Archifest

Visual Identity, Typography, Print

Engaging with themes of perception and architectural modularity. This concept of modularity bridges
architecture and graphic design, leading to the
creation of an uppercase display typeface. This typeface,
inspired by architectural blueprint, serves as a
modular toolkit for users, allowing for customization
and adaptation, reflecting the foundational role of blueprints in architectural design. This approach not
only questions the sustainability and practicality of demolishing buildings versus adaptive reuse but also envisions a future of sustainable construction practice.

Diriku

Visual Identity, Packaging

Diriku is a branding and packaging project which aims to
use makeup as a tool that embraces equality by creating
a welcoming space for outward expression that supports mental well-being across ages, gender identity, sexual orientation, race, cultural background, and physical or mental ability.

I explored having a composition of lines in creating the
logo. The series of aligned lines stands at the same
level symbolizes individuals and an inherent equality
among them. On the packaging, I rotated the orientation
of the lines to form equal lines, being able to read interchangeably between

“Empower beauty, celebrate you”
“Empower = Celebrate, Beauty = You”.

These phrases encourage individuals to express themselves without conforming to norms or standards of beauty.
By empowering individuals to celebrate their own unique identities, we encourage a culture of acceptance, respect, and equality for all.

Lasalle DCE Reader

Publication, Print

A publication design project for a collection of essays on design and photography written by Alice Twemlow, Herbert Bayer, James Estrin, Ritupriya Basu, and Danah Abdulla.

Kelindan

Typography

Kelindan is a typeface that explores the difference in repetition of Indonesian embroidery. Looking at embroidery as an art of repetition involves repeating certain stitches, shapes, or motifs in a systematic way. Differences emerge from the progression of time, from manual embroidery to machines and then computers.

Kelindan’s typeface is built on two main parts: pattern and stitch. The patterns of circles shift, exploring patterns
not as mere duplication but rather how they relate to one another in the process of variation and transformation, which gives rise to new patterns. Overlaying the circles
are the stitches representing the three main stages of Indonesian embroidery and draws from their own specific qualities : hand, machine, and computer. Combining the
two elements in my system, I aim to experiment with how repetition diverges and generates innovation.

Watery Garden

Illustration, Print

Mixed media exploration with Chinese ink, digital mediums, and cyanotype printing. I wanted to express fluidity of a garden scene with varied brushstrokes and ink densities together with digitally drawn illustrations of a bird and fish fusion characters. I continued to explore this essence using cyanotype printing of actual plant specimens, infusing these botanical shapes with a blue hue reminiscent of tranquil water bodies.

Side Notes

Illustration

Side Notes is an illustration series that reflects on small occurrences, expressing moments of rest found in the margins of life’s large narrative. Each composition emphasizes one action, illustrating a brief part on the periphery of experience and thought.

A Cupboard of Life

Photography

‘A Cupboard of Life’ explores through images, the present state of discontinued sums. An isolation of perspectives on everyday lives in order to live in all their diversity. It is
an observation of time and space, drawing from these quantitative aspects that mark time, distinguish moments, and elements that link them together.