Avni Jain Portfolio

Branding for TFF'18 marketing

2018

Tribeca Film Festival'18 Branding

Branding for the 2018 Tribeca Film Festival, was based on film-industry centric language. Art direction by Eduardo Palma, Luke Williams, Juan Miguel Marin and Jaime Fallon. I assisted in the concepts execution.

Visual language & process

The visual cue of printing on specific colored paper is taken from the different colored versions of screenplays (which identifies at which stage the screenplay has been revised). The bold type setting is done using Druk (which comes in varied widths and weights) with Akkurat-Mono. The tearing helped in mixing and matching words to form new phrases that emphasize the playful and energetic atmosphere which is inherint of the film festival.

The process behind

making the ad for NYT Mag

ad in NYT Magazine opening their culture section

Advertisments for NYT MAg, The Hollywood Reporter, Variety and People Mag. Below are a few of them.

General awareness ad in NYT MAg

Promotion of a few key speakers ad in The Hollywood Reporter Mag

Promotion of selected programs from the festival in Variety Mag

The posters were also exhibited at bus stops, inside the subway trains and at phone-kiosks in various parts of NYC.

Online banners and email headers for websites, made for festival's content promotion and general awareness, including IMDB, THR, NYT, Variety, EW, Eventbrite and Tribeca Film Festival homepage.

Below are a few website pages advertising Tribeca Film Festival.

Online general awareness banner on IMDB

Online general awareness banner on The Hollywood Reporter

Online general awareness banner on Entertainment Weekly

Eventbrite Page

Tribeca Film Festival Website Homepage Header

Designs for program announcements and their promotion through IG posts & stories

A 30 seconds short played at Madison square garden

Animations made for the screens located inside the Occulus in NYC. Below are a few of them

-fin-

The campaign won the HOW In-House Design Award 2018

Branding for TFF'18 marketing

2018

Tribeca Film Festival'18 Branding

Branding for the 2018 Tribeca Film Festival, was based on film-industry centric language. Art direction by Eduardo Palma, Luke Williams, Juan Miguel Marin and Jaime Fallon. I assisted in the concepts execution.

Visual language & process

The visual cue of printing on specific colored paper is taken from the different colored versions of screenplays (which identifies at which stage the screenplay has been revised). The bold type setting is done using Druk (which comes in varied widths and weights) with Akkurat-Mono. The tearing helped in mixing and matching words to form new phrases that emphasize the playful and energetic atmosphere which is inherint of the film festival.

The process behind

making the ad for NYT Mag

ad in NYT Magazine opening their culture section

Advertisments for NYT MAg, The Hollywood Reporter, Variety and People Mag. Below are a few of them.

General awareness ad in NYT MAg

Promotion of a few key speakers ad in The Hollywood Reporter Mag

Promotion of selected programs from the festival in Variety Mag

The posters were also exhibited at bus stops, inside the subway trains and at phone-kiosks in various parts of NYC.

Online banners and email headers for websites, made for festival's content promotion and general awareness, including IMDB, THR, NYT, Variety, EW, Eventbrite and Tribeca Film Festival homepage.

Below are a few website pages advertising Tribeca Film Festival.

Online general awareness banner on IMDB

Online general awareness banner on The Hollywood Reporter

Online general awareness banner on Entertainment Weekly

Eventbrite Page

Tribeca Film Festival Website Homepage Header

Designs for program announcements and their promotion through IG posts & stories

A 30 seconds short played at Madison square garden

Animations made for the screens located inside the Occulus in NYC. Below are a few of them

-fin-

The campaign won the HOW In-House Design Award 2018

Packaging design for the music album - A forest by Christian Loffler

2015

Typographic vinyl cover using the two shapes

Christian Loffler's music harmonizes melancholy with euphoria and the two shapes are primarily suggestive of the electronic, smooth beats paired with the curvature embodied in emotive sounds.

Visual Language

The elongated type form are used express the name of the album and the pattern is an accessory which influences the dense ecosysthem of rythm that the ambient late-back electronic atmosphere provides.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Sleeve

The discliplined repetitiveness exuberates

a lofty distribution of singulated movements

“All my music is connected by a gloomy spirit, which is minted by a warm sincerity.” - Loffler

Cover

-fin-

Glance at one of the inside spreads

2016

Redesigned a book layout

The inaugaral poem, 'On the Pulse of the Morning' was written and read by Maya Angelou as a critical message for William Jefferson Clinton's presidential commencement.

Black Matte cover with the name embossed

Visual Language

The book is 12’ x 18’ that creates the sense of scale and force that is the archetype of her voice and ideas. Helvetica Neu Condensed Bold in varied forms, is used to echo the same and as a modern font it has the quality of inclusiveness. Century Schoolbook is used as body copy to underly the time period in American History

The text is juxtaposed with images by American photographers

that have captured creatives in contemplation & celebration

I have visually addressed the strong stances of dancers and performers who embody hope and encouragement as an interpretation of the poem that speaks to the hopeful future for all races, if we learn from our violent past.

All the spreads at a glance

-fin-

collection of the frozen posters preserved in ice cubes

2014

Exercise on a book layout design

The format is to be read as an artist's recent exhibition in MOMA, NY.

