So,
right at the beginning, I had a bit of extra time, so I managed to refine the series logo further. I wanted to base it on the Vesica Piscis motif, which is formed by overlapping two circles and, when expanded further, leads into the structure known as the Flower of Life. Beyond its symbolism, I also simply really love this visual element and often try to weave it into my work.
Another important element is the rosette — a symbol that can be connected to the Slavic thunder mark, as well as to associations with Perun and Rod and later on the christian god or maybe even god in general in some way. I wanted to place that motif within the context of the sacred corner, which was a distinctive and meaningful part of Slavic identity and the traditional order of the home.
Even though the series is meant for children, I want to frame it through elements of Slavic culture and demonology, because it is incredibly rich — not only in terms of spirituality and the presence of various spirits, but also in the way it understands the world and reality as a whole. What especially interests me is that time was perceived in a much more cyclical way, rather than as something strictly linear.
Because of that, I wanted to connect the idea of corners and darkened spaces — places where spirits were believed to dwell — with the roundness and cyclical nature of life, in the way the Slavs may have understood it. That combination became the foundation for the direction of this logo.
