SumitaVa

SumitaVa Experienced Design Professional | Creative Strategist | Visual Storyteller But design is just my foundation. Innovation is my driving force.

Over 8 years of experience crafting impactful visuals across branding (corporate, social media, packaging, print), Having served around 15 to 20 discerning US-based clients, I bring a global perspective and a proven ability to cater to a wide range of industries, including FMCG, Fashion, Education, Logistics and beyond. As a seasoned design educator for 4+ years, I've empowered over 300 students t

o flourish in graphic and web design. Currently, as Chief Designer at a D2C startup in the FMCG space, I don't just create; I strategize. Working collaboratively with the CEO and CMO, I contribute to design plans, brand strategies, digital marketing ideas and overall marketing initiatives. Proven leadership skills allow me to foster productive and collaborative design teams. Throughout my career, I've led teams in agencies and my current role, cultivating an environment that encourages creativity and innovation. I continuously push boundaries to elevate brands and achieve new heights. Ready to unlock the power of strategic design? Let's connect and discuss your project!

Marlene Dumas turns 73 today, and she's still the artist I think about when I want to remember what painting is actually...
02/08/2026

Marlene Dumas turns 73 today, and she's still the artist I think about when I want to remember what painting is actually for. She works from photographs — newspaper clippings, Polaroids, found images — but by the time the diluted ink and oil wash hits the canvas, the likeness has already started dissolving. Nothing is outlined. Nothing is finished. The face just kind of arrives, stained into being, and you're left looking at something more honest than a photograph could ever be.

I wanted to sit inside that discipline for a night instead of just admiring it — one face, one drip, and a lot of empty canvas doing the emotional work that detail usually gets credit for. It's the hardest kind of restraint to design with. Everything wants to be added. The whole point is knowing what to leave wet, unresolved, and alone.

Happy birthday to an artist who's spent five decades proving that less information can hold more feeling.

Today in 1926, a kid named Anthony Benedetto was born in Queens. You'd know him better as Tony Bennett — but here's the ...
02/08/2026

Today in 1926, a kid named Anthony Benedetto was born in Queens. You'd know him better as Tony Bennett — but here's the part most people miss: before he ever sang a note, he wanted to paint. He kept at it his whole life, signing his canvases "Benedetto," painting with the same soft, unhurried strokes he used to belt out "I Left My Heart in San Francisco."

So today's piece isn't really about the song. It's about the fact that the man who wrote it painted like this — thick, warm strokes, the kind that only show up when you're not chasing perfection, just chasing feeling. I built this like it could've come off his own easel: the bridge dissolving into fog, gulls barely there, nothing shouting for attention.

That's the whole lesson, honestly. The best work — a song, a painting, a brand — doesn't need to explain itself. It just needs one true thing, said well.

Today Kate Bush turns 68. At nineteen, she watched the last ten minutes of a BBC adaptation of Wuthering Heights, went a...
30/07/2026

Today Kate Bush turns 68. At nineteen, she watched the last ten minutes of a BBC adaptation of Wuthering Heights, went and read the novel that same night, and wrote her debut single in one sitting — Cathy's ghost calling across the moor to Heathcliff. Her label wanted a different song released first. She held her ground. When the video came out, she insisted on choreographing and dancing it herself — red dress, bare feet, arms carving shapes through the wind, nothing polished about it, everything felt.

That's the image I kept coming back to tonight: not the song, not her face, just the shape a body makes when it refuses to be careful. So I built this piece the way Romantic painters used to build a landscape — a single figure thrown small against something vast, except here she doesn't shrink. She becomes the storm.

Some of the best work starts the same way hers did — pure conviction, made before anyone gave permission.

July 29, 1921. Chris Marker was born — a filmmaker who barely showed his own face, but somehow made one of the most haun...
29/07/2026

July 29, 1921. Chris Marker was born — a filmmaker who barely showed his own face, but somehow made one of the most haunting films ever shot almost entirely with stills.

La Jetée. Twenty-eight minutes, nearly all photographs, one single moving shot buried in the middle so quiet you almost miss it. A man at an airport pier, watching the sky, caught in a memory he can't escape. Marker proved something I think about constantly in this work: you don't need motion to make people feel something. You need one image, held long enough, to matter.

Tonight's piece is built the way his film was built — grain, silence, a frame counter instead of a caption. No name on it. Just a man, a railing, and contrails disappearing into an overcast sky.

Some stories don't need to move to leave a mark.

