Jamila Alemi
Jamila Alemi is a Dutch-Afghan graphic designer based in Arnhem, the Netherlands.
She recently graduated from ArtEZ Arnhem with a bachelor's degree in Graphic Design.
Her projects touch upon a wide range of topics, from found footage and social media culture
to an installation exploring refugee representation in the media.
A Good Day To
2026
In
collaboration with Fay Buurman & Alexia Dincă
The catalogue was developed as a central part of the visual identity for A Good Day To, with the students and their work placed at the forefront. Each of the students was given four pages: a full-page portrait introduces the maker, followed by a description of their project. The final two pages form a full-bleed spread featuring their product, giving each project space to be viewed on its own terms. The catalogue measures 21 × 13 cm, allowing enough space for the products to be shown clearly while remaining comfortable to hold and browse.
The portraits are consistently placed on the left-hand page. Each student was photographed looking towards the sun, connecting the portraits to the visual language of changing light and shadows used throughout the identity. When quickly flipping through the catalogue, the faces appear to move from right to centre and eventually left across the book. The order of the students was adjusted to support this movement rather than following a standard alphabetical sequence.
The catalogue uses a Japanese fold binding with a closed top edge and open bottom edge. This creates an opening between the pages, allowing process photographs to be viewed through the fold as a literal glimpse into the making process. The photographs are printed in yellow, referring back to the sunlight that forms the basis of the visual identity and creating a visual connection with the exhibition's other materials.
The project descriptions are shaped around the products themselves, using silhouettes taken from process and final photographs to give each text its own form. For example, one description follows the silhouette of a shoe. This brings the products and their making process back into the page while making the descriptions less static. The letters of the students' names are slightly varied in height and angle, giving the typography a more playful character. Their responses to A Good Day To are placed vertically on the product spreads, integrating the title directly into the presentation of their work.
The Japanese fold also allows the book to lie completely flat, which was important for both reading and viewing the product photography. The back of the catalogue repeats the students' responses to A Good Day To as a numbered list, with each response representing an hour of the day: 1. Set out, 2. Renew shoes, and so on. With 23 students, the list fills 23 of the 24 hours, leaving the final hour open for the reader to complete themselves.
The catalogue includes all Product Design students from 2026, with a slightly different treatment for those who were not graduating that year. Their project descriptions were removed while the rest of the layout remained consistent. In place of the description, a silhouette of their work was used, maintaining the shape and rhythm of the spread while distinguishing these pages from those of the graduating students.
Introduction text
Amelie de Vries (editorial)
Daniël Bijmolen
Frank Kolkman
Graphic Design supervisor
Jeremy Jansen
Typefaces
Nimbus Sans Cond L Regular
Arial Narrow Italic
Paper
Holmen TRND 2.0 Vintage 80g
G.F Smith Colorplan Factory Yellow 270g
Photography
Cas de Groot
Daniël Bijmolen
Kim van der Sman
Mees Baars
Jasmin Öztürkkan Menda
Proofreading
Frank Kolkman
Binding
Japanese fold binding with a closed top edge and open bottom edge
Printing
Pantheon Drukkers
︎Click here to see the website & Instagram
The catalogue was developed as a central part of the visual identity for A Good Day To, with the students and their work placed at the forefront. Each of the students was given four pages: a full-page portrait introduces the maker, followed by a description of their project. The final two pages form a full-bleed spread featuring their product, giving each project space to be viewed on its own terms. The catalogue measures 21 × 13 cm, allowing enough space for the products to be shown clearly while remaining comfortable to hold and browse.
The portraits are consistently placed on the left-hand page. Each student was photographed looking towards the sun, connecting the portraits to the visual language of changing light and shadows used throughout the identity. When quickly flipping through the catalogue, the faces appear to move from right to centre and eventually left across the book. The order of the students was adjusted to support this movement rather than following a standard alphabetical sequence.
The catalogue uses a Japanese fold binding with a closed top edge and open bottom edge. This creates an opening between the pages, allowing process photographs to be viewed through the fold as a literal glimpse into the making process. The photographs are printed in yellow, referring back to the sunlight that forms the basis of the visual identity and creating a visual connection with the exhibition's other materials.
The project descriptions are shaped around the products themselves, using silhouettes taken from process and final photographs to give each text its own form. For example, one description follows the silhouette of a shoe. This brings the products and their making process back into the page while making the descriptions less static. The letters of the students' names are slightly varied in height and angle, giving the typography a more playful character. Their responses to A Good Day To are placed vertically on the product spreads, integrating the title directly into the presentation of their work.
The Japanese fold also allows the book to lie completely flat, which was important for both reading and viewing the product photography. The back of the catalogue repeats the students' responses to A Good Day To as a numbered list, with each response representing an hour of the day: 1. Set out, 2. Renew shoes, and so on. With 23 students, the list fills 23 of the 24 hours, leaving the final hour open for the reader to complete themselves.
The catalogue includes all Product Design students from 2026, with a slightly different treatment for those who were not graduating that year. Their project descriptions were removed while the rest of the layout remained consistent. In place of the description, a silhouette of their work was used, maintaining the shape and rhythm of the spread while distinguishing these pages from those of the graduating students.
Introduction text
Amelie de Vries (editorial)
Daniël Bijmolen
Frank Kolkman
Graphic Design supervisor
Jeremy Jansen
Typefaces
Nimbus Sans Cond L Regular
Arial Narrow Italic
Paper
Holmen TRND 2.0 Vintage 80g
G.F Smith Colorplan Factory Yellow 270g
Photography
Cas de Groot
Daniël Bijmolen
Kim van der Sman
Mees Baars
Jasmin Öztürkkan Menda
Proofreading
Frank Kolkman
Binding
Japanese fold binding with a closed top edge and open bottom edge
Printing
Pantheon Drukkers
︎Click here to see the website & Instagram