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Forget technology for a while and try lifting that fountain pen or a paint brush. Dip it into the world and paint that stroke. It feels different. The magic that hands creates can never be matched by technology. Calligraphy is one such area of design where the old way rules. Graphic Designer Anup Shah does wonders with delicate letterforms to depict stories and create an aura. He tells us more about his meditative designs and his gratitude for the guidance from his father, Kiran Shah and calligraphy mentor Achyut Palav.

Calligraphy - Anup Shah
Calligraphy - Anup Shah

You are the World You are in.

In most instances, the environment we grow up in determines the likelihood of what one chooses to pursue in life. If the ambience around you since childhood has been papers, ink, books on the design they become your muse and instil a sense of curiosity that soon gives wings to your talent and sets you on a path of a lifetime – the path of a designer.

 

Such exposure is beneficial and offers a great platform to learn from experienced people. A creative environment is important for any designer and for those growing up to become one.

Calligraphy - Anup Shah

If you Think You’re Right, You are Right.

This should be the attitude of any designer in today’s world. Self-doubt is your biggest critique and is unnecessary. The process of design can be described to be consisting of the following key words – See, Think, Imbibe, Explore and Execute.

Calligraphy - Anup Shah
Calligraphy - Anup Shah

These five simple words can easily be the constitution that dictates the actions and behaviours of any artist. If one is sensitive to things happening around and make a conscious effort to capture the essence by reflecting them in their work, then one can say that half the battle is won.

 

And what this philosophy translates into is the fact that one need not convince anybody about what one’s work says because people will automatically understand and know.

Calligraphy - Anup Shah

Do Away with Technological Dependence.

For today’s tech and net-savvy youth, it’s imperative to understand how this may be hampering their design growth at times. Because what technology is doing is only killing creative strength by preventing thought and only allowing you to polish, modify and execute things which are already there.

Originality is losing its charm. Back in the days, designers would create 50 different options not variations to create a single logo. Today, it’s rare to see such an instinct. It’s all about speed now, it’s all about being the fastest. What this is doing is making them less designer and more operator.

Calligraphy is Relative.

Every single alphabet has its own sound and characteristic. For example, ‘L’ relating to famous singer Lata Mangeshkar paints imagery of something soothing, soft and silky whereas if ‘L’ was depicting Laden, it would be read as something bold, rough and wrong.

Calligraphy - Anup Shah

Hence, the letters never communicate on their own but always in conjunction with a central element or subject. Also, for those taking up calligraphy and typography, it’s important to make such hints as subtly as possible. In other words, create a story by animating letterforms to depict the theme so that when simplified forms mixed, creates an expression. Understand that every stroke should have a meaning.

Published in Issue 30

Since stone age when individuals were identified with certain marks, branding has always been an integral part of our life. It has evolved so much that now every success can be connected to great branding behind it, but still brand creation has always been a mystery. We interviewed the branding experts, who are behind some of the very successful brands. In brief, this issue is packed with branding and typography design experts who can help you solve the mystery of the brand creation! Order your copy here!

 

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With the vision of his masterpiece shining bright in his mind, illustrator Yogesh Bhusare has been working towards his design and product brand since the day he graduated. Expanding his knowledge and skills regularly, he has worked with well-known clients and is close to achieve his dream. Here are the highlights of the conversation with him.

masterpiece
Tribal India. Fusing tribal art with the new tincture of modern vibrant colours.

Urging himself to experiment with styles and daily referencing has broadened illustrator, Yogesh Bhusare’s portfolio and helped in his transition from an event agency to Taproot India to an art director at Leo Burnett. Picking up positives from his work place combined with sheer hard work has led him to display his thoughts that are close to materialising into his masterpiece.

masterpiece
Arty truck. Inspired by Indian Trucks.

CG. From minimal illustration to multiple image collage to freehand doodling, you seem to be trying all the different styles. How does it help you and which one of these styles you enjoy most?

Yogesh. I love experimenting with styles. I usually do a lot of referencing and that’s like a daily habit for me. When I come across something that is new and inspiring, I try to experiment with it, adding my sense of art. My personal style involves much of doodling, but I am inclined more towards experimenting rather than sticking to one style. An awesome concept in mind will just be useless without the proper skill, discipline and style to make them.

This was a small art tribute given by the artist for our loved president and the rocket man of India Dr. A.P.J Abdul Kalam.

