Saad Khurshid Index of works

For ‘Showroom: Issue #4’, a poster-zine published by Love Birds studio. The theme of the issue was ‘covid’.

The A2 poster features two custom-typefaces: [1] A display typeface based on Frankfurter, but made of purely geometric shapes, [2] A mono-linear typeface for the captions.

A conceptual book, depicting how a new culture can take over an existing one. The book makes use of the opposing reading directions of the two commonly spoken languages in Pakistan: English and Urdu, to create an experimental, palindrome-like reading format. It is common in Pakistan to combine both English and Urdu when speaking. Inspired by this amalgamation, the book transitions from one language to the other.

When read from the 'left to right' direction, the book talks about the experience of death (in English), from an objective / scientific point of view, where death is the end of existing. From right to left, the book focuses on life after death (in Urdu), offering a more spiritual perspective, where death is not the end of existing.

A modular typeface based on a grid of 3:4 units. The design combines the strict monotonous rigidity of grid based, geometric shapes with unconventional typographic proportions, that are inspired by a child's head (which compared to an adult head is relatively large for its body). The typographic anatomy features minuscule counters and eyes that are placed dead-centre of the x-height, giving the typeface its characteristic bobblehead look.

Grid girl is an ongoing personal project, which started with the aim of developing a grid-based, character design system. It explores the human body as a grid-based object, constructed from basic geometric shapes, and predefined set of rules.

The proportions of the body are based on a head to body ratio of 1:8. In the structure of the head, the eyes are enlarged and placed well below the equator, resulting in a super-youthful appearance.

An animated video projection with sound (play on Vimeo). Exhibited at Alhamra Art Council, for the Lahore Music Meet festival.

The animation is based on the popular Pakistani song— ’Telephone Pyar’ (1987) by Nazia Hassan. Which is about a girl who is in love with a strange and mysterious caller. The installation aims to entice the feeling of joy and ecstasy that the girl experiences upon hearing the voice of the stranger.

Illustrations for large scale murals, displayed at a restaurant called 'Easy', popular for its (unapologetically) high-carb food. The scene depicts three characters, who are tired from hearing: to watch what they eat; to not waste their lives on their phones; to not dress this way or that and so on.

However, in the hedonistic, self indulgent environment, depicted in the illustrations, they can irresponsibly indulge in pleasure, and do whatever they want to do.

The installation shows a concept of an artificially intelligent, smart mini-refrigerator. Designed to encourage people to drink and buy more energy drinks. However, due to its advanced, human-like emotional capability, the self-aware electronic appliance has conflicting feelings about its purpose. The machine begins to malfunction, revealing this internal conflict (displayed through the use of lenticular panels).

The task was to design all the letters of the alphabet (a-z) as well as the numbers (0-9) everyday. For the challenge, I came up with two rules: 1. Every alphabet will be an illustration that depicts a noun or verb that starts with the very same letter. 2. Each typographic illustration will be based on a fixed grid of 6x8 units.

Designed the identity for a home automation company, which included a futuristic, extended width typeface. In the identity, grids are used as a design element. The complexity of the grid patterns increases in an exponential sequence: 4x4, 8x8, 16x16. The three set of grid patterns represent the three eras of technology— Analog → Digital → A.I.

Packaging design for a street food restaurant in Karachi.

Logotype for a bean to bar chocolate company in Karachi. The logo consists of strokes that combine the syllables: ‘Ra’ and ‘Co’. The strokes start off with a round cap and end with a butt (square) cap. The transformation of the circle into the square symbolises the ‘bean to bar’ process of the chocolate.

Grid-based, modular typeface. Designed for the identity of the visual artist, Sohail Abdullah. The typeface was developed working closely with the artist. It takes inspiration From the artist's work, which is often consisting of large scale compositions made of intricate, geometric patterns.

Grid-based, modular typeface. Designed for the identity of the visual artist, Sohail Abdullah. The typeface was developed working closely with the artist. It takes inspiration From the artist's work, which is often consisting of large scale compositions made of intricate, geometric patterns.

A local platform that makes limited edition products with local Pakistani illustrators and designers. For the logotype, I made a custom typeface based on Frankfurter, but by only using geometric shapes. The identity attempts to emulate the spirit of local bazaars, which are very vibrant, noisy places, and where all sorts of people gather. The logotype is also formed of several odd looking pieces, that congregate to build the greater whole.

Secondary elements— shapes that form the logo can be exploded and scattered like jelly beans, to create compositions that are colourful and chaotic, quite like the city of Karachi itself.

Layout and graphics for a set of step by step instructions on using the Clever Coffee Dripper.

Sticker label for Nomad Coffee Studio's coffee bags.

Art direction, packaging, typeface design for a specialty coffee company in Karachi.