Bhoomi Mistry didn't set out to become a graphic designer. She got there sideways — through fashion, advertising, filmmaking, storyboarding and copywriting, before landing a job as a storyboard artist for a production house at 19, hired purely for her illustration skills. When the pandemic pushed the studio's work onto green screens, she found herself designing more digital assets than sets, and the shift stuck. She went on to study graphic design formally at MICA, and now works at the intersection of design, art direction and visual storytelling.
Mistry treats range as more valuable than a defined style, preferring to stay curious across mediums — crocheting, cooking, illustration — rather than lock into one voice too early. Alongside her commercial practice, she runs Lucy on Life, a personal illustration project exploring the female gaze and pop culture satire through the lens of being a brown woman moving between Indian and American contexts. Mumbai's energy runs through her work as much as any client brief does — she calls it a "maximum city," and credits its community and pace with keeping her curious.
Can you tell us a little about your first few steps in your career. Was there a moment or experience when you realised this was what you'd do as a career?
I've always known I wanted to pursue a creative career, so I treated the beginning of my professional journey as an opportunity to explore a wide range of interests. Over the years, I experimented with fashion, advertising, filmmaking, storyboarding, copywriting, and art direction. Through that process, I eventually discovered graphic design.
A defining moment came when I was 19 and working as a storyboard artist for a production house. What started as a way to earn some extra money unexpectedly evolved into a career in graphic design. Since I had been illustrating since childhood, I was initially hired for my drawing skills. Over time, the team began approaching me with graphic design projects as well, and eventually invited me to join as an art director.This was during the pandemic, when much of the on-set work shifted to green-screen production. As a result, I found myself spending more time creating visual assets and designing for digital environments, which deepened my interest in graphic design. That experience ultimately led me to apply to MICA to formally study graphic design. Since then, I have been working at the intersection of graphic design and art direction, building a career that combines visual storytelling, strategy, and design.
What lessons from your career have most shaped your style and approach?
Iterate, iterate, iterate- and make time for projects that genuinely excite you. In my experience, that's one of the most effective ways to grow as a creative. Personal projects give you the freedom to explore ideas without the constraints of client expectations, deadlines, or briefs. They create space for experimentation, curiosity, and play.I've found that the more I enjoy what I'm working on, the better the work becomes. When I approach a project with a sense of play, I'm more willing to take risks, explore unexpected directions, and worry less about getting everything right the first time. That freedom often leads to stronger, more original ideas.
Pay attention to the instincts that tell you what you enjoy and what you don't. Those preferences are often more valuable than they seem. Over time, they help you develop your creative perspective and shape a style that feels distinctly your own. The more you listen to that voice, the more fulfilling the work becomes.
Tell us about the core values or philosophies that guide your creative practice.
What needs to change, so emerging and under-represented creative professionals have more opportunity, are seen and heard?
I think emerging and under-represented creatives need more opportunities for visibility and direct access to decision-makers. Early in a creative career, talent is important, but being seen is often just as critical. The more people who encounter your work, the more feedback, mentorship, collaborations, and opportunities tend to follow.
I'd love to see more spaces where creatives can connect directly with hiring managers, creative directors, and commissioners, whether through one-on-one portfolio reviews, job fairs, mentorship programs, or platforms designed for meaningful conversations rather than just applications. Right now, many opportunities begin and end with an ATS scan, and great candidates can be overlooked.
How important is it that creative professionals find their unique voice?
To me, graphic design is more about building range than finding voice. You’re able to confidently take on more interesting and varied projects if you have a wider range of skills and tools at your disposal.
Rather than focusing too early on defining a style, I think there's value in staying curious and exploring widely. Over time, that range not only makes you a more versatile designer, but also allows your perspective to emerge naturally through the work.
Looking ahead, what do you think are the key factors that will influence change for creative professionals?
How much does your city influence your work?
I'm deeply inspired by the cities I've lived in, but Mumbai holds a particularly special place in my heart. It truly feels like a maximum city, a place where people are constantly moving, building, creating, and finding ways to make things happen. There's an incredible energy here that feels both dynamic and contagious.
What inspires me most, though, is the people. Despite the pace and ambition, there's a warmth and generosity that runs through the city. People here have remarkably big hearts, and that sense of community is something I cherish. Creativity seems to spill out from every corner, and I'm especially inspired by my friends and family, who are always finding interesting and unexpected ways to create, experiment, and pursue their passions.
How much does your culture influence your work?
I have an illustration practice called Lucy on Life, where I explore the female gaze and pop culture through satire. Much of the work is inspired by my experience as a brown woman navigating different cultural contexts. It is the one part of my creative practice that is entirely personal—rooted in my observations, questions, and lived experiences.
Having lived in both India and the United States, I’ve become increasingly aware of how culture shapes the way we think, see, and move through the world. That experience has prompted me to ask difficult questions about identity, belonging, and perspective. At the same time, I’m very much a child of the internet, having grown up in a deeply globalized world where local and global influences constantly intersect. The context through which I understand things has always felt "glocal."
I don’t know exactly where this practice will lead, but for now, I am observing, absorbing, and reflecting. My hope is that through this process, I will continue to develop and refine my voice as an illustrator.
Tell us some of your favourite, creative professionals and inspiring places in your city!
I love Art Night Thursdays, an initiative in Mumbai where participating private galleries open their doors to the public on the first Thursday of every month. Whenever we can, my friends and I make it a point to go gallery-hopping across the city. It’s become one of my favorite ways to experience new work, discover artists, and stay connected to the creative energy of Mumbai.
One of my favorite graphic designers is Satyajit Ray. While he is best known as a filmmaker, I’m equally fascinated by the graphic design work he produced throughout his career. What I admire most is his multidisciplinary approach- his ability to move fluidly between film and design. It’s a reminder that creative practices don’t have to exist in isolation and that some of the most compelling work emerges at the intersection of disciplines.
What should emerging creative professionals keep in mind as they begin their design career?
Be kind to yourself and keep showing up. It’s not about being the best, it’s about being consistent and putting in the work. You can’t be good at work you’ve never created, so let go of perfectionism. Allow yourself to try, explore, experiment, and even be bad at something. That’s how you learn.
Say yes to opportunities when they come your way. Every project teaches you something new, introduces you to new people, and opens doors you couldn’t have anticipated. In my experience, the more work you do, the more work tends to find you. Creativity is built through practice, not perfection.