Designer at the intersection of visual storytelling, product thinking, and creative technology.
Northeastern University · CS + Design · Open to Internships
A cross-disciplinary body of work spanning product design, experience engineering, creative direction, and visual research.
A full visual identity redesign for a French-inspired luxury fashion brand — from moodboard and brand kit to UX layout, web concept, and experiential event design.
Four distinct visual stories — Iha, Misi, Sanjana, and Stome — each shot with a unique directorial vision, lighting concept, and tonal language.
A speculative biometric diffusion necklace that detects stress via HRV and responds with precision-dosed aromatherapy — research, expert consultations, and full concept architecture.
UI/UX redesign, visual storytelling, and AI-powered content workflows for a water-inspired fine art gallery targeting serious collectors.
A wellness app concept for PTSD recovery through art therapy — user flows, lo-fi wireframes, and a fully resolved daffodil-yellow visual design system.
A speculative smart utensil that modulates food temperature to enhance flavor perception — from internal tech stack to hand-drawn technical illustration.
Founded and scaled a youth-led nonprofit across 4 U.S. branches with 1,000+ volunteers — then built an augmented reality card-making model to make kindness accessible to anyone, anywhere.
A commercial 3D printing internship — CAD modeling, print setup, material selection, and client fabrication on Prusa MK4S hardware.
A physical prototype that delivers timestamped scent to cinema audiences — odor packets, straw delivery, and carbon filters for scent-synced storytelling.
Turning ideas into structured, usable products. From user flows to interaction patterns, I design with clarity and purpose.
Designing interfaces that feel fast, intuitive, and human — grounded in user behavior and expressed through thoughtful visual systems.
Building coherent visual identities: type systems, color languages, and brand rules that hold across every touchpoint.
Translating abstract concepts into staged, photographed, and filmed realities. Set design, lighting, and composition as deliberate tools.
Film and digital photography that prioritizes mood, shadow, and intentional framing. Cinematic work that treats the camera as a design instrument.
Integrating generative tools — Krea, Runway, Claude, Midjourney — into design workflows to prototype faster, explore wider, and push ideas further.
Good design is not decoration — it's a decision made on behalf of another person. Every choice of shape, light, sequence, or word carries intent. I try to be honest about that weight.
My practice lives at the edge of disciplines: studio art, computer science, product thinking, and cultural observation. I believe the most interesting design happens when those domains don't stay politely in their lanes.
View the workI begin with what a moment should feel like — then work backward to figure out how design can reliably deliver that experience.
Physical prototyping and digital iteration aren't separate phases. I use them together to test assumptions early and often.
Precision in a final artifact — in spacing, in color, in material — is itself a form of communication. Sloppiness communicates too.
AR, AI, 3D fabrication, and code aren't constraints — they're new mediums. I treat emerging technology the way painters treated new pigments.
Photography and film are not separate from my design practice — they are its foundation. The eye trained to find the right shadow on set is the same eye that chooses a layout, a color, a moment of visual tension.
Shot on film and digital. Creative directed and styled by Linaarika Das.
Film Work
Creative Direction
Visual Study
Set Photography
Cinematic
Light Study
Portrait
I bring a rare combination of creative intuition, technical curiosity, and design rigor. If you're building something that requires all three, let's talk.
Linaarika Das — Designer & Creative Technologist
Linaarika Das is a CS + Design student at Northeastern University exploring the space where product design, visual storytelling, and emerging technology converge. Her work spans physical prototyping, digital interfaces, cinematic photography, and AI-assisted design — connected by a single thread: the belief that how something looks and how it works are never separate questions.
She has been making things with her hands since age five, moving from fine art studio practice into design technology and computer science. That trajectory — from intuitive mark-making to systems thinking — shapes how she approaches every project. She doesn't separate the emotional from the functional.
Across her work — a thermoregulating utensil that shapes flavor through temperature, an olfactory device that gives cinema a fourth sense, AR environments deployed to 1,000+ users for a non-profit, and cinematic set photography built from a single feeling or color — she is consistently interested in how designed objects and experiences shape what we perceive, remember, and feel.
Northeastern University
BS Computer Science + Design
Fine Arts since age 5
Studio practice → Design Tech
Product Design, Creative Technology, AI Workflows, Branding, Film
3D Printing Lab Intern
Non-profit AR Designer
Whether you're hiring for an internship, starting a project, or just want to talk design — I'd genuinely love to hear from you.
A sensory-enhancement utensil that modulates temperature to reshape flavor perception.
