Selected WorksSANWAL DEEN

Lonestar is the internal name for a client used at my present workplace.

Lonestar

UI/UX PHOTOGRAPHYGRAPHIC DESIGN

Working in collobaration with architects, writers and strategists to synthesize research into various multimedia.

On this project, I designed a 200-page book, complete with infographics, iconography, illustrations and custom photographs. I am in the process of designing and coding the website. Example screenshots are to the right. On this project, the unique design language is true to the client and works well both in print and online.

The process of collaborating across disciplines taught me about the problems and possibilities of working in an agile work environment, about creating a whole greater than the sum of its parts.

Note: All numbers, branding, and statistics have been altered to protect the client's anonymity as the project is protected by an non-disclosure agreement. Images used with permission.

Selected wall graphics/pattern system established for Lonestar to differentiate between different floor levels.

Problem: Explores the unity between life us-ing the ecosystem of the forest as a metaphor.

Solution: I created abstracted photographs shot against a black background. The photo-graphs were of small objects found throughout nature. These objects exhibited across a 16 ft gallery wall. The exhibit allowed viewers to see connections that in a different context would be missed. I accompanied this with a 150 page book of writing and an interactive website.

The Curiosity Cabinet was my MFA thesis at CCAD.

UI/UXRESEARCH PHOTOGRAPHY

The Curiosity Cabinet

"Nature has striped the zebra. Man has striped his flags and awnings, ties and shirts. For the typogra-pher, stripes are rules; for the architect they are a means of creating optical illusions. Stripes are daz-zling, sometimes hypnotic, usually happy. They are universal. They have adorned the walls of houses, churches, and mosques. Stripes attract attention.” —Paul Rand

The Problem: When I joined Gray's in 2014 they were ripe for growth. They were getting deeper into contemporary art, needed to re-fresh their digital presence, and were starting to get more higher-end clients. They wanted their brand to reflect their growth.

The Solution: Think of the last high-end luxury product that you bought. Perhaps it was a box of chocolate, or maybe a pair of shoes from a boutique clothing store. Chances are, that they came wrapped in a box, neatly tied with an expensive looking ribbon.

That’s where the idea for Gray’s new logo came from: a ribbon with the name “Gray’s” written on top of it.

The ribbon would run across everything from the website, to the taped that sealed envelopes, and to the packages shipped across the world; it acts as a hypnotic, unifying force that ties the brand together.

Applied on a larger scale, the logo and the rib-bon provide a design language and narrative that has both form and function, serving all of the auction house's needs.

Gray's Auctioneers are a boutique auction house with over two decades of experience in the art business. They deal in fine art, decora-tive art, rare books, and other collectible items.

PHOTOGRAPHYUI/UXBRANDING/IDENTITY

Digital Experiences: In order to give Gray's a strategic advantage over other auction houses, I helped Gray's create a new in-house database soft-

ware, a revamped website, and award Tablet and mo-bile apps. To take a look at the website, please visit: www.graysauctioneers.com

Gray's Auctioneers

Problem: One of the biggest problems I have faced as a designer is that clients want proof that my designs will have an impact. So I want-ed to explore how research and strategy can be integrated in the design process to build and validate design decisions.

Solution: I used quantitative data analysis techniques such as Max-Diff, Q-Sort, and Con-joint analysis to find trends in the market, and create a camera informed by that research. Some of the startling discoveries from the re-search were that an overwhelming majority of people want to shoot in a 16:9 aspect ratio, but there isn't any camera with a 16:9 sensor. So my first solution involved created a box like camera that could be attached to a drone and take pic-tures/videos in full 16:9 aspect ratio. With the introduction of mirrorless technology, this has become financially feasible.

Another surprising discovery from my research was that an large majority would prefer to shoot film, if it was easier to do so; Which lead me to create not a camera, but a service (similar in operation to Warby Parker) through which you can subscribe to receive films on a periodic basis, and can mail them back and have them delivered to your doorstep.

In both cases, research informed and re-en-forced design solutions.a website; you can see the cover for the book on the following page.

For this project, I looked at how quantitative data can be used to create better human-centric experiences, identify trends in the market and validate design decisions.

RESEARCH WRITING

CAMERA SURVEY RESULTS

SENSOR INFORMATION

�e following are some of the more insightful results from the survey I conduct-ed around di�erent camera technologies and camera types. My goal was to

�e Fuji�lm XT-1 camera was the most liked design from the survey. It points at an inerest in vintage styled, retro-inspired camera design.

