PORTFOLIO design - visual art - calligraphy
About Me I am a graphic designer and visual artist having more than 15+ years of experience, working on projects like Branding, Logo Design, Communication Design, Visualization, Publication design, Web & UI/UX Design, Video, Presentation, Info-graphics, Concept Art & Storyboard etc. I can manage all the projects from concept to execution. • Creative • Imaginative • Analytical • Organized • Determined • Enthusiastic • Good Communicator • Passionate & Curious • Problem solver • Multipotentialite SKILLS as a Designer
SKILLS as an Artist
Communication Design Branding Logo Design Brand Identity Design Art Direction Visualization Image Editing/Manipulation Mock-up creation Print Production Photography Calligraphy Motion Media Web & UI/UX Design Digital Marketing Visual Design Creative Problem Solving Creative Thinking
Drawing Painting Sketching Doodling Illustration Conceptual Art Digital Art Graphic Art Calligraphy Hand Lettering Conceptualization Storyboard Character Design Animation
Awards I got nomination for my posters designed for 4thblock International Triennial Eco Poster Competition 2009 & 2012 and International ANTI-AIDS Poster Competition 2009.
LO G O D E S I G N
IDENTITY DESIGN
PRINT MEDIA
CALENDER DESIGN
POSTER DESIGN
STORYBOOKS
My first Commercial Project in the year of 1999. All the illustrations are coloured in Photoshop at the time when concept of digital design is just introduced.
BOOK COVERS
“…nu÷kt suðwt fþwt hÌkwt ™Úke. y‚÷™k s{k™k suðe ðkŒ ™Úke hne.” 17 yk ðkõÞ ftE fux÷eÞ ðkh Œ{khk fk™u …zâwt nþu. fkuE ðze÷™u Œ{u yuðwt
fnuŒk ‚kt¼éÞk nþu fu, ‘nðu y{khk ‚{Þ suðwt hÌkwt ™Úke.” yhu …ý õÞktÚke hnu ? õÞktÚke hnu …nu÷kt suðwt ?
‚ŒŒ ƒË÷kŒk hnuðwt yu Œku fwËhŒ™ku r™Þ{ Au. rðï{kt fkuE …ý ðMŒw …nu÷kt suðe nŒe yuðe ™u yuðe hnuŒe ™Úke, ƒË÷kÞk s fhu Au. Sð™þi÷e swyku, y{ËkðkË{kt …nu÷kt ƒÄkt …ku¤™kt {fk™ku{kt hnuŒkt. nðu …ku¤{kt hnu™khe 60 xfk «ò Œku rþVTx ÚkE „E Au VT÷ìxT‚{kt y™u su ÷kufku nS …ý …ku¤{kt hnu Au, yu …ý õÞkt …nu÷kt suðwt Sðu Au ? yksÚke 30-40 ð»ko …nu÷k™wt …ku¤™wt Sð™ y™u yíÞkh™wt Sð™ yu{kt ƒnw {kuxku Vhf Au. …nu÷k Ëhuf …ku¤{kt ½uh ½uh xktfk nŒk, su{kt ðh‚kËe …kýe™ku ‚t„ún ÚkŒku. nðu y{wf™u ½uh xktfk Au ™u y{wf™k …whkE „Þk Au. …nu÷kt …ku¤™k {fk™ku™k yuLxÙL‚{kt Ëhuf Ëhðkò™e ƒkh‚k¾ W…h fkuŒhýe fk{ ÚkŒwt. yu fk‹ð„ Ëhuf ½h™e Þwr™f ykRzurLxxe ƒ™e sŒe. Ëhuf ½h™e yuf yku¤¾ nŒe su yu™kt ƒkhe-ƒkhýkt-zu÷e-ÍY¾k{kt òuðk {¤Œe. nðu ykðwt ƒÄwt õÞkt òuðk {¤u Au ? nðu Œku ƒÄk™kt {fk™ku™k Ëhðkò ‚h¾k ÚkE „Þk. VT÷ìx{kt, xTðe™ hkunkW‚™e Mfe{{kt ƒÄu ‚h¾kt s ƒkhýkt òuðk {¤u. yu{kt …ý hnu™kh™k fÕ[h™e Í÷f ™ òuðk {¤u. nðu Œku …ku¤™kt sq™kt {fk™ku …ý rh™kuðux ÚkE ÚkELku yufË{ ™k™k ™k™k ƒkf‚ suðk VT÷ìxT‚ ƒ™e „Þk Au. su™u ði¼ðþk¤e ƒt„÷ku ƒ™kððk™e ònkus÷k÷e {¤e nkuÞ yu s ‚tMf]rŒ™e Íkt¾eY…u ÷kfzk™e fu …ÚÚkhLke fkuŒhýe fhkðe þfu. ‚k{kLÞ {ký‚™wt „swt ™nª y™u hwr[ …ý ykuAe. …nu÷k™kt ½hku{kt r[ºk™wt {n¥ð nŒwt. ht„ku¤e ÚkŒe. r…AðkEðk¤kt r[ºkku òuðk {¤Œkt. ¼ªŒ W…h r[ºkku ƒ™Œkt. nðu Œku Ëhuf™k ½h{kt …uR®Lxø‚ …ý
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MAGAZINE DESIGN
Ar. B. V. Doshi’s architecture is conceived ‘as a place to be inhabited, as a place to facilitate the course of human interaction’
THE MAESTRO AND HIS MAGIC The master architect speaks to Teja Lele Desai on how his design sensibilities were forged, why the interior must be relevant to the exterior, and why art, architecture and life need to co-exist.
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Photos courtesy: Vastu Shilpa Consultants and Anuja Khokhani
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Doshi’s architecture takes pride of place for “combining certain enduring values of modern architecture with research into the substructure of Indian traditions”. Over the years, he developed his own language of architecture,
