Dheeraj Bangur

Who doesn't love art? Everyone loves art, right? From my childhood, I have had a passion for sketching and doodling. This early love for creativity naturally led me to the field of design. I completed my master's in communication design from Asia's most prestigious college, the MIT Institute of Design, which marked the official beginning of my journey as a designer. Interestingly, my path to becoming a professional designer was not straightforward. Coming from a commerce background, I initially wasn't certain that I wanted to pursue a career in art or design. However, the turning point came when my work and drawings started receiving widespread appreciation. Encouraged by this positive feedback, I decided to follow my passion and dedicate myself to the world of design. Now, I proudly stand as a professional designer, blending creativity with technical expertise to craft meaningful and impactful designs. My journey from a commerce student to a master's graduate in communication design is a testament to following one's passion and the joy of transforming creative dreams into reality.

Brandsthan is a distinguished design studio based in India, specializing in creating innovative branding and packaging solutions. Our studio is dedicated to transforming ideas into visually compelling and strategically effective designs that resonate with target audiences. At Brandsthan, we pride ourselves on our holistic approach to design, which combines thorough market research, creative ingenuity, and technical precision. Our team of talented designers and strategists works collaboratively to develop visual identities and packaging that not only stand out on the shelf but also communicate the core values and stories of our clients' brands. Our portfolio spans a diverse range of industries, reflecting our versatility and ability to tailor our services to meet the unique needs of each client. From luxury products to everyday consumer goods, we ensure that every design project we undertake is executed with meticulous attention to detail and a deep understanding of the market dynamics. Brandsthan's commitment to excellence is evident in the quality of our work and the satisfaction of our clients. We believe that effective design can significantly enhance brand perception and drive business success, and we strive to achieve this through every project we embark on. Our studio fosters a culture of continuous learning and innovation, encouraging our team to push the boundaries of creativity and design thinking. This approach not only helps us stay ahead of industry trends but also enables us to deliver solutions that are both timeless and contemporary. In summary, Brandsthan is not just a design studio; it is a creative partner dedicated to elevating brands through thoughtful and impactful design. Our passion for design and our commitment to our clients' success are what drive us to excel in every project we undertake.

For me, design is a powerful form of communication and a problem-solving tool that goes beyond mere aesthetics. It's about creating solutions that are not only visually appealing but also functional, meaningful, and user-centric. Design bridges the gap between creativity and practicality, transforming abstract ideas into tangible realities that enhance everyday experiences. Design is about understanding the needs and desires of people and translating those insights into products, services, or interfaces that improve their lives. It's a process that involves empathy, research, and innovation, where each element serves a purpose and contributes to the overall effectiveness of the solution. At its core, design is about storytelling. It's a way to convey a brand's values, culture, and identity through visual elements, creating a cohesive narrative that resonates with audiences. Whether through branding, packaging, or user interfaces, design has the power to evoke emotions, inspire actions, and build connections. Moreover, design is an ever-evolving field that thrives on curiosity and a willingness to explore new ideas and technologies. It's about staying adaptable, continually learning, and pushing the boundaries to find new ways to solve problems and create value. In essence, design is a blend of art and science, creativity and strategy. It's about making the world a more beautiful, functional, and meaningful place, one thoughtful creation at a time.

Jaisalmer Gin Jaisalmer Indian Craft Gin is one of my favorite design projects. Inspired by the rich cultural heritage and craftsmanship of India, Jaisalmer Gin's design reflects the opulence and grandeur of the Golden City of Jaisalmer. The bottle itself is a masterpiece, adorned with intricate gold accents that evoke the majestic architecture and intricate carvings of Rajasthani palaces. The deep blue glass symbolizes the night sky over the Thar Desert, while the luxurious label captures the essence of regal India. This design not only enhances the visual appeal but also tells a compelling story of tradition, luxury, and sophistication, making Jaisalmer Gin a standout in the world of premium spirits. Maharani Mahansar Heritage Liqueur Palace Edition The Maharani Mahansar Heritage Liqueur Palace Edition is a project that holds a special place in my heart. Designed as a tribute to the majestic Rajasthani forts, havelis, and palaces, this edition captures the essence of Rajasthan’s royal heritage. The bottle features an exquisite design with detailed engravings and motifs that reflect the architectural splendor of these historic structures. Saffron and gold accents enhance the regal appearance, while the aged pale yellow textured paper label adds a touch of vintage elegance. This edition not only celebrates the rich cultural legacy of Rajasthan but also exemplifies the perfect blend of tradition and modernity in design. It stands as a testament to the grandeur and timeless beauty of Rajasthani heritage, making it a cherished piece in any collection.

I feel the most creative during early mornings when the world is quiet, allowing my mind to explore new ideas freely and without distractions.

I focus on functionality, aesthetics, and user experience, ensuring the design is not only visually appealing but also practical and engaging for the end user.

When I design, I feel a blend of excitement and passion, driven by the thrill of creating something new. There's also a sense of satisfaction and fulfillment as ideas take shape and evolve into tangible outcomes.

When my designs are realized, I feel a profound sense of pride and accomplishment. Seeing my ideas come to life evokes joy and satisfaction, knowing that my creativity and effort have materialized into something tangible and impactful.

A design is successful when it effectively solves a problem or meets its intended objectives while resonating with its audience. It should be visually appealing, functional, user-friendly, and aligned with the brand's identity and values. Additionally, a successful design elicits positive emotions, fosters engagement, and leaves a lasting impression on its users.

When judging a design as good or bad, I consider several key aspects: 1. Originality: Does the design offer a fresh perspective or innovative solution? Does it stand out from competitors? 2. Functionality: Does the design effectively fulfill its intended purpose? Is it user-friendly and intuitive? 3. Aesthetics: Is the design visually appealing? Does it demonstrate a strong sense of composition, color harmony, and typography? 4. Relevance: Is the design appropriate for its context and target audience? Does it effectively communicate the intended message or brand identity? 5. Craftsmanship: Is the design executed with attention to detail and precision? Are materials, finishes, and production techniques used effectively? 6. Impact: Does the design evoke an emotional response or leave a lasting impression? Does it engage and resonate with its audience? By considering these aspects, I can evaluate the overall quality and effectiveness of a design.

