Portfolio_Brinda Desai by Brinda Desai

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POS TERS ILLU MO STRA TION PHO TIONS PUB BRINDA DESAI GRAPHIC DESIGN

TOG LICARAP TIONHY

POS TERS

JULY 2011 saturday 09tmonday

01friday

venue: Arthouse

19 30hrs

JULY 2011 1700hrs

Banksy is a pseudonymous england based graffiti artist, political activist, film director and painter. His satirical street art and subversive epigrams combine irreverent dark humour.

19tuesday

1930hrs

02 saturday

the Vedantas Advaita is an eclectic music group from New Delhi India . We borrow our name from an ancient Indian philosophy, which translates to mean Non-Duality.

26tuesday

venue: Arthouse

2100hrs

venue: Arthouse

with the Mahavishnu John McLaughlin also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes jazz, Indian classical music, fusion, Western venue: Arthouse classical music 1930hrs and flamenco.

venue: Arthouse

1930hrs

Guru Gopinath, an Indian classical dancer, Kathakali master and mentor new creative modern dancing style called Kerala Natanam.He was instrumental in introducing Kathakali, the illustrious dance drama of Kerala.

venue: Arthouse

1930hrs

CHAUHAN15 13 05tuesday

Uttara Chauhan grew up in Canada. She has lived and worked in India as a planning consultant and freelance writer. Her second book “Blue Blood” gives a peep into the life of India's royalty.

ART

SHOW 14 thursday

1930hrs

22 friday 22friday

atlas shrugged Atlas Shrugged is a novel by Ayn Rand, published in 1957 in the United States. Rand's fourth and last novel, it was also her longest, and the one she considered to be her magnum opus in the realm of fiction writing. venue: Arthouse

venue: Arthouse

1130hrs

a master of fine arts and play of black and white on canvas, is K G Subramaniyam’s peculiar art style. he will be holding a workshop for 15 days. venue: Arthouse

1930hrs

groove As well as his own solo releases, deadmau5 has worked alongside numerous other DJs and producers, such as Kaskade, MC Flipside, Rob Swire of Pendulum, Skrillex He is known for often performing in a titular costume head, which resembles a mouse head. venue: Arthouse

2130hrs

1130hrs

TONE

15 08 friday

the kite runner

16saturday

23saturday

about apollo The oldest known Greek literary sources, the epic poems Iliad and Odyssey, focus on events surrounding the Trojan War. Two poems by Homer's near contemporary Hesiod, the venue: Arthouse

1930hrs

flow Coke Studio embodies a musical fusion of exciting elements and diverse influences, ranging from traditional eastern, modern western and regionally inspired music. venue: Arthouse venue: Arthouse

1930hrs 19 30hrs

COKE

02 saturday

26tuesday 19tuesday

1930hrs

the Vedantas

11monday

venue: Arthouse

1130hrs

1930hrs

venue: Arthouse

ATLAS SHRUGGED

21 20

thursday wednesday

flow

30saturday saturday

venue: Arthouse

2100hrs

the hobos Apprehensive about being “labelled” , “The Hobos” are a progressive/ experimental act. The Band, Inspired by Pink Floyd, Deep Purple, Dream Theater, The Doors, etc. are working on originals.

CHAUHAN15 13 the Roots

venue: Hard Rock Cafe, Delhi

1930hrs

venue: Arthouse

ART

SHOW 14

22friday

thursday

1130hrs

venue: Arthouse

1130hrs

tone

15 www.mochaarthouse.com

A Master of fine arts and play of black and white on canvas, is K G Subramaniyam’s peculiar art style. He will be holding a workshop for 15 days. venue: Arthouse

1930hrs

Mocha Arthouse, 14, Ground Floor, DLF Emporio, Vasant Kunj, New Delhi 110018, Tel 011 4262536, events@arthouse.com

Event Schedules for a cafe based in Delhi, MOCHA ARTHOUSE for JULY 2011. It included three performances per week and two major Art Shows fortnightly. Above, are explorations in black and white with a given grid format keeping in mind typography as a major subject. Size- A3 Above, is an intital exploration. Alongside, the final poster print.

22 friday

venue: Arthouse

HOBOS 08friday

2130hrs

The story is set against a backdrop of tumultuous events, from the fall of Afghanistan's monarchy through the Soviet invasion, the mass exodus of refugees to Pakistan and the United States, and the rise of the Taliban regime..

laathi nauch

1930hrs

wednesday friday

Uttara Chauhan grew up in Canada. She has lived and worked in India as a planning consultant and freelance writer. Her second book “Blue Blood” gives a peep into the life of India's royalty.

the kite runner

This is a folk dance of NE India and Bangladesh. This was originally based upon a system of martial arts that uses large sticks (laathi). However in some case it has evolved into a game (Lathi Khelna) or a dance (Laathi Nauch).

UTTARA 05tuesday

29friday

1930hrs

venue: Arthouse

The oldest known Greek literary sources, the epic poems Iliad and Odyssey, focus on events surrounding the Trojan War. Two poems by Homer's near contemporary Hesiod, the Theogony and the

1930hrs

venue: Arthouse

1930hrs

16saturday

23saturday

about apollo The oldest known Greek literary sources, the epic poems Iliad and Odyssey, focus on events surrounding the Trojan War. Two poems by Homer's near contemporary Hesiod, the venue: City Hall, Gurgaon

1930hrs

flow Coke Studio embodies a musical fusion of exciting elements and diverse influences, ranging from traditional eastern, modern western and regionally inspired music. venue: Arthouse venue: Arthouse

1930hrs 19 30hrs

COKE

life aquatic Genre: Electronica / House / Techno Aged 28, Paul has been dealing with the genre for the past 5 years.he has also performed live all over the world. venue: Hard Rock Cafe, Delhi

natanam

Advaita is an eclectic music group from New Delhi India . We borrow our name from an ancient Indian philosophy, which translates to mean Non-Duality.

laathi nauch

venue: Arthouse

wednesday friday

the Roots

29friday

UTTARA

1700hrs

venue: Arthouse

2100hrs

venue: Arthouse

thursday wednesday

rasa Darshana Jhaveri, the youngest of the Jhaveri sisters, is a leading Indian of Manipuri dancer.She is one of the founders of the Manipuri Nartanalaya and has centres at Mumbai, Arthouse Kolkata and venue: Imphal.

Shabana Azmia, an Indian actress of film, television and theatre. She became a leading actress in parallel cinema, an Indian New Wave movement known for its serious content and neo-realism. The next fifteen days would include all of her movie being screened.