CG. How do colours, detailing and typography make themselves heard on your canvas?

Yogesh. Colours represent the mood that an artist is in while typography is like the feelings. Every artist uses them to display the thoughts he has in his head. Detailing is the factor of patience and the satisfaction of the artist.

masterpiece
As day turns into night in this illustration, the rapt human is frozen into inaction much like the city he lives in.

CG. You have worked with many big bands, so how do you manage to engage them with your illustrations?

Yogesh. I see them through my perception as a common man and what would bring that sense of attachment and engagement to me when I see the brand. I then try to incorporate the same in my work

Modern Sanyaasi. A theme that exists across the religions, is taking Sanyaas i.e. abandoning the settled life and walking one’s way to godliness.

CG. How do you develop a client-designer relationship? How does that help or hinder the design process?

Yogesh. Communication and transparency between designer and client lead to trust, flexibility, diplomacy, collaboration and creativity. Designers are not the mind readers, so it is important for designers and clients to develop a partnership by working together, collaborating ideas and asking questions that explore and specify all key factors, details, and goals of a project. This helps the designer to develop his art and makes the whole process easy

Holy Men of India. This piece is an abstract portrait of the symbol of everything holy in India viz a Hindu sadhu.

CG. What is your dream project? How close are you to achieving the same?

Yogesh. My Dream project is to own a design and product brand, and I am close to it I believe! In fact, I have just started my own brand on a small level. My brand name is AWWSOME and eventually will see it growing with time.

Space Age Ganesha. Doodling has no bounds; this theme is most clear in the technological avatar of Lord Ganesha.

CG. Your advice for the young illustrator on achieving the early success in career?

Yogesh. Many people just dream about what you have and wish they had a career like yours to carve the thoughts on a paper. If you have the passion and you are lucky enough to be in the profession of your choice, make the best out of it.

Published in Issue 34

This is a rebranding special issue focused on finding the answers to some of the basic questions like what is the right time for re-branding? or what all needs changing and how exactly? We interviewed some of the best branding studios like Landor Mumbai, Elephant, VGC, Inchwork, and many more. If you are considering rebranding or want to learn more about the art of doing it then this issue is a must read. So, go ahead!

 

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Snow, rain, forest, desert – nature never followsany particular style. Graphic design studio, Prasun Mazumdar Design believes in a similar variety. Inspired by nature, it likes to work with natural tools, the hands, to create artworks that are organic and free-flowing, just like nature itself.

Design
Installation art for DLF Promenade
Design
Shiva Illustration

Nature is the Best Reference.

Wings of a butterfly. Tail of a peacock. The sunset sky. The veins of leaves. Nature is full of such beautiful designs and v aried display of creativity. The idea is to make a regular morning walk in the park seem like a walk through an art gallery. Spend more time with nature. Register natural patterns and forms. That’s how you’ll gradually realize that lessons from a book don’t help as much as dir ect interaction with life and nature.

Design
Illustration for Rajesh Pratap Singh, Rock Collection
Design
Designed for Royal Enfield

Variety Makes This World an Exciting Place.

Graphic designers must learn this from nature. Everything that exists around us has been designed for a particular purpose. Designs should also have a similar aim, an appropriate purpose. Nature is a live demonstration of the various simulations and executions of the same subject. Like that tree in front of your home. It’s the same tree that looks different in the morning sunshine as compared to its dark shadows dancing on a wall at night.

Pundits. A mixed visual language, showing the musical combination of heavy classical notes backed by electronic beats
Through the Words of Mr. Bond. Illustration for ‘The Kashmiri Storyteller’ by Ruskin Bond
Should start again? The world after the apocalypse with the crow holding a hope in the form of a seedling
Jim. Tee and denim design, inspired by Jim Morrison, showcases his persona using shapes and colours

Design Should Not Be What You Want It To Be, But Rather What it Should Be.

The main problem these days is that many designers are creating artworks that ‘appeal to the masses’. That’s usually because clients want it that way. In a world where everyone interprets art differently, such works of art are ineffective. Moreover, they are detrimental to the diversity that is inherent in nature and society. As a result, the whole world of art and design is getting formulated. The philosophy should be to do good designs and make them for what they are meant to be.

Metamorphosis. Inspired by constellations and night sky phenomenon, the design shows metamorphosis at different levels around us
Metamorphosis. Inspired by constellations and night sky phenomenon, the design shows metamorphosis at different levels around us

Nature Gave Us Tools.

