Branding_Graphic Design

DHVANI SHAH Branding Portfolio Applicant for Graphic Designer Mumbai, India dshah.arch@gmail.com +91 98204 03631

I'm a designer who likes to venture into varied art forms in order to express my ideas and convey my opinions. I have been practicing design from 2013 since I started my school in architecture, and now have over two years of work experience in the professional field. I have developed a practice into graphic deign, allied design, interior design and architecture. I have further worked on developing the brand and identity of the designs I developed. Architecture, has so far been a great process of unlearning: giving up the habit of textbook study and adapting a lifestyle of critical thinking; observe, evaluate and infer from daily life experiences.

I am an ardent participator in design competitions, and have taken part in competitions from conceptualizing a kitchen appliance to revitalization of a fort. I was the youngest team coordinator in my college for my ability to decipher the competition briefs in the ways most uncommon. In my previous organization, RWAMP studio, it being a flat organization with a strength of 5 members, I have got to work from conceptualization to execution of over 30 projects. I have conceptualized and designed logos, branding collaterals, mobile application interfaces, brochures, and signages for the hospitality sector.

“Pursued both the synopsis & proposal, it is an extremely interesting approach. I would certainly like to discuss this in person to explore how we can work together”, is an extract from Mr. Sujeet Kumar’s (Special Secretary, Odisha Government Planning Board) electronic response to my final architectural design dissertation. 'Raising Spirits of Odisha' focused upon finding solutions/ alternatives to climatic and social difficulties in Odisha through experiential and interactive spaces, linking cultural nuances of the state, while promoting mass customization over mass production.

Winning the ‘Micro-Housing’ international design competition is amongst my most recent achievements. Being a part of the recent topic of debate in Mumbai- the coastal road construction and its adverse effects on the ecology and ever residing coastal Kolicommunities, there was so much unrest as a designer which led to promoting social housing and community development through its design. To ensure ease of construction, mobility, innovation, reuse, and optimum space utilization making it an adaptable solution for everyone, the concept of ‘Add to Cart’ was born.

I am a very procedure-oriented person, a quick learner, and hardworking with any of my endeavors to achieve the best possible results.

Coupled with this, I am enthusiastic, self-motivated and good with time and work management.

CONTENT Selected Work | 2013-2020

SARVA MANGALA PEETHAM, EXPERIENCE CENTRE

P. 01

ATAL BIHARI VAJPAYEE, EXPERIENCE CENTRE

P. 14

WAVES, BEACH CLUB, GOA

P. 21

CHAI PEENI HAI, TEA KIOSK

P. 26

SECRET, RESORTS

P. 28

JOURNEY, HOSPITALITY

P. 34

COMVIVA, EXPERIENCE CENTRE

P. 37

JUHU PAVILLION, CITY CENTRE

P. 40

ALLIED DESIGN

P. 43

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SARVA MANGALA PEETHAM “Women are the largest reservoir of talent in the world” -Hillary Clinton

There is nothing that India has not inspired its women to do.

There are those that have fought for the freedom of this land, and there are those who still fight the rights of their fellow men and women.

There are those who have led us in spirit, and there are those who have led us in governance.

There are those who have spun dreams out of words, and there are those whose voices have lent wings to those dreams.

There are those who have fought to be faster, stronger, and better than the rest of the world, and there are those who have left the world behind, taking to the skies, and even beyond.

Woman is the centre of human existence.

It’s time we recognized that.

Because there’s nothing that India’s women cannot do.

But it helps if we all clear obstacles from their path - instead of putting them there.

Idea - Amalgamation | Concept Derivation

Kal Chakra, the witness of the circle of life.

The central core of spiritual energy .

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The wheel spins as it journeys through life.

With every rotation, the Kal Chakra radiates energy that awakens the core of the cosmos and the mind.

The Ajna Chakra, the third eye, the most powerful of the seven chakras radiates.

The energy radiated from this chakra elevates the mind to spiritual enlightment.