On July 28, 1874, a Uruguayan artist named Joaquín Torres-García was born — and decades later he'd draw a map that quiet...
28/07/2026

On July 28, 1874, a Uruguayan artist named Joaquín Torres-García was born — and decades later he'd draw a map that quietly rewired how a continent saw itself.

In 1943 he sketched South America upside down. No trick, no gimmick — just the actual shape of the land, flipped so the south points up. He called it América Invertida, and it became the emblem of his Escuela del Sur: a whole school built on refusing the idea that north is naturally "up" and south is naturally "below."

That's the kind of design move I think about a lot. Not decoration — a single flipped shape doing the work of an entire argument. Sometimes the most radical thing a designer can do is take something everyone assumes is fixed and just... turn it around.

Rendered tonight in Torres-García's own Universal Constructivism grid language — his real visual vocabulary, not a costume borrowed for the occasion.

On July 27, 1984, Neil Harbisson was born in London — the first person in the world to be legally recognised as a cyborg...
27/07/2026

On July 27, 1984, Neil Harbisson was born in London — the first person in the world to be legally recognised as a cyborg. He was born completely colour-blind, and in 2004 had an antenna surgically implanted into his skull that translates colour into sound, vibrating through bone straight into his inner ear. He doesn't see colour. He hears it.

What stopped me: that's not science fiction, that's a hundred-year-old Bauhaus idea, made flesh. Kandinsky and Itten spent their careers building colour-tone wheels, insisting colour and sound were the same sense, just split by accident. Harbisson's antenna is the proof they never got to see.

So this piece is a Bauhaus colour-diagram — the exact circle Itten used to teach it — with one quiet antenna rising out of it, because sometimes design doesn't invent an idea. It just waits eighty years for someone to prove it true.

Range Rover just proved a rebrand isn't done when the new logo ships — it's done when your customers actually understand...
27/07/2026

Range Rover just proved a rebrand isn't done when the new logo ships — it's done when your customers actually understand it.

They skipped that part. Explains a lot.

Tag the client who thinks a strategy deck is optional.

Five years ago today, Italian design lost one of its quiet greats — Sergio Asti, the Milanese architect-designer who spe...
27/07/2026

Five years ago today, Italian design lost one of its quiet greats — Sergio Asti, the Milanese architect-designer who spent seven decades making glass, ceramic, and everyday objects feel inevitable. He co-founded Italy's Industrial Design Association and shaped pieces that now sit in MoMA, but he never chased spectacle. His vases just work — one clean form doing everything it needs to.

That's the brief I gave myself today: take his most iconic silhouette and let it hold the whole frame, no ornament competing for attention. The rings inside borrow from another Milanese eye — Franco Grignani, whose optical spirals sold Italian design to the world through advertising in the same postwar decades Asti was working.

Two designers, one city, one instinct: strip it down until only the essential shape is left.

Today is Man Ray's birthday — July 27, 1890. He never called himself a photographer. He called himself an artist who hap...
26/07/2026

Today is Man Ray's birthday — July 27, 1890. He never called himself a photographer. He called himself an artist who happened to use a camera, and then spent his life proving photography could lie as beautifully as painting.

His most famous image isn't a person — it's an eye. "Larmes," 1932. A woman's face, glass beads standing in for tears, shot right after his own heart got broken by Lee Miller, his lover and creative partner who left to build her own name. He turned the wound into one of art history's most quoted photographs.

We rebuilt that eye today, but ran it through the darkroom trick he actually invented — solarization, that eerie glowing edge you get when you flash light onto a print mid-development. Man Ray found it by accident. He kept it because accidents, handled with intention, are just another kind of design decision.

That's the whole job, really. Not control. Judgment.

Today would've been easy to skip — no anniversary of a painting, no country's birthday. Just a birthday: Martin Gore tur...
23/07/2026

Today would've been easy to skip — no anniversary of a painting, no country's birthday. Just a birthday: Martin Gore turns 65, the quiet architect behind Depeche Mode's most haunting songs — Personal Jesus, Enjoy the Silence, Policy of Truth. And when I went looking for the image that captures that era, I kept landing on the same one: a single red rose, nailed to a board, photographed in black and white for the Violator cover in 1990. No band photo, no logo — just a flower, and it became one of the most recognized album covers ever made.

I wanted to sit with that restraint rather than copy it — so today's piece pushes that same rose through a grainy, high-contrast screenprint, the ink-bled texture that lived on flyers and zines from that whole post-punk world. One shape, one color breaking through the black and white. Sometimes the boldest thing a design can do is stay this quiet.

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