Elephant’s editorial team takes the time to sit down with Furqan Jawed, the mind behind Elephant Magazine’s graphic design.
What’s your all-time favorite piece of graphic design?
I’m not sure I ever have true all-time favorites. I always like to switch things up, and my preferences tend to shift with my mood. Lately, though, I’ve been thinking a lot about a poster by Satyajit Ray that he created for the film Devi—I believe it’s called The Goddess in English, from 1960. It’s such a stunning piece, and I especially admire the typography in Bengali.
What does your ideation process look like?
Well, it really depends on the project and what I’m trying to achieve. But usually, if it’s specifically a graphic design project—like a book publication or some kind of graphic—I often start by looking through scans of old type specimens from the 1700s or 1800s. There’s just so much rich, craft-driven, technique-heavy material from that time. I find it inspiring, especially since many of those older designs feel much more visually dynamic compared to how minimal things tend to be today. I try to draw references from a range of places.
We are constantly surrounded by imagery and like most people I’m always taking photos on my phone—little things I see around me. A lot of my inspiration comes from very mundane, everyday objects. Something like a random piece of construction material stuck on a fence can suddenly spark an idea for a graphic gesture.
So yeah, it’s a bit of everything. Then I just start playing around—on the computer, scanning, drawing, or mixing all of those approaches. From there, it’s a process of iterating until I land on something that not only looks interesting, but also works for the concept I’m trying to bring to life.
Do you have a diary?
Uh, no—I don’t have a diary. I have this really silly WhatsApp group where I just text myself. It was originally a birthday group a friend made about ten years ago. Eventually, everyone left the group, and I thought, great, now I can use it to message myself.
It’s basically a cocktail of to-do lists and stream-of-consciousness thoughts. I probably should just use an actual diary or the Notes app. But I also don’t use a calendar—everything’s just in my head. Up until a couple of weeks ago, that was working fine. I could remember everything and stay on top of it. But lately, I’ve started double-booking myself, so yeah… I really need to start using a proper calendar.
Do you listen to music when you’re working?
It depends—if I’m in a phase where I’m mostly thinking through work, sketching, and need to stay mentally active, I usually listen to something ambient.
Lately, I’ve been into Passages by Philip Glass and Ravi Shankar. If I’m feeling very stimulated, I go for something faster-paced and bass-heavy. Right now, I’ve been listening to a mix by D.Dan—a techno artist from the U.S. who’s based in Berlin. It’s a set on SoundCloud, and it really helps keep me going especially when I’m up working late, trying to meet deadlines.
What’s something you do every day?
Well, I’ve been eating three eggs for breakfast every day for almost three years now. It’s just something I need in the morning—otherwise, I get really hangry.
I know it sounds almost blasphemous to want to keep to this diet in this economy, given how expensive eggs have gotten, but I guess as a brown person always hunting for the best deals. I usually buy two cartons at a time, so you’ll often see me lugging them around on the subway somewhere between Manhattan and Brooklyn.
Dream brand if money wasn’t an issue?
I’d love to have a lot of vintage pieces from Ann Demeulemeester, and shoes by Guidi—I absolutely love their footwear.
Where’s the best place to shop vintage thrift in New York?
All my friends know this about me—I’m constantly bouncing between the three Beacon’s Closet locations: the one near Union Square, the Bushwick spot, and the one in Greenpoint. I’ll also often stop by Tokio 7 in the Lower East Side to switch things up.
What was the first tattoo you got?
Well, the first proper tattoo I got was from this artist friend named Renuka Rajeev (@pith.bull). They were crashing at my place when I lived in New Delhi. I knew I wanted to get a tattoo from them, but since they were only staying a few days, we just never found the time. Then, as we were waiting for the cab to take them to the airport—heading back home to Bangalore—they said, “Hey, I’m sorry we didn’t get a chance to do your tattoo.” And I said, “Well… we have 20 minutes. Think that’s enough?” They were like, “Yeah, I think I can manage that.” Renu makes a lot of drawings, sculptures, small objects, and larger pieces—I’ve always really loved their drawings. So I offered up my shoulder and told them to pick one of their drawings and tattoo it. It was a stick-and-poke, and they finished it in 15 minutes. I really, really love that tattoo. It’s this bizarre little creature.
