Instagram story viewer> @vksdesignworld> Posts

Vishek Kumar

@vksdesignworld

181

followers

315

following

Pōneke (Wellington) based
South Indian Visual Communication Designer & Typographer |
B.Des (Hons), MISTD

POSTS STORIES REELS TAGGED

The book expresses modern elegance with the choice of old-school munken paper stock known for its high quality and smooth texture, which enhances the reading experience. Its creamy colour, and luxurious feel create a sense of sophistication that complements the overall design aesthetic and keeps it contemporary through a fastback binding process.

This book is designed for typographic enthusiasts who appreciate all typefaces for its meticulously crafted details with an appreciation for the finer details of editorial design. taken in Toi Rauwhārangi by @vksdesignworld

33

4

3 years ago

*update: I am now a member of the International Society of Typographic Designers*

The ISTD ‘lines’ brief leads us on an exciting journey as we explore lines of reading and writing direction and the stories behind them. As designers and typographers, we are familiar with the rules of good typesetting and information hierarchy. However, have you ever wondered how these rules differ for different writing systems and languages?

We start with the familiar left-to-right progression of English and South Asian scripts, symbolising narrative line flow. Venturing into the elegant right-to-left scripts of Arabic and Hebrew, each line is steeped in centuries of tradition. Despite their initial intimidation, these scripts are a testament to the rich cultural history of their respective regions. Delving into the Chinese, Japanese, and Korean worlds, the lines cascade from top to bottom, reflecting societal norms and heritage.

While these scripts may differ from what we are used to, they are just as beautiful and expressive. Each writing direction and script harbours the weight of history, tradition, and cultural identity, revealing the detailed nature of scripts, each bearing its unique narrative, cultural significance, and typographic challenges.

This project invites the intended audience—designers and typographers—on a journey to understand and appreciate various scripts within a typographic setting. Each language’s directionality is deeply rooted in its cultural and traditional calligraphy practices. The goal is to educate and delight the reader while encouraging them to explore the beauty of different languages in typography, understand their application, and learn their unique reading patterns and how they can incorporate these
diverse practices into their design work. Through careful consideration of format, binding, paper, cover design, and typefaces, Lines of Reading and Writing Direction is a visually compelling and culturally rich project honouring diverse writing systems’ traditions and directionality. taken in Wellington, New Zealand by @vksdesignworld

3

5

2 years ago

MemeSphere (1/4)

Kia ora, I am Vishek Kumar. I am a visual communication designer and typography nerd! My research project devles into memes as my research project and how these humorous pop culture bites of information have become vital communication in the digital age. Through my authorship, I aim to highlight and analyse the pivotal aspect of informing my Gen Z audience that memes have become a staple in how we communicate. The content is based on my perspective, with bits and bobs of research that I have sourced to give an accurate historical account backed by research. However, this is purely just my understanding and opinion on memes as I am so fascinated by how memes connect us all together, but also understand that memes must have ethics, and how morals can be blurred.

This project is structured into three volumes, each focusing on a different aspect of memes. Volume 1 delves into the history of memes and their satirical nature. Volume 2 leverages my design knowledge to compare meme design with graphic design principles, highlighting the unique formulaic structure of memes. Volume 3 explores memes’ social and cultural impacts,
providing an analytical perspective on their integration into our culture.

I could’ve produced a digital artefact; however, there is a certain irony in placing these digital artefacts in an analogue and tangible format. It is about more than just irony; it is also about the archival process of artefacts; print media inevitably has a longer archival process than digital. Even though they will slowly deteriorate over the years, they have longevity. My goal was to capture the 2024 meme sphere and archive them into three volumes; as for the format, it translates how memes are in a square format in the digital space, I reflect that through the typeface and information structure. I chose to reflect on how memes in a digital space imitate and trend very quickly in this chaotic back-and-forth nature in response to pop culture. That’s why I have decided to go against conventional information design but still have a sense of structure established so you can still read, mimicking digital space. by @vksdesignworld

3

10

2 years ago

MemeSphere Volumes 1, 2, 3 digital spreads showcase—rotate phone plzzz 📱🤸‍♂️ taken in Toi Rauwhārangi by @vksdesignworld

3

2

2 years ago

Family doesn’t necessarily have be the people who gave you birth or are related through blood. It can also be the people who you grow up with, the people that always care about how you are doing, the people that you bond with through all the tough times and the fun times, the people that always push you to get up from a hit and the people that push you to become a better version of yourself!

