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Š2011 NATIONAL INSTITUTE OF DESIGN All rights reserved. No part of this publication may be reproduced or transmitted in any form by anymmeans, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without permission in writing from the copyright owner. Most of the images featured in this issue of Young Designers were sent by the individual students. Where they were not, they have been scanned from their diploma documents.
Project Head and Chief Visualizer Content Coordinator Editorial support Project synopsis
Coordination at three campuses
Graphic Design Assistance Software Development Photography
Image editing Scanning &Colour Correction Student Liaison
Student Data Entry Library Support Production Supervision Print Production Advice Student Index, Sponser Index, General Index IT Support
Dr Tridha Gajjar Saurabh Kumar Eisha Sarkar Meghana Jog, Kaveri Gopalkrishnan, Saurabh Kumar Swasti Singh Ghai, Mamta Rao, Saurabh Srivastava Deepak Mahavar Ankit D Mehtar Dr Deepak John Mathew Valji Solanki Dr Tridha Gajjar Saurabh Kumar Bharat D Suthar T K Rajan, Rosamma Mathew, Jaya Nair Paresh Shah Snehal Leuva C T Paul Thomas, Madhu N Chavda Shirish Shah, Dr Tridha Gajjar Shirish Shah, Bharat D Suthar Madhu N Chavda, Ankit D Mehta Himanshu Mistry, Chirantan Raval, Upendra Patel
Special Thanks to Pradyumna Vyas, Vijai Singh Katiyar, Dr Vijaya Deshmukh, Sidhharth Swaminarayan, Lalita Chettiyar Print Production Shreedhar Printers (P.) LTD., Ahmedabad Published by Research and Publications, NID National Institute of Design Paldi, Ahmedabad-380 007 India PHONE +91 79 2662 3692 – 97 FAX +91 79 2662 1167 emaileducation@nid.edu www.nid.edu
ISBN- 978-81-86199-73-2 Price: 400 ( Vol: Young Designers 2011 PGDPD ) Price: 700 ( All 3 Vols: Young Designers 2011 GDPD + Young Designers 2011 PGDPD + Educators @ NID )
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Chairperson’s Message
Salman Haidar Chairman Governing Council NID Design provides a cornucopia of opportunities for a nation’s development. Nowhere is this more relevant than in the Indian context. Design concepts are embedded into the Indian cultural consciousness. It has to be acknowledged that in this era of globalisation, Indian designers have a challenging task ahead. They have to compete with designers from various nationalities. Besides, this would also facilitate a fruitful exchange of ideas and thoughts on a multitude of design traditions. The emergence of the creative economy has begun to lay emphasis on originality and in this context; there is a pressing need for designers who possess an acumen for innovative design thinking. During the last fifty years, the National Institute of Design (NID) has developed its own design methodology and design philosophy, and has been a facilitator of each milestone of development in the field of design. Currently, we are witnessing an increased sense of awareness about design in India. This awareness is rapidly translating into an escalating demand for design-oriented careers. NID’s vast experience is already there to our good fortune and can be availed of in order to develop and provide a new direction to the creation of appropriate design education programmes and faculty training programmes for design educators. This year, NID will conclude its Golden Jubilee celebrations that have indubitably reinstated NID’s position as one of the leading design institutions with a superlative design ideology. The institute is committed to spread the power of design across the country and the world at large, in order to ensure an egalitarian dispersion of modern design practices and philosophies. Young Designers 2011 features the impressive work of this year’s graduates. I am extremely proud of their achievements. I would like to extend my congratulations and heartfelt wishes to all the graduates.
Director’s Message
Pradyumna Vyas Director NID The National Institute of Design (NID) is undoubtedly the pioneer of design education in India. For the last fifty years, NID has been instrumental in serving various sectors of the Indian economy through tangible design interventions that also help to bring about improvements in those sectors. This is an institute that has nurtured and helped evolve innovative educational practices. NID is also committed to disseminating design education through contemporary media such as the internet and ensure stronger social development. The institute aims to foster economic development through design education and improve the quality of people’s lives. The first decade of this millennium has come to a close. This is the most appropriate time for NID to bring to fruition the goals it has envisaged for the future of design education. Towards this end, the existing curriculum will be reviewed and made more contextual and research-oriented so as to impart sustainable and value-centric design education. Plans are afoot to introduce postgraduate courses in Design Education, Universal Design, and Museum Design.
