Street Football Club
As someone who has played soccer all my life, Street Football Club has always been an intriguing entity to me. A pick up football community aimed at bringing the speed and chaos of street football culture to America. This project was particularly challenging as the community spans across 13 cities, and it was important to let each cities individual personality shine.
The rebrand goal was to create a strong base system for STFC the organisation, with individual and unique identities for each city that convey speed and chaos.
There are 13 cities that STFC is in at the moment, and they expand every year. The goal for this part was to create a set of wordmarks for each city that fall in the same system. This resulted in every city having a unique identity with a wide color palette.
↗ See MoreRoyal Albert Hall
The sheer range of events Royal Albert Hall does is what initially sparked my interest in this project. Today, with a capacity exceeding 5,000, the Hall presents more than 400 events annually, encompassing music, sport, community gatherings, and much more. The challenge was creating an identity that would leverage the 155 year heritage of the space, but also create a space receptive to modern and experimental ideas. In the end the goal was to create a nimble and flexible identity that caters to the varying interests of those in South Kensington and beyond. Creating a community that is larger than the brand itself.
The rebrand goal was to create a nimble and flexible identity that caters to the varying interests of those in South Kensington and beyond. Creating a community that is larger than the brand itself, being proud of their history while still allowing innovation, making them a sanctuary for the arts.
The principle for this identity system is based within the frame created in the stem of the H in RAH. The metaphor lies in the idea of being and creating the space for culture and knowledge to emerge. The serif type, rooted in elegance and royalty, adds gravitas to the system, but the flexibility of the frame creates a contrasting language of modernity and experimentation.
For special events, a modular font created using the frame within the logo can be used. This typeface allows for stretching and squashing. This frame can also be distorted in different ways for events that are less classical.
↗ See MoreHyperyouth
Initially starting as a way of learning generative design I took an album from rap duo Joey Valence & Brae and created a creative identity for its release. Hyperyouth is an introspective album at large but it still lets the duo's fun and goofy side shine at times.
Built in p5.js, using wave functions, randomness, and real-time audio-reactive input, the design translates the record's sample-heavy chaos and youthful energy into an evolving, interactive visual language.
↗ See MoreRight to Resist
Revolution and rebellion are complex, from the French Revolution to the Bolsheviks, to January 6th in the USA. Where does one draw the line between right and wrong and who decides on a collective morality? "Right to Resist" explores this and more, covering the ethics and philosophies, as well as the function and process of revolutions and resistance. It is in no way an unbiased commentary, but instead a collection of thoughts meant to inspire change.
Primarily featuring Baby Blue and Black, the book's color scheme creates a play of light emerging from the dark. The blue emulates a clear blue sky as a symbol of freedom.
Pressato is used for the headline type, which fills the page with large titles, creating visuals inspired by protest posters.
↗ See MoreDekho Magar Pyaar Se
An homage to Indian trucks and truck drivers, as these trucks were my introduction to typography and visual design. The book delves into the creation and history of truck art, the lives of truck drivers, and the connection between the drivers and the art across India.
During the design process, I aimed to emulate life on an Indian road, an organized chaos. The bold colors and typography are a clear homage to Indian trucks and the rich culture one experiences while traveling across India. Within the book's content, all non-English words are typeset in Hindi (India's national language), with pronunciations and definitions provided below and in the glossary at the end. This compels non-Hindi readers to take a detour while reading. This combined with the book's various layouts and complex grid, creates a reading experience akin to driving on an Indian road, where one is always alert and engaged.
↗ See MorePlayground :)
A collection of various projects, posters, graphic studies, photography and just having fun as a Designer and Artist.
