DESIGN DECISIONS
This portfolio gathers classroom briefs, commissioned work, and personal studies in graphic design, Arabic typography, and photography. Pieces span Kuwait and broader collaborations, with links to fuller case pages when you want to go deeper. Quick links: Home, studio notes, print commissioning FAQ.
For this project we were asked to take the first thing we threw away after the first class of the semester, then rethink it, redesign it, and rebuild it. I started with a pill blister pack. Allan Chochinov led the session as a focused sprint. The idea moved from that object into fiction-led design, a statement about gun violence, a narrative about competition between drug makers, an experience about risk around prescribed medication, and then back to a tight fictional frame. We ignore how much story sits inside objects we throw out without a second look. The piece mattered to me because it pulled together history, culture, experience, and communication, not only styling.
RAMADAN KAREEM
Ramadan greeting card for VIP clients of Trafalgar Company, an internationally recognized luxury retailer based in Kuwait. The layout balances restraint with a clear seasonal message suited to premium retail touchpoints.
CAN DESIGN TOUCH SOMEONE'S HEART?
This was the first project for Stefan Sagmeister’s class. I addressed the Speaker of the Parliament of Kuwait, Mr. Marzouq Al-Ghanim, and asked whether a direct, carefully paced visual message could still feel personal inside a political setting. The piece tests tone, symbolism, and sequence rather than a single poster punchline.
SEVEN DAYS IN DIABETES
For one week I logged medications, glucose readings, movement, meals, and sleep. The numbers became a set of small multiples and charts that show how those variables rise and fall together, where routines help, and where surprises show up in the record.
ARNAA
Arnaa is a high-end international shoe brand for women built around handmade production. The identity grows out of designer Farah Sultan’s signature so the mark reads as the trace of a maker behind each pair.
VISUAL REACTIONS
Visual Reactions is an ongoing set of fast posters and short sequences that respond to headlines, language shifts, and everyday images in the feed. Some pieces stay typographic, others bring in photography or simple collage, but each one tries to name a feeling while it is still raw. Scale, pacing, and contrast shift from one entry to the next because the subjects differ. A few studies stay minimal on purpose so the words carry the weight. Others layer texture or pattern when the story calls for noise instead of calm. Together they act like a sketchbook in public form, with room to double back, revise an idea, or contradict an earlier reaction without pretending the series is finished.
FAILAKA: CONTEMPORARY ARCHAEOLOGY
I finally visited Failaka after years of looking at the island in books and stories. The first impression was heavy: open ruins and quiet streets. The mood shifted as I started reading the scene as a designer, noticing grids in the sand, repeated color chords in walls and metal, and the odd geometry of playgrounds left to the wind. The photographs track that turn from grief to close observation, with attention to pattern, scale, and texture rather than a single picturesque view.
THE MAESTRO
I decided to construct a desk chair out of typewriters because I think they are complementing each other. I am fascinated by the whole notion of the gesture and the posture of the person who sits and types. I feel that there is an intimate moment between the person, and the type writer created by the sounds, the rhythms and the movement of the keys.
“There is nothing to writing. All you do is sit down at a typewriter and bleed.”
Ernest Hemingway
I constructed the chair considering myself as a musician playing jazz music, or an author writing a story, I built it as I go without planning it ahead.
AL-MIDAD
A classic word that means “ink” in Arabic, Al-Midad is a bilingual digital book about designing Arabic type. Interactive demonstrations and short media clips support the chapters. The goal is to give designers, students, and teachers practical building blocks and references so they can push contemporary Arabic typography with clearer rules and better examples.
SHARKS & RAYS
After reviewing older Arabic manuscripts and natural-history illustrations, I developed this cover and supporting artwork for a scientific volume on sharks and rays of the Arabian/Persian Gulf. The drawing keeps identification marks readable while echoing the ink and pattern language found in the archive research.
THE BOOK
The artwork is a metaphoric installation of how a sacred text is preserved. This text dates back to the 1960s and keeps articles from Kuwait’s Constitution. The article numbers are placed inside an ornament frame, the same shape used to separate Quran verses. The printed typeface was commonly used in official documents and publications during the last century.
KAYAN
KAYAN is a Kuwaiti architecture and construction company. The identity was built to track the office vision: projects that pair contemporary clarity with vernacular cues, so clean modern form meets local building culture and history. The aim is work people recognize today that also reads as part of a longer story for the city.
WATER AND BLOOD
Cover design for a book that collects philosophical and literary essays with short stories. The treatment keeps type calm while hinting at the tension between the two themes named in the title.
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