Special projects for The Caravan encompassed Instagram story promotions, video round-ups detailing the success of the subscription campaigns, and branding the Indian #MeToo Movement.
Insta-Launch + Article Promotion
SOCIAL MEDIA DESIGN, MARKETING
CLIENT + TEAM
The Caravan Magazine
Arunima Kar (Social Media Editor)
Insta Story Promotions for long-form stories that were published by the magazine throughout the year. From first to last, the Tulsi Gabbard cover story on the politician's affiliations with right-wing organisations in India, the whisper network surrounding an artist's history of sexual assault, and Rohit Saha's Photo Essay on extra-judicial killings in Manipur. These promotions ended with a CTA to subscribe to the magazine.
True Media Needs True Allies
SOCIAL MEDIA DESIGN, MARKETING
CLIENT + TEAM
The Caravan Magazine
Wency Mendes (Filmmaker, Video Artist)
Maya Palit (Content Writer)
Arunima Kar (Social Media Editor)
This was a video made in collaboration with video artist and filmmaker Wency Mendes for The Caravan's submission for the 2019 Goa Abby Festival, one of India's largest advertising award ceremonies. The Caravan won the Silver Mettle for its "True Media Needs True Allies" Paywall Campaign, which enabled the publication to solely sustain itself through its output: the content.
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Branding the Indian #MeToo Movement
EDITORIAL DESIGN
CLIENT + TEAM
The Caravan Magazine
Tanvi Mishra (Creative Director)
Vinod K. Jose (Executive Editor)
#MeTooIndia being the cultural moment that it was, had to be visually reflect a shift in the nature of storytelling when the subject matter is about sexual assault. Stereotypical graphics, such as those of women in defeated positions or hounded by anonymous silhouettes, have a serious negative impact in public discourse.
Various iterations were considered, to visualise the impact these stories would have, on the miscarriages of justice, on a society that instinctively attributes blame to the survivor, on gendered relationships and how the very act of speaking can be revolutionary.
In order to curtail this problem, for this issue, large pull-quotes, taken directly from the spoken narrative of the survivors, were used, the text-as-imagery design device thus took the place of any photographs of survivors themselves. The only photographs carried in the stories were of the perpetrators, essentially, a radical layout as a revision of the method of presenting the story and representing the survivors.