Symbol - Identity | Logo Derivation MAN

WOMAN

UNION

LIFE

SHAKTI

1 SHAKTI The inverted triangle symbolises woman & the star represnts shakti- power.

“Strength of a Woman”

MOUNTAINS

DERIVED MOUNTIAN SYMBOL

The begining- Depicting the Mountain symbolises journey of life from the top- strength & the rising most point on earth - Satya Yuga

THE CHAKRAS Depicting the generations & life cycle

SATYA YUGA GOLDEN AGE

2 SHAKTI The inverted triangle symbolises woman & the star represnts shakti- power.

“Strength of a Woman”

FOREST

DERIVED LEAVES SYMBOL

2nd layer- Depicting life as it moved down to the forest fromt the mountainsTreta Yuga

Leaf symbolises hope & revival

THE CHAKRAS Depicting the generations & life cycle

TRETA YUGA SILVER AGE

3 SHAKTI The inverted triangle symbolises woman & the star represnts shakti- power.

“Strength of a Woman”

RIVER

DERIVED WATER SYMBOL

3rd Layer- Depicting life flowing down from the forest.

Dwapara Yuga

Water symbolises life & purity

THE CHAKRAS Depicting the generations & life cycle

DWAPARA YUGA BRONZE AGE

4 SHAKTI The inverted triangle symbolises woman & the star represnts shakti- power.

“Strength of a Woman”

DESERT 4th layer- Depicting life as the water dries on the earths surface making it a desert.

Kali Yuga

DERIVED CACTUS SYMBOL Cactus symbolises abundance

THE CHAKRAS Depicting the generations & life cycle

KALI YUGA IRON AGE The symbol of the cactus appears congested on the logo, depicting the chaos of the Kali Yuga

Yuga symbols reference: https://sarasvati97.wordpress.com/2016/12/07/harappa-script-in-ahar-banas-ancient-near-east-signifies-vedic-culture-metalwork-of-chalcolithic-agetransiting-to-bronze-age/ http://en.intiaanikoru.fi/category/69/indian-symbols-and-meanings Shivashakti symbol reference: https://owlcation.com/humanities/fertility-symbols-and-fertility-rituals-in-hinduism

SATYA YUGA the mountains

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TRETA YUGA the forest

DWAPARA YUGA the river

KALI YUGA the desert

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SARVA MANGALA PEETHAM

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BRANDING COLLATERALS

STATIONARIES

SIGNAGES

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SIGNAGES

SIGNAGES

MERCHANDIZE

AL ANG A M AM V R SA PEETH

BROCHURES:

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MERCHANDIZE

DIGITAL APPLICATIONS

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Architectural Derivation Of The Concept “There is no chance of welfare of the world unless the condition of women is improved. It is not possible for a bird to fly on one wing.”

IMAGE PRODUCED BY: MYSELF & MR. SATISH PRAJAPATI EXPERIENCE CENTRE |RWAMP STUDIO | MALIB | 2018

Fire Exit

Fire Exit J

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Fire Exit

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Fire Exit

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Fire Exit

Fire Exit

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Fire Exit

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Main Exit

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VIEW EXPLAINING MOVEMENT, INSTALLATIONS AND 4 YUGAS LEGEND 1.

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Arundhati Gargi Taramati Anusuya Ahalya Sharmishta Renuka

8. Sita 9 Savitri 10. Sukanya 11. Shakuntala 12. Madalasa 13. Amba 14. Draupadi

15. Yashodhara 16. Mahaprajapati Gautami 17. Akka Mahadevi 18. Panna Dai 19. Ubhayabharati 20. Ahalyabai Holkar 21. Rani Lakshmibai IMAGE PRODUCED BY: MYSELF

ON SITE STUDY - VISUALIZING THE UPCOMING INSTALLATIONS

The entrance of the museum opens into the reception area. A monolith serves as the reception counter. The columns form a pair of vedic architecture pillars designed with fiber mouldings. The visitor gets a peek of the chakra meditation space from the reception. Stone seatings are provided in the reception area.

Column designed intricately into a vedic pillar with fiber moulds Visitors get a peek of the meditation chakra from the reception lobby The reception counter is a monolith.

Stone Flooring 10

1. ARUNDHATI

The exhibit is a illustration of the icy mountaintops, depicting the Satya Yuga.

The screen projects a view of the glaciers in a night sky, showing galaxies and constellations.

Fiber moulding used to create a tall monolith structure on the column.

Fiber moulding used on partition wall to create cave interiors.

Stone flooring to imitate textures of the cave. Snow and glacier formation on the floor made of cement with added texture and paint.

Panels which creates the visual impact of a cave by projecting views of glacial mountains and night sky showing the milky way and constellations.