NID is making active and dedicated attempts to infuse a global perspective into design education. For this, it is placing an increased focus on research in various areas of design, encouraging industry participation for sponsored research, and carrying out documentation and ethnographic studies on existing craft traditions. All of this will enrich educational programmes at the institute, apart from propelling Indian design practices on to the global arena in a more prominent way. Indeed, this is a special moment for the NID community;this year marks the conclusion of NID’s Golden Jubilee celebrations. It has been a wonderfully eventful year with the institute hosting a plethora of conferences, seminars, exhibitions, and film festivals of national and international stature—all of which are a rightful acknowledgement of NID’s involvement in design education and design thinking in the Indian context. This edition of Young Designers showcases the work of this year’s graduates, whose diploma projects reveal their unique approaches to design and societal concerns. I am indeed proud of these young designers and am confident that they will promote a culture of excellence in all their future endeavours. I wish them all success.
COMMUNICATION DESIGN CD Animation Film Design Exhibition Design Film and Video Design Graphic Design Photography Design
7 13 20 26 32
IT INTEGRATED DESIGN IT Design for Digital Experience Information and Digital Design Information and Interface Design New Media Design Software User and Interface Design
40 46 50 56 62
INTER DISCIPLINARYDESIGN STYDIES IDDS Design for Retail Experience Strategic Design Management
69 73
INDUSTRIAL DESIGN ID Ceramic and Glass Design Furniture and Interior Design Product Design Toy and Game Design Transportation and Automobile Design
82 85 92 104 108
TEXTILE APPAREL & ACCESSORY DESIGN TD Apparel Design and Merchandising Lifestyle Accessory Design Textile Design
113 121 130
Students’ Index Sponsers’ Index General Index
138 140 142
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Graphic design
A graphic design student, in addition to a thorough grounding in design abilities and theoretical issues, undertakes the study of the cultural and historical context in which designers need to function, as well as of the social and ethical factors that influence design decisions. The ultimate aim is to stimulate the development of independent critical judgment, sound research skills, the ability to think creatively and practice design as a professional. The last decade or so has witnessed a near total transformation in the way a graphic designer works. The expansion and application of the electronic media has made graphic reproduction technologies more accessible to the designer. Paradoxically, traditional skills have become more necessary than before. Quality and creative solutions contextual to the user’s needs are still a basic human input. The fundamental importance of creating a visual vocabulary through drawing, the development of aesthetic judgment, values of form, proportion, image and word have become an integral part of learning graphic design at NID. During their period of study, students in graphic design are encouraged to work on a variety of projects, majoring in the selected sub-domain of graphic design. The areas covered include typography & type design, publication design, image making, illustration, photography, packaging, print design, corporate identity, branding and information & communication systems like signage or way finding. Students, on successful completion of the programme would have acquired the competencies to find placements with leading graphic design agencies working in the area of branding, publication houses, and communication design firms. They could also start their own design studios.
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Designing An Educational Kit For Early Learners GUIDE: DR. TRIDHA GAJJAR SPONSOR: KATHA, NEW DELHI
Graphic Design
SWETA GOVIL imhere2smile@gmail.com
Activity-based learning pre-schooler conservation co-existence
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Analysis of this research and creating a visual language through illustration was the most interesting phase of the project. I took several design decisions related to illustration style, forms, typefaces, colour palettes and treatments. Creating a distinctive visual language for each of the books while still correlating them was a very stimulating challenge.
I have always taken a keen interest in image-making. It grew deeper with the classroom projects that I took up during my twoand-a-half year course at NID. The knowledge I gained about publications and their allied fields motivated me to take up a diploma project that would bring together my interests in the area of children’s publications.
Through this project, I gained valuable understanding into children’s publications, especially in the field of environment education. I learnt that illustrating for children does not require mere skill but a great amount of love, passion and understanding of their psyche. I have positively gained and learnt from this project.
My project brief was to design and package an educational kit for early learners (between 2-6 years) that would sensitize them about sharing and caring for our natural resources and other living forms. The design process comprised different phases of research on the education systems in pre-schools, child psychology and publications in the market.
GRAPHIC DESIGN
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Redesigning Facility Management Magazine GUIDE: IMMANUEL SURESH SPONSOR: WEDENSPIEKERMANN, AMSTERDAM
Facility Management Magazine was founded a few decades ago and is reputed for its high level of research content. The publishers wanted to change the strict, oldschool layouts and designs into ones that are more approachable and friendly, in accordance with the magazines current competition. They were also interested in making it more interactive by adding interviews, special columns, articles, stories, advice and lists. As a graphic designer, I had to deliver the building blocks for the visual language for the magazine.
This included redesigning the logo, magazine cover, colour palette, imagery, infographics, typeface and grid.
VAATIKA DABRA vaatika@gmail.com
Graphic Design
My diploma project was to redesign a magazine for WEKA Uitgeverij, a publishing house that offers online information products, seminars, magazines, informative letters, books and multimedia solutions for advertising customers. They publish several magazines and it was the latest addition Facility Management Magazine that I had to work on.