Most of the firm’s projects show that Doshi does not favour the imposition of any particular style, his architecture is conceived “not as a synthesised container of specific activities but as a place to be inhabited, as a place to facilitate the course of human interaction”. The firm also works to conserve energy, human or mechanical, optimize technologies, adopt innovative ways of building and alternative materials, and places an emphasis on urban design. In Amdavad-Ni-Gufa, a book published by Doshi’s Vastu Shilpa Foundation, the architect writes: “…in true architecture one must experience joy and celebrations, it must affect our inner self. It cannot
Ar. Doshi believes that architecture ‘cannot be distinguished separately either as modulation of light or surfaces or supporting system’
The IIM Campus in Bengaluru reflects the sense of scale, proportion and light that’s trademark Doshi
be distinguished separately either as modulation of light or surfaces or supporting system. On the contrary, a good design merges floors, walls, ceilings into one contiguous whole and creates an organic space almost like a living being… It then becomes a small universe, a microcosm which we can call paradise.” The Interior and the Exterior
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Sangath, Ahmedabad, was designed to function as Doshi’s studio and visualises traditional Indian architecture in a modern medium
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The inside and the outside. Should they be kept at arm’s length from each other or should they co-exist? Doshi believes that during the design process, architects need to keep in mind that the interior and exterior form an integral whole. “Can the interior reflect the exterior? Can the exterior give a clue to the interior? Will they allow the unfolding of experience and imagery?” he asks. “I think about the interior and exterior like a living organism. Like in a body, there should be nothing superfluous, there must be no compartments. All should come together to form a seamless whole,” he clarifies. Presently, he believes that interior and exterior are often viewed separately by designers. “We often operate on a micro scale, losing sight of realities. We need to function on a macro scale. After all, the exterior is nothing but interior
B. V. Doshi’s friendship with M. F. Husain resulted in Amdavad-ni-Gufa, an underground art gallery located on the CEPT Campus in Ahmedabad
& Technology (CEPT) in Ahmedabad. Months after he took up the project, the architect did not have any clear image for the Gufa. All he knew was that the Gufa had to be an underground structure without any conventional form. One day, he visited the site to gain clarity. That night, he had a dream about a kurma (a tortoise), who had appeared in his dream eight years earlier.
on a larger scale. So it’s paramount that we expand our vision and horizon, and take a look at all the micro layers that make a design macro,” he says. Interior — be it the inside of a building or a product — should talk about sustainability, how it relates to the outer environment. Interior is experienced through movements from all sides; like a kaleidoscope, memories and perceptions change. He turns thoughts on their head by posing a question. “What is a street if not the interior between two buildings?” Clearly, says the master architect, the scope of interior design needs to be widened. “It must be more inclusive so as to include large-scale projects such as airports, stations, infrastructure projects and enclosed public spaces within its ambit.”
