Spice Monger is a brand that was started by a New York resident of Indian origin, who wanted to share his love of organic spices with the world. The goal of the identity was to tell a story and create a brand routed in history.
THE STORY The brand identity has been inspired by the action of trade and of the story of the monger - he wants to share the brand with his consumers and also give something back to the farmers and to the community. The use of an optical illusion brings forth this idea of revolution, the earth, and how people stay connected, as part of a bigger spectrum.
DUAL IDENTITY The visual identity is an ambigram of a Spice Monger. One face on the packaging pays homage to the old spice route. The other face comes to life beautifully, as the ambigram gets inverted every time the product is tipped.
HEALTH BENEFIT To catch the eye of the consumer, we added a fun health benefit of the spice as an element of the packaging. After extensive research on the spices we came up with engaging copy for short fun facts that brought attention to the nutritional value of the spice.
#SUITCASEOFSPICE We created a digital property called ‘Suitcase Of Spice’ and through geo-tagging, we allowed consumers to document their own stories and history with the spices. The e-commerce website brings the geo-tagging aspect of the packaging to life.
The customers can pin their location on the map, tag the spice they used and what recipe they made. This will help define the spice route that has found it's way from the roots of South India to the United States of America.
PROCESS ⬗ Brainstorming and ideating with our team. ⬗ Conceptualising our story. ⬗ Sketching out our ideas that illustrate the story. ⬗ Discussing them with each other. ⬗ Constructive and fun feedback. ⬗ Iterating. Iterating. Iterating. ⬗ Finalising on the dual visual identity. ⬗ Extending the brand language onto the packaging. ⬗ Engaging customers to be more # involved.
The Wise Choice
FOCUS Service Design User Experience Design Design Research Print Design
GROUP PROJECT WITH MARIA ALVAREZ ROLDAN, PANKHURI KANWAR AND SAVANI MIRASHI
Through this project, we show a methodology on how to embed a new design thinking method into a nonprofit organization that will enable a new way of collaboration, insight, and learning to improve the quality of decision making, the allocation of resources to create better opportunities, and the formation of a more consistent stream of value creation.
WHY “THE WISE CHOICE”? Our white paper goes through our entire thought process of creating a platform that will help build a community of people that are knowledgeable about parent-child relationships. It is targetted towards parents in New York City who wish to talk to their teenagers about sex and reproductive health but do not know how to approach the topic. The network will elevate the overall quality of interactions and eventually result in bridging the communication gap between them.
DISCOVERY PROCESS To dig deeper into the customer segment of the organization, we decided to analyze the youth as well as the parents to understand where the opportunity was. We conducted a research on how the non-profit organization can project themselves as a brand that focuses on providing their customers with knowledge that promotes pre-natal care, adoption or abortion in contrast to its currently perceived image of being pro-abortion.
ETHNOGRAPHIC INTERVIEWS We decided to proceed in the process with conducting primary research. We used the technique of interviewing the users, where we prepared a questionnaire that would guide us to gather relevant information. This research method helped us understand our target audience better in terms of their needs, hopes, values and problems. Collecting insights on how the client’s service was perceived compared to their competitors helped us determine the direction we needed to take to improve and grow the client’s business.
CO-CREATION WORKSHOP Besides the information we gathered in our surveys, we did a co-creation workshop with our stakeholders and peers. This workshop was conducted at Parsons - The New School where 25 students, 2 Parsons lecturers, and 6 stakeholders from the non profit organization participated. The aim of this workshop was to create new approaches for products, services and business models by brainstorming with other students as well as members of the organization. This resulted in more creative ideas that helped us to narrow down the focus area.
This was a branding project for which I crafted the visual identity design to represent the mission and vision of HVK Children’s Foundation. Based in Liberia, the foundation’s mission is toaddress public health and education determinants through a lens of social justice, equity, and evidence-based research, and to empower women, children and young Liberians into a future of sustainable human and economic development.
THE STORY When a child picks up a pencil for the first time, they are given a special power. A power to write, to draw, to learn and most importantly, to create. In addition, these educated children are more aware of proper sanitation methods, health and wellbeing. A community that takes pride in providing their children with good education and health facilities creates a safe place for their youth. Working hand in hand, the community empowers their children to strive towards success.