We decide its use. Like our hands. It gives one a lot of options to experiment with allowing for new outcomes every time. Technology has helped graphic designers immensely. However, working with hands is a different feeling altogether. The idea is not to be different, but to feel your work as you make it. Those pencil impressions on the thumb, the colour and ink stains on the palm, the aching joints of the finger s, are all signs of raw and fresh work.

Tanabana. The word ‘tanabana’ means matrix. This illustrative book cover was made with a thread like effect
Packaging for Smuze

Your Design is an Ecosystem.

If trees, rivers, animals, birds, insects, soil and rocks were design elements, a forest would be the artwork. It’s for a designer to bring together unrelated elements to make it seem like one harmonious family. Singling out one element and making it rich can disturb the balance of the overall layout later on. Hence, the bigger picture should always be kept in mind.

Design
Packaging for Spichi
Design
Packaging for Spichi
For Royal Enfield

Evolution is a Way of Survival.

Mutation, we all know, is what keeps life going. Nature has an appropriate solution for revival and survival. The same concept can be applied while making identities. Using the right fonts, understanding them and their usage, can create identities that can stand the test of time. Experiment with fonts, mutate them. But before all that, know the surroundings, that is, the philosophy of the brand, its placement in the market and various other factors affecting the brand. Keeping all this in mind, make necessary changes to the font to get a desired result.

Rebranding for Erna’s Gourmet
Rebranding for Erna’s Gourmet

Self Belief Leads to Adaptation.

While starting off as an independent venture, don’t narrow the choices. Try your hands on everything. Be everything. Don’t restrict your capabilities. Of course, the change from a protected environment to the wilderness is not easy. But if you’re good, nothing can stop you.

Designed for Jawa

Published in Issue 11

This is a Design in India Festival Special! This issue also explored the Jewellery Design & Wedding Photography with some cool techniques to learn from experts in Gyaan section.

 

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Character designer, illustrator and storyboard artist, Ritaban Das, takes s through his own style of telling stories through illustrations in a single frame style of designing. He introduces his perspective that guides his ideas and also shares his process.

Single Frame
Mummy ka Scratcher
Single Frame
Team Dank. Personal work depicting a rather artistic team spirit.
Single Frame
Sketching with friends. Personal work showing aliens as company while sketching.
Single Frame
Kung Fu Singh
Single Frame
Together. Just a piece of commissioned work for my friend, depicting the funny side of companionship.

CG. What are the particular advantages and challenges of telling stories in a single frame?

Ritaban. Illustration or design is a visual communication medium. It is important to challenge yourself with a different perspective, scale and how your subjects interact with one another. When sketching, I produce numerous roughs or loose drawings which later make into more developed sketches. I then decide on a final composition. The most critical element is really an activity of the subject. The figure is usually doing something and caught before it happens or just after. The other elements are supporting artefacts. Whatever I draw, I think of it as a clue or a breadcrumb that helps understand the complete story and message. It’s up to the reader to put it all together and solve the riddle

Single Frame
Indian Warrior. For a monthly Facebook character design challenge. The topic was "Warrior".
Soccer Dad

Single Frame
Clown. Personal work, inspired by Eli Roth's film of same name.
Single Frame
Two Detectives cover artwork. For the unfinished graphic novel I was working upon with my brother.

CG. What are the essential designing tools and software you use for such an approach and how do you decide on what kind of a role they play in your work?

Ritaban. I usually make the design part in Photoshop, from scratch to end, and I work in Storyboard pro for storyboard. Tools can make your work easy or even open the avenues to do it faster, but it’s based on how good your design sense, storytelling abilities and drawings are. These are the most basic fundamentals to create anything.

Merry Christmas. Old commissioned work created during the Christmas season.
Two Detectives. A promotional poster for the unfinished graphic novel I was creating with my brother.

Komorebi Poster
Single Frame
YUWA. For Art Exhibition last year, collaborating with the NGO Yuwa that empowers young girls,.

CG. What aspects do you particularly give attention to in your work to ensure effective communication through your illustrations?

