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abdul rehman / jj(@abdulll.jj)'s profile avatar HD Profile

abdul rehman / jj

@abdulll.jj

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creative director • curator
youngest in the game, saar per Allah ka haath hai
founder: @dosti.etc @snap.lhr @snapstudios.co
// till infinity
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last night, we threw a cheeky little rager for halloween. 😉 this beautiful poster was designed by @samiya.jpg (swipe till the end for the alt version) by @abdulll.jj
lahore i love u ur always beautiful by @abdulll.jj
Made for the internet ❤️‍🔥 by @abdulll.jj
been on that sunshine & rainbows shit by @abdulll.jj
This post is so overdue I don’t even have a good excuse left. P☆KI with Ahad has to be the biggest, most important show of my life so far. I know everyone says that about every show they throw. I don’t care. For a kid from the streets of Lahore, hosting one of the biggest artists in South Asian electronic music, in one of my favorite venues in the city, surrounded by my favorite lineup, artists I actually grew up listening to, is not something I will ever take lightly. There’s a moment from that night I keep going back to. Right as Sidd’s set ended and Ahad’s began, Nusrat playing through the speakers, I started tearing up and I couldn’t help it. Kailvi was standing next to me and I grabbed him and just held on, telling him I couldn’t believe we’d actually made it this far. Looked up and the whole stage was feeling it too. Lahore dancing its heart out in the middle of the city. Things got heavy after. The political situation in Pakistan went off a cliff, there’s real hatred and discourse aimed at new Pakistani music right now and everything happening in america and across the world. The state of the world sits on my conscience most days, and some days posting just doesn’t feel worth it. That’s a big part of why this took so long. Thank you to Ahad, man, for trusting me and putting his own money behind this. And thank you to Esha for trusting us to carry out her vision. That kind of trust is not small. Thank you to all my Dosti boys, everyone at Lay, the security team, the DJs, and everyone else who had a hand in this. It takes a village. Throwing a rave in Pakistan that’s fully legal, fully safe, with real assurance nothing goes wrong, is not a simple task. We cry, we fight, we push ourselves past what our bodies should be able to take, because we want this scene to grow, grow safer, and grow bigger. I’m headed off on a break for a while now, so I don’t know when the next one lands. See you again soon, I hope. by @abdulll.jj
Our work with @d36world spanned almost a full calendar year, focused on building the label’s brand equity, visual identity and digital presence. The objective was bigger than simply making the feed look better. We worked to turn D36 into a more active, artist-led and culturally relevant platform—building a visual world that could remain recognisably D36 while still giving every artist room to exist within it. Across branding, creative direction, social strategy, design, motion and content, we developed a more coherent visual language for the label: reworking its existing typography across new placements, establishing stronger grid and layout systems, creating adaptable artist-led templates and building consistency across static and motion-led communication. Every aesthetic decision had to feel intentional—clean, contemporary and globally relevant, while still understanding the culture and artists D36 represents. A year of refining, experimenting and building a system designed to move with the music. D36 × SNAP. by @abdulll.jj
for DESIGNERR by designerrs @umairmusicxx @jokhaay by @abdulll.jj
mission ctrl: building a visual identity from the inside of a dome when we started working on mission ctrl, the brief was simple but the execution was not. the show was happening inside the PIA planetarium, a space that already carries its own atmosphere: retro, technical, slightly otherworldly. so instead of designing something that sat on top of the venue, we wanted the branding to feel like it was pulled out of it. we went back to 90s tech aesthetics. wireframe domes, satellite grids, the kind of visual language you would find on old control room interfaces or analog tech manuals. it gave us a foundation that felt raw and technical without trying too hard to look futuristic. everything had to feel underground, a little glitchy, a little undone, like signal more than polish. the typography carries a lot of that weight. we picked a pixelated serif and pushed it into pop punk territory, something that reads as both nostalgic and slightly broken. it is the kind of type you would not expect at a music show in pakistan, and that was the point. every asset, from the posters to the lineup graphics to the merch, was built to tease the feeling of the night before anyone had stepped inside the venue. raw, techy, underground. by the time people walked through that dome, the branding had already told them what they were walking into. designed by @snapofficial.co by @abdulll.jj
the past few weeks have felt like a year and im glad to have spent it da ones i love. barely legal innit by @abdulll.jj
for @spreadlahore Spread is a funny one to talk about, because it marks the start of SNAP as it is now. It was the only project I ever made entirely by hand, and god knows how many iterations it took to get here. 27. Vader had just gotten a new laptop and we were shocked at how fast it was. We cracked every software we could find and downloaded any and all sort of mockups to make it come true. For five days straight we locked ourselves in Vader’s room, held together by cans of powerful, working 18 hour days just trying to make something real. Each iteration felt wrong. And when it finally felt right, the founders of Spread thought it didn’t. Because just like us, they were a couple of perfectionists. The wordmark was built bold on purpose. Sharp corners, heavy weights, every soft edge stripped out, because the whole point was to break the mold and make something clean, simple, and most importantly human. The supporting type and all its imperfections came from an odd fixation we both had with Drake at the time. The colors stayed minimal. None of it was meant to compete with the food. It was meant to set the table for it. They made me render the final brandmark 23 times because the drop shadow just didn’t sit right. At the time it felt insane. Looking back, that was the standard. That was the whole point. These throwbacks exist because they tell a story from where we started to where we are now. Spread’s world grew with us. It has always been a brand we have been picky about, the one we wanted everyone to aspire to touch. And we did. The branding was loud so the food could be louder. The story only ever mattered until you took the first bite. by @abdulll.jj
we totally forget this existed. debut bedroom set is uploaded on YouTube! Link in bio or smthing by @abdulll.jj
SEE YOU ALL ON THE 12TH!!!! by @abdulll.jj

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