1930hrs

21 20

venue: Arthouse

19 30hrs

life aquatic Genre: Electronica / House / Techno Aged 28, Paul has been dealing with the genre for the past 5 years.he has also performed live all over the world. venue: Hard Rock Cafe, Delhi

natanam

11monday

saturday 09tmonday

01friday

venue: Arthouse

1130hrs

ATLAS SHRUGGED flow

The oldest known Greek literary sources, the epic poems Iliad and Odyssey, focus on events surrounding the Trojan War. Two poems by Homer's near contemporary Hesiod, the Theogony and the

30saturday saturday

venue: Arthouse

2100hrs

1930hrs

HOBOS

Mocha Arthouse, 14, Ground Floor, DLF Emporio, Vasant Kunj, New Delhi 110018, Tel 011 4262536, events@arthouse.com

JULY 2011 A MASTER OF FINE

PSEUDONYMOUS ENGLAND BASED

ARTS AND PLAY OF BLACK AND WHITE

BINES IRREVERENT DARK HUMOUR IN A STENCIL TECHNIQUE. PRINTS ON DISPLAY FROM JULY 1 TO JULY 15.

rasa

Uttara Chauhan grew up in Canada. She has lived and worked in India as a planning consultant and freelance writer. Her second book “Blue Blood” gives a peep into the life of India's royalty.

venue: Arthouse

SUBRAMANIYAM’S PECULIAR ART STYLE. HE WILL BE HOLDING A WORKSHOP FOR 15 DAYS.

TUE

atlas shrugged

Guru Gopinath, Kathakali master and mentor for new creative modern dancing style called Kerala Natanam. He was instrumental in introducing Kathakali, the illustrious dance drama of Kerala.

Atlas Shrugged is a novel by Ayn Rand, published in 1957. Rand's fourth and last novel, it was also her longest, and the one she considered to be her magnum opus in the realm of fiction writing.

venue: Arthouse

SAT

natanam

1730hrs

MON

ON CANVAS, IS K G

Darshana Jhaveri, the youngest of the Jhaveri sisters, is a leading Indian of Manipuri dancer. She is one of the founders of the Manipuri Nartanalaya and has centres at Mumbai, Kolkata and Imphal.

1130hrs

A MASTER OF FINE

PSEUDONYMOUS

ARTS AND PLAY OF

HIS SATIRICAL STREET ART COM-

BANKSY IS A

blue blood

BANKSY IS A

GRAFFITI ARTIST.

TONE

HIS SATIRICAL STREET ART COM-

TONE

ENGLAND BASED

NOT FOR SALE

GRAFFITI ARTIST.

NOT FOR SALE

TUE

dealing with the genre for the past 5 years. He has also performed live all over the world.. He lives in Canada now.

a progressive/ experimental act. The Band, Inspired by Pink Floyd, The Doors, Deep Purple etc. are working on originals.

venue: Arthouse

1930hrs

FRI

TUE

30 sat

FRI

MON

SAT

THU

TUE

www.mochaarthouse.com

Mocha Arthouse, 14, Ground Floor, DLF ,Vasant Kunj, New Delhi 110018, Tel 011 4262536, events@arthouse.com

with the mahavishnu

flow

nauch

about apollo

the kite runner

Advaita is an eclectic music group from New Delhi India . They borrowed their name from an ancient Indian philosophy, which translates to mean Non-Duality.

As well as his own solo releases, deadmau5 has worked alongside numerous other DJs and producers. He is known for often performing in a titular costume head, which resembles a mouse head.

John McLaughlin, also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes jazz, Indian classical music, fusion, Western classical music and flamenco.

Coke Studio embodies a musical fusion of exciting elements and diverse influences, ranging from traditional eastern, modern western and regionally inspired music.

The oldest known Greek literary sources, the epic poems Iliad and Odyssey, focus on events surrounding the Trojan War. The night follows a theatreical performance for the same.

venue: Arthouse

1930hrs

2130hrs

1930hrs

2100hrs

venue: Arthouse 1730hrs

STYLE. HE WILL BE HOLDING A WORKSHOP FOR 15 DAYS.

Guru Gopinath, Kathakali master and mentor for new creative modern dancing style called Kerala Natanam. He was instrumental in introducing Kathakali, the illustrious dance drama of Kerala.

venue: Arthouse 1730hrs

1730hrs

tlife aquatic

the bo

Atlas Shrugged is a novel by Ayn Rand, published in 1957. Rand's fourth and last novel, it was also her longest, and the one she considered to be her magnum opus in the realm of fiction writing.

Genre: Electronica / House / Techno Aged 28, Paul has been dealing with the genre for the past 5 years. He has also performed live all over the world.. He lives in Canada now.

Apprehen “labelled” a progres act. The B Pink Floyd Purple etc on origina

venue: Arthouse

venue

1130hrs

1930hrs

SAT

TUE

MON

2100h

FRI

30 sat

TUE

FRI

the blue groove

venue: Arthouse

PECULIAR ART

atlas shrugged

the vedantas

venue: Arthouse

1130hrs

TUE

venue: Arthouse 1130hrs

Brinda Desai

venue: Arthouse

SUBRAMANIYAM’S

natanam

ART MUSIC READ MUSIC DANCE MUSIC ART MUSIC DANCE DANCE READ THEATRE MUSIC READ

SAT

Uttara Chauhan grew up in Canada. She has lived and worked in India as a planning consultant and freelance writer. Her second book “Blue Blood” gives a peep into the life of India's royalty.

Darshana Jhaveri, the youngest of the Jhaveri sisters, is a leading Indian of Manipuri dancer. She is one of the founders of the Manipuri Nartanalaya and has centres at Mumbai, Kolkata and Imphal.

MON

ON CANVAS, IS K G

2100hrs

ART MUSIC READ MUSIC DANCE MUSIC ART MUSIC DANCE DANCE READ THEATRE MUSIC READ MUSIC

MON

1130hrs

BINES IRREVERENT DARK HUMOUR IN A STENCIL TECHNIQUE. PRINTS ON tlife aquatic the bong bang DISPLAY FROM JULY 1 Genre: Electronica / House / Apprehensive about being Techno 15. , “The Hobos” are Aged 28, Paul TO has beenJULY“labelled”

blue blood

BLACK AND WHITE

rasa

SAT

08 FRI

Typeface: Calvert MT Std Gill sans Light/ Bold

MON

SAT

THU

TUE

The final version of the same in colour with a different format. Size- A2

29 FRI

On November 4, 2008 Proposition 8 passed in California, amending the state Constitution to ban same-sex marriage. The defeat provoked a groundswell of initiative within the GLBT community at a grassroots level, with many new political and protest organizations being formed in response.

Form Integration: Here, the letterforms lowercase “h” and numeral “8” have been integrated to converge into one form, which later has been used subjectively in a poster alongside.

DOOR

design alors que la , comme le sexe. either ways, BE SAFE !

l'art USE THE FRONT

OR THE

Posters on Graphic Design 2010 using lines and circles as basic forms.

Be safe.

BACK DOOR BUT,

Use contraception, have safe sex.

PUB LICA TION

A documentation of the entire process of various Printing methods bound in the form of a publication.

The gaze and psychoanalysis

the awareness that one can be viewed. The psychological effect, Lacan argues, is that the subject loses some sense of autonomy upon realizing that he or she is a visible object. This concept is bound with his theory of the mirror stage, in which a child encountering a mirror realizes that he or she has an external appearance. Lacan suggests that this gaze effect can similarly be produced by any conceivable object such as a chair or a television screen. This is not to say that the object behaves optically as a mirror; instead it means that the awareness of any object can induce an awareness of also being an object.

Michel Foucault also had a distinct conception of the medical gaze in his social theories, although the common usage of the term is of the Lacanian one.