PLAYING WITH NEGATIVE SPACE The logo highlights the importance of education for Liberian children and creating new opportunities for them in their future. The negative space in the logo carves out “HVK” and the geometric shapes with vibrant colours have been inspired from traditional Liberian patterns.
FOCUS Certification Design Research Systems Thinking Packaging Design Print Design
Poly-sea aims to create a shift in both corporate decisions on plastic packaging and on consumer behaviour. Consumers will be able to support brands that are taking action to reduce plastic pollution by opting for ocean-friendly products that this project will certify. The certified ocean-friendly brands are either using fully biodegradable materials, or are providing resources to take as much plastic out of the environment as they put in each year.
RESEARCH We use plastic in packaging every day. Its disposable nature makes it an easier choice. Its transparent texture makes it more appealing. Its ability to contain moisture makes it more practical. However, its chemical properties make it hard to break down. These favourable qualities of plastic may be momentarily beneficial to us, but they are causing serious havoc to the environment. 8 million tons of plastic enters our oceans each year, poisoning the marine ecosystem. More marine life species are endangered today than ever before, and a lot of them are close to or if not already extinct.
OBSERVATIONS There were three main observations that led to my inspiration for this project. I worked on a Marine Conservation Project with Global Vision International in Mexico where I was a part of beach cleans and experiences the impact of plastic pollution first hand. To learn more about how design can play a role by upcycling ocean plastic, I interned with an organization called Parley for the Oceans in New York City. They collaborate with brands like Adidas to design eco-innovative products that are changing the fashion industry. Lastly, I worked with a recycling and sustainability hub called Sure We Can in Brooklyn to get a more comprehensive understanding of the laws and regulations behind waste management.
INTERVIEWS To obtain a more holistic understanding of how of plastic production and recycling functions, I reached out to a variety of experts. These professionals included people responsible for endorsing or investing in recycling initiatives, supply chain analytics consultancies, designers, businesspeople, environmental organizations, recycling centers and sustainability coordinators.
CERTIFICATION PROPOSAL Poly-sea aims to create a shift in both corporate decisions on plastic packaging and on consumer behaviour. Consumers will be able to support brands that are taking action to reduce plastic pollution by opting for ocean-friendly products that this project will certify. The certified ocean-friendly brands are either using fully biodegradable materials, or are providing resources to take as much plastic out of the environment as they put in each year.
By assessing how much plastic packaging the brand is producing every year and how much of that they offset by using biodegradable materials and supporting plastic recycling facilities, the certification seal will be granted to those who comply. In order make this happen I need to team up with a well-known organization who has the credibility to endorse brands with this certification.
VALUE PROPOSITIONS There are two key value propositions to this being implemented into the system of an organization. As the brand will be paying for the endorsement, it will be a stable revenue stream for the research institute to fund their work. It will also help spread awareness by showcasing the mission of that organization. From the brand’s perspective, having the certification for their product will boost their sales by highlighting their corporate social responsibility value in terms of campaigning and marketing.
PROCESS ⬗ Narrowing down my research topic. ⬗ Extensive research on statistics of plastic pollution in the oceans. ⬗ Engaging in internships and related field work. ⬗ Reaching out to experts and learning from their experiences. ⬗ Researching on plastic manufacturing and recycling. ⬗ Developing the idea and testing the various concepts. ⬗ Conducting workshops to get constructive feedback. ⬗ Iterating. Iterating. Iterating. ⬗ Focusing on creating a certification proposal. ⬗Plan to collaborate with an existing organization.
The 5 Gyres Institute
FOCUS Digital Illustration Print Design Infographics
This project was a brochure design for a non-profit organization called The 5 Gyres Institute that focuses on reducing plastic waste from entering our oceans. The brochure outlines their mission, vision and how the institute finds solutions by documenting their efforts over the past few years.
MISSION The mission of The 5 Gyres Institute is to empower action against the global health crisis of plastic pollution through science, art, education, and adventure.
This was a deliverable for my degree project for when I received my Bachelors in Design Communication from Lasalle College of the Arts, Singapore. The interactive website aims to promote awareness of the work that several organizations do with the underlying importance of conserving the marine ecosystem.
ELIMINATE ONE, ELIMINATE ALL The illustration for this series of advertisements are inspired by the fact that all life within the ocean is inter-connected. Each organism depends on the other for survival so by threatening a certain animal, the entire ecosystem is at stake. The art direction style for this project is primarily hand drawn illustrations and texture with water colour, that was combined digitally.