Temperature profoundly affects taste — cold suppresses sweetness; warmth amplifies umami and fat. The question was: what if a utensil could actively control that variable, giving the diner a new instrument to compose their own eating experience?
The project began with research into thermoreception and psychophysics of flavor — how quickly temperature changes are perceived at the tongue's receptors, what thresholds produce meaningful flavor shifts, and how those shifts are categorized by users. From there, the focus moved to chip architecture: designing a microprocessing unit paired with a temperature regulation module small enough to embed in a utensil handle without compromising balance or feel.
A fully designed thermoregulating fork concept, from hardware schematic to form factor refinement, including the microprocessor layout and temperature regulation logic. The design demonstrates the ability to move fluidly between sensory research, systems thinking, and physical form — a hallmark of design-engineering integration.
Product design methodology applied to a novel problem space. Comfort with hardware constraints and embedded systems. Research-driven concept development. Ability to design at the intersection of human perception and engineered systems.
A chair-mounted device that synchronizes scent delivery with film timestamps.
Cinema engages sight and sound with incredible precision. Smell — arguably our most emotionally evocative sense — is almost entirely absent from the designed film experience. This project explored what it would mean to give cinema a fourth sensory dimension.
The device attaches to the side of a cinema seat and contains a timed carousel of scent packets, each corresponding to a specific film scene. A chronological program triggers the deployment mechanism at the correct timestamp, inserting a straw into the target packet. Carbon diffusers handle scent clearance between scenes, preventing olfactory bleed. The physical prototype was designed and produced using 3D fabrication, with attention to form factor, ergonomics, and the hidden complexity of the scent sequencing mechanism.
A fully realized 3D prototype with working scent deployment mechanism, designed for integration with standard cinema seating. The system demonstrated that chronological scent programming was feasible and that carbon diffusion effectively cleared residual scent between scenes.
Systems thinking applied to a novel user experience. Physical prototyping using CAD and 3D printing. Comfort designing mechanisms with real constraints: timing, ergonomics, material behavior. Conceptual ambition balanced by engineering rigor.
Virtual card-making spaces deployed across 6 U.S. branches, reaching 1,000+ users.
Best Wishes is a non-profit focused on hand-crafted card-making for people who need connection. The challenge was extending their physical, tactile mission into a digital medium — without losing the warmth, creativity, and human presence that makes the in-person experience meaningful.
The project involved designing virtual environments optimized for the card-making workflow: intuitive enough for first-time AR users, expressive enough to support genuine creative output. Environments had to be deployable across diverse branch contexts, with attention to accessibility and varying levels of digital literacy among participants. The design iterated across user testing at multiple branches before full rollout.
AR card-making environments successfully deployed and used by 1,000+ participants across 6 U.S. locations. The project extended Best Wishes' reach significantly while maintaining the emotional intent of the original, physical program.
UX design for real users at meaningful scale. Ability to translate a physical, human experience into a digital medium without losing its essential qualities. Design for accessibility and diverse user contexts. Impact-driven design thinking.
Commercial-grade CAD and additive manufacturing for real-world orders.
During an internship at a 3D printing lab, Linaarika worked on live commercial orders — building CAD proficiency and hands-on fabrication experience in a professional production environment. The work required precision, material literacy, and the ability to move from digital file to finished physical object with minimal error.
CAD modeling for production tolerance. Understanding of additive manufacturing constraints — layer adhesion, support structures, material selection, post-processing. Quality control in a commercial context. The ability to translate a client's intended form into a technically buildable design file.
Real-world fabrication experience beyond academic projects. Material literacy and technical precision. Comfort working within professional production workflows and client deliverable standards.
Cinematic imagery built from feeling — color, shadow, tension, and light as design materials.
Creative direction that begins with an intangible starting point — a color, a texture, a feeling — and works through set design, prop selection, and deliberate lighting choices to make that abstraction physically real and photographically present. The process is iterative: small shifts in light angle, blocking, and framing until the image has dramatic integrity.
Linaarika works quickly from concept to execution on set, trusting the initial instinct while remaining responsive to what the scene is actually doing — what the light is finding, what the shadow is saying. The best frames usually arrive through a conversation between intention and accident. Both film and digital capture are used, chosen for the specific quality of light and grain each format produces.
Visual taste developed through sustained practice. The ability to direct a scene — not just document it. Understanding of how light, color, and composition function as emotional language. A design eye that works equally well in physical space as on a digital canvas.