Warning: May contain traces of ink-stained fingers, midnight design sprints, and a borderline obsessive love for storytelling through design.
I’m Unmani Tewari
a creatively driven and socially conscious undergraduate at Tufts University, pursuing a combined degree in Sociology and Interdisciplinary Arts. My work sits at the crossroads of design, media, and social impact—where storytelling meets advocacy, and aesthetics serve a purpose beyond the surface. I believe that design is more than just visuals; it’s a tool for challenging dominant narratives, amplifying marginalized voices, and creating space for dialogue.
From crafting zines that dissect history and personal identity to designing digital campaigns for LGBTQ+ spaces, my projects explore how art and design can foster connection and cultural understanding. Whether through editorial layouts, animation, or experimental media, I aim to push boundaries and reimagine the ways we engage with the world around us.
Take a look around ;0
whats in my ears?
whats in my portfolio:
Print Design
Branding
Social Media
Video/Animation
Misc.
The identity features a dynamic typographic system inspired by fluidity and movement, mirroring the organic forms of milk spills. Earthy, warm tones create a sense of comfort, while hand-drawn elements and illustrations reinforce a handcrafted, community-driven ethos. Glass bottle packaging, minimal-waste materials, and partnerships with ethical coffee growers highlight the brand’s commitment to sustainability.
Split Milk Café invites customers to embrace the beauty in life's little messes—because every drop counts.
This digital collage explores the tension between self-perception and external judgment. A faceless figure stares into the void, their identity fragmented and replaced by an overwhelming mass of eyes—watching, analyzing, distorting. The scattered text challenges the viewer directly, forcing them to confront their own biases, assumptions, and the weight of societal gaze.
By merging surreal portraiture with cut-and-paste aesthetics, the piece reflects the experience of being seen yet unseen, observed yet misunderstood. The muted tones and grainy texture evoke a sense of unease, blurring the line between identity and objectification.
This piece satirizes the intersection of objectification and consumerism by merging human legs with fresh produce, transforming bodies into commodities for consumption. Inspired by vintage advertising aesthetics, the composition evokes the surrealism of mid-century grocery ads while exposing their underlying themes of commodified femininity. The addition of grocery price tags and barcodes on the legs reinforces the unsettling reality of how women's bodies are marketed, consumed, and assigned value in both media and society. By turning the absurd into a critique, the artwork forces the viewer to reconsider the ways in which bodies—like products—are packaged, priced, and sold.
Gold is more than just metal—it is inheritance, identity, and, at times, invisible chains. The Golden Thread unravels the intricate relationship between Indian women and gold jewelry, exploring how it has been both a symbol of empowerment and a tool of control.
Worn as a marker of status, femininity, and security, gold has long been intertwined with the expectations placed upon women. This zine traces its history—from traditions of dowry and adornment to personal expressions of resilience and rebellion. Through a mix of visuals and text, The Golden Thread asks: Does gold liberate or bind? And who truly owns its weight?
It invites the viewers to examine the shimmering, complex legacy of gold in the lives of Indian women.
A sketchbook is more than just a collection of drawings—it’s a diary, a conversation, a space where thoughts unfold without words. Dear Sketchbook explores the act of drawing as a form of writing, where lines, shapes, and textures become a language of their own.
Designed as an origami zine, this piece invites readers to interact with the pages, mirroring the process of sketching—folding, unfolding, layering ideas, and embracing imperfections. It celebrates the sketchbook not just as a tool for finished works but as a raw, intimate space for processing emotions, capturing fleeting moments, and thinking through the hand.
Dear Sketchbook is a love letter to those who find clarity in scribbles, who write through marks and smudges, and who see drawing as a way of speaking when words fall short.
The Devil’s Lettuce: A History of Lies, Laws & Moral Panic is more than a zine—it is an artistic intervention that reimagines academic research as a visual and tactile experience. By translating a sociological paper into an immersive, image-driven format, this work challenges traditional modes of knowledge dissemination, making theory tangible and accessible. Through a fusion of bold typography, archival imagery, and subversive illustrations, the zine explores the evolving deviance label of marijuana in the United States, dissecting the interplay of moral entrepreneurship, stigma, and medicalization.
Final project for Animation 1. Multimedia animation piece using acrylic paint and digital animation put together using Adobe premier pro and after effects.
This was the 2nd cover I designed in that semester. I allowed to push myself with typography a bit more with this project.
a version of the company’s newsletter. This image shows a brief overview of my design work which was only one aspect of a larger PR and Communications Internship.
The posts early on are designed by me before the PR team was settled in and decided after recruitment. Although it is difficult to maintain a specific aesthetic with numerous PR members with varying levels of capabilities with design I try my best to make it look cohesive.
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I tried to redesign a hair care brand called Anomaly. I wanted to lean into and highlight the sustainability aspect of the brand. I thought changing the typeface was important as it helps situate the brand in an
affordable luxury and established brand sector.