emily deras duran

graphic designer & illustrator

I’m Emily Deras Duran, a multidisciplinary graphic designer who started my artistic journey with illustration, but maneuvered into graphic design when I gained interest in the medium as a young teenager. I have always been drawn to several aesthetics, styles, and project formats, rarely having one I stick to more than others. This can be seen in my work, and hence why I call myself a multidisciplinary designer. It comes with its identity crises but I see it as an advantage in design as I’m always trying something new and challenging.But the elements that are consistent in my projects (and are the core of my design philosophy) are detail and deeply thought out concepts. I find joy in incorporating references, accuracy, and other practices in my work. I do my best to deliver and
deliver well!
In my downtime, I can usually be spotted with a handheld game console in one hand and a fried snack in the other.


barbayanni aphrodisia ouzoredesign



alexander mcqueen's plato's atlantis


This project was packaging design for British fashion house Alexander McQueen’s Summer/Spring 2012 line Plato’s Atlantis. McQueen’s inspiration for the looks included the idea of a reversal revolution from human to submarine, ‘On the Origin of Species’ by Darwin, and natural camouflage. The challenge for this project was to incorporate the aforementioned elements as well as mimic a descent deeper into Atlantis just like the show.

With this knowledge I went the scientific route and three boxes were designed with three tiers. Tier one begins with a metal border in the style of H.R Giger which is Darwin’s iconic ‘Tree of Life’ but reversed to emphasize a reversal of evolution. McQueen’s initials, AMQ, are distributed throughout and ‘Plato’s Atlantis’ is clearly legible on the side for a proper introduction.

Below the border lies a print of the shedded skin or fibers of a snake, gecko, and silkworm cocoon as a representation of change and evolution alongside quotes from Plato’s writings on Atlantis.

The first tier then slides out, revealing the second tier. This print is of the trichomes of a water lily, lotus, and minute duckweed which are aquatic vascular plants, symbolizing the midway point from natural to submarine. The metallic ring in the middle has a fish-eye effect to make the viewer feel like they’re looking down into a microscope. This tier would contain marketing goods such as a dust bag and thank you card.

Pulling out the second tier reveals the third and final tier. The print is the underside of a horseshoe crab, a species that has gone practically unchanged for thousands of years; a final aquatic evolution. It's accompanied by a quote on natural selection by Darwin. This tier would contain whatever couture item the customer has purchased.

barbayanni aphrodisia ouzo


This project was a mid-tier and high-tier redesign of Ouzo Barbayanni’s Aphrodite ouzo. The official design of Aphrodite is one I felt was lacking considering Greece’s rich mythology and the stories surrounding the goddess for which the clear ouzo was named. It was for this reason that I wanted these bottles to be reference heavy.

I changed the brand’s name from ‘Aphrodite’ to ‘Aphrodisia’ which was a yearly summer festival held in ancient Greece in Aphrodite’s honor as I felt ‘Aphrodite’ lacked thought. I thought the same of the type, logo, and overall lockup of the original bottle, revamping those as well with a hierarchy reflecting the structure of a Greek pillar.

Beginning with the mid-tier bottle, its challenge was to keep it within its price range while elevating the original design. Its cap is shaped and can be used like a traditional ouzo cup with a thick-glassed bottom that carries a pearl; one of Aphrodite’s representative symbols. Just below is an engraving in Greek which translates to ‘The Bottled Beauty’ which is Barbayanni’s original tagline.

The jagged lines on the top and bottom are like those seen in seafoam which Aphrodite is said to have been born from. The inner shape of the bottle is reminiscent of ancient Greek liquid vessels, and the bottle itself is all curves like the goddess. The gold used throughout the design serves as a nod to the original bottle and ancient Greek art.

The high-tier bottle’s biggest challenge was to make it distinct from the mid-tier as well as be able to make the bottle an experience. It omits gold but introduces marble to its cap and base, another nod to ancient Greece. Atop the cap lies a carved relief of the goddess which can slide to present a mirror as another nod to her.

Pearls remain on the cap, but the number increases to four for a touch of elegance and its association to Aphrodite. Around the cap’s neck is a piece of fabric fashioned after a girdle which was used by Aphrodite to bring passion to mortals. On it is ‘Ode to Aphrodite,’ a poem written by Sappho who hailed from Lesbos where the ouzo is crafted. The actual bottle has more refined curves with ‘Aphrodisia’ embedded as a pattern on the glass.

self-driving vehicle system


This project was UX/UI for the entertainment screen of a self-driving vehicle. Above all I wanted to present an interesting yet modern UI as the market is flooded with generic screens that end up confusing the user while having bland color palettes. This central idea fueled my decisions and the overall shape of the UI includes curves and ledges where information is held. The color palette consists of navy blue, white, and vibrant orange with primary type consisting of sans serifs for a unique yet modern look.

Clicking on any buttons around the edges presents the user with a pop-up which doesn’t take up the entire screen to give the user a feeling of getting things done quickly as they are not options one would spend much time on.

Options users usually spend plenty of time on are located in the middle screen which, when tapped, expands to full screen.

These design decisions came from research including a UI flowchart, deconstruction, and a 13 question survey with 21 participants. Ages ranged from late teens to mid 50s with safety concerns, relaxation points, and legibility being emphasized among participants. Most of the participants had little knowledge on self-driving technology, and this UI would serve as an easy introduction.

BLAME! video game

playstation 2 video game UX/UI

This project was UX/UI for a hypothetical video game based on the existing manga ‘Blame!’ The biggest challenge this project presented was establishing a style of its own without straying too far from the manga. Additionally I wanted the UI to be eye-catching, existing within the game’s world instead of it being something that is simply there because it needs to be. The thought that was constantly in my mind while designing is how this game would present itself, what genres it would fall under, and what visuals would appear if it was brought into reality.

This all led me to the decision to make the main elements in the UI heavy textures, metal, steel, and wires as they are seen often in the manga but not to an overwhelming extent. The logo’s type is a bold and loud sans-serif to signify an action game, but the body copy is a textured serif type in reference to early 2000’s video games from the PS2 era as the game is meant to have been created in 2005.

Also in reference to the era are the illustrations which are drawn in a lineless style when part of the UI and a lined style when in-game. To tie the visuals together, the palette is made of cool grays and blues.

It all makes for a desolate and cold ambiance, which is accurate to the kind of apocalyptic and artificial world ‘Blame!’ has.