504/GWT
Aloran Sattar is a chronically online graphic designer, visual communicator and photographer and a real yearner. Currently based in a small room somewhere in Kolkata, India.
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DOC 234—34/2
TYPE: Identity Design, Branding
‘Fogbound’ is a photography exhibition by Gyani Pradhan Wong Ah Sui —a Mauritian-Sikkimese visual artist based in Worcester, MA. The work explores his spiritual connection to home and memory, after spending six years away from Sikkim.
Originally titled Fog Drifting on the Precipice of Home, the project slowly evolved into a poetic series of black and white photographs captured on analog film. Each frame holds the weight of diasporic longing, using texture, light, and abstraction to distill emotions too complex for words.
The Process
From a design standpoint, the name and origin of the project led to a simple mind map:
- Fog: Memory, mist, lack of clarity
- Drift: Movement, wandering, wind
- Precipice: Cliff, edge, instability
These keywords guided the first design direction, emphasizing abstraction, a boxy look with sharp edges, and an opaque feel.
Step 1: Setting the Visual Mood
In the first phase, I leaned into the Atypography Movement—a style of visual design that treats type as an image, rejecting readability in favor of emotion and abstract form. This felt like the right starting point. Gyani’s photographs obscure reality and invite viewers to contemplate. Atypography does the same with letterforms.
The earliest explorations involved fragmented type, abstract shapes, and minimalist grid systems. The goal was to match the work’s emotional tone without being too literal. I wanted the typography to feel like fog—something present but unclear.
Visit www.atypography.com
Step 2: The Organic Detour
After presenting the first direction, Gyani asked if the typography could feel more organic and liquid—a reflection of how memories morph and shift over time. This led to a second round of type experiments: warped letterforms, fluid textures, and amorphous shapes.
While some of it looked visually rich, I found myself straying from the original feeling of the work. It became decorative instead of meditative. Eventually, I even tried super clean, neutral layouts—but they felt too sterile and didn’t do justice to the emotional core of the project.
This phase, while not conclusive, helped clarify what wasn’t working. It reminded me to go back to what felt true to the work.
Step 3: Finding Kvar
Returning to the roots of the project, I came across Kvar, a typeface from the Atypography family. It was abstract, rough, and systemizable. Most importantly, it was versatile—I could stretch it, squash it, and reconfigure it as a visual element beyond just a title. It could become a frame, a shape, or a symbol.
I shared the Kvar explorations with Gyani and he immediately connected with it. It hit the sweet spot: not too literal, not too decorative—just the right amount of edge and abstraction.
With that, we locked in the direction.
Explorations with KVAR
What I’ve Learned
- Typography can become the brand when the concept is strong.
- Trust the visual language of the subject matter—it will guide you back when you lose your way.
- Sometimes, the best typeface isn’t the most beautiful—it’s the most flexible.
Closing Thoughts
This project has been about listening: to the images, to the client, and to my own instincts as a designer. It’s rare to work on something so introspective and open-ended, and I’m glad the branding system mirrors that. ‘Fogbound’ continues to evolve, but I think we’ve found a visual home for it—one that’s imperfect, abstract, and quietly emotional.
Final Deliverables includes
- 3 Poster Print Designs
- 1 Flyer Design
- Social Media Design Assets