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, Assamese, and more.
Typeface: Poplar Std, Apercu Mono
↳ NARI Showreel
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance Adobe Id Feature
↳ AIGA Eye on Design
↳ Creative Boom
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, Assamese, and more.
Typeface: Poplar Std, Apercu Mono
↳ NARI Showreel
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance Adobe Id Feature
↳ AIGA Eye on Design
↳ Creative Boom
(IDENTITY, 2020)
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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
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Creative Boom
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
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Creative Boom
(EDITORIAL DESIGN, 2020)
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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
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)
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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.
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance
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.
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance
(TYPEFACE DESIGN, BOOK DESIGN, 2020)
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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
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance
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
↳ Gateway GMD LCC Graduate Show
↳ University of the Arts London Showcase
↳ Behance
(TYPEFACE DESIGN, TEXTILE, 2020)
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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
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)
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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
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)
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SAMANUROOP: VISUAL SUMMARY
Excerpts of visual research for SAMANUROOP in a publication format.
↳ Behance
Excerpts of visual research for SAMANUROOP in a publication format.
↳ Behance
(EDITORIAL DESIGN, RESEARCH, 2020)
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INDUSTRY PRACTICE: VISUAL SUMMARY
Excerpts of visual research for INDUSTRY PRACTICE + BOSCO work in a publication format.
↳ Behance
Excerpts of visual research for INDUSTRY PRACTICE + BOSCO work in a publication format.
↳ Behance
(EDITORIAL DESIGN, RESEARCH, 2019)
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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
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)
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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.
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)
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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.
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)
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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.
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)
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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
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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AM © 2020