3D PRODUCED BY: MYSELF, RENDER PRODUCED BY: MYSELF & MR. SATISH PRAJAPATI

8. SITA

The exhibit of Sita appears like a shrine of goddess sita. The Central mantap like structure made of MS frame and fiber moulding houses a holographic pyramid made of glass that has a sculpture of goddess Sita.

Existing columns designed as pillars of the palace, with fiber mouldings.

Newer fiber moulding with MS structure columns added to create interesting frame of arches.

Mantap like structure created of fiber mouldings, with a holographic pyramic inside on which the story is projected via projection mapping

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21. RANI LAXMIBAI

This installation of the Kali Yuga talks about the valour of Rani Lakshmi Bai. The wall beyond is turned into an screen projecting war scenes. A horse, with the mannequin of Jhansi rani sits in the center of the installation.

Screen projecting the war.

A mannequin of the rani of Jhansi on horse Barricades illustrated as the fort walls, giving the viewer an experience of watching the war.

VR glasses camouflaged under viewing telescopes, letting viewers view the war in action.

3D PRODUCED BY: MYSELF, RENDER PRODUCED BY: MYSELF & MR. SATISH PRAJAPATI

13. AMBA

The installation is a series of circular cement sheet enclosures, hanging from the ceiling. Each enclosure consists of four stereoscopes for viewing of the story of Amba. The flooring is a mixture of epoxy and stone textures.

Three Semicircular acrylic sheet panels hanging from the ceiling to create an enclosed space to hang oculus inside to tell the story of Amba.

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14. DRAUPADI

The scene of Draupadi’s Vastraharan is shown on the screen such that the saree comes from the virtual screen and is seen being collected into a heap of saree placed near the screen.

Facade designed into the interiors of the palace.

Pedestal made of MS frame structure with metal sheeting for the placement of mannequins Virtual representation of the saree showing the vastraharan of Draupadi

3D PRODUCED BY: MYSELF, RENDER PRODUCED BY: MYSELF & MR. SATISH PRAJAPATI

ATAL BIHARI VAJPAYEE, EXPERIENCE CENTRE Scope: Logo Derivation, Brochure Design, Co-ordinator for the technological implementations.

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Bhari do-pahrī meñ añdhiyārā sūraj parchhā.īñ se haarā anatratm kā neh nichoḌeñ bujhī huī baaqī sulgā.eñ aao phir se diyā jalā.eñ Ham padhav ko samjhe manzil Lakshya hua ankhon se ojhal Vartaman ke moh jaal mein aane vaala kal na bhulayein Aao phir se diya jalayein Ahuti baaqi yagya adhura Apnon ke vighnon ne ghera Antim jai ka vajr banane nau dadhichi haddiyan galayein Aao phir se diya jalayein

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P E R I E

Bharat Ratna Shri Atal Bihari Vajpayee was sworn in as the 13th Prime Minister of Independent India.

Atal-ji is counted amongst the most influential personalities of India. A visionary leader, Atal-ji is known not just for his top-notch oratory skills, but also his deeply moving poetry. In today’s world of rapidly diminishing political values, his values and principles will always serve as a guiding light.

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Atal Bihari Vajpayee has been a visionary leader of a developing India.

His ideas helped shape the future of the country. His achievements have been exemplary and should be appreciated.

The Atal Smruti Udhyan is a sincere effort to pay tribute to the contribution of Atal Bihari Vajpayee towards his motherland.

The museum is a perfect blend of technology and art.

The museum is basically divided into four parts - the Exhibition space, the Holographic Theatre, the Interactive Experience, and the Amphitheatre, opening out into a central landscape space.

The journey of the visitor begins with the Exhibition space, which provides an understanding of the interesting works and events of Atalji’s life. Each exhibit is designed to be simple, but rich in information.

The Amphitheatre is an enclosed theatre, for short performances and discussions.

The Interactive Experience is an Augmented Reality game, allowing visitors to test the knowledge acquired from the Exhibition space, and experience an interaction with Atal-ji himself.

But the most awe-inspiring facet of the museum is the Holographic Theatre, with a holographic projection Atal-ji imparting words of wisdom to the visitors, and inspiring their sense of patriotism.

All put together, the Atal Smruti Udhyan serves as an excellent example of a tech-enhanced museum.

The Atal Smruti Udhyan is designed around the concept of a central courtyard with peripheral activities. The central courtyard is kept proportionately larger, balancing the buildings around it. The designed was achieved in three stages

Stage 1: Central Division of the site

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Stage 2: Build structures on the periphery

Stage 3: The central structure is a statue of Atalji, with the amphitheatre at the central edge.

