ANANYA MOHAN



NARI

Identity for NARI (sanskrit: woman), a fictional film festival celebrating the decade’s best films by South Asian women. Showcasing films with women made by women, NARI believes in putting the women behind the lens in focus. Running through the month of March at Rich Mix, one of London’s most culturally involved theatres, NARI will be featuring critically acclaimed films from an array of South Asian languages like Hindi, Dari, Bengali, and more.

Typeface: Poplar Std, Apercu Mono

 
Creative Boom
AIGA Eye on Design
Gateway GMD LCC Graduate Show

Behance Adobe Id Feature

Designby Women
(IDENTITY, 2020)


WHEN YOU BLOSSOM I BLOOM (WIP, more soon)

Design for an anthology art book of essays, artworks, and interviews exploring marginalised identities rendered visible in contemporary culture. Content by contemporary British/ UK-based women and non-binary Black & POC artists, writers, and collectives. 
(EDITORIAL DESIGN, 2021)


ONLY CHILD

Designed over the early Covid panic period upon moving back home, ONLY CHILD is a light-hearted publication featuring a collection of experiences from only children around the world, discussing topics such as: cultural background, the ideal sibling, assumptions, etc. It plays with bright colours, large type, and nostalgic childhood portraits to create a childlike essence.

Typeface: Editorial New


Read full
Creative Boom
Gateway GMD LCC Graduate Show
(EDITORIAL DESIGN, 2020)


HACKNEY CHURCH X OMSE

During my time at OMSE, I was grateful to contribute to developing some applications for the sub brands of Hackney Church “cathedral of creativity” re-branding under James Kape, Ed Hatfield, Holly Farndell, Tom Schwaiger and more. Click to view full case study.

Illustration: Jay Cover, Joseph Melhuish
Photographer: Vicky Grout
Typeface: GINTO by Dinamo/
GT Alpina by Grilli Type


Full case study
It’s Nice That
Creative Review
The Brand Identity
(IDENTITY APPLICATIONS, 2020)


SAMANUROOP

SAMANUROOP (समनुरूप Hindi: to conform, comply with rules, behave accordingly to socially acceptable conventions) is a custom Hindi Devanagari typeface designed as a response to the wave of rising extremist and nationalist political climate around the world. It depicts a dystopian, fascist regime through type, by turning the originally curvy and soft Indic Hindi Devanagari script into a bold and geometric form. The type specimen is structured to replicate the communist party’s Little Red Book.

The typeface is presented in a combination of an editorial type specimen book and a banner.


Creative Boom
Gateway GMD LCC Graduate Show
Behance

(TYPEFACE DESIGN, BOOK DESIGN, 2020)


SAMANUROOP 2.0

SAMANUROOP is a custom Hindi Devanagari typeface designed as a response to the wave of rising extremist and nationalist political climate around the world. Cut and sewn from silk textiles to emulate the N*zi party flags, the typeface name SAMANUROOP is also displayed as a banner.

The typeface is presented in a combination of an editorial type specimen book and a banner.

Textile and Sewing Assistance: Arpita Mohan


Creative Boom
Gateway GMD LCC Graduate Show
Behance

(TYPEFACE DESIGN, TEXTILE, 2020)


BOSCO

Giving the dreamy Atlanta-based alternative R&B singer BOSCO a graphic identity for her album BOY and single GOLD GHOST.

Typeface: ITC Garamond, GT America


Behance
(IDENTITY, 2019)


BUKAI (XIANGBU GROUP)

Redesigning identity, website, and building on other design applications for Bukai, a textile company driven to work towards creating sustainability in the apparel industry.

Typeface: Adobe Caslon Pro, Brandon Grotesque
(IDENTITY, 2020)


SAMANUROOP: VISUAL SUMMARY

Excerpts of visual research for SAMANUROOP in a publication format.


Behance

(EDITORIAL DESIGN, RESEARCH, 2020)


INDUSTRY PRACTICE: VISUAL SUMMARY

Excerpts of visual research for INDUSTRY PRACTICE + BOSCO work in a publication format.


Behance
(EDITORIAL DESIGN, RESEARCH, 2019)


STORIES, METHODS, FORM: VISUAL SUMMARY

Excerpts of visual research for a series of projects in typography, symbol design, and data visualisation in a publication format.

Typeface: Adieu, GT America


Behance
(EDITORIAL DESIGN, RESEARCH, 2019)


THE MANY INTERPRETATIONS OF DRAUPADI

Design for my final year dissertation explores one of the Mahabharata’s (ancient Indian mythological saga) key, most complex female characters: Draupadi. Analysing this character’s portrayal across centuries-old regional retellings, television adaptation, as well as 21st century feminist revisionist literature; it was interesting to discover how Draupadi was appropriated to fit a purpose in society at a particular time.

Wrapped in a saree-fabric to symbolise Draupadi’s pivotal disrobing in the Mahabharata, and structured as thin landscape sheets, my thesis design  echoes elements from ancient Indian scriptures with a modern touch.
(WRITING, DESIGN, 2020)


SOUNDS OF HERNE HILL

SOUNDS OF HERNE HILL is a project mapping the sounds of Herne Hill station’s “Play Me I’m Yours” piano and its players. It explores the actions of different individuals and how they interact with the space.

The sounds of the piano players were recorded and the colours were extracted from their images to develop a colour-to-sound visual system.
(DATA VISUALISATION, 2018)


MOCHIKVA

Dynamic logo design & iterations for Mochikva, a mochi (Japanese dessert) company based in Tel-Aviv, Israel. The client’s brief required a mandala for the logo, paired with a “kawai” style aesthetic.

(IDENTITY, 2018)


SPECIES OF SPACES

Redesigning the essay by French novelist Georges Perec into a typography based raw publication inspired by the roughness of brutalist design and type.

Typeface: Harbour, GT America


Behance

(EDITORIAL DESIGN, 2018)


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