INTERACTION As my final outcome, I generated an interactive website called www.saveourunderwaterlife.com that promotes the work of existing organizations around the world. Keeping the art direction similar to the previous two deliverables, the idea for the website was to make a world map highlighting the oceans as main focus instead of the landmasses.
CAN YOU SPOT ME? The oceans were created with detailed hand drawn illustrations of marine animals and the task for the user was to find the 8 endangered animals hidden amongst them. When the user hovers their mouse over the animal that is endangered, it turns blue. Each of those endangered animals are linked to conservation centres that focus on their species so that the user can read into how they can contribute to the cause.
POSTER PUBLICATION The map was also used as a poster in an eight-fold publication which talks about endangered underwater animals. This publication can be implemented as an add-on for wildlife conservation magazines to promote concerned readers to understand more about marine life. A booklet was also created to explain the entire brainstorming and illustration process for this project.
PROCESS ⬗ User testing of the illustration style. (Please refer to: See the Sea) ⬗ Maintaining the same illustration style for the advertising campaign and website. ⬗ Reaching out to marine conservation organizations around the world. ⬗ Collaborating with keen organizations and getting permission to promote their work. ⬗ Promoting the website through these organizations’ social media platforms.
FOCUS Illustration Animation Video Editing Futures Thinking Scriptwriting
GROUP PROJECT WITH BARRETT MARTIN
The objective of this project was to create a scenario that paints the picture of life in 2027. It was a class assignment for one of my courses at Parsons called New Design Firms where we used foresight frameworks to create 3 hypothetical future scenarios - Preposterous, Projected, Preferred. This was done considering the political, social/cultural, technological, and environmental context of 2027. We focused on executing our preposterous scenario by animating our story.
DESIGN RESEARCH The focus of our research was to understand the relationship between government/individual responsibility of environmental issues and the use of technology. We chose to portray this through the eyes of a child. The vulnerability and concern that one experiences during childhood helps shape them to be who they are when they grow up. Since adults are doing such a great job at saving the planet, a group of kids have decided to try and protect their future on their own. We have found that current trends in crowdfunding and petitions will lead to more privatisation in sectors governments used to be responsible for.
What happens when the government no longer supports something you believe in?
THE STORY Government centralization has disintegrated leaving individuals to pick up the pieces of innovation for the things they believed in after devastating acid rain storms. In this world, innovation is rampant but slowly sabotaging the people who have come together to build it by driving a wedge into relationships that are important to them, leaving Noah isolated.
ATTENTION TO DETAIL We chose to be subtle about a lot of the details we included in our storyline. Due to the devastating acid rain storms, the soil is very toxic - which is why there are levitating pots that have fruits and vegetables with rich, fertile soil for them to grow away from the surface of the Earth. They are also automated to know when they need to move to a specific location - for example, when they move towards the kitchen because they know it is lunch time. The trees that are in the garden have gadgets attached to them that pump nutrients into the soil around that area so that they can grow. The whole household runs on solar power, from the kitchen interface to the 3-D printer.
PROCESS ⬗ Understanding foresight frameworks. ⬗ Narrowed down our focus of research. ⬗ Scripted 3 hypothetical future scenarios. ⬗ Chose to animate our preposterous scenario. ⬗ Divided the work between us. ⬗ Created a storyboard scene by scene. ⬗ Illustrated characters and props for each scene. ⬗ Compiled them frame-by-frame digitally by using Adobe Photoshop and After Effects.
Sure We Can
FOCUS Engagement Strategy Design Research Systems Thinking Print Design
This framework outlines the potential growth and impact strategy for Sure We Can to engage with their stakeholders in order to reach their goals as a leading sustainability hub in New York City.
COLLABORATION The collaboration between LEAP Entrepreneurship Club and Sure We Can originated with the objective of understanding Sure We Can’s role in the recycling system. By analysing how the facility functions through direct observations and background research, the aim was to create an Engagement Strategy Framework for the recycling hub to broaden their stakeholder engagement through a more strategic approach.
