UX)
    An atmospheric food commerce concept focused on tactile glass interfaces, editorial typography, emotional composition, and cinematic product presentation.

    The project explores how digital food experiences can feel physical, warm, and emotionally immersive rather than purely functional.#ux#ui
  • EA3000 An Archive Interface for Post-Collapse Survival

    Interface Design (UI/UX)
    A dystopian survival commerce system built around archive culture, identity signals, and post-collapse storytelling.
    An atmospheric archive-driven interface exploring survival systems, apparel drops, and environmental collapse.
    A cinematic survival archive combining dystopian fashion, system signals, and speculative interface design.
  • COB Future Emotional Commerce Experience

    Interface Design (UI/UX)
    A future emotional operating system designed for movement, stillness, and quiet digital companionship.
    COB explores how interfaces can feel atmospheric, reflective, and emotionally intelligent through:
    layered environmental UI
    companion presence
    seasonal moods
    memory residue systems
    cinematic interaction design
    slow ambient motion
    The project reimagines commerce not as a transaction, but as an emotional landscape that evolves alongside the user.
  • BLOOM Atelier — Beauty App UI/UX Design

    Interface Design (UI/UX)
    Atmospheric beauty mobile experience designed with editorial aesthetics, soft glass architecture, and spatial UI principles.
    A calm luxury interface focused on emotional interaction, visual depth, and premium user experience.
  • GRĀNJA — Lunar Beauty Experience

    Interface Design (UI/UX)
    GRĀNJA is a luxury skincare mobile experience inspired by lunar rituals, quiet transformation, and cinematic atmosphere.

    The project combines premium product presentation, immersive visual storytelling, and elegant interface structure to create a calm and emotionally engaging beauty environment.

    The visual language is built around darkness, light diffusion, gold particle systems, and spatial composition — transforming skincare into a ritual experience rather than a standard e-commerce interaction.

Reviews and compliments on completed projects 3

2 March 70 USD
Character drawings for the game

Quality
Professionalism
Cost
Contactability
Deadlines

Daria completed the task and made all the required corrections, thank you for the work.

Jegor Bogomolov | Personal

9 September 2025 16 USD
Develop embroidery

Quality
Professionalism
Cost
Contactability
Deadlines

Several options were proposed. Quick communication.
For a minimal budget - the performer tried to complete a challenging task.
But so far, none of the proposed options fit 100%.

8 September 2025 68 USD
Create illustrated books (AI)

Quality
Professionalism
Cost
Contactability
Deadlines

Thank you for the work. Everything is done according to the specifications and on time.

Activity

  Latest proposals 10
Building a design system using AI
128 USD
Website creation
135 USD
2D character for game presentation.
45 USD
Illustrator for the book (Metaphysical Brutalism)
200 USD
Test assignment. We are looking for an illustrator for the project.
23 USD
Portraits in the specified style
16 USD
Develop a series of banners for the website
68 USD
Partial improvement of the design of the existing website and making edits
330 USD
Need an AI illustrator to create children's illustrations, backgrounds, and characters for a book.
68 USD
Character portraits for a fantasy game (orc / goblin / etc. races)
29 USD