Medical gaze

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NATIONAL FOLKLORE SUPPORT CENTRE

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National Folklore Support Centre

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(NFSC), No. 508, Fifth Floor 'Kaveri Complex", 96, Mahatma Gandhi Road, Nungambakkam, Chennai- 600034 Tamilnadu, India

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2010

Exit Through the Gift Shop The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening. In February, The Whitehouse public house in Liverpool, England, was sold for £114,000 at auction. The side of the building has an image of a giant rat by Banksy. In March 2010, the work “Forgive us our Trespassing” was displayed at the Londoner

Banksy is an anonymous English graffiti artist,

underground. The work had to be displayed without the halo over the boy’s head. After a few days the halo was repainted

political activist and painter. According to

and the poster was removed by Tube advertising bosses. The display was organised by Art Below, a London based public

author and graphic designer Tristan Manco,

art agency. In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private

Banksy “was born in 1974 and raised in Bristol,

contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute

England.The son of a photocopier technician, he

adorning the wall of an old council building behind the Forum Theatre. In 2008, vandals had poured paint over a

was trained as a butcher but became involved in

stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through

graffiti during the great Bristol aerosol boom

retrospective permits to protect other “famous or significant artworks” in the city. In April 2010, to coincide with

of the late 1980s.”

the premiere of Exit Through the Gift Shop in San Francisco, five of his pieces appeared in various parts of the city.

His satirical street art and subversive

Banksy reportedly paid a San Francisco Chinatown building owner $50 for the use of their wall for one of his stencils.

epigrams combine irreverent dark humour with

In early May 2010, seven new Banksy pieces appeared in Toronto, Ontario, Canada, though most have been subsequently

graffiti done in a distinctive stencilling

painted over or removed. In May 2010, to coincide with the premiere of Exit through the Gift Shop in Royal Oak, Banksy

technique. Such artistic works of political

visited the Detroit area and left his mark in several places in Detroit and Warren. Shortly after the Detroit piece

and social commentary have been featured

showing a little boy holding a can of red paint next to the words “I remember when all this was trees” was excavated by

on streets, walls, and bridges of cities

the 555 Nonprofit Gallery and Studios. They claim that they do not intend to sell the work but plan to preserve it and

throughout the world.

display it at their Detroit gallery. There was also an attempted removal of one of the Warren pieces known as “Diamond

Banksy’s work was born out of the Bristol

Girl”.

underground scene which involved collaborations between artists and musicians.

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a tiny Silver Lake venue owned

Turf War

Robert Davis, the chairman of the council

destroyed.

woz ere”. The image was almost completely

silver paint was poured behind the protective

sheet and later tagged with the words “Banksy

creator, and specifically stated that Banksy “has

no more right to paint graffiti than a child”.

it was graffiti. The council said it would remove

any graffiti, regardless of the reputation of its

exhibition in Westbourne Grove, London in 2005.

painted in April 2008 would be painted over as

The Westminster City Council stated in October

cafe. These oil paintings were shown at a twelve-day

2008 that the work “One Nation Under CCTV”,

dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the

Australia was vandalised. The image was

Edward Hopper’s Nighthawks, redrawn to show that the characters are looking at a British football hooligan,

protected by a sheet of clear perspex, however

trolley floating in its reflective waters; another is

One Nation under CCTV

include urban detritus such as litter and a shopping

image of a diver in a duffle coat in Melbourne

on to producing subverted paintings; one example is Monet’s Water Lily Pond, adapted to

2003

art”. The work was painted over in April 2009.

declared the conditions suitable, an animal rights activist chained herself to the railings in protest. He later moved

In December 2008, The Little Diver, a Banksy

warehouse, Banksy painted on animals. Although the RSPCA

that any kid with a spray can is producing

2008

and B+. In 2003, at an exhibition called Turf War, held in a

planning committee told The Times newspaper: “If we condone this then we might as well say

by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions,

In late January 2011, ‘Exit Through The Gift Shop’ was nominated for a 2010 Oscar for Best Documentary Feature. Banksy released a statement about the nomination, where he said, “”This is a big surprise... I don’t agree with the concept of award ceremonies, but I’m prepared to make an exception for the ones I’m nominated for. The last time

“

there was a naked man covered in gold paint in my house, it was me.” Leading up to the Oscars, Banksy blanketed Los Angeles with street art. Many people speculated if Banksy would show up at the Oscars in disguise and make a surprise

“Some people become cops because they

appearance if he won the Oscar. “Exit Through the Gift Shop’ did not win the award, which went to ‘Inside Job.’

want to make the world a better place. Some people become vandals because they want to make the world a better

Rude Copper

“

looking place.

In early March 2011, Banksy responded to the Oscars with an

Banksy was also credited with the opening couch gag for the 2010 The Simpsons episode

art piece in Weston, UK, of a little girl holding the Oscar

“MoneyBART”, depicting people working in deplorable conditions and using endangered or

and pouting. Many people think the piece is in reference to

mythical animals to make both the episodes cel-by-cel and the merchandise connected with

15-month old Lara, who dropped and damaged her father The

the program. His name appears several times throughout the episode’s opening sequence,

King’s Speech co-producer Simon Egan’s Oscar statue.

spray-painted on assorted walls and signs.

Armstrong, Carol and de Zegher, Catherine, Women Artists at the Millennium. MIT Press, October Books, 2006.

In feminist theory an asymmetric , the male gaze expre sses between viewe (unequal) power relatio nship, r man imposes and viewed, gazer and gazed, i.e. his unwanted upont woma (objectifying n. Second Wave ) gaze whether or feminists argue not might merel women welcome the gaze, that y be norms establ conforming to the hegem they ished to benefi onic — thus under t the interests scoring the power of the of men to reduce a perso male gaze (see also exhib n (man or woman) to an itionism). object The existence of when the male an analogous female gaze arises gaze is consid that “the male ered. Mulve y argues figure canno t bear the burde sexual object ification. Man n of is reluctant Describing to gaze…” Wide Sarga sso Sea (1966 Rhys, Nalin ), by Jean i Paul character gazes indicates that the Antoi nette at upon him, makin Rochester, placing a garlan d ester does not g him appear heroic: “Roch feel comfortable role enforced upon him; thus, with having this removing the he rejects it garland, and by crushing the flowers”.

es possess e, man , a spectiv , whereas male per From the ause he is a man n she assumes whe a gaze bec a gaze only she objectin has a man. woman gazer role, whe them like e the mal by gazing at ports Paul’s e ers sup oth as “a mer fies bsson ria Jaco “female gaze” nity”, yet Eva-Ma the masculi men tion of descrip tification with ectification of e cross-idenof women’s obj of a Female Gaz in e e evidenc rete existenc erts published disc — the y toy” adv lvey’s conten Mu the “bo gen — is in azines, despite perty of one the teen mag The Gaze is pro tionships, rela bers tion that ver, in power gaze to mem , reo her reasons der. Mo direct his or ual ge asex gazer can gender, for er’s body ima her gaz of his or ing the ed at man compar se of the gaz such as g to tho hin and clot an. or wom

Notes on The Gaze (1998) — see external links. Pollock, Griselda (Ed.), Psychoanalysis and the Image. Blackwell, 2006. de Zegher, Catherine, Inside the Visible. MIT Press, 1996. Paul, Nalini: The Female Gaze — see external links. Theory, Culture and Society, Volume 21, Number 1, 2004. Mulvey, Laura: Visual Pleasure and Narrative Cinema (1975, 1992). Schroeder, Jonathan E: SSRN.com Consuming Representation: A Visual Approach to Consumer Research. Lacan, Jacques: Seminar One: Freud’s Papers On Technique (1988). Felluga, Dino. “Modules on Lacan: On the Gaze.” Introductory Guide to Critical Theory — see external links. Lacan, Jacques:Seminar Eleven: The Four Fundamental Concepts of Psychoanalysis. NY & London, W.W. Norton and Co., 1978. Ettinger, Bracha, “The Matrixial Gaze” (1995), reprinted as Ch. 1 in: The Matrixial Borderspace. University of Minnesota Press, 2006. Florence, Penny and Pollock, Griselda, Looking back to the Future. G & B Arts, 2001. Jacobsson, Eva-Maria: A Female Gaze? (1999) — see external links.