BACKGROUND Sure We Can was founded in 2007 to provide canners a welcoming place to redeem and connect with others engaged in the same endeavour. Since then, it has experienced consistent growth, and in 2015 processed approximately 10 million cans and bottles for redemption. Sure We Can supports canners; the people who collect cans and bottles from the trash to recycle them. This activity helps them keep a roof over their heads, provide for their families and also reduces the amount of cans and bottles heading to landfills. From Sure We Can’s collection activities to their education programs, they promote social inclusion, environmental awareness and economic empowerment.
CO-CREATION WORKSHOP We conducted a workshop at the facility where we learnt about the process of recycling, the stakeholders Sure We Can currently interacts with and what loopholes the management faces in terms of facilitating the space. We also interviewed the canners and staff while observing their daily duties to get an idea of the entire experience.
ECOSYSTEM MAPPING Understanding more about the experience helped us map out Sure We Can’s ecosystem more comprehensively and led us to possible opportunity areas that can be looked into in order to increase engagement between all the stakeholders. We focussed on developing a strategy to make Sure We Can a leader in the sustainable economy.
FORMING INSIGHTS We arranged our observations from the canners and the administrative staff to compare the positive and negative feedback. By doing this, we were able to link different insights to one another to brainstorm possible solutions. We found that the main problems faced by this sustainability hub revolve around creating more storage space for the canners, finding a use for the mixed material and forging collaboration with the key players especially their relationship with their distributers. The opportunity areas we proposed to Sure We Can complimented their existing programs as well as gave ideas for new initiatives that they might consider taking on. We highlighted the impact of awareness through their education and community engagement programs – and how they could further implement them.
VALUE CREATION Social media campaigns are the most cost effective way for them to promote the work they do and by collaborating with their distributors, they can endorse them as brands who are sustainable and adhere to the responsible packaging innovation law. Local schools and partners play a very important role in their ecosystem as well. To maximise storage space at the facility, design students from local design schools could be invited to come up with innovative solutions that will be easy to implement in the existing space. Sure We Can can also collaborate with shipping container companies to provide old containers for storage space.
PROCESS ⬗ Conducted a co-creation workshop at Sure We Can. ⬗ Brainstorming and learning more about their initiatives, activities and programs. ⬗ Interviewing canners and staff. ⬗ Mapping out our insights. ⬗ Journey Mapping - consumer, producer and canner. ⬗ Identifying opportunity areas. ⬗ Proposing additional strategy goals. ⬗ Formulating our research into a detailed framework. ⬗ Continue to get feedback on its implementation.
CrossFit Life Performance
FOCUS Branding Visual Identity Design Illustration Wall Art
This was a branding project for a CrossFit box based in Gurgaon, India. CrossFit Life Performance is a community of fitness aficionados who subscribe to and aspire towards the principles of the CrossFit training programme. They offer small group classes led by hardworking, certified trainers.
THE STORY CrossFit Life Performance is home to men and women of all ages with a variety of athletic and non-athletic backgrounds. CrossFit is a workout programme that combines strength, endurance and conditioning. What makes it unique is that it does not target any one body area, but rather is a holistic physical development programme.
ILLUSTRATION The concept was to create a mark by introducing an element of CrossFit training within the identity. To further illustrate the passion driven members of this brand, the identity was broken down to highlight that element. The illustration of the girl doing a handstand was created using the brand’s unique values and goals.
MERCHANDISING The illustration of the girl doing a handstand was used as wall art at the main location. It clearly brings across the holistic physical development programme that the brand offers. It has also been used as an extension of the brand on various deliverables.
EXPERIENCE "With CrossFit Life Performance it’s all about the coaches, because finding the right fit is paramount to having a worthwhile fitness experience. The trainers scale the workout according to your athletic ability, so the myth of CrossFit being too intense is not justified. It is only as intense as you want it to be." - Aditya Keswani, Little Black Book
The Legends of Zhang
FOCUS Print Design Digital Illustration Menu Design Packaging Design
Mamagoto is a chain restaurant under the Azure Hospitality Group located in New Delhi, Gurgaon, Mumbai, Bangalore and Chennai. It has a Pan-Asian menu and optional take away. This project was for an exclusive menu that they introduced to promote their fusion recipe dumplings.
BRAND Mamagoto literally means “to play with food” in Japanese. The theme when it comes to their interior and branding is born out of the idea of making eating Asian food fun. To make the brand experiential and social, it creates a relaxed and casual atmosphere where affordable Pan-Asian fusion cuisine combines with a quirky décor.