�is Canon camera was the odd-ball choice among test-takers. It doesn’t have the retro aesthetic of Fujif-ilm or Leica, but has a look of �erce usability.z

Another vintage camera. Users seem to prefer something that has a basic, compact, and vintage in-spired aesthic.

People showed a strong preference to aspect ratios they are exposed too on platforms like Cinema, Instagram and Television. Interestingly enough, very few cameras exist to cater these aspect ratios.

Interestingly enought, a lot more people would print their �lm rolls if the process became easier. �ere is a certain theme that lends itself towards nostalgia.

�gure out how cameas are used, and what qualities are deemed valuable, and how di�erent camera companies are percieved in the market

NAME MEDIUM FORMAT FULL FRAME 1”

SENSOR SIZE

AREA

CROP FACTOR

SENSOR SCALE

EXAMPLES

SIZE COMPARISON*

FUJIFILM XT-10 CANON EOS 5D MARK IV LEICA M6ASPECT RATIO PREFERENCE

0

10

20

30

40

50

60

PRINT FILM MORE IF EASY?

0 10 20 30 40 50 60 70 80

YES

NO

Mirrorless Sensors can help make cam-eras smaller while still retaining resolution.

Camera Re-imagined

The Problem: Pakistan was once part of In-dia, and has history rich with art, architecture and creativity. Of recent times, however, the country has been incredibly misunderstood. I wanted to create a project that changes this perception.

The Solution: Architecture is often known as the mother of all arts. So I wanted to create a website and poster in order to highlight Paki-stan's rich history.

I used blueprints as a UI element to create a consistent experience across platforms.

Architecture of Pakistan is a website and a poster series designed to change the percep-tion of Pakistan.

UI/UXDESIGN

THE ARCHITECTURE OF PAKISTAN

KEY CHART SUMMARY FACTSBorn in 1947 out of a rapid separation from present-day India, Pakistan is an South Asian country that also borders Afghanistan, China, Iran and the Indian Ocean.

Predating Partition, Pakistan hosts a rich ancient history, most notably the Indus Valley Civilization which flourished along the banks and fertile lands of the Indus River. There are also vesteges of Alexander the Great, Ghengis Khan, and the Silk Road, connecting Pakistan to both Eastern and Western histories and traditions.

Five major provinces reflect the linguistic and ethnic diversity of the geographical region. Balochistan in the southeast borders Afghanistan and Iran. Also on the border of Afghanistan, and reaching into the Himilayas are the Federally Administrated Tribal areas and a region called Khyber Pakutunkhwa. Bordering India, and home to two of the largest cities in Pakistan, Lahore and Islamabad, is the region know as Punjab. And finally, on the Indian Ocean is the region called Sindh, home to the major port city of Karachi.

South Asia30 00 N, 70 00 E

796,095 sq km

1947

Islamabad

Flat Indus plain towards the east; Mountains in north and northwest; Balochistan plateau in west

Mean Elevation: 900 mLowest Point: Indian Ocean 0 mHighest Point: K2 (Mt. Godwin-Austen) 8,611 m

Urdu, English, Punjabi, Pashto, Saraiki, Kashmiri, Hindko, Brahui, Shina, Balti, Khowar, Dhatki, Marwari, Wakhi

MINAR-E-PAKISTAN MIZAR-E-QUAID PAKISTAN MONUMENT

TOMB OF JAHANGIR MOHATTA PALACE

THE CENTAURUSALAMGIRI DARBAR HIRAN MINARISLAMABADLAHORE

LAHORE KARACHI

LOCATION

SIZE

LANGUAGES

ELEVATION

YEAR FOUNDED

TERRAIN

CAPITAL CITY

SHEIKHUPURA C. 2009C. 1674

C. 1605 C. 1927

33 M30 M 200 M

100 M 116 M

C. 1637

C. 2009FAISAL MASJID

The Architecture of Pakistan

Photography

I am a Sony award-winning photographer. My work has been featured in Der Spiegel, AP Magazine, PetaPixel, Ain’t-Bad, C-41, Fubiz and others. A selection of my works is also featured on Vogue Italia. The page on the right shows a selection of some of my photographs.

PHOTOGRAPHY