From my point of view, designers have significant responsibilities towards both society and the environment. These responsibilities include: 1. Solving Real-World Problems: Designers should use their skills and creativity to address pressing social and environmental issues, such as sustainability, accessibility, and social justice. By creating solutions that positively impact society, designers can contribute to building a better world for all. 2. Promoting Ethical Practices: Designers should adhere to ethical principles and practices in their work, considering the social, environmental, and cultural implications of their designs. This includes being transparent about sourcing materials, minimizing waste, and respecting intellectual property rights. 3. Advocating for Inclusivity: Designers have a responsibility to ensure that their designs are inclusive and accessible to people from diverse backgrounds and abilities. This involves considering factors such as language, culture, age, and physical limitations to create designs that are usable and equitable for all. 4. Minimizing Environmental Impact: Designers should strive to minimize the environmental footprint of their designs by using sustainable materials, reducing waste, and incorporating eco-friendly production methods. By prioritizing sustainability, designers can help mitigate the negative effects of climate change and resource depletion. 5. Educating and Empowering Others: Designers can play a crucial role in educating and empowering others to make informed choices about design and consumption. By raising awareness about environmental and social issues, designers can inspire positive change and encourage responsible decision-making among consumers, businesses, and policymakers. Overall, designers have a unique opportunity to contribute to positive social and environmental change through their work. By embracing their responsibilities and incorporating ethical and sustainable practices into their designs, designers can help create a more equitable, inclusive, and environmentally sustainable world for future generations.

The design field is evolving rapidly, driven by advancements in technology, changes in consumer behavior, and shifting societal priorities. Some key trends shaping the future of design include: 1. Digital Transformation: The increasing digitization of products and services is reshaping the design landscape, with a growing emphasis on digital experiences, user interfaces, and interactive design. As technology continues to evolve, designers will need to adapt and innovate to create seamless and engaging digital interactions. 2. Sustainability and Ethical Design: There is a growing awareness of the environmental and social impact of design, leading to a greater emphasis on sustainability, ethical sourcing, and responsible practices. Designers are increasingly incorporating eco-friendly materials, circular design principles, and inclusive practices into their work to minimize negative impacts and promote positive change. 3. Data-Driven Design: Data analytics and user research are becoming integral to the design process, enabling designers to make informed decisions and create more personalized and effective solutions. By leveraging data insights, designers can better understand user needs, preferences, and behaviors, leading to more targeted and impactful designs. 4. Collaborative and Cross-Disciplinary Approaches: Design is becoming increasingly interdisciplinary, with collaboration between designers, engineers, scientists, and other professionals becoming essential to tackling complex challenges. Cross-disciplinary approaches encourage innovation, creativity, and holistic problem-solving, leading to more holistic and integrated design solutions. 5. Human-Centered Design: There is a growing emphasis on human-centered design principles, which prioritize empathy, inclusivity, and user engagement. By placing the needs and experiences of users at the center of the design process, designers can create products and services that are more intuitive, accessible, and meaningful to people. 6. Augmented and Virtual Reality: Augmented reality (AR) and virtual reality (VR) technologies are opening up new possibilities for immersive and interactive design experiences. Designers are exploring the potential of AR and VR to create engaging storytelling, spatial design, and virtual environments that blur the lines between physical and digital worlds. Overall, the future of design is dynamic and multifaceted, characterized by innovation, collaboration, and a commitment to creating positive impact. As the design field continues to evolve, designers will play a crucial role in shaping the way we interact with technology, engage with the world around us, and address the complex challenges of the 21st century.

My last exhibition was held at my college, showcasing a collection of my design works. As for my next exhibition, I have not yet decided on the timing or location. I am considering various options and opportunities to showcase my work in the future, but no specific plans have been made at this time.

My design inspiration comes from a variety of sources, but it always begins with understanding the product's value and category. I believe in delving deep into the essence of each project, which often leads me to conduct thorough research both online and offline. Real-world experiences and observations provide valuable insights that inform my creative process, allowing me to craft designs that resonate with the target audience. I draw inspiration from diverse sources, including nature, art, architecture, culture, and everyday life. By immersing myself in different environments and experiences, I can tap into a rich tapestry of ideas and perspectives that fuel my creativity. Additionally, I pay close attention to current trends, innovations, and best practices in design to stay informed and inspired. Ultimately, my goal is to create designs that not only meet the functional requirements of the project but also evoke emotions, tell stories, and make meaningful connections with users. By staying rooted in the essence of the product and leveraging a diverse range of inspirations, I can bring a unique and compelling vision to each design endeavor.

My design style can be described as contemporary and minimalist, with a focus on simplicity, functionality, and elegance. I am drawn to this style for its versatility and ability to convey ideas with clarity and impact. The main characteristics of my style include clean lines, bold typography, and thoughtful use of space and color. I explore this style further because of its timeless appeal and its ability to adapt to various design contexts. By prioritizing simplicity and functionality, I can create designs that are both visually engaging and user-friendly. My approach to design is rooted in creativity, research, and collaboration. I begin by thoroughly understanding the project objectives and target audience, conducting research to gather inspiration and insights. From there, I brainstorm concepts, sketch ideas, and iterate on designs based on feedback and testing. I prioritize open communication and attention to detail throughout the design process to ensure the highest quality outcomes that exceed client expectations.

Living in Jaipur, Rajasthan, a city rich in art, culture, and heritage, profoundly influences my designs. The vibrant colors, intricate patterns, and majestic architecture of Rajasthan serve as constant sources of inspiration, shaping my design aesthetic and approach. Pros: 1. Rich Cultural Heritage: Jaipur's cultural heritage provides a wealth of inspiration for my designs, allowing me to infuse elements of Rajasthani art, architecture, and traditions into my work. 2. Artisanal Craftsmanship: The city's artisanal craftsmanship, including block printing, handloom weaving, and traditional jewelry making, inspires me to incorporate handcrafted techniques and motifs into my designs, adding authenticity and uniqueness. 3. Tourism Hub: Jaipur's status as a tourism hub exposes me to diverse perspectives and experiences, enriching my creative process and broadening my understanding of global design trends and preferences. Cons: 1. Traditional Constraints: While Jaipur's cultural heritage offers rich inspiration, it can also impose traditional constraints on design, making it challenging to push boundaries and explore more avant-garde or experimental styles. 2. Limited Exposure: Despite being a vibrant city, Jaipur may have limited exposure to contemporary design trends and practices compared to larger metropolitan areas, requiring extra effort to stay informed and connected with the global design community. 3. Design Awareness: There is a lack of awareness about design principles and practices among the general populace in Jaipur. This can pose a challenge in educating clients and stakeholders about the value of design and its potential impact on business and society. Overall, living in Jaipur offers a unique blend of opportunities and challenges for designers, with its rich cultural heritage serving as a wellspring of inspiration while navigating traditional constraints and infrastructure limitations. However, embracing these factors allows me to create designs that celebrate the essence of Rajasthan while resonating with a global audience.