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1. RSS Meet.

2. Taj Mahal with Hands 3. The Word Installation 4. Hostel Window 5. The Ganga Ghats 6. Books and Writing Material 7. Kashmir 8. The train to Pakistan 9. The Vajpayee Family 10. Election Ballot 11. The Jan Sangh Formation 12. The Parliment 13. The Prison 14. BJP timeline 15. News Paper Collage 16. First Hindi Speech in UN 17. Atalji’s Poems 18. The Bharat Ratna Award 19. Interactive Screen Display 20. Pokhran 21. The Kargil War 22. Atalji’s Achievements

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H O L O G R A P H I C

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1. Railing 2. Projection screen 3. Staging area

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P R O J E C T I O N

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The most awe-inspiring and technologically advanced aspect of the museum is undoubtedly the Holographic Projection Theatre. The experience begins in a familiar theatre environment – a dark room with a stage. But as the show begins, the normal-seeming stage is transformed by a holographic projection, as Atal Bihari Vajpayee appears, addressing the visitors with his words of wisdom, inspiring their sense of patriotism. The experience of being in presence of the leader himself is indescribable, and incomparable.

Behind this experience lies months of painstaking work. It began with the filming of an actor of suitable physical appearance, playing the part of Atal-ji. Then, his face was replaced with a complex, detailed Computer Generated 3D Model of Atal-ji’s real face, reconstructed based on an understanding of his facial structure and features, gleaned from innumerable pictures and videos of the leader himself. Minute details of facial geometry and physiological movement have been accurately captured, making for an exhilaratingly realistic experience.

The end result is the experience of standing in a room, and witnessing a speech by a beloved leader, long departed, and hearing him recite one of his own poems, perfectly suited to the aim of inspiration.

These images depict the detailed process of creating the holographic projection. The process starts with a study of his face, stature and mannerisms. These details are captured as holographic content through an intricate, harmonic combination of Live-Action Film, and CGI Technology.

TECH SNAPSHOT: 1.Vertical Projection Screen 2.Holoprojection between screen & viewer 3. Programmable Intelligent Lighting 4. Directional Sound 5. Pre-Produced Live-Action + CGI/ VFX Holographic and Projection Content 17

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AUGMENTED 1

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REALITY 3

TECH SNAPSHOT: 1.Large Scale Aumented Reality (LSAR) Setup (Camera+ Sensors+ Screen) 2. Programmable Intelligent Lighting 3. Stereo Sound 4. Pre-Produced Live Action + CG/VFX AV content for LSAR content

1. Projection Screen 2. Glass Partition 3. Chairs with touch screen podiums

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WAVES BEACH CLUB, GOA

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TAGLINE

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CHAI PEENI HAI, TEA UNDER A TREE Translated from Hindi - Wan’t to have tea!?

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Inspired from the transforming objects found on the streets of Indian cities, this project pays an ode to the concept of ephimerality in architecture, to create meaningful transactions with people by means of their favourite beverage: tea. The idea took shape as an attractive movable kiosk inspired from the spread of the branches of a tree. It offers a pausepoint and a place of respite for those who wish to take a little break while on the move. It proclaims to passers-by “Chai peeni hai,� which is also the name of the company. Hence, it becomes a product that promotes the the brand and its essence effectively and in a more interesting manner to greater number people, especially when placed in public spaces such as a mall or a public square.

The simple experience of drinking warm, refreshing, healthy tea can bring joy to a tired visitor, and the kiosk provides a fresh and vibrant environment for them to do just that. Light and colourful, the kiosk has a folding metal screen that forms its roof, supported by wooden structure that shelters the display deck and the shelved storage below it. The entire assembly is mounted atop wheels, making it mobile enough to move around to spots where tea-lovers need it the most.

The concept is derived from the age old practice of people coming together to eat and drink under large trees. The natural element was an important place maker back then and thus the attempt was to make the kiosk a place maker based on nostalgia.

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Tea Leaf

Leaf Unit

Tea Leaves Cluster

Cluster of Units

Using the main element of tea, the tea leaf itself - a ceiling installation meant to invoke the memory of drinking tea under a tree was made. In urban areas we often come across ‘tapris’ which are small shacks serving hot tea and snacks, often under the shade of a tree.

The installation strives to make the stall a place maker in memory by using a foliage made of CNC cut metal.