The project started with understanding the magazine, the term facility management and the competitors. Various sketches were done to understand the difference in the use of type, imagery details, proportion, infographics and so on, along with the basic layout and designs for the cover. Ideation and refinement of the logo followed. The final stage of the project was to define the guidelines for the magazine in terms of the grid, style and typography. In retrospect, I see myself as a student who has learnt not only how to perceive information in different scenarios, but observe the nuances of life. I would like to apply my design understanding into the organic structure in India.
publication design Magazine Info-graphics Logo design
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Textile Design
The emphasis of the course is on building a variety of skills, in combination with theoretical knowledge and practical application. The programme commences with the learning of fundamentals of textile design. These include elementary ergonomics, textile fibres, colour, composition and basic textile design for weaving and printing. It also covers dyeing techniques, printing methods, sewing techniques, construction of fabrics and surface design. Through increasingly complex design projects, complemented by related inputs in the social sciences and technology, students are encouraged to apply their abilities to resolve specific design problems. The programme helps one understand all the intricacies of production, in order to find innovative solutions. It provides major field-level exposure to all levels of industrial and craft production. Besides instilling design sensibility, all the courses lay emphasis on technology and market-related inputs. Design projects in textiles cover woven and printed apparel fabrics, textiles for interiors, collection of prints, craft documentation, computer aided textile design, jacquard fabrics etc. Design solutions are translated into samples or prototypes through workshops in dyeing, printing and weaving.
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Maha Raasa: Collections of Hand-Woven Saris From Chanderi And Benaras GUIDE: Aditi Ranjan SPONSOR: Raw Mango, New Delhi
VIBHUTI JAIN
Textile Design
vibes99@gmail.com
For my diploma project, I designed two collections of saris and fabrics for the brand Raw Mango. The first was a collection of Chanderi saris and fabrics inspired by the Mogra (a variety of jasmine) flower. The second was a collection of Benaras brocades and silk fabrics based on the Pichhwais of Krishna as Srinathji. Chanderi is known for its soft fabrics and pastel colours while Benaras is renowned for its rich brocades and unmatched weaving techniques. I explored the traditional techniques of extra weft by handpicked jala from Chanderi and kadwa work from Benaras for my designs. Though the designs were based on traditional motifs and techniques, their approach was contemporary. They cater to women between 25 to 55 years of age.
Sari collection Hand-weaving Brocade Pastels
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For this project, I had to understand Raw Mango’s identity and how it compared with similar brands. It also required a thorough understanding of the techniques of weaving, costing etc. I worked and communicated with weavers directly in order to get their inputs and perspectives for the designs. My design approach had to justify the requirements of the brand but at the same time it had to avoid exploitation or unnecessary modification of the weavers’ work because sometimes, over a period of time, the weavers lose the original language of their weaving tradition. I had to carefully craft my designs in accordance with the existing techniques and production costs. Working with the weavers’ community was a very enjoyable experience and I learnt many new aspects of design
TEXTILE DESIGN
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Abhay Vyas NEXT GENERATION SMART ECO WASHER 52 Abhilash Jose Three Boons of a Politician 18 Abhimanyu Ghimiray ANANT 19 Abhishek Maithul Constituting Growth Strategies for Hansiba, a SEWA Initiative 120 Aditi Dhamija Concept Store Design for F-Studio 106 Aditya Somway Children's Furniture in Wood 152 Ahona Gupta The Sore Thumb: a short Fiction Film 32 Aishwarya Dasare Concept Store Design for Arrow Woman 107 Ajay Boga Speciality store for Studio ABD 153 Akash Shekhar Designing user experience of a web shopping application 53 Akhila Mathur Scope of Dynamic Behaviors in User Interfaces 54 AkshayK oranne New Identity for FASTRACK Concept Store Design 108 Alpa Jain Furniture @ Food Courts 154 Ambrish Gaur Linen Fiesta – Bedding Collection for Exports 214
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Amit Ambekar Space inside Space: Kiosk for mall atrium 155
Arun Prakash MeeninaKathe (Tale of a Fish) 21
Amit Das Parityakto (Deserted) 20
Arvind Kumar New Range of Tiles Surfaces for Kitchen and Bathroom 142
Amrapali Satpudke Redefining Mobility: Appropriate wheelchair for Physically Challenged Children 164