THE LEGEND The menu illustrates the life stories and recipes of the legendary master Zhang who created the first dumplings as we know them. He travels around around Asia and encounters various experiences along the way that inspire his recipes.
INSPIRATION The art style for this menu was heavily inspired by the multilayered graphic work of the great Tadanori Yokoo. In the mid-1960s, he carefully selected iconic elements from both western and eastern art to create a visual dialogue representing the synthesis of East and West. Since Zhang was travelling around Asia during that era, his story has been documented with a similar sense of vibrance and imagery.
This was a deliverable for my degree project for when I received my Bachelors in Design Communication from Lasalle College of the Arts, Singapore. The postcards aims to create awareness about endangered marine animals by educating the target audience in a playful yet powerful manner.
ADDRESSING THE ISSUE Shallow water animals that breathe air, like turtles, manatees, dugongs, and whales are often hit by boats and caught in fishing gear. Species such as turtles that lay their eggs on land often lose their nurseries due to coastal development. The dying coral reefs all over the world produce a large amount of oxygen that benefits humans. Just as the Amazon has been named the ‘lungs of the world’, coral reefs are known as the ‘rainforests of the sea’.
IDENTIFYING THE NEED Having stated this, a lot of corrective measures have been implemented in various coastal regions of the world. Marine conservation organizations and reserves are not given the amount of credit they should be. SOUL aims at creating awareness through education and spreading word about what these organizations have been working towards. My hope is that if people are more aware of the possibility of making a change, they will extend their support and help preserve the marine ecosystem for their future generations.
WHO AM I REACHING OUT TO? While ideating I realised that the youth are the ones who are my main target audience since they are the one’s who need to be aware of the extinction crisis. Hence, all the deliverables created for this were project were aimed at a younger age group (8-15 years).
TYPEFACE My first concept for a prototype was to experiment with handwritten typography. The idea was to create a typeface using calligrams that consist of facts and illustrations of endangered underwater animals that are being abused by human negligence. The aim was to use the typeface as an image or tool of expressing the need of spreading awareness. This was done by implementing them in an educational catalogue and as collectable postcards.
USER TESTING After conducting user testing on a younger target audience I learnt that they liked the vibrant colours of the typeface and told me that they picked up the postcards according to what their names started with or to give them away to friends/family as presents.
PROCESS ⬗ Tracing out the base outline of the type. ⬗ Writing engaging copy for each alphabet. ⬗ Allocating an endangered animal to each alphabet. ⬗ Sketching out each illustration with pen and ink. ⬗ Adding colour digitally using Adobe Photoshop. ⬗ Creating print layouts for postcards.
FOCUS Service Design Design Research Systems Thinking Networking Strategy
GROUP PROJECT WITH JOÃO PAULO GOMES, MARIA ALVAREZ ROLDAN AND SUCHARITA JYOTHULA
There is no structured network of food waste suppliers and sustainable dye houses in the New York area. This is the biggest roadblock for local fashion designers to use natural dye in their products. Farm2Wardrobe was initiated as a strategically planned online network to bridge the gap between the different players in the manufacturing process. It enables local designers to collaborate with one another to promote the use of natural dyes instead of chemical ones and also provides transparency for the consumer at every stage. The viability of this concept has been tested and the potential for it to grow in urban areas is immense.
CONCEPT What if the values of the “Farm-to-table” movement, which values the freshness and healthiness of organic, locally sourced food could be applied to clothes and help make fashion more sustainable? And what if we could use fashion to help minimize the world’s huge problem of food waste? Those were the questions that kick started the “Farm2Wardrobe” project, which for 10 weeks aimed at combining fashion and food waste into a sustainable business proposition.
COLLABORATION As our initial expected deliverables, we had planned on introducing a line of naturally dyed clothes to a New York based fashion label focusing on social and environmentally conscious consumers, in addition to developing a mobile app with recipes and instructional videos for consumers interested in dyeing clothes naturally at home. By then, we had also secured interest in a partnership with Study NY, a small, online-only label run by designer Tara St James. Focused on ethical womenswear, the brand adopts sustainable practices in the sourcing of its materials and manufacturing process, which is conducted locally in New York.
