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Acknowledgement page Š2011 NATIONAL INSTITUTE OF DESIGN All rights reserved. No part of this publication may be reproduced or transmitted in any form by any means, 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 Dr Tridha Gajjar Content Coordinator Saurabh Kumar Editorial support EishaSarkar Project synopsis Meghana Jog, KaveriGopalkrishnan, Saurabh Kumar Coordination at three campuses Swasti Singh Ghai, MamtaRao, SaurabhSrivastava Graphic Design Assistance Deepak Mahavar Software Development Ankit D Mehta Photography Dr Deepak John Mathew, ValjiSolanki Image editing Dr Tridha Gajjar,Saurabh Kumar Scanning &Colour Correction Bharat D Suthar Student Liaison T K Rajan, Rosamma Mathew, Jaya Nair, Paresh Shah Student Data Entry SnehalLeuva Library Support C T Paul Thomas, Madhu N Chavda Production Supervision Shirish Shah, Dr Tridha Gajjar Print Production Advice Shirish Shah, Bharat D Suthar Student Index, Sponser Index, General Index Madhu N Chavda, Ankit D Mehta IT Support HimanshuMistry, ChirantanRaval, Upendra Patel Special Thanks to PradyumnaVyas, Vijai Singh Katiyar, DrVijayaDeshmukh, SidhharthSwaminarayan, LalitaChettiyar 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 )
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 Pradumnya 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.
DISCIPLINE LIST
Animation Film Design Exhibition Design Film and Video Design Graphic Design Photography Design Design for Digital Experience Information and Digital Design Information and Interface Design New Media Design Software User and Interface Design Design for Retail Experience Strategic Design Management Ceramic and Glass Design Furniture and Interior Design Product Design Toy and Game Design Transportation and Automobile Design Apparel Design and Merchandising Lifestyle Accessory Design Textile Design
CONTENTS
1 2
COMMUNICATION DESIGN Animation Film Design Exhibition Design Film and Video Design Graphic Design Photography Design
IT INTEGRATED DESIGN Design for Digital Experience Information and Digital Design Information and Interface Design New Media Design Software User and Interface Design
3
16 30 38 50 68
84 104 118 138 150
INTER DISCIPLINARY DESIGN STUDIES Design for Retail Experience Strategic Design Management
162 176
4 5
INDUSTRIAL DESIGN Ceramic and Glass Design Furniture and Interior Design Product Design Toy and Game Design Transportation and Automobile Design
186 196 207 212 218
TEXTILE APPAREL & LIFESTYLE ACCESSORY DESIGN Apparel Design and Merchandising Lifestyle Accesory Design Textile Design
230 245 256
STUDENT INDEX
271
SPONSER INDEX
276
GENERAL INDEX
280
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.
Namrata Bhatter bhatter.namrata@gmail.com Guide: Immanuel Suresh Sponsor: Dev Kabir Malik Design, New Delhi
Creating Identity Systems for the Nirula Family Keywords
GRAPHIC DESIGN
Branding Identity system Charity Fund-raising
33
In an era where brands are not only commonplace but also ingrained in our subconscious, one does not necessarily realise what goes into building a brand: why some are evergreen while most enjoy only few golden days of glory. My diploma project was to develop two brand identity systems, one major and the second, minor. My project brief was to develop an identity system for a New Delhi-based fundraising charity. The project required the full works for creating a new entity; giving it name, form, colour, voice and a tangible life. The second identity system was for the Nirula Family Art Trust. Although of a smaller scale, it required much dedication and time. Since both the systems were for the same client, it was extremely important and challenging for me to ensure that both the identities appear fresh and different from each other.I worked on both the identities simultaneously: the naming for one, conceptualizing the logo for the other. The process of building the identities began with paper explorations, then finalizing the visual language and finally creating the collaterals. Due to the client’s requirement, the smaller identity materialized before the main identity. Brands address hearts and minds. A brand is successful when a customer recognises it from amongst the billions he or she is exposed to and it brings a smile to his or her face. Brand identity is the visual and verbal expression of a brand. To understand the same through first-hand experience was the greatest learning for me from this project.