Pages from Popular Mechanics, first published in 1902

Process

The content for the book, was provided by making 25 posters, with changing techniques every week for a month, by manipulating the content from the four pages of a magazine called Popular Mechanics. Once the 100 posters were ready they were to be recorded in some way. I decided to freeze them in water.

Close-ups of some pieces

Water acts as a natural phenomenon for the metaphor of how the magazine was once important and with

time its significance persished, hence the posters were preserved till they naturally melted.

The 4 pages of the magazine were preserved by scanning, so I preserved the frozen pieces through photography and then contextualized for the book. The layout speaks to the repition with which the posters were created and then used as evidence.

All the spreads at a glance

-fin-

title sequence made using Cinema 4D & After Effects

2017

Eternal Sunshine of the Spotless Mind

Plot of the Movie: To get away from her painful breakup with her boyfriend, Clementine erases her memories and in turn her boyfriend does the same but in the course of the movie they get back to where they started.

Rendering of the shapes used to form different body parts

Visual Language

Clementine's resilient personality is omnipresent in the movie and she brushes off a lot of her beliefs so much of the visual language is based on her interest in the eastern culture.

Half formed imagery echoes the feeling of fading memories

Each animation is either in loops or scatters itself

mimicking the dreamlike current of the movie.

The movie is inspired from an excerpt of Alexander Pope's poem - "How happy is the blameless vestal's lot! The world forgetting, by the world forgot. Eternal sunshine of the spotless mind! Each pray'r accepted, and each wish resign’d."

Title Sequence for Eternal Sunshine of the Spotless Mind

-fin-

Crumpled balls paper of paper that usually adorned Herb Lubalin's floor

2015

An Homage to Herb Lubalin

The Format

Inspired from a quarterly magazine entitled fact, first published in 1964.

The news reportings of the terrorist attacks

that occured in Paris in September 2015

Fact was a provocative blend of satire and investigative journalism exploring controversial issues in American politics, consumer advocacy and public policy.

Poster hung on a wall

-fin-

A scene from the planetarium at Hudson River Museum in Scarsdale, NY

2016

Direction for a live action short film: Shine

The screenplay written by Katie Staab is an adaptaion of an excerpt from the Novel - 'Shine, Shine, Shine'. Its about how an obsessive space enthusiast, Max, makes connections with a lady's bald head as a planetarium.

Film Tone

The main motive was to visually bring forth the underlying dry humour of the film through the character's personality and their expressions and show Max's vision symbolized in certain scenes.

Set design & Casting

Max starting of the show, "Oh we can pack a house!"

It was a collaboration with proffesionals

who brought my vision to life

Brittany - Are you nervous?

Max - For you yeah, for them yes. Astronomy can startle the human being in us. People start using phrases like - 'In the grand scheme of things..' or 'Suddenly I realized..'

Brittany - "Well don't let me stop you, go blow some minds!"

Short Film

-fin-

Perfume bottle zoomed in 3D rendering of the bottle design

2017

Psycho Series

As its is a myth to being ideal or perfect, so the perfume is based off from smell of characters that are not so perfect but revel in them being diffrent and therefore crazy

Psycho I : Wedenesday Adams

Her braids are an iconic symbol of her physical attire and they also portray the cringe worthy answers that the audience feel by her demeanor

Psycho II : Harley Quinn

Her messy and bold gestures that speak of her neurosis embody the typgraphic style

Psycho III : Stanley Ipkiss

The hyperbole of the mask's movements are prevelent in what was the character's staple saying - "Ooooh Somebody Stop Me"

Psycho IV : Stanley Ipkiss

WORK IN Progress

A dual profile system for the UX of the app

2015

Venmo Vendors powered by Venmo

From the NY Times article which brought about how nail salon employers exploits the urgency of their immigrant employees for work. Sometimes the tips left by the customers at the cashier never make it to the employee. To solve this promblem Venmo could extend its services exclusively to vendors.

Visual Language

As the app is part of Venmo, much of its interface is based on their design except few changes that highlight the vendors personality and personal life, as Venmo has to make the user connect to the vendor so that the user wants to help the vendor’s financal situation as a friend, rather than a charity.

Assembles all your vendors in one screen which gives a

feeling of belonging to a group

1. Tab Open

2. Personal tab - helps in getting to know each other better

To create a stronger connection between a vendor and a consumer, the user can direct message the vendor and set up appointments etc.

There is scope to share their service with your peers by promoting them on social platforms such as twitter, instagram etc.

The association the user creates with them gets deepened with using the app more often and we are more prone to helping someone who we feel connected to.

-fin-

Diagram of the floor that is sensitive to kinetic energy

2016

Neuden

Based on Newton’s third law of conservation of energy: Energy can neither be created nor destroyed, rather, it transforms from one form to another. This electricity generating floor transforms the kinetic energy from your feet into electricity.

Logo, device & navigation

The form is inspired from ohm, the symbol of enrgy: Ω and a paw. The typography used is Interstate, the angled ascenders and descenders provide movement to the eye imitating the energy flow that is key to the service. Through service maps and wireframes I devised a step by step navigation that would facilitate their understanding of the service. Hence, I had the section of testimonials as one of the first things that the user would see on the webiste to remove their apprhensions for a new service.

The logo inspired the form of the device as well