RESEARCH METHODS Exploration questions in hand, we dived deep into extensive research to determine the technical and business feasibility of our ideas. We attended workshops and consulted frequently with sustainable fashion experts Liz Spencer, who runs the Brooklyn-based natural dye house The Dogwood Dyer (Brooklyn + Fashion + Design Accelerator by Pratt Institute), and Cara Marie Piazza, a Natural Dyer and Textile Designer living and producing her work in New York City. Additionally, we would meet up with Parsons professor and Mobile Textile Lab owner, Laura Sansone on a weekly basis to discuss our project. We also studied salad companies like SweetGreen and Chop't to look into how and where they dispose their food waste.
CONCEPTUALIZING SOLUTIONS From these conversations, we gained insight into the practical aspects of natural dyes (how to dye using onion and avocado skins, the necessary equipment, among other things), its sustainability benefits, but also learned about challenges such as the fade propensity of the colours, which could become a problem for implementation of the project. With concepts redefined and more refined, we came up with a strategy to test our assumptions by developing prototypes and utilizing a mix of surveys and interviews to validate the ideas. Our testing tools were mock-ups of key redesigned elements of Study NY’s website, a working prototype of the farm2wardrobe network and a survey focusing on the features and user needs for the mobile app.
USER TESTING As a result of an online survey answered by 16 Parsons students, we discovered that users didn’t find very valuable the idea of utilizing a mobile app. Only 20% of them said they had interest in learning how to dye clothes at home, while 60% would rather buy naturally dyed clothes at a store. Their answers were that they found very expensive and too hard to dye themselves their clothes. Therefore we thought that these answers were applicable to a larger population and as a consequence the idea was naturally, discarded. As for the website redesign, the team showed the mockups to a group of 8 students, who validated the need for the introduction of infographics, the use of more photography and the utilization of maps to enhance transparency in the brand supply chain.
IDENTIFYING THE NEED FOR A WEBSITE REDESIGN The online network benefited from the process of co-creation, as potential users (Laura Sansone, Liz Spencer and sustainable designer Cara Marie Piazza) interacted with the prototype at different stages of development and provided feedback for the iterations. User feedback was invaluable, as it helped us identify what was not working, what could be improved, refine the concepts and incorporate the relevant suggestions in the following iterations of the prototypes.
NETWORKING PLATFORM The network has been designed as a mosaic to reflect how different resources come together under the network umbrella. It aims to briefly introduce examples of key resources brought together by the network (sustainable fashion designers, natural dyers, shop profiles, educational opportunities, etc.), serving as a gateway for a wealth of information on sustainable dyeing. Our primary aim was to facilitate shared value amongst all the stakeholders by being transparent and creating a platform approachable by all the users.
TRANSPARENCY Through the platform one can learn more about how to use food waste as a natural dye, network with several other players in sustainable fashion, advertise about their sustainable fashion brand or simply learn more about sustainable fashion by attending workshops or events. Instead of merely listing suppliers, an interactive map shows the location of different network members to promote local connections.
FEEDBACK The user testing and interviews we conducted to test our prototype of the online network pointed out that the project was progressing in the right direction. Laura Sansone’s recent project proposal for Parsons to partner with Cornell University to develop a similar online database of sustainable fashion designers and suppliers, proves the credibility and the immediate need for our project.
PROCESS ⬗ Making a team decision to focus on the problems of food waste and sustainability in fashion. ⬗ Understanding the topic at hand by conducting extensive research. ⬗ Interviewing experts to further understand the problem. ⬗ Collaborating with key parters with experience in sustainable fashion. ⬗ Developing our concept. ⬗ Iterating. Iterating. Iterating. ⬗ Narrowing down our target audience by creating a persona and mapping out her journey ⬗ Empathy and opportunity mapping ⬗ Conducting surveys and obtaining valuable insights. ⬗ Reframing the problem. ⬗ Identifying the need to redesign Study NY’s website. ⬗ Designing a prototype. ⬗ User testing.
The Paper Aeroplane
FOCUS Illustration Print Design
GROUP PROJECT WITH AKANKSHA SUREKA AND ELAINE CHAN
This was an illustration project for a children’s book called “The Paper Aeroplane” by Yenn Ang. It was in collaboration with students from the Design Communication Department and the Art Therapy Department of LASALLE College of the Arts, Singapore.