8NotesonGaze Robert Doisneau, Un regard Oblique, 1948 — photograph illustrating gaze Aux Fenêtres de l’âme (Windows of the Soul), a Ron Padova film The Male Gaze, with photographs of several advertisements

9Related Articles

Aesthetics of music · Applied aesthetics · Architecture · Art · Arts criticism · Gastronomy · History of aesthetics (pre-20th-century) · History of painting · Humour · Japanese aesthetics · Literary merit · Mathematics and art · Mathematical beauty · Painting · Philosophy of film · Philosophy of music · Poetry · Sculpture · Theory of painting · Tragedy Concepts in aesthetics Aesthetic emotions · Art manifesto · Art object · Avant-garde · Beauty · Boring · Comedy · Camp · Creativity · Cute · Discordant · Disgusting · Ecstasy · Elegance · Eroticism · Entertainment · Fun · Gaze · Harmony · Interpretation · Judgement · Kitsch · Perception · Pretentious · Rasa · Style · Sublime · Taste · more... Theories of aesthetics Symbolism · Romanticism · Historicism · Classicism · Modernism · Postmodernism · Psychoanalytic theory · more... Philosophers of art Theodor W. Adorno · Alexander Gottlieb Baumgarten · Arthur Schopenhauer · David Hume · Friedrich Nietzsche · Georg Hegel · Hans Urs von Balthasar · Immanuel Kant · Paul Klee · Jean-François Lyotard · Joseph Margolis · Martin Heidegger · Nelson Goodman · Richard Wollheim · Thierry de Duve · George Santayana · Hubert Dreyfus · John Dewey · Friedrich Schiller · György Lukács · Jacques Maritain · Bernard Bosanquet · Clive Bell · I. A. Richards · José Ortega y Gasset · R. G. Collingwood · David Prall · Dewitt H. Parker · Edward Bullough · Irving Singer · Roger Fry · Stephen Pepper · Susanne Langer · Theodor Lipps · Thomas Munro · Curt John Ducasse · Arthur Danto ·

044-28212706

AB T

Jacques Lacan argued that the concept of the gaze is important in his “mirror stage” of infantile psychological development; children gaze at a mirror image of themselves (a twin sibling might function as the mirror-image), and use that image to co-ordinate their physical movements. He linked the concept of the gaze to the development of individual human agency. To that end, he transformed the gaze to a dialectic, between the Ideal–Ego and the Ego-Ideal. The ideal-ego is the imagined self-identification image — whom the person imagines him- or herself to be or aspires to be; whilst the ego-ideal is the imaginary gaze of another person gazing upon the ideal-ego, e.g. a rock star (an Ideal-ego) secretly hoping his/her school-era bully-tormentor (Ego-ideal) is now aware of his/her (the rock star) subsequent success and fame, since school times. Lacan further developed his concept of the gaze, saying that it does not belong to the subject but, rather, to the object of the gaze. In Seminar One, Lacan told the audience: “I can feel myself under the gaze of someone whose eyes I do not see, not even discern. All that is necessary is for something to signify to me that there may be others there. This window, if it gets a bit dark, and if I have reasons for thinking that there is someone behind it, is straight-away a gaze”. (Lacan, 1988, p. 215) Thus Lacan would argue that the Male Gaze exists within the mind of the person who feels it on them. The practical implications of this statement reach far, inasmuch as it can be interpreted to the effect that perception supersedes actuality, that schism is actuality, that actuality is false, and that the interlocutor is the only real.

Kress, Gunther & Theo van Leeuwen: Reading Images: The Grammar of Visual Design. (1996).

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are left alone, “We without excuse

Théodore Géricault’s Portrait of a Kleptomaniac. The gaze is characterised by who is the gazer (viewer) : The spectator’s gaze: That of the spectator viewing the text, i.e. the reader(s) of the text. The Intra-diegetic gaze: In a text, a character gazes upon an object or another character in the text. The Extra-diegetic gaze: A textual character consciously addresses (looks at) the viewer, e.g. in dramaturgy, an aside to the audience; in cinema, acknowledgement of the fourth wall, the viewer. The camera’s gaze: Is the film director’s gaze. The editorial gaze: Emphasises a textual aspect, e.g. a photograph, its cropping and caption direct the reader(s) to a specific person, place, or object in the text.

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NFSC, No. 508, Fifth Floor 'Kaveri Complex", 96, Mahatma Gandhi Road, Nungambakkam, Chennai- 600034 Tamilnadu, India

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The main idea of Jean-Paul Sartre is that we are, as humans, “condemned to be free.”[26] This theory relies upon his belief that there is no creator, and is formed using the example of the paper knife. Sartre says that if one considered a paper knife, one would assume that the creator would have had a plan for it: an essence. Sartre said that human beings have no essence before their existence because there is no Creator. Thus: “existence precedes essence”.[27] This forms the basis for his assertion that since one cannot explain their own actions and behaviour by referencing any specific human nature, they are necessarily fully responsible for those actions. .

Definitions of the gaze in cinematic theory

The Male Gaze and feminist theory

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JEAN PAUL SARTE

Laura Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political use’ of Freudian psychoanalytic theory (in a version influenced by Jacques Lacan) in a study of cinematic spectatorship. Such psychoanalyticallyinspired studies of ‘spectatorship’ focus on how ‘subject positions’ are constructed by media texts rather than investigating the viewing practices of individuals in specific social contexts. Mulvey notes that Freud had referred to (infantile) scopophilia the pleasure involved in looking at other people’s bodies as (particularly, erotic) objects. In the darkness of the cinema auditorium it is notable that one may look without being seen either by those on screen by other members of the audience. Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an ‘ideal ego’ seen on the screen. She declares that in patriarchal society ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27).

www.indianfolklore.org

addressed the concept of gaze beginning with Sartre. Foucault elaborated on gaze to illustrate a particular dynamic in power relations and disciplinary mechanisms in his Discipline and Punish

1941) is a British feminist film theorist. She was educated at St Hilda’s College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. Mulvey is best known for her essay, “Visual Pleasure and Narrative Cinema”, written in 1973 and published in 1975 in the influential British film theory journal Screen. In film, the male gaze occurs when the audience is put into the perspective of a heterosexual man. A scene may linger on the curves of a woman’s body, for instance. Mulvey argues that in mainstream cinema, the male gaze typically takes precedence over the female