Ashish Kumar Language and Literacy Learning Kit 179
Angeline Irudhayaraj GAMES.EBAY.COM 70 Animesh Shrivastava Electra-Electric Vetrctc for adults with 188 Aninda Biswas Re-designing the Website and Brochure for ‘Control Plus’ 40 Anish Thomas Faddish Laundry Collection a Menswear Denim Range for ‘Flying Machine’ 198 Anjali Malik Costume Accessories 140 Ankit Vyas Indiglow 165 Ankita Patel Kapas Organic Cotton Project: From Soil to Self 199 Annapurna Banerjee ILLUMINATUS 86 Anuj Agrawal Living Demonstrations (Brand activation and Experience) 109 Anuja Dhulekar Terracotta Culinary 141 Anuradha Reddy Activity kit analysis using Instructional Design 87 Arnob Sengupta Game-based Learning Project for ICICI Bank 178 Arun Ganesh Improving the Online Bus Ticket Booking Experience in India 71
Ashish Sanwal Dining Furniture for the Export Market 156 Ashok Kumar Universal Design for Public Toilet 143 Austin Davis Gameveda 180 Avantika Kumar Ornamental Accessories for Women 208 Ayswarya Sankaranarayanan OruPaattu, OruKadhai (A Story and A Song) 22 Ayush Srivastava ICT Interventions in Indian Agriculture: An Ethnographic Study 55
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Balaji Waghmare Festival Ad Campaign and Brand Guideline for TanishqJewellery 41 Brajendra Panda Police Health: A systemic intervention to improve health of police personnel 166
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Charanyha S Single Occupancy Room Furniture 157 Charuta Bhatt Rangoli 2011, CMF/P for Home Appliance 209
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Chinmay Hulyalkar Yahoo! Mime: A New Way to Communicate 56
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DarshanPatil Electrical Vehicle for Urban India 2020 189 DarshanaTatibandwale Sweet Dreams — Design for Comfort 200 Debasish Biswas Outdoor Kiosk for Coffee Day Express 110 Debasmita Karmakar Designing Eclipse-based mapping tool 72 Deepak Berthalome Kiosk System design for retail Mails 158 Amrapali Satpudke Redefining Mobility: Appropriate wheelchair for Physically Challenged Children 164 Deepak Gupta Defining BOROSILicate - Tube to FORM 144 Deepankar Ray Bicycle for Siblings 181 Deepti Jha Design for Education 57 Dhwani Soni CMP Strategies for Emerging India 121 Dinudey Baidya Scenography for Narrative Space in D.S. Group Museum 111 Divya Sangwaiya Radio Navigation System 73
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Elizabeth Joseph Eclectic Inspiration 215
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Fatema Jaliwala Narendra Kumar for Debenhams 201
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Garima Narayan The Marketing Hive 112 Gati Narvekar Improving Roman Script for Transliteration of Indian Languages 42 Gaurang Gupta Designing App Development Paradigm for Office 365 74 Girish Wagh RFID based Library Management System Devices 167 Gopal krishna Pai Design of a 4-door REVA NXR 190 Gunveen Kaur Signs and stops of the times: Design of Signage pylon and bus shelters for Essar, Vadinar 168
H
Heya Basu Print-related Solutions for Emerging Markets 58
I
Ishwari Vakhariya Big Track: Software Application for Execs on Handheld device 88
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Kabeer Kodaniyil Chic Appeal’ - Fashion Trade Range for Women’s wear: Autumn/Winter 2011-12 202 Kanchan Dhankani Modernising hair oils the Dove way 43 Kanika Bhardwaj Designing Courseware and Wireframes for Teach¬ing Systems Thinking Online 182 Karan Arora Redesign and Re-branding for Boost: Health Food Drink 44 Karthika G Matic Reloaded: Product Demo for Machine Variant 113 Kartik Gupta ‘Aurora’: Knowledge-sharing Portal for Enterprise Users 59 Kirti Anand Mobile Application for Indian Market 89 KS Dhinesh Kumar New Drinking Water Unit for Schools - Scope Study 122 Kumudini Rohekar Study of Indian Users’ Unique Mobile Usages and Design for Med-cost Phone 76 Kunaal Dudeja Strategic Design and Operations Management 123
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Linda Lee ‘Devyani, Invoking the Goddess Within’ Collection 2011 203
Janki Thakore ABHA’ - DECORATIVE AMBIENT LIGHTS 145 Jonathan D Mello Redesign of the NID Website 75
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Young Designers, an annual publication, offers glimpse into the outcome of the final diploma projects undertaken by graduating students of NID. These projects reflect upon sectors as diverse as: crafts, education, environmental concerns, entertainment industry, healthcare, heritage and culture, public amenities, social concerns, the stock market, and retail. This publication highlights how design students are able to apply their understanding of design and practical experience gained at NID to the real life situations of the professional world. The synopsis of the design projects presented here in this publication unfolds the professional values and the user-centered design service propagated by the National Institute of Design. Undergraduate & postgraduate students convocating this year are featured herein the two volumes.