Now technically, that wasn’t my first tattoo. The actual first one was just a dot that a close friend gave me on my chest with a needle and India ink. It was kind of spontaneous—we were drinking, it was 5:00 a.m., and they were about to leave India.This was still when I was Iiving in New Delhi. They just marked me in this small, funny, symbolic way. So that was factually my first tattoo. More recently—well, maybe a year ago—I got another tattoo from this Canadian artist named Fysal, who goes by (@pattern___recognition). They also do stick-and-poke tattoos and have a really distinct style. I’d been following their work for a while and really liked the idea of offering my body almost like a canvas for artists I admire, allowing them to tattoo their work on me. As a graphic designer, I’m constantly thinking about images and symbols. The last thing I want is to overthink or obsess about what exactly I should get tattooed on my own body.
Have you ever worked in other mediums?
I made this slightly kooky video back in grad school—a short horror film about a red ball that bounces around a house, almost entranced, moving toward some kind of supernatural being. It was definitely a weird little project, but it’s something I still like.
Do you have a dream job?
Over time, I’ve come to realize that there’s no such thing as a dream job. So no, I wouldn’t say I have one. But I would love to continue work on meaningful projects in art, music, fashion, climate change, and social justice.
Ideally, I’d work four days a week and have a three-day weekend—that extra day makes such a difference. It would give me time to walk around, get inspired, hang out, and recharge. For me, having a balance between work and just living—relaxing and enjoying life—is important.
Is there a dream destination you see yourself in?
Well, I think I’m already in my dream destination—New York City. I’m obsessed with it. I feel like Its definitely a Stockholm syndrome situation… but I’m enjoying where I’m at right now.
What’s your favorite NYC borough?
Brooklyn.
What’s your Brooklyn neighborhood, sun, moon, and rising?
Well, I think Bushwick is my sun sign—it’s where I go to feel more alive, energetic, and powerful. Bed-Stuy is definitely my moon; it’s where I feel most at ease, most at home. As for my rising sign… I’m going to break the rules a bit, because it’s not in Brooklyn. I’d say it’s Chinatown. I eat there, drink there, run my errands there—I just love spending time in that neighborhood. So yeah, Chinatown is definitely my rising sign.
What are you reading at the moment?
I’m currently reading The Dangers of Smoking in Bed by Mariana Enriquez.
What’s it about?
It’s a collection—an anthology of short stories, mostly in the horror genre. I’ve been obsessed with horror for a while now, watching and reading a lot of it. I was recently at a book fair—I think it was called the Other Islands Book Fair at Pratt—and I picked up this really interesting-looking publication titled The Clicking, The Creaking, and The Tap, a short story by Lavender Coyoti. It’s printed and bound by The Enthusiast. I’m excited to sit down and read it in one go—it’s a slim book, but it looks really compelling.
What do you like to do to renew your creativity when in a slump?
When I feel really lost or struggle to create something exciting, I usually go for a long walk. I try to observe things around me in a different way—things I’ve seen a thousand times before. That usually helps open things up. It’s often when I’m not trying too hard, like during a conversation with a friend or while reading or watching something, that an idea will suddenly click. It might be an image or just a thought that I can hold onto, expand on, and work through until I can create something I’m happy with and ready to dive into
What do you like to do for fun?
