Dhwani Garg

WHAT IS THE PT?

MFA Thesis Publication Design Perfect bound,
6.5 x 9 in., 386 pp.

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whatisthept.com

What is the pt (point) examines my role in graphic design and potential contribution to the vast terrain of typefaces and explores how type scale can intertwine through emotion, form and system within various frameworks. I explore various typefaces that can serve as a catalyst for my designs. My methodology centers the fusion between readability and captivating visual allure. It signifies a departure where typefaces are not just carriers of words but also the handlers of design, marking their transition from conveyors of words to convoy of expression, prompting a profound reconsideration of their significance to my work.

The publication also includes interviews with Zin Nagao, Aleks Dawson, Isabel Serna, and
Ben Fehrman-Lee.

QUESTION QUILTS

Website Design and Pattern Design

questionquilts.com

Question Quilts is a project inspired by my passion for pattern and type. Each pattern comes alive with fifty diverse question marks from fifty typefaces, forming unique patterns. Drawing inspiration from the “Kaba Ornament in Vignettes Borders and Patterns,” where “A pattern is a collection of finite figures,”¹ I have seamlessly integrated the concept of patterns into Question Quilts.

1. Does, Bram de. Kaba-ornament: Experiments with a Typographical Ornament and Its Mirror Image in Vignettes, Borders and Patterns. De Buitenkant, 2006, page 30 and 31.

MFA EXHIBITION

Poster, Custom Typeface, Catalog, Website, Window Vinyls, Title Walls, Social Media Posts and Postcards

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Access the website here

Academic identity for Boston University’s 2024 MFA Exhibition graduate programs Graphic Design, Painting, Print Media & Photography, Sculpture, and Visual Narrative. Our key theme is that every detail contributes to the entirety. It also highlights how the sum of individual actions forms a comprehensive whole. Receipts and invoices serve as tangible manifestations of transactions. So, each individual within a community is a part of a receipt, contributing to collective histories.

In our quest to manifest these concepts into tangible design elements, we used the adelle superfamily, which metaphorically embodies the essence of familial unity and interconnectedness. Our identity system draws inspiration from receipt design, utilizing type as a form within its constraints. Just as parentheses are incomplete without each other, so too are the intricate dynamics within a family. We used Ascii art as a unique addition to our design toolkit. We created the Ascii type to complement the Adelle superfamily and fit the bill perfectly.

Under the guidance of Christopher Sleboda and collaboration with Veridiana Victorelli, Amanda Mundy and Niharika Yellamraju

FIRKI

Experimentail Typeface Design
Regular, Bold, Extrabold

Growing up, my fondest memories revolve around visiting the fair with my father. Each time, he would indulge me with a Firki, a whimsical paper fan that danced effortlessly in the wind. Its grace- ful movements never failed to spark joy within me. Inspired by its appealing shape, Firki embodies my deep-seated love for typefaces as vehicles for storytelling.

Crafted from the multiplied shape of the Firki itself, each letter in it infuses whimsical charm reminiscent of the playful paper fan. Yet, it is more than just a tool for conveying words—it's a celebration of typography as a means to create new narratives.

With its bold and extra bold weights, it transcends the con- fines of traditional typefaces, transforming text into a visual feast where every letter becomes a work of form in its own right. Every stroke and curve embodies a harmonious balance between form and function.

Firki is available in three distinct weights, the regular weight prioritizes legibility, ensuring clear communication, while the bold and extra bold weights serve to craft a beautiful narrative. These weights also play a pivotal role in creating type as form, adding depth and dimension to design.

