3D Typography
3D
Typography
Motion
This selected collection showcases a diverse range of custom typographic lettering projects, blending both personal explorations and client collaborations. Each piece is crafted using tools like Adobe Dimension, Cinema 4D, and Redshift – my go-to 3D tools. Rooted in a personal aesthetic that merges minimalism with simplicity, the designs embody a clean, understated style. They reflect a commitment to clarity and storytelling, where each typographic composition serves as a visual narrative, designed to engage and resonate with viewers.
For me, typography into more than just words. Through the artful interplay of structure, texture, and lighting, these pieces bring words to life, illustrating how design can communicate with both immediacy and depth.
For me, typography into more than just words. Through the artful interplay of structure, texture, and lighting, these pieces bring words to life, illustrating how design can communicate with both immediacy and depth.
→ Featured in Women of Type and Design India Magazine
Klar
Klar commissioned me to create an animated 'K' for digital use. The brief was to make a 'K' that people cannot stop looking at. It was an open-ended brief that allowed imagination to fly with only a few constraints, like the colour palette. Additionally, the 'K' had to be capitalised, bold and needed to communicate specific attributes like dynamism, flexibility, playfulness, etc. I aimed to make the 'K' the centre of attraction and explored the animation possibilities in Cinema 4D.
Klar commissioned me to create an animated 'K' for digital use. The brief was to make a 'K' that people cannot stop looking at. It was an open-ended brief that allowed imagination to fly with only a few constraints, like the colour palette. Additionally, the 'K' had to be capitalised, bold and needed to communicate specific attributes like dynamism, flexibility, playfulness, etc. I aimed to make the 'K' the centre of attraction and explored the animation possibilities in Cinema 4D.
SHOWstudio Moving Logo
In 2000, the legendary Peter Saville crafted the iconic logo for SHOWstudio. Over the last couple of years, designers and visionaries, including the incredible Zach Lieberman and Dirk Koy, were invited to reimagine this iconic mark into a moving logo. I was honoured to be given the chance to join the ranks of such remarkable creators. This was not only an opportunity to showcase my artistic voice, but also a challenge to ensure that the logo retained its legibility while being captivating and dynamic. What started as just using motion to play with the original form slowly transitioned to revamping the logo completely. My exploration focused on symmetrical forms composed of simple elements, allowing for smooth and fluid motion. To align my interpretation with the studio's distinct style and body of work, I began by identifying keywords that encompassed the essence of SHOWstudio – whimsical, vibrant, and delectable. These keywords became my compass, guiding me towards an animation that reimagined their unique spirit.→ Interview up on the SHOWstudio Website
In 2000, the legendary Peter Saville crafted the iconic logo for SHOWstudio. Over the last couple of years, designers and visionaries, including the incredible Zach Lieberman and Dirk Koy, were invited to reimagine this iconic mark into a moving logo. I was honoured to be given the chance to join the ranks of such remarkable creators. This was not only an opportunity to showcase my artistic voice, but also a challenge to ensure that the logo retained its legibility while being captivating and dynamic. What started as just using motion to play with the original form slowly transitioned to revamping the logo completely. My exploration focused on symmetrical forms composed of simple elements, allowing for smooth and fluid motion. To align my interpretation with the studio's distinct style and body of work, I began by identifying keywords that encompassed the essence of SHOWstudio – whimsical, vibrant, and delectable. These keywords became my compass, guiding me towards an animation that reimagined their unique spirit.→ Interview up on the SHOWstudio Website
Joy
I was commissioned by 'We Are JOY' to create expressive lettering for the word 'JOY'. The brief was to visualise the emotion of joy, which is the anchor of their practice. My approach was to play with colours and forms that best convey that – bright, warm hues and cute, round forms. I also added soft lighting to make it joyous and playful.
I was commissioned by 'We Are JOY' to create expressive lettering for the word 'JOY'. The brief was to visualise the emotion of joy, which is the anchor of their practice. My approach was to play with colours and forms that best convey that – bright, warm hues and cute, round forms. I also added soft lighting to make it joyous and playful.
36 Days of type 2020
These are selected pieces created for the 36 Days of Type in 2020, an annual challenge that designers, illustrators and enthusiasts participate in to express their interpretation of the letters and numbers of the Latin alphabet. I took on this challenge to learn Adobe Dimension, a software I had been waiting to explore. The aim was to use the simple forms provided by the software and manipulate them to create complex and abstract letters (A-Z) and numbers (0-9).
These are selected pieces created for the 36 Days of Type in 2020, an annual challenge that designers, illustrators and enthusiasts participate in to express their interpretation of the letters and numbers of the Latin alphabet. I took on this challenge to learn Adobe Dimension, a software I had been waiting to explore. The aim was to use the simple forms provided by the software and manipulate them to create complex and abstract letters (A-Z) and numbers (0-9).
Expressive Lettering
My journey into 3D typography began with early experimentation in Cinema 4D and Adobe Dimension, where I explored expressive typography.
My journey into 3D typography began with early experimentation in Cinema 4D and Adobe Dimension, where I explored expressive typography.
