Pikchr is a project created for the World Bank, and designed at Quicksand, an interdisciplinary consultancy in India. The goal of the project is to build trust amongst communities and energy service companies (ESCOs) in rural India — a critical hurdle that ESCOs are facing today.
Energy providers and customers capture stories of how solar energy empowers their lives through templatized film making using the Pikchr app. In designing the app, we removed the complex barriers of traditional video editing tools so that users could make well produced films with minimal effort. The films are hosted on an online community, which is moderated through an admin dashboard. I led the user experience and interface design on this project which involved rapid prototyping, field testing, and multiple design iterations.
In the ARTLENS Exhibition, visitors to the Cleveland Museum of Art deeply engage with artworks in a new interactive, mixed reality experience, where art and technology blend together. CMA collaborated with Potion, an interactive design studio in New York and I was part of the design team. The interactive's leverage the strengths of immersive digital projection, the physicality of gesture, the delight of personalization, and the power of an unmediated experience with master artworks to take visitor engagement and education to a new level.
Coursera is an educational technology company that offers massive online open courses (MOOCs). Coursera works with top universities and organizations to offer subjects online on topics ranging from science, math, to the humanities.
Originally for the web, Coursera has released an iOS app, bringing the company’s learning platform into the mobile world for the first time. The new iOS app allows students to stream course videos while on the go, making it possible to fit in learning anywhere and anytime. I studied and identified aspects of the app to redesign.
This is a piece commissioned by the Huffington Post to shed light on the diversity of Muslim Americans and deter Islamophobia. Created in collaboration with Prashanti Aswani, we were given a 30 second sound clip from Kristin Szremski- an Advocacy Journalist, and briefed to make an animation that uses graphic forms to express her story. This final piece is created using stop motion and sand, with symbolic imagery and a black and white color palette. Post production was done in after effects.
Learn more about this project here.
I was tasked with designing the logo and brochure for a luxury hotel spa in India named Neela, which in sanskrit and hindi means 'blue colored.' The client brief was to create a unique brand identity for the spa, independent from the look and feel of the hotel. Inspired by the origin of the word neela and its association with the ocean, I wanted to capture a feeling of tranquility in the logotype by introducing symmetry into its form.
As part of my work at Case, a design agency in New York, I edited and animated a video spot for a product launch for Origins. I worked within a designed methodology as this video was part of a series to create the storyboard and style frames. The video is overlaid with motion graphics that emphasize the scientific basis of Origins' products, and is a rough cut of the final version that was launched.
This series presents minimal book cover redesigns of the Science Library- a set of informative, easy-to-grasp science books published by Life Magazine. The dust jackets for the three topics covered-Giant Molecules, Sound & Hearing, and Planets, are laser cut with circular modules (circles are ever present in visual representations of the natural sciences). The circles are windows to the screen printed silvery scrawl underneath which reminds us of the human aspect of scientific discovery. This is intended to be a flexible design system to which more books can be added.
Vivian Maier is an American street photographer, who worked as a nanny and photographed in her spare time. Her work has been discovered posthumously and has gained international acclaim. Maier captured herself in ways that were ingenious and intimate, and her self portraits are poles apart from the selfies that we are inundated with today. For this fictitious exhibit poster, I used techniques and motifs she often used in her self portraits- reflection, mirrors and her signature hat.
This collection of posters combines 3D typography with photography.
The first poster is an homage to Dadaism, an art movement of the European avant-garde in the early 20th century. This poster reflects the Dadaists efforts in freeing text from conventional use and turning words and letters into abstract forms, resulting in a typographic landscape.
The second poster is for an annual Spring Visiting Lecture Series for designers and artists hosted by RISD. This is a poster designed for a fictitious series of lectures featuring the acclaimed sculptors Yayoi Kusama, Nick Cave, Jim Drain and Jen Stark. The underlying connection that I found between their work is repetition and pattern, which lends itself to a hypnotic effect.
I based my concept on this idea of hypnosis, and created 3D type with a glue gun and acetate paper to echo the same aspects of rhythm found in their work.
For this menu redesign, I utilized color and pattern to create a cohesive look and feel for the restaurant Teriyaki and Korean House in Providence, Rhode Island. The lunch menu is handbound with orange thread using the technique of japanese bookbinding while the drinks and dessert menu are separate components, but can also be be placed inside the main menu.
The Crystal Goblet is an essay on typography written by a conservative typographer named Beatrice Warde. Warde advocates for the use of clear, transparent typography and largely ignores the designers role in shaping content. I disagree with Warde's views and layered counterarguments within the text of The Crystal Goblet by printing on multiple sheets of semi-transparent tissue.
Warde's text is set in a version of Bodoni and the subversions are overprinted in pink Fedra Sans. Looking at the pages with a lightbox reveals the words lying underneath the surface.
Neutraface is a typeface designed by Christian Schwartz for House Industries, and is inspired by the signage of the modernist architect, Richard Neutra. I sought to emphasize the typefaces architectural origins in this type specimen by referencing the visual language of blueprints, exploring the forms of the letters and constructing typographic landscapes.