Hi, I’m Mariam, an illustrator with a knack for blending storytelling and design. With over two years of experience in tech alongside collaborative worldbuilding and game development projects, I create compelling visuals that enhance user experiences, evoke emotions, and tell immersive stories.
✨ What I Do:
🎭 Character Design & Visual Storytelling
🎨 UI Art & Game Assets
📖 Narrative & Transmedia Illustration
📌 UX-driven Art & Service Design
I thrive in multidisciplinary spaces, working across teams to craft engaging worlds, interactive experiences, and meaningful designs. Whether it’s character design, narrative illustrations, or UI visuals, I love experimenting with different styles to bring ideas to life.
Let’s collaborate and create something amazing! 🚀
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I had the loveliest time illustrating this for Asma Tariq’s essay ‘Climate Change’s Gendered Impact: Unravelling the Lives of Farmer Women in Southern Punjab’, from Shirkat Gah’s Unchained Unbound Vol II. You can find it here: https://shirkatgah.org/unbound-unchained/#flipbook-df_6530/11/
An illustration concept from a bigger storybook idea I had regarding a girl who tends to daydream while in the kitchen.
Dust to Stardust is a choice-based RenPy game, in which the player can play as a character known as the Comet Prince. The Comet Prince’s story is one that I have explored in multiple ways, but it is a tale that has stayed with me for a very long time, ever since it first came to me in a dream. In a broader sense, the game plays with ideas of meta-fictionality and free will, among others. I illustrated the backgrounds, designed the characters, and co-wrote the script for the game.
This game was also part of my final year thesis, which was a collection of cross-referenced stories and non-linear narratives that do not seem to bear much similarity at first glance, but ultimately open up to a vaster (shared) thematic universe.
This illustration was commissioned for Khushbu Khushi’s short story Songs of Samarkand, published in Worlds of Possibility in 2024. It depicts the scene when Baji and Amir meet directly for the first time, in the royal gardens of Delhi. A brown, rectangular frame-border (in the style of classic Persian illuminations) surrounds the image. Only Baji’s wispy form spills beyond the bounds of this frame, hinting at how her relationship with Amir is something that sends order reeling into chaos, the force of her love being uncontainable. Also in the style of classic Persian illuminations, a brown box containing a verse (from Amir Khusro himself) marks the lower half of the frame-border. It reads:
“Khusrau darya prem ka, ulti wa ki dhaar,
Jo utra so doob gaya, jo dooba so paar.”
(“Oh Khusrau, the river of love
Runs in strange ways.
One who enters it drowns,
And one who drowns, gets across.”)
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