BRAND IDENTITY       

School of the Art
of Denial (S.A.D)

A summer residency for advanced experiential design aimed at ruling party officials and climate change deniers to create their own shiny bubble away from the abrasive world of facts. This school equips its students in elevating their denial and bringing all their utopic experiences to life with augmented reality, virtual reality, holographic installations, single-source news feeds, and more. The students will be trained to create their own versions of realities with a critical inquiry into the idea of ‘truth’.

This was a classroom project that aimed at creating an imaginary art school and developing a brand identity and visual vocabulary for the same.
PROJECT MENTORS      
Ellen Lupton, Jason Gottlieb


RECOGNITION      
︎AIGA Flux Blue Ridge, Brand Identity
︎Adobe Design Achievement Awards Top Talent, Print/Graphic
︎ ICDE Gold Medalist, Graduate Branding











VISUAL LANGUAGE       

Typography


I created a palette of letters that could be used wherever the words appear as characters through the visual imagery.





VISUAL LANGUAGE       

Posters


If facts are subjective and science a liberal conspiracy, then S.A.D. invites you to create your own alternate reality with VR, AR, holographic installations, single-source news feeds and more with a critical inquiry into the idea of 'truth'.






CURRICULUM     

Book Covers


During the residency, experts in the field will come and enlighten the students in a rich discourse on denial. These were book covers created for fictional books written by some of these masters.






MERCHANDISE     
Brand merchandise for the incoming class of deniers

Mark



BRAND IDENTITY       

Chief

A brand identity design for CHIEF, a private network for connecting and supporting women leaders. With this identity system, I wanted to emphasize this group of strong female leaders by elevating their C-suite positions. An exclusive community of powerful women required a warm yet purposeful visual language.
This was a classroom project that aimed at rebranding an existing entity.

PROJECT MENTORS      
Abbott Miller, Andrew Walters

MARYLAND INSTITUTE COLLEGE OF ART
2019





Colours inspired from the interiors of the space.












VISUAL LANGUAGE    

Typography


Inspiration for the typography was derived from signs and posters from Women’s Suffrage Movement. Taking instances in history when women have come together for a greater purpose, reinforcing the idea behind their tagline: Women have always been powerful.












VISUAL LANGUAGE     

Imagery


I looked into historical women clubs and federations and their portraiture style. The photography has a warm yet purposeful quality to it which resonates with Chief.





IMAGES FROM THE LEFT:
1. City Federation of Colored Women’s Clubs of Jacksonville, State Meeting,Florida,19152. Women's League of Newport, Rhode Island,19003. Federation Of Women's Clubs, D.C. Leaders of Delegation to White House,1914



























Mark



PACKAGING        

Fresh & Fertile

In India, parents arrange for marriage-ready sons and daughters to meet with prospective matches after a wide search by both the girl's and the boy's families usually within the same communities. This system is known as an arranged marriage. With the internet, this has led to the rise of matchmaking websites such as shaadi.com and Bharatmatrimony.com. Specially in the state of Kerala, where I am from, there is constant pressure on young women to get married at the right age because otherwise, it will be too late to find a good suitor. Which makes me ask: What is the shelf life of a young Indian woman?
Fresh & Fertile is a satirical packaging concept for a range of juices, a play on what is considered a marriageable age and other ideal standards set for a young woman.

PROJECT MENTORS      
Ellen Lupton


MARYLAND INSTITUTE COLLEGE OF ART
2019


RECOGNITION      
︎Packaging of the World
︎AIGA Flux Blue Ridge, Packaging









CONCEPT      

Shelf Life
of a Young Woman


Taking on the idea of a young woman being almost a perishable product with an expiry date, I came up with a faux packaging for a range of juices.






VISUAL LANGUAGE       
The visual language was derived from the packaging of products that one may see in an Indian household on a daily basis. Some that have been in use for years while some are relatively newer.








RANGE OF FLAVOURS    
All flavours are inspired by actual requirements from people looking for prospective partners for themselves or for their sons.









PACKAGING    
Available in all socially acceptable shapes
and sizes



Mark


PUBLICATION DESIGN        

The Next
Wave Festival



This classroom project aimed at creating a hypothetical guide for the Next Wave Festival, a contemporary arts festival at the Brooklyn Academy of Music that brings the leading and edgy in the field of theatre, dance, music and cinema to the forefront.



PROJECT MENTORS      
Jennifer Cole Phillips


MARYLAND INSTITUTE COLLEGE OF ART
2019






















EXHIBITION IDENTITY       

Red | Lines

At the beginning of the fall semester, the Maryland Institute College of Art hosts a juried show showcasing some of the graduate program's first year students. For the 2019 show, the theme was Red | Lines. The curator, Legacy Russell,  brought forth the history of redlining in the United States. She also opened up the conversation of segregation to this group of artists who brought in their own local and international perspectives. Through the show, it was higlighted how these divisions and geopolitical struggles span across the globe.


I worked with the curator to develop a branding and design system for the show, that unified the exhibition design and catalogues. The challenge was to create a language that brought together an otherwise distinct group of artists with unique styles of work under one umbrella.

CURATOR      

Legacy Russell

MARYLAND INSTITUTE COLLEGE OF ART
2019







FROM THE CURATOR’S NOTE
“From 1951 to 1971, 25,000 families were displaced in Baltimore, lines made with the goal of building new schools, housing projects, and highways. 80 to 90 percent of those families were black. These were neighborhoods that were cut up and broken down, disintegrated and devalued, these lines a cornering of a population, an active denial of a history. To call on a term coined by sociologist John McKnight in the 1960s, this was redlining.”







INSPIRATION       

Visual Identity


For a contextual and visual reference, I didn’t have to look any further than Baltimore’s history of redlining, one of the most evident examples of institutionalised racism in the United States. The redlined map of the city from 1937, which the federal, local and private entities used to deny services and rights to select neighbourhoods, and has largely led to the racial wealth gap in the country to date(read more),  was my main point of reference.

I created a leading visual by juxtaposing the deconstructed structure of MICA against the redlined map, almost as if the show is a contemplation of the institute’s and its students’ place in the larger context that is the city. The colours and textures have also been derived from the map.





A Home Owners Loan Corporation 1937 map of Baltimore shows the “least desirable neighborhoods” identified in red. Source:blogs.jhu.edu 





















Mark