Ritaban. I start by trying to understand the character, his/her background, history as well as his/her place in the story. Research helps at this stage since it’s so important to understand the world you’re creating before jumping into it Next, I’ll do a series of drawings where I figure out the characters shapes and attitude; I try to just draw the first thing that comes to mind, knowing that I’ll be changing it later. All the while, I’m searching for a new or interesting take on the character. After I’ve done a few rough thumbnails, I decide on the one that has the most appealing silhouette, shape proportions and that best describes the character. I then start to flesh out the character and begin to add details, keeping in mind any specific traits described in the script or story.

Single Frame
A promotional fan poster for the most anticipated boxing match in the history between McGregor and Mayweather.
Heavy Dudes

Single Frame
Odd Socialites # 1. The first installment of a small comic strip project with my writer friend.
Single Frame
Red Necks. Personal work showing the not so friendly folk in town.

CG. How do you describe your process and goal of designing?

Ritaban. Being a Character Designer and Illustrator, most of my work is very much character driven, blended with humour and very graphical too. I always try to convey some sort of stories through each and every character or Illustration I make I like to play with various shapes and silhouettes and usually keep things simple. The character design process is, in a way, a combination of different things. I ask myself ‘Who am I drawing?’ What is his/her personality?’ I look at the work of influential artist sometimes to get some ideas or even start from a drawing I like and translate it into my style. Then, trying to forget those influences, I often start from scratch with a basic shape such as the face as it determines the rest of the character for me, then the body (this can be a circle, oval or even a pear shape – it all depends on the personality of the character I want to draw)

Single Frame
Battle of the Beasts. UFC 223 fan poster for the main fight between Ferguson and Khabib.
Single Frame
Inked! Personal work depicting a tattoo artist working his craft on the devil.
The Anarchist
Scary guy with skill
Issue-42-Cover

Published in Issue 42

Every designer wish to be independent and willing to jump into the word of freelance but most of them unaware of the fundamental challenges of the initial phase. So, we dedicated this issue to freelancers and interviewed some established and talented designers to dig deep for the expert advice. Kevin Roodhorst on the other hand, an experienced freelancer from Amsterdam, has recently shifted to be a full-timer with an Agency says “Freelancing is not all roses!” and shared the best way to survive as a freelancer! So, whether you are a freelancer or planning to be one, this issue is a must-read. Go ahead and order your copy here or subscribe to not miss any future issues!

 

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India’s vividness is a great inspiration for designers galore. From culture and traditions to behaviour and insights, a plethora of concepts lie hidden in this multicultural land. Graphic Designer, Somdutt Sarkar, explores this rich culture to translate them into memorable design.

 

Embedded with cultural symbolism, his design combines Indian animals with a truck-art inspired appeal to create wall art that stands out. Quirky, native and attention grabbing, Somdutt’s artwork is laden with patterns, Indian motifs and meaning. Creating designs that satiate not only standards of aesthetics, but also practicality and timelessness, he says that designs can’t be simply a frivolous act of creation. “I try and incorporate some meaning in my designs, be it using an obscure art form or giving work to skilled craftsmen.” says Somdutt. Surely, his designs are not just show pieces.

 

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Design
Tiger
Design
Buffalo
Design
Cow
Design
Lion
Design
Elephant

Last few years, India has seen a steady rise in design consulting needs from new mushrooming businesses, commonly referred as ‘Startups’. These are not necessarily the love child of newbies but also some industry veterans or serial entrepreneurs taking on new business challenges, who understands the importance of design. Here, Ashish Deshpande explains the pros & cons of designing for startups.

startup
ASAP. CIIE-IIM-A incubated Bangaluru startup that created this “on the go” snack, design helped strategise and communicate a differentiating visual story. Pic by Elephant

A motivating enterprise environment in India, propelled by several industry & government initiatives has helped create a breed of entrepreneurs high on enthusiasm, technology savvy and willing to take the risk on new product service formats. Design is playing a crucial role in their journey as well as successes and there is increasing acceptance to the use of design in building a resounding brand & quality of product or service application. Paperboat is great example of a recent startup success story where one can observe design playing a key role. However, working with startups has its own unique hiccups and thrills.

startup
Paperboat. A memory drinks based startup where design added emotive value to the brand, identity, language, pack form function. Pic by Elephant

• CHALLENGES with Startups

1. MULTI-ROLE INVOLVEMENT

Let’s face it! Startups are ultra lean. Aligning business & technology solutions to a consumer-focused approach needs to be done at multiple levels. Since most startups, unlike the well-established corporate world, cannot afford multiple experts & agencies, a designer is seen as a ‘fix all’ for several needs. Involvement of a designer or design firm goes beyond a specific design assignment. Designer ends up playing a strategic role, trying to balance business strategy with design, brand image, product, pack, quality, vendor development, applications and point of sale, with key design language & marketing messages.

