Balancing stimuli and a personal minimalist style through continuous exploration of the sign

You’re an Indian designer based in Mumbai—a city famously chaotic, defined by its intense energy, dense population, and overwhelming crowds. From the outside, none of these qualities seem connected to your work, which is distinctly minimalistic. How do you balance these two forces in your life?

Interestingly, my work is almost contrary to the city I grew up in. Mumbai is dense, chaotic, and visually loud, and I think subconsciously my work became a way of creating calm within that chaos. If you look at my work holistically, it carries a sense of quiet — happy, muted, and balanced — using minimal shapes and muted colour palettes.

This approach came to me very naturally. It’s about finding order, reducing visual noise, and distilling elements down to their most essential form without losing their essence. I see things in shapes and geometry and this aesthetic extends beyond my design practice into my personal life — my home, my style, and my overall taste.

Today, everything is more accessible thanks to the internet—but how difficult was it for you to establish your practice within the Indian design environment? Comparing the beginning of your journey to where you are now, what has changed around you?

I worked in advertising agencies and design studios for several years before starting out on my own. I had a few connections through my work experience so managed to get some work, but it was difficult initially. I had also moved cities and had very little work for a while. That period became a turning point. That's when I decided to work on personal projects and explore my own style with a project called 'Something Cool Everyday' where I created a piece of Art everyday for a year.

This experience completely changed my trajectory. It helped me define my visual language and build confidence in my identity as a designer. Soon after, I started receiving work specifically because of that niche and style. Delhi played a huge role in this phase. It has a vibrant creative community and a rich cultural ecosystem. I began my independent practice there, surrounded by inspiring designers, artists, and thinkers. At the time, Instagram wasn’t yet a dominant platform. Today, social media has transformed how designers share work, get discovered, and build visibility. While I still find it challenging at times, it has undeniably changed the game — acting almost like a living, evolving portfolio.

A few years ago, your practice — and even your professional role — would have been described more as an illustrator than a graphic designer. Today, the discipline has evolved, and illustration, especially after COVID, has become a powerful tool for gentler and more meaningful communication, as well as supporting inclusivity, which is often more accessible through illustration. Do you identify more as an illustrator or a graphic designer?

I am both a graphic designer and an illustrator. I started creating illustrations around 2014–15, when I began exploring my personal style in design. Over time, both disciplines merged into the style I work with today. My approach is always centered on reduction: breaking a form down to its most basic elements while preserving its essence. I am instinctively drawn to shapes, symmetry, and structure, and this forms the foundation of my visual language.

You once mentioned that, instead of going fully digital because of the rise of Artificial Intelligence, you’ve actually moved in the opposite direction—experimenting more with manual and analog processes. What motivates this choice? Is it a genuine reaction against the push toward full digitalization, or are you searching for something different within your practice—perhaps something more distinctive compared to what AI can currently produce?

In recent years, I’ve consciously tried to return to working by hand. I began with charcoal portrait sessions in Mumbai, which took me back to my art school days when everything was tactile and analog. There’s something deeply meditative about working with your hands — being fully present in the act of making.

I’ve also been exploring paper collage, which aligns naturally with my geometric sensibilities. This shift is partly personal, but also a response to the growing sameness brought on by digital tools and AI. I genuinely believe that handmade, tactile work will gain more value in the coming years as a counterpoint to an increasingly automated visual culture.

What’s your perspective on the future of Asian design culture in the coming years? With platforms like AGI (Alliance Graphique Internationale) and various online references, there’s now a stronger sense of globalisation within the design community. Today, when we research for a project, everything is more open and accessible—we can easily explore work from anywhere in the world. How do you think this will shape Asian design moving forward?

I think it’s great that we have so much international exposure and globalisation within design. It’s great to share ideas, get inspired, inspire people, learn from each others experiences and also collaborate at times.

Exposure to different cultures and designers from world over has been very eye opening. India is still a developing Design Industry, we have a strong cultural and visual heritage, and we’re slowly seeing a confident, distinct design language emerge on the global stage.

How do you perceive the current state of design education?

India’s design industry is still evolving, but it has grown tremendously since I was in college. When I started out, there were very few art schools and graphic design had only just begun to emerge as a profession. Today, there are numerous design institutions, studios, and opportunities.

In your opinion, what is the role of emerging graphic designers?

Emerging graphic designers today are actively shaping visual culture. They are experimenting with new tools, blending disciplines, and constantly adapting to a rapidly changing design landscape. Curiosity and continuous learning are essential.

What advice would you offer to a young graphic designer entering the professional world today?

My advice to young designers is simple: spend a few years gaining experience, understanding real-world constraints, and learning from others before starting out independently. Never stop working by hand, and always make time for personal or passion projects alongside commercial work — that’s where your true voice develops.