Young Designers 2012 GDPD | National Institute of Design
Meenakshi Borgohain
meenakshi.b8@gmail.com
Guide: Immanuel Suresh Sponsor: Lemon Design Pvt. Ltd., Pune
Branding & Marketing Strategy for ECO Electronics
As a graphic designer, I had to devlop the marketing objectives and translate them into something tangible for the selected audience.The target audience was divided into rural and urban segments. Research through case studies followed. By mapping the scenario (a result of intensive study, survey and analysis), I found the communication objectives which could be implemented as strategies. The end deliverables/marketing collaterals were designed in the form of guidelines for the marketing strategy, while keeping in mind the subtle differences between the urban and rural audiences.
Keywords Marketing Energy efficient lamps Strategy Urban-Rural difference
GRAPHIC DESIGN
The objective of this project was to develop a comprehensive branding and marketing strategy for ECCO Electronics, which then had to be translated into corporate communication material.
For the rural segment, an advertising campaign through newspaper ads was conceived while the end deliverables for the urban segment included an e-newsletter and mock-ups for a promotional interactive platform. Both content and designwere part of the deliverables. At the start of this project, I found that the field of marketing was very new to me. Gradually, I realized that this project was more about the systems than just the end deliverables. By internalizing the process I was able to strike a balance between the marketing objectives and communication objectives and transform intangible attributes into tangible forms of communication. I realized how a brand identity could transform from just being a mark to being the core of how one ‘feels’ about an organization.
Graphic Design | GD
34
Product Design Product Design is concerned primarily with the relationship between prosuctrs and systems and those who use them. The Product Design programme at NID inculcates a user-centred approach and processes. Responsibility and concern toward the social, physical and ecological environment is emphasized in the process of developing innovative ideas. The Product Design programme commences with the inputs in elements of three-dimensional form, ergonomics (human factors) and an introduction to forming of various kinds of materials. Along with this, students also acquire workshop, technical drawing and presentation abiliyies. Emphasis is placed on learning through participation and teamwork. Design projects start in the very first semester and continue through out the programme, forming the ore of a product designer’s education. These projects gradually increase in their level of complexity and cover a variety of situations that product designers are likely to encounter in their professional carrers. Projects are supported by therorietical inputs in structures and strength of materials, technical studies, processes as well as ergonomics. In addition to courses in design, technology and ergonomics, specific courses develop general awareness of areas relevant to product design. these are History of Design, Information Theory, Computer aided Design, Design Management and Marketing, Value engineering and systems thinking. An important component of the programme is the exposure to various levels of the manufacturing industry through field visits and projects.
Namrata Bhatter bhatter.namrata@gmail.com Guide: Immanuel Suresh Sponsor: Dev Kabir Malik Design, New Delhi
Creating Identity Systems for the Nirula Family Keywords
PRODUCT DESIGN
Branding Identity system Charity Fund-raising
33
In an era where brands are not only commonplace but also ingrained in our subconscious, one does not necessarily realise what goes into building a brand: why some are evergreen while most enjoy only few golden days of glory. My diploma project was to develop two brand identity systems, one major and the second, minor. My project brief was to develop an identity system for a New Delhi-based fundraising charity. The project required the full works for creating a new entity; giving it name, form, colour, voice and a tangible life. The second identity system was for the Nirula Family Art Trust. Although of a smaller scale, it required much dedication and time. Since both the systems were for the same client, it was extremely important and challenging for me to ensure that both the identities appear fresh and different from each other.I worked on both the identities simultaneously: the naming for one, conceptualizing the logo for the other. The process of building the identities began with paper explorations, then finalizing the visual language and finally creating the collaterals. Due to the client’s requirement, the smaller identity materialized before the main identity. Brands address hearts and minds. A brand is successful when a customer recognises it from amongst the billions he or she is exposed to and it brings a smile to his or her face. Brand identity is the visual and verbal expression of a brand. To understand the same through first-hand experience was the greatest learning for me from this project.
