Anadlüg Rassauat¹
is an independent designer based in Almaty².
She designs and oversees the creation of brand identities, logos, lettering, as well as works with graphic design and font development for clients across the culinaty arts³, cultural⁴, and environmental⁵ fields.
¹A.K.A.
Güldana Tauassar
anadlüg
²Location
Almaty, Kazakhstan
Selected clients:
Design
Art Direction
³Culinary
⁴Culture
Art
Music
Festivals
Fashion
⁵Environment
Typography
★ Personal Projects
Email
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Numbers
Re-count Photography Agora
The Numbers project was selected for the Re-count Photography Agora, an international initiative exploring the pervasive role of accounting and numbers in our daily lives. This collaboration between the University of Edinburgh Business School and TBS Education-Barcelona aimed to create a visual dialogue about how quantification influences our personal, professional, and public spheres.
My submission, titled "Numbers", delved into the subtle yet significant presence of numerical elements in urban environments. Through a series of photographs, I captured everyday scenes where numbers manifest in unexpected forms—be it on street signs, architectural details, or public spaces. The project sought to highlight the often-overlooked impact of numerical systems on our perception and interaction with the world around us.
Selected works from the Re-count Photography Agora were showcased in physical exhibitions held in Edinburgh and Tunis, as well as featured in an online gallery, providing a platform for artists and academics to engage in discussions about the visual aspects of accounting and quantification.
Photography, Visual Storytelling
Edinburgh Photography Society Exhibition
Almaty, Edinburgh, Tunis
2023-2024
Signs Of Almaty
Urban Visual Research & Design Awareness
Signs of Almaty is a self-initiated visual project that explores the everyday identity of Almaty’s urban environment through the lens of signage and façade design. The project’s core mission is to raise public awareness about the city’s official design code — a set of guidelines introduced to improve the visual quality and consistency of Almaty’s streetscape.
Through this platform, I documented various building façades — primarily commercial properties — and reimagined them digitally in photoeditor. I removed visual noise, unified storefront signage, and corrected disruptive elements like clashing wall colors, oversized banners, or inconsistent typography. These "before and after" edits were meant to demonstrate how thoughtful design, even with minimal intervention, can drastically improve the appearance of a city.
The project went beyond signage alone — addressing issues such as poorly chosen paint colors, inappropriate renovations, and the fragmentation of visual identity across neighborhoods. I also curated examples of international projects dealing with urban aesthetics and design codes, offering global context and inspiration for what is possible when design is treated as a public good.
Ultimately, Signs of Almaty serves as both visual critique and educational tool, encouraging everyday citizens to rethink the role of design in public space and to understand that the appearance of our cities is shaped by shared responsibility
Concept, Research, Visual Design
Almaty
2021
Lonely Chairs of Almaty
Urban Observation & Social Commentary
The Lonely Chairs of Almaty project began as a personal observation that evolved into a visual exploration of how urban culture influences public space. While walking through the city, I noticed numerous solitary chairs left in unexpected places — on sidewalks, in alleys, or outside businesses. These chairs, often mismatched or abandoned, seemed to tell stories of neglect, transience, and the unnoticed details of urban life.
Through this project, I sought to highlight the often-overlooked elements of Almaty's streetscape and provoke reflection on how our surroundings are shaped by cultural practices, economic factors, and social behaviors. The photographs serve as a visual commentary on the impermanence and adaptability of urban environments, encouraging viewers to reconsider the narratives embedded in everyday objects.
Concept, Photography, Visual Storytelling
Almaty
2022
Mir / Beibitshilik / Peace
Visual Statement for Solidarity
In the early days of the 2022 I created the project in response to the outbreak of the war between Ukraine and Russia. “Mir / Beibitshilik / Peace” is a personal graphic design project that channels emotional reflection into visual form. Inspired by ordinary urban details — like the decorative iron window grilles found throughout Almaty — the project explores how even utilitarian objects can carry cultural and symbolic meaning.
The project was shared as a gesture of empathy and quiet resistance. #NOTOWAR
“Last night on my way home, I took a photo of yet another window grate (it’s the last image in the carousel). All around the city, you can spot so many variations of them: shaped like sunrays, flowers, and all sorts of patterns. I once even saw one with beautifully interwoven tulips.
What I probably love most about them is their pure graphic quality. It’s amazing that people find ways to express themselves through something as subtle and utilitarian as a window grate.
But the saddest part is that their purpose is protection. From people.
This past week, we’ve all been watching in horror at what’s happening in the world. I’m deeply worried about the lives of everyone currently in danger — and this is one of the small ways I’ve found to show support.
I hope that one day the world becomes a truly safe place, and that we’ll no longer have a need for these grates. Even if some of them are beautiful.”
["Mir" (Russian), "Beibitshilik" (Kazakh) – both meaning "Peace"]
[Window grates are a common architectural feature in post-Soviet countries — both decorative and functional, they’re often used for security on ground-floor windows.]
Cncept, Graphic Design, Visual Storytelling
Almaty
2022