I write, I dance,
I design

and I'm hungry for more.

Design Services

What I love to do

Graphic Design

I love layout. I design print publications and promotional materials, including literary journals, brochures, program booklets, posters, postcards, business cards and digital ads.

Book Design

As a writer, I love working with authors to create a distinctive cover and/or interior layout that evokes the essence of their writing. I also create eBook versions of the manuscript if requested.

Web Design

I love designing the visual concept for a new website. I focus on creating a unique logo mark and sensory experience using texture, color and font face. I'm not a web developer; I install a Wordpress CMS and customize responsive themes.

Recent Projects

Websites, promotional materials, books and more

About Jai

Writer | Dancer | Designer

Photo by Scott Shaw

Photo by Scott Shaw

  • I’m a book nerd and language lover with an eye for visual composition.
  • I’m a dancer and performer with a sensitivity to texture and space.
  • I love layout. My X-Files fandom taught me (almost) everything I needed to know about Photoshop.
  • I’ve designed for nonprofits, universities, small businesses and individual artists, including writers, dancers, social workers, herbalists and healers.
  • I’m currently based in Philadelphia.

Are you interested in working together? I can’t wait to hear from you.

Email me with a description, your budget range and timeframe, and I’ll respond within 2-3 business days.
jai[at]jaiarunravine[dot]com

To learn more about my creative and critical writing, dance, video and performance work, visit the pages under Creative Projects.

Recent Testimonials

When I asked Jai to update my catalog it was because I realized I didn’t have time to do it myself and I trusted them to do it competently. I underestimated what a difference their work would make! When I received the updated file from them, I was blown away by the thoughtfulness, creativity and skill they had put into it. They went above and beyond what I asked and used their talent to create a much more professional and polished catalog than what I had before.
Robin MarkleFlaming IdolsPhiladelphia

Spaceholds and Placeholders

Design Musings and Dance Reviews

dimly, dimly at first: a response to “action is primary”

Dimly, dimly at first: A Letter to Kristel Faye Baldoz

by Jai Arun Ravine

Dear Kristel,
On stage you bring Trinh T. Minh-ha’s book When the Moon Waxes Red as a pivot point during your improvisation. I ask Theresa Hak Kyung Cha’s Dictee to open to a page that could respond to you, and this is what she says:

Dimly, dimly at first
then increase just a little more
volume then a little more
take it take it no further, shut it
off. To the limit before too late before too soon
to be taken away. (130)

What are you humming? Nice mood light. I wonder how you will start. Each time you begin dimly, dimly at first. I went to a restaurant last night called Mood. This is a moody new moon, am I right? The way you chose to light the space may suggest one or more of the following:

  • a) You do not want to be seen all the way.
  • b) You only want to be seen by certain people.
  • c) It is difficult to be in the space; dimly makes it bearable.

Everything echoes intensely, the body echoing. I see the echoes in the dark. I sense the horror and pressure of being seen, of being seen as what? I’m writing to support you here on the edge. Light change, then increase just a little more. More light now, less moving. More seeing, less seeing. More writing. You’re wearing all gray and you talk about the color gray as possibility, what reminds me of third space or nonbinary space. You drape your gray shirt across a white chair and put your arm around it. Is this a companion or a jacket? You say that this assemblage approaches the feeling of another body on stage with you. You seem alone, isolated, singular, hair over your face as a fabric. Yet in shadow there are four of you like backup dancers against the wall. You attempt to frame yourself within the moving frame of the folded white chair. But what can really interrupt the imperialist gaze, the hegemonic frame, the audience’s visualization?

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