Young Designers 2012 GDPD | National Institute of Design
Student Index AbhayVyas NEXT GENERATION SMART ECO WASHER 52
AkashShekhar Designing user experience of a web shopping application 53
AnimeshShrivastava Electra-Electric Vetrctc for adults with 188
Abhilash Jose Three Boons of a Politician 18
AkhilaMathur Scope of Dynamic Behaviors in User Interfaces 54
AnindaBiswas Re-designing the Website and Brochure for ‘Control Plus’ 40
AbhimanyuGhimiray ANANT 19
AkshayKoranne New Identity for FASTRACK Concept Store Design 108
Anish Thomas Faddish Laundry Collection a Menswear Denim Range for ‘Flying Machine’ 198
AbhishekMaithul Constituting Growth Strategies for Hansiba, a SEWA Initiative 120
Alpa Jain Furniture @ Food Courts 154
Anjali Malik Costume Accessories 140
AditiDhamija Concept Store Design for F-Studio 106
Ambrish Gaur Linen Fiesta – Bedding Collection for Exports 214
AnkitVyas Indiglow 165
AdityaSomway Children’s Furniture in Wood 152
AmitAmbekar Space inside Space: Kiosk for mall atrium 155
Ankita Patel Kapas Organic Cotton Project: From Soil to Self 199
Ahona Gupta The Sore Thumb: a short Fiction Film 32
Amit Das Parityakto (Deserted) 20
Annapurna Banerjee ILLUMINATUS 86
AishwaryaDasare Concept Store Design for Arrow Woman 107
AmrapaliSatpudke Redefining Mobility: Appropriate wheelchair for Physically Challenged Children 164
AnujAgrawal Living Demonstrations (Brand activation and Experience) 109
Ajay Boga Speciality store for Studio ABD 153
Angeline Irudhayaraj GAMES.EBAY.COM 70
AnujaDhulekar Terracotta Culinary 141
Anuradha Reddy Activity kit analysis using Instructional Design 87
Avantika Kumar Ornamental Accessories for Women 208
DarshanaTatibandwale Sweet Dreams — Design for Comfort 200
ArnobSengupta Game-based Learning Project for ICICI Bank 178
AyswaryaSankaranarayanan OruPaattu, OruKadhai (A Story and A Song) 22
DebasishBiswas Outdoor Kiosk for Coffee Day Express 110
Arun Ganesh Improving the Online Bus Ticket Booking Experience in India 71
AyushSrivastava ICT Interventions in Indian Agriculture: An Ethnographic Study 55
DebasmitaKarmakar Designing Eclipse-based mapping tool 72
ArunPrakash MeeninaKathe (Tale of a Fish) 21
BalajiWaghmare Festival Ad Campaign and Brand Guideline for TanishqJewellery 41
Deepak Berthalome Kiosk System design for retail Mails 158
Arvind Kumar New Range of Tiles Surfaces for Kitchen and Bathroom 142
Brajendra Panda Police Health: A systemic intervention to improve health of police personnel 166
Deepak Gupta Defining BOROSILicate Tube to FORM 144
Ashish Kumar Language and Literacy Learning Kit 179
Charanyha S Single Occupancy Room Furniture 157
Deepankar Ray Bicycle for Siblings 181
AshishSanwal Dining Furniture for the Export Market 156
Charuta Bhatt Rangoli 2011, CMF/P for Home Appliance 209
DeeptiJha Design for Education 57
Ashok Kumar Universal Design for Public Toilet 143
ChinmayHulyalkar Yahoo! Mime: A New Way to Communicate 56
DhwaniSoni CMP Strategies for Emerging India 121
Austin Davis Gameveda 180
DarshanPatil Electrical Vehicle for Urban India 2020 189
DinudeyBaidya Scenography for Narrative Space in D.S. Group Museum 111
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.