I work with companies through a collaborative process that involves: 1. Initial consultation to understand their needs. 2. Research and discovery to gather insights. 3. Concept development and feedback. 4. Design refinement and finalization. 5. Delivery of assets and ongoing support. Open communication, collaboration, and a customer-centric approach guide my work to deliver high-quality design solutions that meet their objectives.

My suggestions for companies working with a designer: 1. Clearly define project goals and objectives. 2. Provide comprehensive briefs and relevant information. 3. Maintain open communication and provide timely feedback. 4. Trust the designer's expertise and creative process. 5. Be open to collaboration and iteration to achieve the best results. To select a good designer: 1. Review portfolios and past work to assess skills and style. 2. Consider experience and expertise in relevant industries. 3. Look for effective communication and professionalism. 4. Check references and client testimonials for feedback. 5. Ensure alignment with company values and culture.

Certainly! My design process typically involves several key steps: 1. Understanding the Brief: I start by thoroughly understanding the client's brief, including their objectives, target audience, and project requirements. This initial step is crucial for setting the direction of the project and ensuring alignment with the client's goals. 2. Research and Inspiration: Next, I conduct research to gather insights, inspiration, and relevant references. This may involve studying industry trends, analyzing competitors, and exploring design inspiration from various sources such as nature, art, and culture. 3. Concept Development: Based on the insights gathered from research, I begin the process of ideation and concept development. I explore different ideas, sketches, and design directions, considering factors such as functionality, aesthetics, and user experience. 4. Feedback and Iteration: Once initial concepts are developed, I present them to the client for feedback and discussion. This stage involves collaboration and iteration, where I incorporate client feedback to refine and improve the designs further. 5. Design Execution: After finalizing the concept, I proceed with the design execution phase. This involves creating detailed mockups, digital prototypes, or tangible prototypes depending on the project requirements. 6. Refinement and Finalization: Throughout the design process, I continuously refine and iterate on the designs based on feedback and testing. I pay close attention to details, ensuring consistency, coherence, and alignment with the client's brand identity. 7. Delivery and Implementation: Once the designs are finalized, I prepare the necessary files and assets for delivery to the client. This may include print-ready files, digital assets, style guides, or any other deliverables specified in the project brief. 8. Follow-Up and Support: After the project is completed, I provide ongoing support to the client as needed. This may involve answering questions, providing guidance on implementation, or making additional adjustments to the designs based on feedback or evolving needs. Overall, my design process is characterized by collaboration, creativity, and attention to detail, with the ultimate goal of delivering high-quality design solutions that exceed client expectations and resonate with their target audience.

Samsung Frame TV: Combines functionality with aesthetics, seamlessly blending into the decor with its art mode. Eames Lounge Chair and Ottoman: Iconic mid-century modern design, offering comfort and sophistication. Muuto E27 Pendant Lamp: Minimalist yet stylish, providing ambient lighting with a modern touch. Vitra Eames House Bird: Charming decorative accessory, adding a whimsical element to any space. Alessi Moka Espresso Maker: Sleek Italian design meets practical functionality, creating the perfect cup of espresso.

Wake up early, exercise, work on design projects, collaborate with clients, take breaks, have meals, spend time with loved ones, relax in the evening, reflect, and sleep.

Certainly! Here are some brief pearls of wisdom for young designers: 1. Embrace failure as a learning opportunity. 2. Stay curious and never stop learning. 3. Cultivate a strong work ethic and perseverance. 4. Seek feedback and be open to criticism. 5. Develop your unique voice and style. 6. Network and build relationships in the industry. 7. Prioritize self-care and maintain a healthy work-life balance. 8. Always strive for excellence and innovation.

From my perspective, here are some positives and negatives of being a designer: Positives: 1. Creativity: The ability to express creativity and bring ideas to life through design. 2. Impact: The opportunity to make a positive impact on people's lives through innovative solutions. 3. Variety: The diversity of projects and industries offers constant opportunities for growth and learning. 4. Fulfillment: The satisfaction of seeing your designs come to fruition and positively impacting others. 5. Flexibility: The flexibility to work independently or collaboratively, often in diverse environments. Negatives: 1. Subjectivity: Design can be subjective, leading to differing opinions and challenges in meeting client expectations. 2. Pressure: Deadlines and client demands can create pressure and stress, especially during peak project times. 3. Uncertainty: The freelance nature of design work can lead to uncertainty in income and job stability. 4. Criticism: Designers often face criticism and rejection of their work, which can be challenging to navigate. 5. Burnout: Long hours and intense focus on projects can lead to burnout and fatigue if not managed properly.

My "golden rule" in design is to prioritize simplicity and clarity. I believe that simplicity is key to creating designs that are effective, memorable, and timeless. By focusing on clarity and removing unnecessary elements, I can ensure that the message or concept is communicated clearly and effectively to the audience. Whether it's a logo, website, or packaging design, simplicity allows for easier understanding, better user experience, and a more impactful visual presence.