2. DISTINCT SOLUTION

Most startups are either technology or business focused. Design is a weakness and so is the ability to profile and understand end consumer. Startups tend to get committed too early to a particular tech or proposition without ascertaining appropriateness, uniqueness and distinction of their offering. Despite a new idea, most times, the end offering is neither distinct enough, nor is perceived value appreciable. This grave omission places the fledging business at risk from the word go.

3. INCREMENTAL APPROACH

Paucity of key in-house expertise & resources, especially funds, forces design to be undertaken in an incremental manner, stretching across months at times. Design implementation also takes place at a slow pace so it is difficult to see the full picture or measure the impact of design. A healthcare start up, setting up new format of hospitals launched the service care product with just the new brand identity, However, the hospital experience that would resonate with the brand was placed on hold due to lack of funds. The result was apparent. Customers never experienced the distinction in the hospital value proposition and never understood as to why they should adopt this new hospital chain.

design
SynPhNe. Singapore based technology startup where design helped cutting edge tech become human through Industrial Design of Wearable stroke rehabilitation device focused on needs of patients. Pic by Elephant

• ADVANTAGES with Startups

1. CONTAGIOUS ENERGY

Startups are a happy lot. Usual work culture is hands-on and people come across eager to learn, share and help. It is great to work with synergies of such teams and be part of an exciting journey. The results reflect on the design output. Client meetings are less of drudgery, are participative and consequently more productive.

2. WILLING EXPLORERS

This is one place where Startups score. They are willing to play along as you explore, experiment & test. There is negligible blame game, no departmental silos or ‘mother of all’ presentation to the King of the corporate. Results are quick and decisions are usually part of a co-creative play. Funds are the only constraint but then frugal approach and ‘jugaad’ prototypes are more than welcome. This approach works wonders for the confidence of the design team.

3. CREATIVE SATISFACTION

Many startups are working in the healthcare, social impact, agri-tech and energy space. Just the sense of what your work will potentially achieve can layer the designer in you with goose bumps. Each startup is a new challenge, whether it is B2B or B2C, it gives a sense of new purpose and when design helps enable such opportunities, the result is very satisfying. Design as core to startups is understood by the fact that many new enterprises have designers as co founders. Designers in India will have to quickly adapt to this new scenario and draw out a process to work with the Startup eco system. This culture is here to stay.

startup
Plezmo. IOT based education platform that helps you learn program logic while you have smart fun. Pic by Plezmo
design
Plezmo. IOT based education platform that helps you learn program logic while kids have smart fun. Pic by Plezmo
client

Published in Issue 37

Recent demonisation and changing Taxes has pushed most of us in planning our finances more seriously. So to answer some of the basic questions for designers, freelancers and creative studios, we interviewed some of the creative legends to guide and share their wisdom. The issue includes interactions with Preeti Vyas from VGC on ‘How to pitch for clients or retain the existing one’ and Ashish Deshpande from Elephant on ‘Challenges of working with a startup’, along with some best freelancers like Archan Nair, Shreya Shetty and Paul Sandip, sharing their knowledge of working with various clients. Also, Sachin Puthran from Thatzit.com gave a 10-point no-nonsense guide for studios to handle their finances. A must read, if you are planning for the financial year ahead or worried about your handling your money matter, this issue can give you much-needed insight and guide you to a better financial health of your business or freelancing.

 

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Anil KS trusts his instinct, essentially, while designing. Observing elements in his environment, he cultivates his techniques to simplistically present depictions that effortlessly spread smiles on people’s faces and make the world a happier place through his illustrations.

Illustrations
Tea Master. A fun illustration for a magazine featuring Kerala Tea shops.

For Anil, the design is a natural way of life, such that a person’s design sense and character are innately connected. Mainly guided by his love for traditional art forms, Indian mythology, sculpting and mural art, he’s always trying to bring his own style into his work of illustration, design, animation and typography.

Illustrations
Double. Amusing characters designed for an animation project.

Choosing a colour palette is a major aspect of Anil’s work, helping his illustrations to stand out and make easily relatable. Largely influenced by the living ambience and visual art forms in his hometown, Kerala, sharp and contrasting colours always make their way into in his work.