A–Z FIRKI

Pattern Design

The collection of A-Z patterns is created using the Firki typeface with the passion for precision and an eye for details. Following a methodology similar to that of Question Quilts, I followed the steps from “Kaba Ornament in Vignettes Borders and Patterns”¹ to create the pattern. Each glyph within the collection undergoes a sequence of transformations, including translation, single-axis mirroring and translation, twofold rotation and translation, glide reflection and translation, single-axis mirroring and gradual translation, twofold rotation and single-axis glide reflection and translation, twofold rotation with wide glide reflection and translation, mirroring two axes and translation, mirroring two axes and gradual translation, fourfold rotation and translation, fourfold rotation with glide reflection along two axes, and mirroring along two axes with fourfold rotation (which also generates diagonal mirroring in one direction).¹ Moreover, specific designs are created instinctively, contributing an element of spontaneity and originality to the entire compilation. I deliberately opted to keep the patterns in black and white due to the delicate nature of the glyphs, scrupulously designed at specific sizes ranging from 6 pt to 20 pt. This ensures that each intricate detail remains clear, preserving the integrity of the patterns without detracting from their delicate nature.

The patterns features Firki letter C, G, I, T, U, X and Y.

1. Does, Bram de. Kaba-ornament: Experiments with a Typographical Ornament and Its Mirror Image in Vignettes, Borders and Patterns. De Buitenkant, 2006, page 30 and 31.

CELLS AND CONDUITS

Jacket cover, inside cover, selected spreads,
perfect bound, 7.5 x 10 in., 152 pp.

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The artist monograph dedicated to Peter Halley encapsulates his critical writings, interviews, paintings, exhibitions, and its meticulously designed to complement and resonance with the essence of his artistic oeuvre.

SURVEY ON BOOK OF BOOKS

Full cover, selected spreads,
perfect bound, 5 x 8 in., 148 pp.

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To survey something is to examine its condition, situation, or value, and to collect data for the analysis of some aspect of a group or area. The book inspects five books, delving into intricate details such as trim size, page count, caption placement, footers, front and back matter, color usage, and more. This scrutiny allows for a nuanced understanding of the intricate design and structural elements at play within these literary works.

PIXELUMINATE

Packaging, laser cut acrylic stencil, specimen,
saddle stitched, 6 x 8 x 0.3 in.

Pixeluminate is a stencil typeface born from the game “Billionaire Banshee.”¹ With its pixel-based style, this stencil embodies the charismatic and quirky spirit of the game, inviting you to explore your text in a fresh and engaging light.

What sets Pixeluminate apart is its ability to infuse your text with a sense of novelty and excitement. Each character within this stencil serves as a pixelated puzzle piece, reminiscent of the whimsical decision-making process that characterizes the game.

Indeed, Pixeluminate adds an intriguing dimension to your words, transforming them into playful manifestations of personality. With its unique style and captivating allure, this stencil invites you to unleash your creativity and embrace the joy of storytelling in a whole new light.

1. Billionaire Banshee is a game where everyone playing pretends they're single and looking for a soul mate. There are two card piles: exciting Perks and questionable Quirks. The player whose turn it is grabs one card from each pile and the combination of traits listed makes up their potential lover.

EXCHANGE OF PERSPECTIVE

Full cover, selected spreads,
saddle stitched, 6 x 9 in., 52 pp.

A conversation is an informal talk—an exchange of ideas—between two or more people. A good conversation requires balance, both between participants and with regards to substance.

This booklet documents the conversation between Dhwani Garg and Bella Tuo on the iMessage platform.

SUBVERTING THE GRID TYPOGRAPHY’S ROLE IN GRAPHIC DESIGN DISRUPTION

Front cover, spine, selected spreads,
perfect bound, 7 x 10 in., 128 pp.

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The publication delves into the intricate relationship between design history, stylistic innovation, and typography's role in challenging conventions within graphic design. It highlights movements like the Memphis Group and Constructivism, showcasing their cycles of popularity, decline, and revival. By understanding historical and socio-cultural contexts, designers can drive innovation, emphasizing that good design goes beyond aesthetics. Through examples like Shepard Fairey's Studio Number One, which appropriated Constructivist principles for luxury brands like Saks, the project underscores typography's power to subvert expectations and challenge norms. Typography emerges as a tool for pushing boundaries and shaping the visual landscape of the future by recontextualizing historical styles.