The most important skills for a designer include: 1. Creativity: The ability to think innovatively and generate unique ideas and solutions. 2. Visual Communication: Proficiency in conveying messages and concepts through visual elements such as layout, typography, and imagery. 3. Technical Skills: Mastery of design software and tools relevant to the field, such as Adobe Creative Suite or Sketch. 4. Problem-Solving: Capacity to identify challenges and develop effective strategies and solutions to address them. 5. Attention to Detail: Ability to focus on small details while maintaining the overall vision and integrity of the design. 6. Collaboration: Skill in working effectively with clients, colleagues, and stakeholders to understand needs and achieve project goals. 7. Time Management: Capacity to prioritize tasks, meet deadlines, and manage multiple projects simultaneously. 8. Adaptability: Flexibility to adjust to changing requirements, feedback, and industry trends. 9. Communication: Strong verbal and written communication skills to articulate ideas, present designs, and collaborate with others effectively. 10. Continuous Learning: Willingness to stay updated on emerging technologies, design trends, and industry best practices to enhance skills and knowledge.

In my toolbox, I primarily use Adobe Creative Suite, including software like Photoshop, Illustrator, and InDesign. Additionally, I rely on a high-configured system to support my design work efficiently. For inspiration, I often explore online resources, design blogs, and social media platforms, as well as draw inspiration from books, art exhibitions, and everyday life experiences.

To manage my time effectively as a designer, I employ several strategies: 1. Prioritize tasks: I identify the most critical and time-sensitive tasks and prioritize them accordingly. 2. Set deadlines: I establish realistic deadlines for each project or task to stay organized and focused. 3. Break tasks into smaller steps: I break down larger projects into smaller, manageable tasks to make progress more manageable. 4. Use time-blocking: I allocate specific blocks of time for different tasks or projects, allowing for focused work and minimizing distractions. 5. Limit distractions: I minimize distractions by turning off notifications, setting boundaries with colleagues or clients, and creating a conducive work environment. 6. Take breaks: I schedule regular breaks to rest and recharge, which helps maintain productivity and creativity. 7. Review and adjust: I periodically review my schedule and workflow to identify areas for improvement and make necessary adjustments. 8. Practice time management techniques: I utilize techniques such as the Pomodoro Technique or the Eisenhower Matrix to enhance productivity and efficiency. By implementing these strategies, I can effectively manage my time and optimize productivity while maintaining a healthy work-life balance.

The time it takes to design an object from beginning to end can vary widely depending on various factors such as the complexity of the project, the scope of work, client requirements, and the designer's workflow and process. Some projects may be completed in a matter of hours or days, while others may take weeks, months, or even longer to finalize. Additionally, factors such as revisions, feedback cycles, and unforeseen challenges can impact the overall timeline. Generally, it's essential to establish clear project milestones and deadlines to ensure efficient progress and timely delivery.

Indeed, one of the most frequently asked questions I encounter as a designer is, "Can you make it awesome?" This request often reflects a desire for exceptional and impactful design outcomes. Additionally, clients frequently inquire about the timeline, asking, "How many days will it take?" This question is crucial for managing expectations and planning project schedules effectively.

Jaisalmer Gin Branding and Packaging design working with Firstbase Media.

Maharani Mahansar, Sahu, Zentek, Basant Dhaba, Hammond River Beverages, Chhgan Magan, Dibiya, Desktrack and Taxaid

Branding and packaging design are indeed fascinating areas of design! They offer a unique blend of creativity, strategy, and storytelling. Crafting a brand identity involves shaping perceptions, emotions, and experiences, while packaging design plays a crucial role in capturing attention and conveying brand values. The opportunity to create cohesive visual identities and tangible touchpoints that resonate with audiences is both rewarding and fulfilling. Plus, the dynamic nature of branding and packaging design allows for continuous innovation and exploration, making it an exciting field to work in.

Expanding your design business globally sounds like an exciting endeavor! To achieve this goal, consider strategies such as building a strong online presence, networking with potential clients and collaborators worldwide, and showcasing your portfolio to demonstrate your expertise and capabilities. Additionally, staying updated on industry trends and emerging technologies can help you remain competitive in the global market. Best of luck with your future endeavors!

Yes, I have a team, and we all work remotely from various locations. However, I primarily handle the ideation and design aspects myself.

Certainly! Currently, I'm working on a captivating project: Maharani Mahansar Indian Absinthe. This innovative endeavor aims to fuse the rich cultural heritage of India with the enigmatic allure of absinthe, creating a unique and sophisticated libation.

They can reach out to me by my Website: https://brandsthan.in/ Or can write me an email: dheerajbangur@gmail.com Or you can buzz me on my WhatsApp number: +91 87644 15669

I think all the relevant questions are very well covered in this section.

I’ve been in the design industry for over a decade now, with a core focus on branding and packaging design. My journey began with a strong foundation in visual communication, and over the years, I’ve had the privilege of working with some of India’s leading design studios, including Firstbase and iKar Design Services, where I served as Creative Director. Currently, I run my design studio, Brandsthan, based in Jaipur, Rajasthan. Brandsthan is a space where I blend cultural storytelling with contemporary design thinking, especially in the realm of luxury packaging and branding. Throughout my career, I’ve had the opportunity to work with renowned clients like Maharani Mahansar, Radico Khaitan, Jaisalmer Gin, Parle Agro, Haldiram’s, and several heritage and craft-based brands across India. My work has been recognized both nationally and internationally, including multiple wins at the A' Design Awards (Italy) and India’s Best Design Awards, making me a three-time consecutive winner. What truly drives me as a designer is the challenge of creating work that feels both timeless and culturally rooted, while being visually striking and commercially effective.

My journey into design started quite early. Since Class 6, I’ve been deeply passionate about sketching and drawing. Art was always my escape and my form of expression. During my school days, I explored various mediums—from pencil shading and watercolors to experimenting with forms, typography, and visual storytelling, even before I knew what "design" really meant. After school, I took up a Bachelor’s degree in Commerce (B.Com) with the initial plan of pursuing a career as a Chartered Accountant (CA). But somewhere deep inside, I knew that my true calling was always in the field of art and creativity. The structured world of commerce couldn’t satisfy my creative urge. That realization pushed me to follow my passion more seriously, and I went on to pursue my Master’s degree in Communication Design from MIT Institute of Design, Pune. This was a turning point for me. Those years shaped my design thinking, exposed me to user-centric design, and gave me the foundation to understand how creativity can solve real-world problems. My inspiration has always come from observing life around me, culture, human behavior, and the power of visual storytelling. It wasn’t a single person who influenced me; it was more of an internal drive to create impact through design—to make things that not only look beautiful but also communicate, solve, and connect with people emotionally. From there, my professional journey began—leading me to work on projects that range from heritage liquor brands like Maharani Mahansar, to legacy FMCG brands like Jalani, to international clients like Radico Khaitan (Jaisalmer Gin), and now building Brandsthan, my own creative studio in Jaipur. Looking back, every sketch I made as a kid, every wrong career turn, and every learning curve shaped the designer I am today. And that’s what keeps me moving forward—the idea that good design can create real change and leave a lasting legacy.