NATIONAL FOLKLORE SUPPORT CENTRE NATIONAL FOLKLORE SUPPORT CENTRE

Laura Mulvey (born August 15,

LauraMulvey

NATIONAL FOLKLORE SUPPORT CENTRE

Numerous existentialists and phenomenologists have

This is reflected in the dominant forms of cinema. Conventional narrative films in the ‘classical’ Hollywood tradition not only typically focus on a male protagonist in the narrative but also assume a male spectator. ‘As the spectator identifies with the main male protagonist, he projects his look onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence’ (ibid., 28). Traditional films present men as active, controlling subjects and treat women as passive objects of desire for men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their own right. Such films objectify women in relation to ‘the controlling male gaze’ (ibid., 33), presenting ‘woman as image’ (or ‘spectacle’) and man as ‘bearer of the look’ (ibid., 27). Men do the looking; women are there to be looked at. The cinematic codes of popular films ‘are obsessively subordinated to the neurotic needs of the male ego’ (ibid., 33). It was Mulvey who coined the term ‘the male gaze’.

The term medical gaze was coined by French philosopher and critic, Michel Foucault in his book, The Birth of the Clinic (1963) (trans. 1973), to denote the dehumanizing medical separation of the patient’s body from the patient’s person (identity); (see mind-body dualism). He uses the term in a genealogy describing the creation of a field of knowledge of the body. The material and intellectual structures that made possible the analysis of the body were mixed with power interests: in entering the field of knowledge, the human body also entered the field of power, becoming a possible target for manipulation. The French and American revolutions that spawned modernity also created a “meta-narrative” of scientific discourse that held scientists, specifically medical doctors, as sages who would in time abolish sickness and so solve all of humanity’s problems. For the nineteenthcentury moderns, medical doctors replaced the discredited medieval clergy; physicians save bodies, not souls. This myth was part of the greater discourse of the humanist and Enlightenment schools of thought that believed the human body to be the sum of a person: biological reductionism that became a powerful tool of the new sages: Through thorough examination (gazing) of a body, a doctor deduces symptom, illness, and cause, therefore achieving unparalleled understanding of the patient — hence, the doctor’s medical gaze was believed to penetrate surface illusions, in near-mystical discovery of hidden truth.

of the concept 2History

Mulvey distinguishes between two modes of looking for the film spectator: voyeuristic and fetishistic, which she presents in Freudian terms as responses to male ‘castration anxiety’. Voyeuristic looking involves a controlling gaze and Mulvey argues that this has has associations with sadism: ‘pleasure lies in ascertaining guilt - asserting control and subjecting the guilty person through punishment or forgiveness’ (Mulvey 1992, 29). Fetishistic looking, in contrast, involves ‘the substitution of a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than dangerous. This builds up the physical beauty of the object, transforming it into something satisfying in itself. The erotic instinct is focused on the look alone’. Fetishistic looking, she suggests, leads to overvaluation of the female image and to the cult of the female movie star. Mulvey argues that the film spectator oscillates between these two forms of looking.

concepts 1Related

to 7Sources 6Responses themalegaze

Gaze is a psychoanalytical term brought into popular usage by Jacques Lacan to describe the anxious state that comes with

A compilation of the work done at the Exchange Programme in Esad, Reims, France. Poster size- A1

The poster printed on an A3 sheet. After exploring various folding methods, the following format was used with optimum number of folds and negligible creases.

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a tiny Silver Lake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+. In 2003, at an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest. He later moved on to producing subverted paintings; one example is Monet’s Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper’s Nighthawks, redrawn to show that the characters are looking at a British football hooligan,

2003

dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.

AB T OU

“

Turf War

“Some people become cops because they

Banksy is an anonymous English graffiti artist, political activist and painter. According to author and graphic designer Tristan Manco,

want to make the world a better place.

Banksy “was born in 1974 and raised in Bristol, England.The son of a photocopier technician, he

Some people become vandals because

was trained as a butcher but became involved in graffiti during the great Bristol aerosol boom

they want to make the world a better

of the late 1980s.” His satirical street art and subversive epigrams combine irreverent dark humour with graffiti done in a distinctive stencilling

Rude er

Copp

“

looking place.

technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy’s work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

A Compilation of Banksy’s work and life bound in the form of a publication. The book unravells the truth about his identity using various images of his work and several interviews and the movie “ Exit through the Gift Shop”. Here, are a few initial doodles and layouts.

Here, a few spreads from the book. The publication follows a choronology in terms of his work gradually revealing his identity all over the world. (Japanese Binding; Paper Folding only, Number of Pages- 102)

A few books using different illustration methods in terms of image and text and the medium used to treat the same. This particular book comprises of the daily chores of a day and is illustrated using photo colours and magazine text cut outs.

The book alongside comprises of the process of making â&#x20AC;&#x153;maska bunâ&#x20AC;?. It is illustrated using acrylic paint as a medium along with a spatula dab.

A semester Documentation consisting of courses and their respective details along with the process, my learning and the final product

Above, are a few glances from the book. (Binding- Centre stapled) ( Number of Pages- 32)

II.

Guide: Dhiman Sengupta Sources: The Network (1976), Mad as hell, http://www.youtube.com/ watch?v=90ELleCQvew, http://www.youtube.com/watch?v=q_qgVnOp7Q&feature=related, I met the Walrus, http://www.youtube.com/ watch?v=jmR0V6s3NKk&ob=av1e, John Vogel <jlvogel@comcast.net> Typeface: Calvert MT std, Duration: 40 seconds Adobe AfterEffects CS5, Adobe Premiere Pro CS5

MO TION Here, is a compilation of a motion typography project done, which is adapted from a speech in the movie “The Network”. It consists of the entire process of my project along with story boards and Stills from the video.

Above, is an open book double spread of the book covering the purpose of the project, the process, Animatics and Storyboard. (Perfect Binding, 52pages)

This particular project is an Editorial for Typography Day 2011. It compiles the entire event from the academic papers of various speakers to the competitions that followed during the event hosted at the National Institute of Design, 2011. The process included the segragation of various speakers in terms of specific categories according to their work and further developing a visual language for the entire book in regard to the event that occurred. This book would later be printed in 2 colour offset. Above, are initial thoughts and doodles along with the segregation of content for the same. The book is still in progress.

A Comparative Study of Meetei Mayek

introDuCtion

From the inscribed letterForms to the digital typeFaces

aBStraCt

This essay investigates the typographic evolution of Meetei Mayek—the indigenous script of Manipur (India). It examines this transition

Inscription

New Delhi, India

neelakash.k@gmail.com

Meetei Mayek,

multilingual script,

indigenous script,

evolution of letterforms.

mr. neelakaSh kShetrImayUm

peCuliaritieS of meetei mayek

a Comparative StuDy of meetei mayek

Meetei Mayek consists of the following letterforms illustrated in Figure.3 with their respective names: Eeyek Eepee: Original 18 letterforms Lom Eeyek: 9 letterforms that were added later Lonsum Eeyek: Semi consonant or half sound Cheitap Eeyek: Vowel signs Khudam Eeyek: Punctuation marks Cheising Eeyek: Numerals

Figure.2 Sample of Meetei Mayek nomenclature.