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SECRET STAY

LANDSCAPE STRATEGY

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1. SCULPTURE GARDEN 2. CHESS SQUARE 3. LILY POND 4. MIRROR GARDEN 5. LILY POND 6. NURSERY 7. SECRET SCULPTURE 8. RIVER DECK 9. THE PAVILLION- FOR RESTAURANT 28

SERIES OF CURIOUS SPACES

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SCULPTURE GARDEN

SECRET SCULPTURE

RIVER DECK

TREE LIVING

MIRROR GARDEN

LILY POND

SECRET 30

INDIVIDUAL VILLAS

TWIN VILLAS- A

TWIN VILLAS - C

TWIN VILLAS- B

TWIN VILLAS- D

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PROTOTYPE OF HOTEL CARD KEY

INDIVIDUAL VILLAS 32

TWIN VILLAS- B

TWIN VILLAS- D

S E C R E T GO

S E C R E T GO

S E C R E T GO

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JOURNEY Journey is a camp-site for backbackers, living amongst localites, from where they trek upwards to explore vivid wildlife in Karnataka. The cabins across 22 acres of site occupies bare minimum land and gives a multisensory experience.

IMAGE PRODUCED BY: MYSELF HOSPITALITY | RWAMP STUDIO | MALIB | 2018

ILLUSTRATED DIAGRAM TO NOTE DOWN MAJOR PAUSE POINTS ON THE SITE 34

IMAGES PRODUCED BY: MYSELF

Experience the tops of trees where birds are usually found

You can fall asleep watching small animals play under your room

Using bamboo chimes to personify sounds of wind at the reception

Railings to be designed to add sound inducing experiences

Wood and granite to experience a temperature difference by touch IMAGES PRODUCED BY: MYSELF

LONGITUDINAL SECTION THROUGH THE CABIN

CROSS SECTION OF THE CABIN 35

IMAGES PRODUCED BY: MYSELF

LONGITUDINAL ELEVATION OF THE CABIN

SIDE ELEVATION OF THE CABIN IMAGES PRODUCED BY: MYSELF

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COMVIVA EXPERIENCE ROOM An interactive experience room for Tech Mahindra to launch their new products, arrange clients meetings on technology based products and display the history, achievements and principals of comviva.

IMAGE PRODUCED BY: MYSELF EXPERIENCE CENTRE | RWAMP STUDIO | MALIB | 2019

CONCEPT- BRAND IMPLICATION

concentric circles

Push the limits Cloud of knowledge

Ground Reality

Cloud of

KNOWLEDGE

INnovation 37

Ground Reality

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03 05 06 01. Entrance 02. The alcove wall with comviva information 03. 65” Interactive screen about comviva introduction & milestones 04. Rotating table with interactive screen of 49” tv inbuilt & VR hollow lens for product demos.

05. Illuminated kinetic installation of comviva logo 06. Projection wall 07. Dice for product display 08. 42” Static screen with videos of product information & launch etc 09. Interactive logo pixel led light installation on the corridor.

IMAGE PRODUCED BY: MYSELF

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IMAGE PRODUCED BY: MYSELF

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CITY PAVILION A pavilion proposed at the Juhu Beach of Mumbai, to declutter the food stall area and design an organised food arena, re-think the parking provision along the ever busy road, along with exhibiting the city’s identity.

GUIDE: PROFESSOR AR. MRIDULA PILLAI-GUDEKAR SEM V| INDIVIDUAL PROJECT | MALIB | 2017

VISUALLY CHALLENGED SELLING READING BOOKS

SHOE SHOP SHARING A WALL WITH ADJACENT TEMPLE

ILLEGAL HAWKERS RIGHT OUTSIDE THE POLICE STATION

LIVE AND WORK IDEOLOGY

PARKINGS TAKE THE FIRST FLOOR AS HAWKERS TAKE THE GROUND

FOURTH SEAT IN THE MUMBAI LOCAL TRAIN

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Concept: Inconvenience is our Convenience

Mumbai has india’s most prolific film industry, some of asia’s biggest slums and the largest tropical forest in an urban zone. Mumbai is india’s financial powerhouse, fashion epicentre and a pulse point for religious harmony, but also tension. The city is a furious energy, with excellent connectivity of public transport, especially the local trains and is active at every hour of the day. The city’s nightlife is a story in itself.Mumbai is an addiction. An addiction to come and to learn, to walk with the clock, to adapt to things, to change with the change! This city teaches discipline. There is so much discipline in the way we unfollow the law and the way we follow this routine. Here, comes the dreamer because of its welcoming opportunities and to experience the so-called crazy life.