I’ve recently gotten into weightlifting—I really enjoy lifting weights and spending time at the gym, sweating it out. I also love hanging out with my friends, going to shows, and catching films. Lately, I’ve started enjoying ballet too. The love of my life is raving, though I don’t go as often as I used to but I try to go out at least once a month. There’s something about being on the dance floor until the wee hours of the morning, dancing the night away, and letting off some steam. I love feeling my heart palpitate with the bassline. I’ve definitely gotten tinnitus headbanging next to the speakers, but I’m more careful now and use earplugs lol. For me, raving is about more than just the music; it’s about connecting with the community around me, it’s being social with friends and strangers without even having to chat. It’s nice to lose myself and get immersed in a trance-like state.
What’s your favorite club?
I enjoy techno the most when it comes to dance music, and I like going to Basement. I love the cavernous deep sound. I also kinda hate huge venues, and prefer smaller intimate spaces. But lately the crowd, which has always been mostly white, has expanded into an unending horizon of shirtless white men which is kinda annoying and disruptive. There are always one-off warehouse parties that are great. But now that summer’s coming, I’ll be all about dancing in the sun. I love a good block party in my neighborhood or parties hosted by Lot Radio, Soul Summit, or even Mr. Sunday. I’m sad that there’s no Dweller this year but I can’t wait for their booking next year.
What was the last track you listened to?
I’m currently obsessed with this track called The Sun Rising by The Beloved. I think it was released in 1990, and I first heard it a couple of weeks ago, but I’ve been listening to it on loop. There’s another track I’m addicted to called Mantra 1 by Popol Vuh. It’s on the soundtrack of Nosferatu the Vampyr—not the recent one, but the 1979 version by Werner Herzog. The track features a sitar, and I remember watching the film, seeing these beautiful yet eerie Transylvanian forests, all to the sound of the sitar- it was ethereal and haunting, unsettling in a beautiful way. I thought it was refreshing to have an Indian classical instrument in a 1979 German horror film but then again it’s also Herzog.
What’s a guilty pleasure of yours?
Well, if you must know, when I’m feeling low, I’ll rewatch old seasons of the first version of Gossip Girl. I think I’ve seen it maybe seven or eight times already, and I’m kind of ashamed of it, but it’s so bad that it’s actually good.
What’s your most toxic trait?
I guess I’m stuck in this weird cycle of punishment and reward with myself. I feel like if I get my work done, I’ll treat myself to something—a dance, a good meal, or whatever—rather than just doing it whenever I feel like it. I’m still working through that and trying to break free from it, but you know, it’s a long learning curve.
What’s a project you’re currently working on that excites you?
I recently created the graphic identity for an exhibition curated by my friend, Pallavi Surana, called Remains to Be Seen at Smack Mellon. It opens on June 14th. The design I made is a bit different from what I usually do—it’s understated and has a sense of restraint. I typically go for bold, high-contrast visual but this one is more muted and tonal, with a quieter feel. I’m also working on a publication series with an artist who recently passed away. The project is being organized by a trust that’s working to bring her work together. We’re still in the early stages, trying to secure funding, so I can’t share more details yet. Additionally, I’m exploring a possible collaboration with a couple of my peers from the Yale graphic design program I attended. I’ll be happy to share more details once things are more solidified.
When do you know an idea has landed?
This is a tricky one. Sometimes, I know exactly what I want to create. I’ll have a clear idea in my head, maybe a vague visual, and I’ll just go ahead and make it—it usually turns out very close to what I envisioned. But most times, it’s more about playing, getting frustrated, hating what I’m making, until maybe an accident happens or I try different approaches to the same thing. Eventually I’ll find something that feels fresh or works in a way that feels unique, yet specific to the project I’m working on. It’s really just an inner feeling—I just know when to put the pencil down and say, “It’s done.” But it’s very personal. I’m sure if you asked someone else about the same process or looked at the same thing I made, they might disagree.
What’s the best advice you’ve ever received and have you listened to it?
The best advice I ever received came from a friend I used to live with. She told me, “If you don’t do it, somebody else will. So just go ahead and do it before someone else does.” I think about that all the time, and I try to act on it. But, you know, sometimes life has other ideas.