Sign-painting Letterpress Digital typeface.

It attempts to explain the factors that influence the change in typographic elements— structure, nature of strokes, hierarchy, colour & texture, and multi-script text setting. It studies the limitations and advantages of different techniques in the production of Meetei Mayek letterforms. The essay explains

the system of Meetei Mayek typography and its expression.

To develop an original and quality typeface, one needs to examine the historical developments in the structure of a script and understand its current usage. This will reveal the possibilities and restrictions while creating shapes of letterforms, and eventually enable us to take the practical decisions needed to design a typeface.

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

mr. neelakaSh kShetrImayUm

CoNCLuSioN

Figure.6 Sample of Meetei Mayek letterforms shows a gap between the letters of a word.

preSence oF mUltIple vertIcal StrokeS

a Comparative StuDy of meetei mayek

abSence oF conjUnct letterFormS Though some of the early writings (18th19th) show evidences of Meetei Mayek having conjuncts, the modern Meetei Mayek does not have any conjunct letterforms. Alternatively, the script employs a horizontal line below the two letterforms to produce their combined sound (Figure.5).

Figure.3 Sample of letterforms of Meetei Mayek with their names.

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

At present, majority of the people in Manipur still communicate using the Bengali script. It will take a few years before Meetei Mayek can completely replace the Bengali script. They will continue to co-exist at least for a little longer. Meetei Mayek has already become a part of the educational curriculum and the new generation is learning how to read and write it. Once it has become the key channel for communication in Manipur, the entire visual landscape of Manipur will change. Therefore it is a very crucial time to look into the issues revolving around Meetei Mayek, and its existence in the future.

One of the biggest challenges faced while reviving Meetei Mayek would be the transliteration of all those books written in the Bengali script. Over the years, some sounds from Bengali have become a part of Meeteilon. These sounds do not exist in the modern Meetei Mayek. Therefore, transliteration of the Bengali script to Meetei Mayek will not be completely accurate unless an alternative solution is developed. A few Meetei Mayek typefaces are available to use, but they lack the quality and style to create heirarchy and for complex text-setting. This curbs expression and effective communication of ideas. Analysing the change in letterforms informs us of the influence of tools, materials and technology. The letterforms found in inscriptions and manuscripts show an immediate influence of handwriting. They show spontaneity and have a natural flow of the stroke. They could be a good inspiration for developing text typefaces. Sign-painting letterforms are more constructed and geometric rather than possessing a natural stroke movement. As they function for display purposes, they show various personalities through their anatomy, style and proportion. This can serve as a useful source of inspiration for developing display typefaces. It is equally important to examine printed letterforms, as the technical restrictions and advantages in producing them influence the design of a typeface. With these sources of inspiration, one will understand the limitations and possibilities while designing a typeface for Meetei Mayek.

The presence of multiple vertical strokes (comparatively) in the letterforms and their repeated appearance in text-setting (Figure.7) form a unique texture and colour.

Figure.4 (Top) sample of Gurumukhi, Devanagari, Bengali and Meetei Mayek; (Below) sample of Meetei Mayek letterforms that have both a headline and a baseline.

A nomenclature for the parts of letterforms in Meetei Mayek is yet to be developed. The essay will follow the nomenclature in the Figure.2 for the purpose of discussion.

Manuscript

headlIne aS Well aS baSelIne Like most Brahmi scripts, Meetei Mayek is written from left to right. Similar to the northern Indic scripts such as Gurumukhi, Devanagari, Bengali etc. (Figure.4), Meetei Mayek possesses a prominent horizontal stroke at the top of the letterforms, known as a headline (Figure.4). In addition to this, the script also has a strong baseline defined by letterforms like Kok (K), Ngou (Ng) etc (Figure.4). The presence of both a headline and a baseline gives the script a horizontal, or rectangular form.

meetei mayek anD itS peCuliaritieS

As the new generation is learning the script and it is slowly replacing the Bengali script, new typefaces will also be required for various forms of communication—newspapers, magazines, books, and many other media. At present there are only a few typefaces of questionable quality. Very limited research has been done on Meetei Mayek from the typographic point of view. Besides, there is a need to develop a system or guideline for designing Meetei Mayek typefaces.

comparatively, and in five domains:

mr. NeelakaSh kShetrimayum

Until now, the Bengali script has been used for writing Meeteilon (Manipuri language) in Manipur (Figure.1) as a result of historical and political changes in the early 18th century. Before this, Manipuris wrote with their indigenous script—Meetei Mayek. In 2005-2006, Meetei Mayek was officially approved by the government of Manipur and included in the academic curriculum of the state. Currently, the script with 27 letters, with its supplements, is being taught upto Standard VI in schools, although there were debates on the number of letterforms.

refereNCeS Bahadur, M. (1986) Epigraphical Records of Manipur,Vol-1, Mutua Museum, Imphal, India. Bahadur, M. (2005) Illustrated Manuscript of Manipur, Mutua Museum, Imphal, India. Grierson, G.A. (1967) Linguistic Survey of India,Vol. III, Part-III (Tibeto-Burman Family), Motilal Banarsidass, India. Kshetrimayum,N. (2010) A comparative study of Meetei Mayek: from the inscribed letterform to the digital typeface (Dissertation, University of Reading, UK). Kshetrimayum,N. (2010) An analysis of the letterforms of Meetei Mayek in sign-writing and typefaces (Essay, University of Reading, UK).

Kshetrimayum,N. (2006) Meetei Mayek:The Ignored Face (Diploma, National Institute of Design, India). Mangang, Ng. K. (1996) History of Kanglei Eeyeks, Kanglei Publishing House, Imphal, India. Mangang, Ng. K. Kanglei Eeyekki Wari (History of Kanglei Eeyek), Meetei Mayek & Cultural Development Organisation, Imphal, India. Mangang, Ng. K. (2003) Revival Of A Closed Account (A brief history of kanglei script and the birth of phoon (Zero) in the world of Arithmetic and Astrology), SALAI Punshipham, Imphal, India.

Figure.5 (Top) Sample showing the conjunct letterforms of early writings; (Below) Sample showing the usage of ligatures instead of conjuncts in the modern Meetei Mayek typeface.

Ross, F. (1999) The Printed Bengali Character and its Evolution, Curson Press

Figure.7 Sample showing the presence of multiple vertical strokes.

Sharma, B. K. (1999) Typology & Technology of Meitei writing materials (Handmade paper, Ink & Pen), Manuscript Library Imphal, India Singh, Ch. M. (1978) A History of Manipuri Literature,The Manipur Sahitya Akademi, New Delhi, India Singh, R.K J. (1987) A History of Manipuri Literature, Public Book Store, Imphal, India.

mr. neelakaSh kShetrImayUm

a Comparative StuDy of meetei mayek

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

mr. neelakaSh kShetrImayUm

a Comparative StuDy of meetei mayek

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

As the book progresses, the speaker categories are differentiated using various typographical elements and abstract layouts. Above, is the academic paper by Neelaksah Kshetrimayum.