For me, three core priorities always guide my design process: Storytelling with Cultural Relevance: Every project I take on—whether it’s a luxury liquor packaging or ethnic FMCG branding—starts with uncovering the core story behind the brand. I strongly believe that design is not just about visuals; it’s about evoking emotion, building connection, and communicating a legacy. Especially when working with brands like Maharani Mahansar or Jalani, where culture, heritage, and origin play such an important role, the narrative becomes my starting point. Strategic Functionality: A design has to solve a problem and serve a purpose, not just look beautiful. I invest time in understanding the target audience, market trends, and product positioning. Whether it’s the choice of material, structure, typography, or packaging usability—commercial viability and user experience are always key checkpoints for me. Attention to Craft and Detail: While I work extensively with digital tools, 3D software, and rendering technologies, I always start with hand sketches and moodboards. My creative ideation starts on paper. For most packaging projects, I create physical mock-ups and prototypes to evaluate scale, texture, and how the design feels in hand. Tactility is important—especially when you’re designing for luxury products. My overall style leans towards a blend of contemporary minimalism with rich cultural textures. I love playing with contrasts—modern typography with vintage motifs, bold layouts with intricate detailing—all while making sure the brand essence remains intact. With every new project, my approach is always research-first, followed by concept sketching, digital development, material exploration, and finally mock-ups and pre-production sampling before final rollout. At the end of the day, my goal is to design experiences, not just visuals, where the consumer feels the story, the craft, and the brand soul in every interaction.

Designing for me is an emotional journey. The process takes me through a full spectrum of feelings—curiosity, excitement, challenge, flow, and finally, fulfillment. The most exciting phase for me is the ideation stage—the moment when an abstract idea starts taking a tangible visual form. That phase where I’m surrounded by moodboards, sketches, references, and scattered thoughts—that creative chaos gives me energy. It's like connecting invisible dots and giving shape to something that never existed before. There’s also a deep sense of responsibility and respect when I work on culturally rooted brands like Maharani Mahansar or Jalani. Carrying forward a legacy while making it relevant for today’s audience creates both pressure and pride. I feel emotionally connected to the heritage I’m representing. But the most rewarding emotion comes when I hold the final, finished product in my hands—especially with packaging design. That moment when you see the texture of the paper, feel the weight of the bottle, smell the fresh print—it’s an unmatched sense of joy. It’s like seeing your imagination become reality. Design fulfills me because it allows me to tell stories, evoke emotions, and leave a visual legacy. Knowing that something I created will sit on a shelf, touch people’s lives, or become part of their celebrations—that feeling makes every struggle and sleepless night in the design process absolutely worth it.

Several aspects of my background have shaped the kind of designer I am today, and interestingly, many of them are non-design skills. Coming from a commerce background (B.Com) before pursuing my Master’s in Communication Design gave me a strong understanding of business, consumer behavior, and market dynamics. This helps me create designs that are not just aesthetically pleasing but also strategically positioned and commercially viable. Another skill that has really helped me is storytelling and observation. I’ve always been curious about people, cultures, and human emotions—this reflects heavily in my work, especially when crafting brand narratives for culturally rich brands like Maharani Mahansar and Jalani. Time management, decision-making, and client communication are also crucial non-design skills I’ve developed over the years. As a Creative Director and now running my own studio (Brandsthan), these skills help me manage teams, handle clients, and meet project deadlines without compromising creativity. In terms of influence, I would say the culture and visual richness of Rajasthan has been my biggest source of inspiration. Growing up surrounded by architecture, traditional art forms, and vibrant local markets has built my design sensitivity towards color, texture, and storytelling. My journey so far—from a kid obsessed with sketching, to choosing design over accounting, to studying at MIT Institute of Design Pune, to working with top agencies like Firstbase.in and iKar Design Services, and finally building Brandsthan—has been filled with learning, risks, challenges, and moments of creative fulfillment. At every stage, the blend of business understanding, cultural observation, and visual storytelling has been at the core of my design approach.

For me, design is not just a profession—it’s a lifelong journey of learning, evolving, and leaving a creative legacy. My personal growth path has always been about raising the quality of my work with every project and pushing the boundaries of storytelling through design. With my studio Brandsthan, the vision is to position it as one of India’s leading branding and packaging design studios with a global footprint, while staying deeply rooted in Indian culture, craft, and storytelling traditions. In terms of personal creative growth, I want to continue exploring the intersection between design, sustainability, and sensory branding. I’m particularly excited about working on experiential design projects, where packaging, space, and digital touchpoints merge to create a 360-degree brand experience. A dream project for me would be to rebrand a historic Indian craft or heritage brand on a global stage, giving it the design and visibility it truly deserves—something like what we achieved with Maharani Mahansar, but at an even larger, international scale. There are also personal projects I’ve put on hold due to time constraints—like creating a book or documentary series that documents India’s packaging design evolution, especially in the luxury and craft sectors. In the future, I want to be remembered as a designer who blended culture with commerce, who told authentic brand stories through design, and who inspired the next generation of designers from smaller cities like Jaipur to dream big and aim global.

My biggest advice to young designers starting their career is this: Fall in love with the process, not just the outcome. Design is not just about making things look beautiful—it’s about solving problems, telling stories, and creating impact. In the early stages of my career, one of the biggest challenges I faced was self-doubt and over-comparison. Seeing other designers’ polished portfolios online made me question my own journey. But over time, I realized that everyone’s growth path is different, and the only competition you truly have is with your previous self. One of the best pieces of advice I received from my mentor was: “Design is 20% talent and 80% discipline, research, and consistency.” That mindset shift helped me build a solid work ethic and kept me grounded, especially during difficult projects or creative blocks. For new designers, I’d strongly recommend: Master your fundamentals: Typography, layout, color theory, storytelling—these basics will always stay relevant, no matter how much technology evolves. Stay curious and observant: Look at design around you—packaging in stores, posters on the streets, digital ads—everything can teach you something. Don’t rush for awards or recognition too soon: Focus on building real skills first. Recognition will follow naturally. Be open to feedback: Some of my best work came out after rounds of constructive criticism from clients, mentors, or even my own team. I personally keep growing by studying global design trends, entering international competitions, and learning from both success and failure. Reading, traveling, and engaging with other creative communities have also helped me expand my perspective. Lastly, remember: Design is a journey, not a destination. Be patient with yourself, keep experimenting, and never stop learning.

