Amogh Bhatnagar.


Graphic Designer, among other things.
 


PROJECTS


Just Bodies – Aphtc / Album Art / 2026


14 Norient Festival / Key Visual / 2025


Coming From Mud / Visual Identity / 2025


Journeying Across the Himalayas / Visual Identity / 2025


Collage as Language, Language as Collage / Artist Book / 2024 / Halden Bookworks

Art India Magazine 30th Anniversary / Identity / Editorial Design / 2026
Art India Magazine 28_01 / Editorial Design / 2025

Art India Care Fund / Identity / Merchandise / 2025


Art India Magazine 27_03 / Editorial Design / 2024


Art India Magazine 27_02 / Editorial Design / 2024


Art India Magazine 27_01 / Editorial Design / 2024


Art India Magazine 26_04 / Editorial Design / 2024


From Where I Stand / Exhibition Identity / Publication / Website / 2023


Bezoar Delinqxenz / Book Design & Typesetting / 2022


Unreleased ‘Nike by You’ Campaign / Illustrations / 2022 / Art&Found


Kochi Muziris Biennale 2022 / Website Design / 2022

Lines of Sight / Publication & Exhibition / 2021


Why Not? / Visual Identity & Packaging / 2021


Editorial Illustrations / Various


Campaigns: Squadron 14 x Raw Mango / 2021–26


CURATORIAL


Common Nouns / 2024 / Squadron 14 


From Where I Stand / 2023 / Future Flow 


Lines of Sight / 2021 / National Institute of Design 


COLLAGE


Archive: 2025
2025: Collage tool


Archive: 2024


Archive: 2023


Archive: 2022



WRITING


The Arches of Lodhi Colony / Paper Planes 


Design as Authorship / Master Thesis / Available on Request
Design as Authorship v0 / Essay 


Indian Graphic Design / Essay 


Graphic Design Systems / Essay 





A.B. 2026


ART India Magazine
Editorial Design
2024, Squadron 14





In 2024, Squadron 14 helped Art India come up with a refreshed format, and as a part of the core team, I worked on designing a fresh and contemporary typographic language that could mark a transition from an ephemeral art news magazine to an artefact reflective of its time, which was launched as a special double issue packaged in a screen-printed box.

The guest-edited hardback publication became the proving grounds for a typographic palette that was pushed in multiple directions, while functioning within the constraints of design and production, including a variable scale of type sizes which responded to the tone and nature of the texts, interventions with page sizes which scale in dialogue with the artworks they showcase, and print production experiments including die cuts, blind-debossing, and screen-printing ,to add tactile depth in response to conceptual inquiries.

The periodical shows an interplay between structured order and free-flowing experimentation, showcasing reviews, interviews, essays and artworks in a restrained yet bold, starkly contemporary layout which is a reflection of current trends across art and design publishing, adapted uniquely to suit the voice of a publication with such a rich legacy. The artworks, ranging from Modernist masterpieces to national treasures, to up and coming voices of young artists, were given prominence, and the redesign was led by the way these artworks would be showcased throughout the publication, both independently, and in tandem with text.