“

CODESIGN: AN INTERVIEW aBStraCt

Today there are a lot of exercises for designís students that explain how to create a new typography. After some easy or difficult steps they can design new typographies. Sometimes they are useable for any kind of body text and some others are a little difficult to be used in normal text and have to be

So, oVEr thE LaSt SIX or SEVEN yEarS oF Co-DESIgN haVE yoU NotICED ChaNgES IN thE DESIgN INDUStry? ESpECIaLLy IN thE Way thE CLIENtS LooK at DESIgN?

design for one purpose, because any kind of typography created finally can be used and its design demanded an enormous quantity of creativity. But what will happen if we decide to create a new kind of type according to our realities or related to our cultures it means with Identity. The exercise definitely turns more powerful and interesting. The students can develop a design process contributing to their society and culture. There are many exercises for design new kind of letters we just only need to adapt that exercises to our reality, because we do not must repeat some exercises done in other countries due to our different realities, we must adapt those process. Peru is a great country with a wonderful past full of millenaries pre Colombian cultures, the Incaís, Amazonian cultures and actually a lot of living cultures; and also we must considerate that Peru in these days is a wonderful melting pot it means a privilege multicultural country.

CodeSIgn

The exercise consists to choose one element to

Gurgaon, India

work, an ancient culture, a living culture or some

Typography,

etc. All this referents will give the student powerful

references related to our reality. In the next step they have to do a deeply research such collecting

dahiya@codesign.in

photos, reading books, studying beliefs, cosmogony, tools to design a new type. We know that our an-

Identity,

give the opportunity to design based on studies and researches of some Peruvian cultures. Finally we are creating typographies with Identity it means they could be recognizing as Peruvians typographies contributing to the construction, recognition and ex-

Expression

a Comparative StuDy of meetei mayek

cient cultures did not know writing so this exercise

Culture, mr. neelakaSh kShetrImayUm

pression of our Identity, so important if we want to be a part of a global world. We have to remember first at all: if we want be global we must to be local.

Figure.7 Typography application as a title

think we were lucky. The design department head from the client’s side was from NID and he was around in NID when I was there and he has been following the work that we have been doing at co-design. He was already, internally pushing the channel to invest into design both in terms of time and money. So we were approached by the channel because of this connection. But that does not mean we don’t give any credit to the channel because someone can keep approaching you, the fact that they got convinced was very positive. They nice to know that they did not want to pick up an existing font but wanted to have an exclusive font and an exclusive font in devnagri is quite a task. You have to remember that this is a channel whose 70% of the target audience has a CRT monitor where the pixels are coarse and the screens are 20 inches or lesser, so it’s a nightmare of sorts in terms of design- an interesting nightmare.

thiS projeCt woulD obviouSly muSt have been very Challenging, you were Catering to a Client who perhapS DoeS not look at type anything like a type DeSigner or a graphiC DeSigner woulD.

his was interesting, how they looked at was Hindi is ‘thick and thin’ the way it would be if you wrote with a kitta. When Satya and I went there the first time with the preliminary drawings of the type their comment was that it looked like it was drawn by a child. And mind you these were not rough drawings they were resolved drawings. I kept wondering why they felt this. Then I understood that for them refined Hindi is thick and thin. So I had to stop the presentation open Illustrator type a lowercase ‘a’ in Garamond and in Helvetica to show them how the Roman script was earlier and what it is now. And it’s not that we don’t have lineal typefaces in Hindi, we do but they just don’t like them. So we had to build the case from there and it was only our

fifth drawing that was approved. You have to realize that when I say drawings, I mean enough letterforms to form sentences, which is why a project that was to finish in six months took one and a half years.

beyonD ConvinCing the Client there muSt have been other ChallengeS for you like the kinD of Support or the laCk of it that the exiSting Software haS for Devnagri.

es, the software they use is way behind in that aspect. You draw the characters for the typeface imagining the type handling capabilities of some of the Adobe software but then you realize that there are kerning issues, the software won’t support opentype. Devnagri needs opentype desperately because of the complex combination of characters that it has. So something that supports just 256 characters is just not good enough. We are now sitting on a font whose capability won’t be used till the software gets updated. We designed about 800 characters of which only 256 will be used for now.

Figure.7 Typography application as a title

mr. neelakaSh kShetrImayUm

a Comparative StuDy of meetei mayek

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

raJeSh dahIya

the other projeCt that you talkeD about in your talk waS the ‘type DeSign’ you DiD for a newS Channel. you mentioneD that the Client approaCheD you anD not the other way rounD. how DiD the Client perCeive the neeD for thiS?

2005. december,2004 to be more specific. et up?

hile I don’t have any statistics, there are different indicators which help us get a sense of the changes that are taking place. For example there are far more queries that come from clients for design than we did earlier. So that’s a positive indicator. As a studio we have never advertised ourselves, so when we see more clients approaching us we believe it’s because they see a need for design now more than they did when we had started. Awareness about Co-design has been more or less the same over the years. In fact we always ask new clients how they found us. Typically, 50% of them come because an existing client has recommended us. What is more surprising is that now every month there are queries that come in through google searches that clients do. This is interesting because it’s an indication that clients now realize that- I need to get this designed and I need to approach someone qualified to do it. But it also shows that there is no accessible directory or anything of that sort that a client could look at to see who can help them. So they have to rely on results that google throws up. The sad thing about this is that if you are in Delhi you are probably googling ‘Design’ and ‘Delhi’ because people still believe that only someone around me can help me. Another indicator is existing clients keep coming back to you for their new needs. That means what design did for them in their last assignment worked, they found some value in it and hence they come back. Thats again a good indicator on the professional side. As a studio we have always had strong academic relations. However, being known amongst design students I think is usually difficult. But we have managed to have a good presence. So I would say both on the professional side and within the design community itself you see lot of positives regarding the perception of design.

used in titles, as an image for logo or just for decoration. This is good because we cannot limit our students in their creation process to just only

rajeSh Dahiya

LEt ME Start oFF By aSKINg yoU aBoUt CoDESIgN. WhEN WaS CoDESIgN SEt Up?

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

aN INtErVIEW: CoDESIgN

he rewarding moment is yet to come. The channel is waiting for their design team to do their new layouts which will also be introducing the new fonts. For us the rewarding moment will be when the nation gets to see the channel with the new font where we would be responsible for having brought in the that little bit of extra clarity in the readability. But this field is so nascent and fresh that it is anyway rewarding to get to do something that we wanted to do and we now have a client. So the rewards come in stages, we are getting to do something that would otherwise would have remained as drawings in our sketch books and gotten lost. Doing it in a a real world scenario, dealing with the friction and someday to see it on TV is a amazing learning experience. It’s also a very humbling experience because something that you in your world see as being very important may not be so important for someone else. So you have to be happy in your world without depending on how much your work means to everyone else. I mean I don’t understand management ‘fundas’ nor do I wonder what a furniture designer might be thinking when I go and tell him what I want. When someone comes and tell me they want a retro font I ask them ‘why?’ but then I go and ask the furniture designer and say I want a retro piece. When you see this you understand what’s going on- when people pay you and are going to own and use what you have made it’s very difficult for an outside consultant to keep telling them what’s good for them. It’s only doctors who can do that because it directly affects your body and mind.