Thank you for the kind words! If there’s one thing I’ve learned over the years, it’s that design success isn’t just about talent—it’s about mindset, consistency, and adaptability. Here are a few principles and best practices I personally follow and would recommend to fellow designers, artists, and architects at any stage of their career: Always Design with Purpose: Every color, every texture, every line should serve a reason. Avoid decorating for the sake of aesthetics. Understand the brand, the audience, and the emotion you want to trigger. Intentional design lasts longer than trendy design. Balance Creativity with Strategy: Design is as much about solving business problems as it is about creative expression. Whether you’re designing packaging, a brand identity, or a space, always ask: "What’s the business objective this design needs to achieve?" Stay Curious and Keep Updating Yourself: The industry evolves fast. Technologies change. Consumer behavior shifts. I make it a point to continuously explore new tools, attend design conferences, follow global design trends, and most importantly, stay culturally aware, especially working with brands like Maharani Mahansar and Jalani that deeply connect with heritage. Don’t Fall into the Trap of Creative Ego: One of the biggest mistakes seasoned designers sometimes make is getting too attached to their first idea or style. Stay open to feedback. Stay flexible. The client’s business success is as important as your creative vision. Invest in Storytelling: In today’s world, consumers don’t just buy products—they buy stories, emotions, and experiences. This applies whether you’re designing packaging, branding, or architecture. Understand how to weave a narrative through your design choices. Document and Celebrate Your Work: Don’t wait for others to recognize your work. Enter awards, share case studies, talk about your process. It not only builds credibility but also helps you reflect and grow as a designer. Finally, stay authentic to your voice. Trends will come and go, but originality and authenticity always stand out.

As a designer and studio owner, no two days are ever exactly the same—but I do try to keep a structure that balances creativity, strategy, and business management. My mornings usually start with a quiet cup of tea, followed by going through emails, client messages, and project timelines for the day. I also make it a point to spend at least 15-20 minutes browsing global design platforms like Packaging of the World, World Brand Design Society, A’ Design Award winners gallery, and Behance to stay updated with what’s happening in the design world. The first half of my day usually goes into creative work—concept sketching, reviewing design drafts from my team, ideation for new projects, or working on moodboards for upcoming pitches. I prefer doing all my core thinking and design review work in the morning when my mind is freshest. Afternoons are mostly reserved for client calls, internal team discussions, material sample reviews, and vendor coordination, especially when we’re deep into a packaging project. One of the small things that keeps me excited, even on a routine business day, is the moment when I see a design coming together—a logo locking into place, a packaging dieline fitting perfectly, or a print mockup arriving at the studio. These little milestones remind me why I love what I do. Towards the end of the day, I usually spend time planning the next day’s workflow, giving feedback on ongoing projects, and sometimes brainstorming on Brandsthan’s own social media or award submissions. Even after work hours, design doesn’t leave my head easily—whether I’m observing typography on a billboard, packaging in a grocery store, or color combinations in everyday life. That’s the beauty of this profession—it becomes part of how you see the world.

I believe in being aware of design trends but not being ruled by them. As a designer, it’s important to know what’s happening globally—whether it’s a shift in typography styles, packaging material innovations, color psychology trends, or consumer behavior patterns. But at the same time, I’m very conscious that good design should be timeless and authentic to the brand story, not just a reflection of what’s currently trending. For inspiration and trend awareness, I regularly follow platforms like Packaging of the World, World Brand Design Society, A’ Design Award winning projects, Pinterest, and global design blogs. I also stay connected with the luxury and FMCG market trends, since a lot of my work, like with Maharani Mahansar and Jalani, sits at the intersection of tradition and modern consumer expectations. That said, I don’t believe in force-fitting seasonal design styles into projects just for the sake of looking trendy. Instead, I prefer to blend contemporary design language with culturally rooted storytelling, ensuring that the work stays relevant today but still feels meaningful years later. For me, the focus is always on design that solves a brand challenge, reflects the brand’s soul, and connects emotionally with its audience. Trends can influence surface elements, but the core thinking, strategy, and storytelling remain deeply personal and original.

For me, a product or project is well-designed when it balances three things perfectly: purpose, emotion, and execution. Purpose: Good design must first and foremost solve a problem or communicate a clear message. Whether it’s packaging, branding, or spatial design—it should make sense for the brand, the audience, and the context it lives in. Emotion: A great design makes you feel something. It connects instantly—whether it’s curiosity, joy, nostalgia, or even intrigue. For example, when I worked on Maharani Mahansar Shahi Gulab, the goal was to evoke a sense of royal heritage and authenticity with just one glance at the packaging. Execution: Even the best idea will fail if not executed well. Craftsmanship, attention to detail, material choices, typography, and finish quality—these things separate a good design from a great one. My personal “Aha!” moment with any project comes when I can look at it and say: “This feels effortless, natural, and emotionally aligned with the story it wants to tell.” That sense of visual and emotional harmony is what I chase in every project. Some common mistakes I’ve seen that designers should avoid: Over-designing: Adding too many elements just to fill space or impress. Ignoring usability and user experience: Especially with packaging or product design. Following trends blindly: It might look great today but could feel outdated tomorrow. For me, a good design has longevity, tells a story, and serves both aesthetic and functional goals—all while leaving an emotional imprint on the audience.