Today, people are so busy in their daily routines that they almost ignore the exhibits around them. Our society is a conglomeration of different types of people -their cultures and traditions- staying together. The art of exhibition is to to convey a particular message in an attractive manner. The black curves represent people and the coloured curves represent the exhibit. Here the black curves do not intersect with the colourful ones leaving them in the background, symbolising that people are generally aloof to the exhibits that are happening around them, all the time.Simply by changing the few curves in the top-left corner, the effect of exhibit changes drastically. People and the exhibits begin interlacing with each other. Thus, the exhibits now become prominent and merge with the people. This interference of the inconvenient coloured curves in the black ones are -because of are habit of quick adaptation to changes- proved to be convenient!

Railways are rightly called the spine of mumbai. They are the perfect example to represent this ever growing city.

In the 3-d representation, three different shapes are used with different materials and colours imparting the tremendous growth in mumbai’s local lines through the years. Here people come with their own aims and ambitions.

Each person is heading through a different path. The shapes in the model appear to converge to a particular point; a different point for every shape. The railway routes shows stark elements of linearity.

We have locals to fit everyones pocket and conveniences. Mumbai local is again a great example of inconveniences are our conveniences.

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LIGHT AND SHADOW DURING DIFFERENT HOURS OF THE DAY, OBSERVED FROM THE PHYSICAL MODEL

VARIOUS EXHIBITION SPACES IN THE PAVILION

A LONGER, YET A CONVINIENT ROOT TO PAVILION FROM PARKING

SUBWAY TO THE PAVILION LIT WITH COLORFUL SHEETS OF ACRYLIC

Ebullient curves speak about the highs and lows in our lives, how there may be sudden depressions while at times there’s no bound to our happiness. Transparent water-filled volume, through which the light penetrates, is a sign of hope. Hope that we can work around our obstacles to achieve what’s visible across the transparent as-in intangible barrier in our lives.

FINAL 3D COMPOSITION DERIVED FROM PAINTING AND THE SOUND TRACK 42

SHAPE , FORM, SOUND AND SPACE Allied Design Project to Understand Various Art Forms

The project is about identifying shapes and molding them as forms to embody space. A mere line abstract composition is extracted from a famous painting and later filled in with black and white to achieve shapes.

These monochrome compositions are given a third dimension then. Parallely, a sound track is translated into a 2 dimensional element board, based on the emotions extracted from the track. All of this, is then used to modify the 3-dimensional abstraction which narrates a story derived from the music and materials justify the emotions.

ELEMENT BOARD BASED ON THE MUSICAL TRACK GUIDE: PROFESSOR AR. ARUN FIZARDO BASIC DESIGN | SEM II | MALIB | 2013

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INSTALLATION AT NCPA Art installation at National Center of Performing Arts, Marine Drive Promenade

The installation is proposed at Marine Drive, Mumbai, amidst the crowd coming to admire the drive. Inspired from the horseshoe, which we hear while strolling besides the sea, the clatter of the horse ride; the installation is an abstract form of the same. It’s not just a u-shaped metal clamp holding the leg of the horse; not only does it depict command but also speaks about the protection it provides. Mumbaikars are always active and live stressful lives but with an assurity of security and protection. Strings portray the tension and the changing shadows depict different types of people living on the same land and how they are held together. tension and the changing shadows depict different types of people living on the same land and how they are held together.

GUIDE: PROFESSOR AR. NINAD PATKER ART INSTALLATION | SEM I | MALIB | 2013

CONCEPTUAL PHOTO SERIES

https://issuu.com/dhvanishah24/docs/dhvani_shah_parallel_photo_series_9bb

PHOTOGRAPHY PORTFOLIO Kindly click on the link or scan the QR code to view my work in photography.I have undertaken conceptual portraits, interior spaces, product photography and also videography for a clothing brand. I have participated in photo-marathons and live events too.

https://issuu.com/dhvanishah24/docs/portfolio_dhvani_shah_9bb SELECTED WORK | INDIVIDUAL PROJECTS | 2015 - PRESENT

DHVANI SHAH Branding Portfolio Applicant for Graphic Designer Mumbai, India dshah.arch@gmail.com +91 98204 03631