Illustrations
Parrot Man. An evocative illustration from a series of miniatures done for society6.

Trying to keep it easily readable in a silhouette, he starts out by scribbling the simplest, basic shapes, adding extra bits only later. Understanding the story behind the character helps in deciding the nature of the character. Anil always tries putting his personal touch into his work, preferring whimsical illustrations with humorous concepts and cheerful colours that make both, viewers and him, happy. That sounds like a win-win.

Horse Man. A colourful, whimsical and funny character designed for a project in 2010.

Published in Issue 34

This is a rebranding special issue focused on finding the answers to some of the basic questions like what is the right time for re-branding? or what all needs changing and how exactly? We interviewed some of the best branding studios like Landor Mumbai, Elephant, VGC, Inchwork, and many more. If you are considering rebranding or want to learn more about the art of doing it then this issue is a must read. So, go ahead

 

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Onassis Cultural Centre, a space that brings together people to express and discover diverse art and contemporary culture, needed a visual identity that translated the same. And Beetroot Design shows us how it’s done.

Visual Identity
Visual Identity
Visual Identity
Visual Identity
Visual Identity

Brief/ Challenge:

Onassis Cultural Centre, a platform for artists to come together to showcase and discover contemporary bold art, required an equally bold visual identity for the season 2017-18. This Athens based institution needed the identity to be open and relevant to everyone, thus reflecting the core idea behind OCC.

Visual Identity
Visual Identity
Visual Identity

Solution:

Beetroot Design Group, a multi-award winning, Thessaloniki based design firm, explored and created a visual identity for OCC, that is made for everyone, and yet so unique. Beetroot achieved thus by putting together all the typographies from the publications and events of the season, thus portraying them all under one visual identity. For this, the firm specially created software, Flow Type, which is now available for free. The software helped handle the high volume of typographies and played a key role in their manipulation, thus resulting in expressive free-flowing words.

The overall visual identity is an explosion of energy, colours, movement and boldness. Each piece of work is vastly different in its expression, but it is beautiful how they all come together to narrate a single story.

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Designing by developing personalities is one of the best ways to create relatable, relevant and successful campaigns, and Saatchi & Saatchi Integrated Solutions shows us how with the Nobile’s ‘Hang Loose’ campaign for the wakeboards.

Brief / Challenge:

Nobile, a Polish manufacturer is worldwide critically acclaimed for its adventure sports products like skis, wakeboards, snowboards and kiteboards. In 2017, Nobile wanted to engage young wakeboarders with their products. For this, they needed a new upbeat and relatable campaign that would catch one’s attention.

Solution:

Saatchi & Saatchi created the ‘hang loose’ concept to encourage wakeboarders to look inwards and identify with their uniqueness. For this, the agency put together five distinct personalities as themes and created five wakeboard designs around them. Each of the personalities, and thus designs, are youthful, contemporary and fun.

 

‘Shaka’ captures the elements of our childhood imagination. ‘Brah’ talks of brotherhood and adventure. ‘Aloha’ encompasses spritely feminine characteristics. ‘Akaw’ illustrates the yearning for adventure and discovery. ‘Bee3’ displays the fierce need for freedom and individuality.

Credit:

Agency

Saatchi & Saatchi IS, Poland

Client

Nobile Sports, Poland

Creative Director

Michał Pawłowski

Design Director

Rafał Nagiecki

Art Directors

Anna Caban
Bartosz Morawski
Kamil Bugno
Rafał Nagiecki

Retouching

Aleksander Bieroński
Bartosz Morawski
Kamil Bugno

3D Artist

Bartosz Morawski

Senior Copywriter

Marta Frączek

Account Director

Jakub Krawczyk

Account Supervisor

Anna Borysewicz

CEO

Malgorzata Rosiak-Brawanska

Marketing and Communication Officer 

Maciej Jaźwiecki

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Why do we love illustrations so much? Is it because it gives us a different perspective? Or is it the yearning for something spectacular? Maybe it’s simply to make one stop and think. These 3D installations by Peter Tarka, is all this and more. Each installation in the series takes different principles of design and explores the possibilities. The tension between the various objects in each installation creates something wonderful.

 

Peter Tarka is an art director and illustrator based in London who has worked with several renowned agencies like Saatchi & Saatchi, and for eminent clients like Apple, Honda, etc.

 

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