About
About
Parisa Mohajery
Parisa Mohajery
UX/UI & Creative Designer
Based in Boston, MA
UX/UI & Creative Designer
Based in Boston, MA
My path into UX/UI and Creative Design hasn't really been a career change; it's more of a lifelong collaboration between two passions I could never choose between. I trained as a medical and health physicist, working at Harvard Medical School and Boston Medical Center to run quality procedures on imaging devices and maintain FDA standards. Translating those technical findings for clinical teams taught me exactly what's at stake when accuracy and clarity meet a real person.
But art and design were never just hobbies. Even as a child, I treated scientific experiments and drawings with the same level of intensity. From the age of six I studied fine art under the Iranian master Espahbodi, and years later went on to study graphic design and illustration at SMFA at Tufts to give the design half of me the same formal rigor I'd given physics. That scientific mindset is still very much alive. It shows up in how I run research, evaluate evidence, and refuse to take an unverified claim at face value, and I still find physics endlessly absorbing. UX/UI is where these two ways of seeing finally work hand in hand and sharpen each other.
My path into UX/UI and Creative Design hasn't really been a career change; it's more of a lifelong collaboration between two passions I could never choose between. I trained as a medical and health physicist, working at Harvard Medical School and Boston Medical Center to run quality procedures on imaging devices and maintain FDA standards. Translating those technical findings for clinical teams taught me exactly what's at stake when accuracy and clarity meet a real person.
But art and design were never just hobbies. Even as a child, I treated scientific experiments and drawings with the same level of intensity. From the age of six I studied fine art under the Iranian master Espahbodi, and years later went on to study graphic design and illustration at SMFA at Tufts to give the design half of me the same formal rigor I'd given physics. That scientific mindset is still very much alive. It shows up in how I run research, evaluate evidence, and refuse to take an unverified claim at face value, and I still find physics endlessly absorbing. UX/UI is where these two ways of seeing finally work hand in hand and sharpen each other.
My path into UX/UI and Creative Design hasn't really been a career change; it's more of a lifelong collaboration between two passions I could never choose between. I trained as a medical and health physicist, working at Harvard Medical School and Boston Medical Center to run quality procedures on imaging devices and maintain FDA standards. Translating those technical findings for clinical teams taught me exactly what's at stake when accuracy and clarity meet a real person.
But art and design were never just hobbies. Even as a child, I treated scientific experiments and drawings with the same level of intensity. From the age of six I studied fine art under the Iranian master Espahbodi, and years later went on to study graphic design and illustration at SMFA at Tufts to give the design half of me the same formal rigor I'd given physics. That scientific mindset is still very much alive. It shows up in how I run research, evaluate evidence, and refuse to take an unverified claim at face value, and I still find physics endlessly absorbing. UX/UI is where these two ways of seeing finally work hand in hand and sharpen each other.
"Physics taught me how systems behave, Design taught me how people feel. Whether I'm shaping an interface, a brand, or a page, I'm asking both questions at once."
"Physics taught me how systems behave, Design taught me how people feel.
Whether I'm shaping an interface, a brand, or a page, I'm asking both questions at once."
"Physics taught me how systems behave, Design taught me how people feel.
Whether I'm shaping an interface, a brand, or a page, I'm asking both questions at once."
Immigration to America, editorial infographic, 2019
Immigration to America, editorial infographic, 2019
Immigration to America, editorial infographic, 2019
OrthoKinetic Track brand identity, 2022
OrthoKinetic Track brand identity, 2022
A decade in brand and editorial design sharpened the visual side of my craft, honing my eye for typography, hierarchy, and the kind of restraint that makes complex information feel calm and accessible. My years in healthcare gave me something equally vital: a genuine empathy for the person on the other side of the screen, whether patient, clinician, or technician. When you've watched people at every level of expertise struggle with medical systems in high-stress moments, you stop designing for an abstract persona and start designing for someone whose day you can imagine.
A decade in brand and editorial design sharpened the visual side of my craft, honing my eye for typography, hierarchy, and the kind of restraint that makes complex information feel calm and accessible. My years in healthcare gave me something equally vital: a genuine empathy for the person on the other side of the screen, whether patient, clinician, or technician. When you've watched people at every level of expertise struggle with medical systems in high-stress moments, you stop designing for an abstract persona and start designing for someone whose day you can imagine.
A decade in brand and editorial design sharpened the visual side of my craft, honing my eye for typography, hierarchy, and the kind of restraint that makes complex information feel calm and accessible. My years in healthcare gave me something equally vital: a genuine empathy for the person on the other side of the screen, whether patient, clinician, or technician. When you've watched people at every level of expertise struggle with medical systems in high-stress moments, you stop designing for an abstract persona and start designing for someone whose day you can imagine.
The rest of my story is harder to pin down on a resume, but its roots are deep.
As an Iranian-American, I was raised in a culture that has looked to poetry, painting, calligraphy, and an architecture built from mathematics and physics for harmony and meaning for thousands of years, while inside a recent history where the right to speak, to dress, to learn, and to choose has been contested at staggering personal cost.
Layered over that is the immigrant experience, which carries its own set of survival skills:
how to adapt fast, how to read a new system before assuming anything, and how to hold steady through change you didn't choose. You don't live through all of that without learning to look closer, listen harder, and understand exactly what's at stake when someone reaches for a tool and asks it to work. It's an unconventional background for a designer, and I think that's its main strength.
It shapes everything I notice, and it's the kind of attention I'd love to bring to the right team.
The rest of my story is harder to pin down on a resume, but its roots are deep.
As an Iranian-American, I was raised in a culture that has looked to poetry, painting, calligraphy, and an architecture built from mathematics and physics for harmony and meaning for thousands of years, while inside a recent history where the right to speak, to dress, to learn, and to choose has been contested at staggering personal cost.
Layered over that is the immigrant experience, which carries its own set of survival skills:
how to adapt fast, how to read a new system before assuming anything, and how to hold steady through change you didn't choose. You don't live through all of that without learning to look closer, listen harder, and understand exactly what's at stake when someone reaches for a tool and asks it to work. It's an unconventional background for a designer, and I think that's its main strength.
It shapes everything I notice, and it's the kind of attention I'd love to bring to the right team.
The rest of my story is harder to pin down on a resume, but its roots are deep. As an Iranian-American, I was raised in a culture that has looked to poetry, painting, calligraphy, and an architecture built from mathematics and physics for harmony and meaning for thousands of years, while inside a recent history where the right to speak, to dress, to learn, and to choose has been contested at staggering personal cost.
Layered over that is the immigrant experience, which carries its own set of survival skills: how to adapt fast, how to read a new system before assuming anything, and how to hold steady through change you didn't choose. You don't live through all of that without learning to look closer, listen harder, and understand exactly what's at stake when someone reaches for a tool and asks it to work. It's an unconventional background for a designer, and I think that's its main strength.
It shapes everything I notice, and it's the kind of attention I'd love to bring to the right team.
Horse in script, personal work 2020
Horse in script, personal work 2020