But even with theSe DiffiCultieS i am Sure there muSt have Been rewarDing momentS while working on a projeCt like thiS one.

DoeS it every Bother you that a DeSigner might never get the Sort of reSpeCt a DoCtor might?

ell, honestly I don’t respect designers more than doctors. They are dealing with far more critical things and we have to admit that design is not priority number 1 for this world. Design is without doubt important but do we have to keep pushing it to a level of importance where only being number 1 is acceptable? That’s unfair. Design might be...2051st on the list of important things in this world but that still means it’s important. But design itself is too broad- maybe

mr. neelakaSh kShetrImayUm

a Comparative StuDy of meetei mayek

A few spreads from the book that cover an interview of Rajesh Dahiya and his Studio based in Delhi called, CODESIGN.

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

designing a font is not as important as designing an heart surgery table. So in design what you are doing and the reasons you are doing it for are important. I might be designing the interiors of a cafe that will make the space aesthetically more pleasing. Charles Eames had once remarked- ‘Who says pleasure is not functional?’, I agree with that. Making things more beautiful, aesthetically more pleasing are worthy causes.

“

Interviewed by Vinu Chaitanya & Pragya Mishra

natIonal InStItUte oF deSIgn typography Day 2011 InternatIonal SemInar and WorkShopS on typography and expreSSIon

BRAND ING v

skull candy THE SALON

SKULLCANDY (original)

Skullcandy is a Park City, Utah-based company that markets headphones, earphones, hands free devices, audio backpacks, MP3 players and other products. The company was founded in 2003. Skullcandyâ&#x20AC;&#x2122;s products are targeted at the outdoor action sports demographic (snowboarders, skateboarders, etc.) and general consumer market.

skullcandy THE SALON

New skullcandy compositions

SKULLCANDY REBRANDING : This project dealt with the rebranding of an exisiting brandname, while changing the concept of the brand altogether. Skullcandy originally dealt in Headphones and speakers and sound accessories. The new concept turned it to a funky Hair Salon, essentially catering to a large group of young girls aged betwen 15-25 years of age. The designs followed in the basic stationary and promotional material.

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The following designs have been adapted from the logo form for use in bags, brochures, keychains, badges, stickers etc.

Skullcandy compositions and designs for print.

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skull candy

skull candy THE SALON

THE SALON

v v

skull candy THE SALON

v 3387 22nd St, San Francisco, CA

90046 (323) 655-3030

3387 22nd St, San Francisco, CA 94110

90046 (323) 655-3030

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Basic stationary and other promotional material for Skullcandy- The Salon

90046 (323) 655-3030 3387 22nd St, San Francisco, CA 94110 L os Ang eles Miami New Yo rk Ohio

Staionary using the new identity.

NATIONAL FOLKLORE SUPPORT CENTRE

NATIONAL FOLKLORE SUPPORT CENTRE The existing National Folklore Support Centre identity.

Recreating the Identity for NFSC: Concepts for the new identity

NATIONAL FOLKLORE SUPPORT CENTRE

www.indianfolklore.org 044-28212706

www.indianfolklore.org

044-42138410

NATIONAL FOLKLORE SUPPORT CENTRE

044-28212706

044-42138410

044-28229192

044-42138410

www.indianfolklore.org

044-28212706

www.indianfolklore.org

(NFSC), No. 508, Fifth Floor 'Kaveri Complex", 96, Mahatma Gandhi Road, Nungambakkam, Chennai- 600034 Tamilnadu, India

www.indianfolklore.org

044-28229192

NATIONAL FOLKLORE SUPPORT CENTRE

044-28229192

044-42138410

044-28229192

NATIONAL FOLKLORE SUPPORT CENTRE

044-42138410 044-28212706

044-42138410 044-28229192

044-42138410

044-28212706

044-28229192

044-28212706

NFSC, No. 508, Fifth Floor 'Kaveri Complex", 96, Mahatma Gandhi Road, Nungambakkam, Chennai- 600034 Tamilnadu, India

044-28229192

Basic Stationary for NFSC

www.indianfolklore.org

044-28212706

044-42138410

044-42138410 044-28229192

www.indianfolklore.org

044-28212706

www.indianfolklore.org

044-42138410 044-28229192

NATIONAL FOLKLORE SUPPORT CENTRE

www.indianfolklore.org

NATIONAL FOLKLORE SUPPORT CENTRE

NFSC, No. 508, Fifth Floor 'Kaveri Complex", 96, Mahatma Gandhi Road, Nungambakkam, Chennai- 600034 Tamilnadu, India 044-42138410 044-28229192 044-28212706

PHO TOG RAP HY

Through the Pin hole camera (CAMERA OBSCURA). The camera was self made using a small carton, sturdy cigarette boxes and a small 1cm X 1cm Tin plate with a hole pierced in the centre.

Self developed Photographs in the dark room with different grades of photo sheet. We basically used three grades of paper - Grade1, Grade 2 and Grade 3. Accompanying the main image are different exposure detail shots explored to acquire the final exposure for the photograph to be developed.

MO TION

A short 40 seconds Motion Typography for the speech called “Mad as Hell” from the movie “The Network(1976). Displayed above are stills from the motion typography sequence.The video is available on http://www.youtube.com/watch?v=QpLSHRlcjlc&feature=youtu.be

edited by

Abha and Pallav

film by

Abha Pallav

music

Pallav Nikunj Abha

TITLE SEQUENCE: For a short documentary on the â&#x20AC;&#x153; process of music and making of a songâ&#x20AC;?. The docuemntary encounters the various steps in the making of a self composed song by the students at National Institute of Design. However, I shot scenes again according to the storyboard and came up with a title sequence for the same. The video is available on http://www.youtube.com/watch?v=O5FrrY7PeG0&feature=youtu.be

TOOL TYPE: Typefaces with definite proportions have already been made enough. This exercise gave rise to new hand made tools out of a specific material (Wood , here) and using those, creating a typeface understanding basic proportions and use of colour. These stamp tools of various lengths generated a few characters in devanagari script also.

MIR ALAM Music Tradition

They entertained people with their pungent witticism, mimicry, humorous and satirical dialogues and pantomimes. Mirasis are known by various names - Naquals, Bhand, Mir Alam, Mardaneke, Dum etc. My aim through this film is to create a public awareness about this community and try and revive our traditions.

Is this more than enough ?

MIR ALAM

In times of yore, they were encouraged and patronized by feudal lords and sometimes they found employment in big and small courts. The significant role of Mirasis (entertainers) in the cultural like of Punjab cannot be ignored.

Revival

MIR

ALAM

A film by Seeratt Dhillon

MIR

A film by Seeratt Dhillon

ALAM

Cover design Brinda Desai Illustration Tripat Kang c Seeratt Dhillon 2011

MIR

Direction Seeratt Dhillon Cinematography Roby Raj

A DVD case for a student film on entertainers in Punjab called “Mirasis”. The film was called “ MIR ALAM”. Sound Deval Mehta

ILLU STRA TION

BRINDA DESAI GRAPHIC DESIGN

NATIONAL INSTITUTE OF DESIGN

GRADUATE DIPLOMA PROGRAMME IN DESIGN (GDPD)