Honestly, I don’t think any design is ever truly “complete” in the emotional sense—there’s always something you feel you could tweak, refine, or push further. But as professionals working with deadlines, budgets, and production timelines, we have to develop an instinct for knowing when a design is “ready” for the world. For me, a design is ready when it achieves these key checkpoints: It solves the core problem it was meant to address. Whether it’s communicating a brand story, standing out on a shelf, or enhancing user experience—the design must deliver on its purpose. It feels visually and emotionally balanced. When I can look at the composition, colors, typography, and material finishes and feel there’s nothing unnecessary or missing—that’s usually my internal green light. It passes through multiple rounds of critical feedback. I always encourage internal team reviews, client feedback loops, and sometimes even prototype testing, especially for packaging projects like Maharani Mahansar or Jalani, before locking a final version. That said, I do believe that every project leaves behind learnings for the next one. I don’t usually go back and change an already-launched design, but I do take the insights forward to improve future projects. Success for me is when the design not only looks good but performs well in the real world—whether that means strong market reception, client satisfaction, consumer engagement, or industry recognition like winning international awards. In short, a design is ready when it feels right both strategically and emotionally—when it delivers on its promise and is crafted with care and intention.

It’s difficult to pick just one, but if I had to name the projects that truly defined my journey as a designer so far, I would say Jaisalmer Indian Craft Gin, Maharani Mahansar Somras, Shahi Gulab, Royal Rose Palace Edition, Indian Absinthe, and Bark Bark Beer are among my most significant and meaningful works. Each of these projects represents a unique creative challenge and a different chapter of my growth as a designer. Jaisalmer Gin was a milestone because it was one of my first projects that gained global recognition, putting an Indian craft spirit brand on the international design map. The design had to reflect the royal heritage of Jaisalmer city, with intricate gold detailing and rich storytelling layered into the packaging. With Maharani Mahansar Somras, it was about reviving the legacy of a 300-year-old royal recipe from Rajasthan and creating a brand that felt both authentic and luxurious. That project gave me the freedom to blend traditional Rajasthani art elements with contemporary packaging trends, and it went on to win multiple international design awards, including at the A' Design Awards in Italy. Shahi Gulab and the Royal Rose Palace Edition hold a special place because they challenged me to express purity, emotion, and royalty through design. The storytelling had to feel timeless and sensory-rich, especially since the product uses fresh Pushkar roses and not artificial essences like many commercial brands. Indian Absinthe and Bark Bark Beer pushed me to explore more playful, bold, and modern packaging languages, especially for a younger, experimental audience. What makes all these projects special is that each one allowed me to go deep into research, cultural storytelling, and material exploration, while also challenging me to create something that stands out on the shelf and connects with consumers emotionally. Currently, I’m excited about new packaging projects for upcoming craft liquor brands and artisanal FMCG products, where I’m continuing to explore the balance between modern design language and Indian storytelling roots. These projects collectively reflect my design philosophy: culture-driven, story-rich, and visually impactful work that builds emotional connection with the audience.

It’s difficult to pick just one, but I’ve always admired designers who have redefined visual storytelling and pushed boundaries in how design connects with culture and emotion. From a global perspective, Massimo Vignelli is someone I truly admire for his philosophy of “Design is one”—meaning good design transcends disciplines, whether it’s branding, product, or space design. His clarity of thought and timeless approach to typography and layout continue to inspire me. Another designer I deeply respect is Pentagram’s Paula Scher, for her bold, fearless typography work and the way she mixes storytelling with graphic power. Her ability to blend art and communication is something I constantly learn from. If I could sit and have a conversation with a designer from the past, I’d choose Paul Rand, one of the pioneers of modern branding. His work for IBM, ABC, and UPS shaped the very foundation of corporate identity design, and I’d love to learn from his thought process on simplicity, function, and timelessness. In terms of artists and architects, I admire Charles and Ray Eames for their multidisciplinary approach and human-centered thinking, and Satyajit Ray—not just for his films but also for his work in typography, illustration, and design in India. Ultimately, what attracts me to any designer is their ability to communicate powerful ideas with simplicity, emotion, and lasting impact—something I try to bring into my own work at Brandsthan, whether it's with Maharani Mahansar, Jalani, or any other brand I touch.

Being born in Pali and raised in Jaipur, Rajasthan, culture has always been an inseparable part of my identity and my design process. Jaipur’s architecture, colors, textures, and craftsmanship traditions constantly inspire me. From the intricate patterns of Hawa Mahal to the vibrant streets of old bazaars—there’s design storytelling happening everywhere around me. I feel fortunate to work from a place where heritage and modernity coexist. This cultural background naturally reflects in my projects—especially for brands like Maharani Mahansar and Jalani, where authenticity and rooted storytelling are key. Music plays a huge role in my creative process. Depending on the mood of the project, I often listen to instrumental, classical Indian music, or even electronic chillout tracks while brainstorming or sketching. It helps me build emotional energy into my concepts. One city that deeply inspires me is Amsterdam, for how it blends design thinking, functionality, and aesthetic sensibility in public spaces, branding, and everyday life. But at heart, I remain very connected to Jaipur and Rajasthan—it’s where my storytelling roots are. In terms of lifestyle, design has taught me to find beauty in small details—whether it’s appreciating good typography on a menu, packaging on a grocery shelf, or just how morning light falls on textures around me. Currently, I’m working on new packaging projects for upcoming craft liquor brands and FMCG products, while also focusing on growing Brandsthan as a studio that represents India on global design platforms. I strongly believe good design plays a powerful role in shaping behavior, perceptions, and even social progress. It has the ability to make people feel seen, heard, and emotionally connected—whether it’s through a product, a space, or a story. In my personal life, design has taught me discipline, empathy, and the joy of simplicity—all of which shape not just my work, but the way I live every day.