STORYLINE ‘The Paper Aeroplane’ is about a young boy who with the help of a paper plane, realizes that nobody in this world is perfect and that everyone has flaws. He meets a lot of different characters along his journey that help him understand the importance of team effort and self-confidence.
CHARACTERS While ideating on how we wanted to illustrate the book, the one thing all of us agreed on was that the characters would look even better if they had bright colours and texture. We took inspiration from the work of Eric Carle, and tried to bring this book to life using a similar style to his distinctive collage illustrations. We created textures manually using crayons and then scanned them to use as textures for our digital illustrations. Each character had various layers of textures to create different parts of their bodies. This really made the story come to life and resulted in being an enjoyable read for young children.
PROCESS ⬗ We were handed the story as a class assignment. ⬗ Brainstormed different ideas and techniques to illustrate the story. ⬗ Allocated workload equally amongst the team. ⬗ Created texture patterns using crayons. ⬗ Scanned the patterns and used them to create digital illustrations. ⬗ Designed the layout for the story book.
Lipton Tea Campaign
FOCUS Advertising Art Direction Copywriting
GROUP PROJECT WITH ANUSHKA YADAV AND TAMANNA PUROHIT
This project was a group initiative as an entry for the D&AD Student Awards in 2013. The design brief was to create a positive social or environmental impact utilising the power of the Unilever brand - "Health and wellbeing". The approach taken was that of an integrated advertising campaign and the client we chose within the brand was Lipton Tea.
MESSAGE We observed that happiness is the key to a stress – free life. It is an emotion that releases endorphins, which allows a person to be less stressed and healthier. The main focus of this campaign was to convince people to take time out to have some fun!
TAKE A LITTLE TIME OUT The first platform of the campaign is an adshel depicting a man sitting in his office with his legs up on his table. It was executed by manually creating the image using tealeaves. The tagline is ‘Sometimes all you need is to take a little time out’. Through this, we spread the message that people must take time off their hectic schedules to relax their mind and their body.
INTEGRATED CAMPAIGN The second platform is a series of Print Ads with a similar art direction that were produced to illustrate Lipton’s advice to their consumers on how to take time out ‘Lipton Style!’ The ads depict different people with quirky and fun expressions. When the consumers scan the QR code given at the bottom of the adshel and print ads, it will link them to the third platform - Lipton’s Facebook page.
PERSONALIZATION The Facebook page encourages consumers to post photographs of themselves having fun during or after drinking Lipton Tea. The 50 most liked photographs will then be printed on the tags of teabags and introduced into the market as a limited edition package. In addition to this, the winners will be provided with a free Lipton package personalized according to the photograph they sent in.
PROCESS ⬗ Analyzed the design brief. ⬗ Allocated workload equally amongst the team. ⬗ Brainstorming ideas for an integrated campaign. ⬗ Sketched out our concepts. ⬗ Created engaging copy for the campaign. ⬗ Decided on an execution for the art direction. ⬗ Used tea leaves to design our illustrations. ⬗ Digitally visualized the campaign for our proposal.
This was a branding project for which I crafted the visual identity design to boldly represent the mission and vision of Sarvam Foundation. Spearheaded by Nehha Bhatnagar, Sarvam Foundation is a cultural endeavour to propagate the Indian arts in all their glory in new and unique way. It is an incubator for new ideas and helps foster new collaborations in Indian performing arts. 'Sarvam' the Sanskrit name means 'all encompassing' and is also an acronym for Saroja Vaidyanathan Arts Mission.
THE STORY The logo I crafted for them tells their story by depicting the fusion between old and new culture in India. The typography used is a mix of Sanskrit and English, “Sa” written in English and “rvam” written in Sanskrit. The turmeric and vermillion colours bring out the deep-rooted heritage of the country as they depict integral parts of Indian traditions. As the foundation primarily works with youth, the depiction of the hand painted dancer that symbolises the “A” in Sarvam has a vibrant and playful feel.
SOCIAL IMPACT Sarvam Foundation through its many collaborations and events has enabled many young artistes and technicians to expand their horizons within the arts and realize their true potential. The foundation runs a free outreach program with weekly classes in Bharatanatyam (Indian classical dance) to underprivileged girls from two of New Delhi’s poorer neighbourhoods. Usually undervalued in a strongly patriarchal society, these girls have gained the pride of their families and communities as performers of Indian traditions.