At the Amdavad-ni-Gufa, the form of roof shells is guided by computer design and the structure is in the form of skeletal skin and wire mesh
influences even the smallest details. The firm is not compartmentalised into divisions and so architects involved in the conceptual decisions also develop construction details for the building, review fabrication drawings and observe construction at the job site along with various specialists and consultants.
A good design merges floors, walls, ceilings into one contiguous whole and creates an organic space almost like a living being, Ar. Doshi says
His Favourites Doshi favours a tightly knit team when it comes to work, the reason why he’s limited the size of the firm. This also ensures having substantial participation in all projects by the principals. His firm has developed and consistently embraced a design methodology that revolves around design teams framed at the outset of each project to work together — from concept phase to completion. At Vastu Shilpa, the development of design begins from the conceptual base of the project and generates a formal vocabulary that ultimately
Does Doshi have any favourites from his vast body of work? He thinks for a moment and responds. “I would say the Husain-Doshi Gufa and Sangath, both of which are interior-wise and space-wise very significant.” Sangath, designed for himself to function as a studio, exemplifies this with a variety of spaces that appear as a part and parcel of traditional Indian architecture and are visualised in a modern medium.
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Doshi returned to Ahmedabad to supervise Le Corbusier’s numerous projects in the city, working on them from 1955–59. He set up his own studio, Vastu Shilpa (environmental design), in 1955, and also worked closely with Louis Kahn when Kahn designed the campus of the Indian Institute of Management, Ahmedabad. This was an important period in Indian architecture, one in which Indian architects had to deal with foreign legacies and adapt them to Indian conditions.
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forging design sensibilities that were inherent to India’s climate and conditions. Take any of his projects, be it IIM Bangalore, L D Institute of Indology, CEPT Campus, his own residence, all have a sense of scale, proportion and light that’s trademark Doshi. His environmental and urban concerns, and his ability to adapt modern architecture to an Indian context makes his work one of the most important models for modern Indian architecture.
ar. b. v. doshi
Born in 1927 in Pune, Doshi studied at the J. J. School of Architecture, Mumbai. He then headed for London, after which he stopped off at Paris where he worked under master architect Le Corbusier. Corbusier was a strong influence on Doshi’s work and life. His years in Paris — 1951–54 — led to a wide range of “exposure”, he says, resulting in strong fundamentals of modern architecture and materials.
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Dr. B.V. Doshi dons several hats with elan. An architect, artist, teacher and speaker, he’s one of the pioneers who shaped modern architecture in India. His holistic and comprehensive approach to design — he considers architecture a social enterprise — has, over decades, ensured a body of work that anoints him the master of his craft.
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In his book, Balkrishna Doshi, An Architecture for India, William J.R.
Curtis writes that Sangath is “a fragment of Doshi’s private dream: a microcosm of his intentions and obsessions. Inspired by the earth-hugging forms of the Indian vernacular, it also draws upon the vault suggestions of Le Corbusier. … [with] interiors derived from the traditional Indian city, it is also influenced by sources as diverse as Louis I. Kahn, Alvar Aalto and Antonio Gaudi. A work of art stands on its own merits and Sangath possesses that indefinable quality of authenticity. Even local labourers and passing peasants like to come and sit next to it, enjoying the low mounds of the vaults or the waterjars overgrown with creepers.” Doshi’s friendship with artist M.F. Husain culminated in Amdavad-niGufa, an underground art gallery located on the campus of the Centre for Environmental Planning
He writes in Amdavad-Ni-Gufa: “Kurma reminded me of the achievements of the Renaissance and Baroque period. He emphasised how the definition of space and form were gradually being dissolved, three dimensionally, and how the sky was becoming a part of the interior space. He even talked about optical illusions and how they are essential to make us realise that the space and form that we see are part of the infinite, and hence timeless and illusory.” Doshi went on to envisage a space with wonderful light and structures, unlike anything that had ever been created before. Sketches were doodled, models were made and studies continued over time. The result was a “sustainable, unexpected and unimaginable building”, the now famous Gufa. The form of roof shells is guided by computer design and the structure, built in ferrocement, is in the form of skeletal skin and wire mesh, sandwiched on each side by layers of cement. “The design is the epitome of freedom of expression. On this,
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