At Brandsthan, the studio I founded, our work culture is built around collaboration, storytelling, and craft excellence. I strongly believe that good design is a team effort, and while I lead the creative direction, I work closely with my team, partners, illustrators, photographers, and production experts to bring each project to life. Is it easy to work with me? I’d say yes, but with one condition—you need to be as passionate about the project as I am. I’m very detail-oriented and expect a certain level of commitment and quality, but I’m also open-minded, collaborative, and believe in giving creative freedom to my team and partners. When selecting people to work with—whether it’s team members, collaborators, or clients—I always look for clarity in communication, hunger for learning, accountability, and emotional connection with the project. Skills can be learned, but attitude and curiosity are non-negotiable. Our studio culture encourages open discussions, constructive feedback, and a constant hunger to push boundaries. Whether it’s a heritage liquor brand like Maharani Mahansar or a craft FMCG brand like Jalani, I always make sure we go deeper into research, understand the story, and create work that feels authentic and commercially effective. Some core challenges of our profession include: Managing creative expectations within real-world business constraints (timelines, budgets, production limitations) Balancing creativity with strategy and functionality Staying original in a crowded, trend-driven market As a Creative Director and studio owner, my responsibilities range from concept development, client presentations, overseeing production, mentoring the team, handling business development, and of course, making sure every project carries the Brandsthan signature of quality and storytelling. If I had to list traits a good designer, artist, or architect should have, I’d say: Curiosity, empathy, attention to detail, resilience, discipline, and the ability to tell stories visually. Most importantly, I believe that good design comes from good people with good intentions—people who truly care about making something meaningful.

As a designer and creative studio owner, I strongly believe that design has the power to bring positive change—socially, culturally, and economically. Giving back to the design community and the society that shaped me has always been close to my heart. I regularly take on pro bono projects for local artisans, small businesses, and cultural initiatives—especially when the project has a strong social or cultural impact. For example, I’ve contributed design support to small heritage-based entrepreneurs in Rajasthan who lack access to high-end branding but have incredible stories to tell. I also make it a point to mentor young designers and students. I’ve conducted guest lectures, portfolio reviews, and design talks at institutes whenever possible. Whenever we have the capacity at Brandsthan, we offer internships and learning opportunities for young design students—giving them a chance to work on real, award-winning projects like Maharani Mahansar Somras or Jalani. I’m a firm believer that designers, artists, and architects should actively engage with humanitarian projects—because we are trained to solve problems creatively and can offer solutions that go beyond aesthetics. Whether it’s designing for environmental awareness, public health, or cultural preservation—design thinking can drive real impact. Being part of international design competitions and forums like the A’ Design Awards also gives me a platform to represent Indian design globally and inspire upcoming designers from smaller cities like Jaipur to dream big. For me, good design is not just about beauty—it’s about responsibility, storytelling, and leaving things better than we found them. And I believe that as we grow in this industry, it’s our duty to lift others up along the way.

Attending the A’ Design Award has been one of the most memorable and defining experiences of my design career. Being surrounded by top creative minds from around the world, exchanging ideas, and seeing the diversity of design thinking across cultures was incredibly inspiring. The Gala Night in Como, Italy, where designers from over 100 countries come together, was more than just an awards ceremony—it felt like being part of a global design movement. Three key benefits of participating in design awards like A’ Design Award: Global Exposure: Having my work—whether it was Maharani Mahansar Somras, Shahi Gulab, or Indian Absinthe—recognized on such a big platform gave me international visibility. It allowed my designs to reach audiences, clients, and media from different parts of the world. Creative Benchmarking: Competing on a global stage forces you to push your creative limits, compare your work with the best in the industry, and set higher quality standards for yourself. It’s not just about winning; it’s about growing. Building Credibility and Trust: For clients and collaborators, an international award instantly builds trust and confidence in your expertise. It shows that your work has been evaluated and appreciated by some of the top design professionals globally. Participating in competitions like the A’ Design Award has made me more self-critical, research-oriented, and concept-driven in my projects. It also pushed me to document and present my work better, which in itself is a great learning curve for any designer. I truly believe that design competitions are not just about trophies—they are about professional growth, creative validation, and being part of a larger global design dialogue.

Master's in Communication Design (Animation Film Design) from MIT Institute of Design

What motivates me to design is the profound impact that well-crafted design can have on people's lives. The ability to solve problems creatively and to communicate complex ideas visually inspires me daily. From a young age, I had a passion for sketching and doodling, which naturally led me to pursue a career in design. Completing my master's in communication design at the prestigious MIT Institute of Design solidified my path. The appreciation and positive feedback I received for my work further fueled my desire to become a designer. Today, I find immense satisfaction in creating designs that blend functionality with aesthetics, enhancing the user experience and bringing ideas to life.

I chose to become a designer out of my passion for art and creativity.

I specialize in branding and packaging design, creating visual identities and packaging solutions that resonate with audiences.

To become a design legend, young designers should focus on hard work, passion, and dedication. Cultivate a keen eye for detail, embrace originality, and maintain authenticity in their work. Consistently strive for excellence and stay committed to continuous learning and improvement.

A good designer mostly works on visual appeal while A great designer goes beyond aesthetics to create innovative solutions that deeply resonate with and meet the needs of the user.

A really good design is functional, aesthetically pleasing, and effectively communicates its intended message. I evaluate good design by assessing its usability, clarity, creativity, and how well it meets the needs of the target audience.

From my perspective, good design is the best investment due to its high return value. It enhances user experience, builds brand loyalty, and drives business success by effectively communicating messages and creating lasting impressions.

I would design sustainable solutions for underprivileged communities if I had the time.

My dream project is to design a comprehensive program aimed at promoting environmental sustainability through innovative design solutions.

Passion fueled by boundless curiosity and a relentless pursuit of excellence is the secret ingredient to my success in design. Inspired by the natural world, I find that authenticity in creativity breeds genuine inspiration.

I draw inspiration from design masters like Kevin Shaw, Dieter Rams, Paul Rand, and my professor, Dhimant Panchal.

As time passes, my favorite designs evolve, making it difficult to choose just one.

My greatest design is the branding and packaging for Maharani Mahansar Somras Heritage Liqueur. Its seamless blend of tradition and modernity, attention to detail, and ability to evoke emotion make it stand out as a great design.

To become better designers, people can improve by continuously learning, seeking inspiration from diverse sources, and practicing their craft regularly. I also focused on honing my skills, staying updated on industry trends, and seeking feedback to improve my work.

If not a designer, I would have pursued a career in finance, possibly becoming a Chartered Accountant. Additionally, I have a passion for cooking and dream of opening a restaurant in the future.

Design, to me, is the art of problem-solving through creative expression, blending form and function to meet human needs and enhance experiences.

My biggest supporters were my dad and my elder brother. My brother introduced me to design, recognizing my artistic talent, while my dad supported my decision to transition from commerce to design.