The people here, these are the people I call family, alongside many of extend family members of 4th year VCD cohort from this year! ✨❤️

8/11/24 was Massey Exposure 2024 Opening Night, which marks the end of the year for 4th year VCD Honours for me, just waiting to throw the hat next year at graduation 👨‍🎓. I thank you for everyone that voted for me for outstanding contribution of the design community award and congrats the other peeps aswell, cause learning from each other is the way we connect and grow love ❤️

It’s been such a rollercoaster of a journey to get to this point, but I wouldn’t change anything, cause I gained soo many people that love and cherish soo much, creating soo many connections and friendships. I am proud of everyone who were apart of this journey with me 🫶🏾✨🫂🥹😭😎 taken in Wellington, New Zealand by @vksdesignworld

3

23

2 years ago

MemeSphere (4/4)

MemeSphere Vol 3: Cultural & Social Impacts of Memes
Couple spreads from the first volume by @vksdesignworld

3

0

2 years ago

MemeSphere (3/4)

MemeSphere Vol 2: Graphic Design vs Meme Design
Couple spreads from the second volume by @vksdesignworld

3

1

2 years ago

MemeSphere (2/4)

MemeSphere Vol 1: History Of Memes
Couple spreads from the first volume by @vksdesignworld

3

2

2 years ago

What if we could turn back time
Vishek Kumar
2024
Moving image video projection

We often try to understand time through concepts like minutes, hours, and years. However, time is not limited to our creations—it moves freely through the past, present, and future. We are bound by time’s unrelenting march forward, unable to escape our past decisions and facing future consequences. The short film explores our relationship with time through three acts: serenity, entropy, and reverse entropy, examining how we might control time and shift chaos to order. taken in 111 DXN by @vksdesignworld

29

0

2 years ago

Peak Pursuit App In Collaboration with Jed Blundell
—
Peak Pursuit is a fitness recreation app for mountaineers or experienced hikers.
The app’s design relies on 3D topographic map data to facilitate hikers in any condition.

There are two main features; one is to facilitate competition via setting/recording goal times to reach certain points on the trail (huts), while the core function helps facilitate this competition with comprehensive AR assistance, capable of navigating the hiker back on track – this is useful in whiteout conditions which easily disorientate the most experienced mountaineers with lack of vision. Sub-zero temperatures can result in hypothermia, which is life-threatening and can cause further disorientation/reduced cognitive awareness.

The hub and spoke model is the foundation of the user experience; the hub is the dashboard, and the spokes connect the secondary functions. Users can simply walk on a trail for the dashboard to open – no login is required. taken in Toi Rauwhārangi by @vksdesignworld

3

1

3 years ago

Type specimen layout

Surveyor is a Didone serif typeface that recalls type found on engraved maps and charts. It was designed by Tobias Frere-Jones in 2001 as a custom typeface for use in Martha Stewart Living magazine and released publicly in March 2013, in a wider range of styles, by the type foundry Hoefler & Frere-Jones (now known as Hoefler&Co.).
—
This typeface is based on 19th-century map lettering, with compact proportions, delicate serifs, and a sinewy italic designed to follow rivers and coastlines, map lettering invited endless variation to help distinguish different kinds of data.
—
Surveyor's most notable feature is its wide range of weights and styles, designed to provide many options for complex publications such as magazines. The Surveyor family contains five weights, from Light to Black, in its three optical sizes, each supplied in Roman, italic, Roman and italic small caps and swashes. In addition, Surveyor maintains visually consistent intervals between its weights to ensure that every style has a heavier counterpart with the same degree of emphasis. taken in Toi Rauwhārangi by @vksdesignworld

25

4

3 years ago

Surveyor is a Didone serif typeface that recalls type found on engraved maps and charts. It was designed by Tobias Frere-Jones in 2001 as a custom typeface for use in Martha Stewart Living magazine and released publicly in March 2013, in a wider range of styles, by the type foundry Hoefler & Frere-Jones (now known as Hoefler&Co.).
—
This typeface is based on 19th-century map lettering, with compact proportions, delicate serifs, and a sinewy italic designed to follow rivers and coastlines, map lettering invited endless variation to help distinguish different kinds of data.
—
Surveyor's most notable feature is its wide range of weights and styles, designed to provide many options for complex publications such as magazines. The Surveyor family contains five weights, from Light to Black, in its three optical sizes, each supplied in Roman, italic, Roman and italic small caps and swashes. In addition, Surveyor maintains visually consistent intervals between its weights to ensure that every style has a heavier counterpart with the same degree of emphasis. taken in Toi Rauwhārangi by @vksdesignworld

40

4

3 years ago