Publication Design - Graphic Buzz by pranav kalgaonkar

www.graphicbuzz.com May 2012

SPECIAL ISSUE

GRAPHIC BUZZ Education Dynamic Persons

Studio Profile

Case Studys

Tutorials

Events

Foreword The other day I was reading a blog on the new rupee sign. So India finally has its own sign, its own brand ambassador thaat will be placed in league with the Yen, Euro & Dollar signs. A Currency sign is probley the easiest association with country.As the map of the world economy is changing. World over no brand or company can isolate themeselves from the BRIC countries any longer. The DNA of the brand must capture the diversity & intricacies of peopleliving in this region.As I have once mentioned before the design industry in India is developing & in poised to grow more than 3000% in the next three to five years. So how can Indian designers work towards strengthening their forte & create a stronger recogitions for the industry? Every person is unique & his work culture & style is diffrent.As Paul Hughes in this column on Design Ecology mentions that networking & establishing connections within the creative fraternity ensures the growth of the entire community without exceptions. And here at “Graphic Buzz”, in our own little way. So a big ‘ Welcome back’ for older readers & for our first time reader ‘wecome’ to Graphic Buzz.

Piyush Pandey. Piyushp@graphicbuzz.com

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Contents STUDIO PROFILE Mudra Communication

Oglivi & Mather

David Carson Page no 8

DYNAMIC PERSONS David Carson

Neil Kellerhouse

Oglivi & Mather Page no 6

CASE STUDY Adobe CS5

TUTORIALS Illustrator

EDUCATION MIT Institute Of Design

EVENTS Unbox

Graphic Buzz ... (ISSN o886-o483, May 2012 volume XXVI,No.3 ) is published by Planman Media ; 48,community Centre Naraina Vihar Industrial Area Phase - I New Delhi 110028 Phone + 91 22 4236 3600. subscription rates: one year $ 40; two years $80.Foregin subscription add $30 /year surface mail or $ 65/year airmail remit in U.S funds. Unsolicated manuscript,photographs & artwork should include a SASA ;otherwise they will not be returned.Copywright 2012 by graphic Buzz.

Mudra Communication page no 4

MIT Design Collage,Pune Page no 28

Studio Profile : Mudra

MUDRA 03 ADDRESS MUDRA COMMUNICATIONS PRIVATE LIMITED “Mudra House”, Opp. Grand Hyatt, Santacruz (E), Mumbai 400055 PHONE 022-33080808 FAX 022-33080300

06 07

08 01. Posters design For Big Bazar.

05. Campaign design for You Broadband.

02. Campaign design for Union Bank.

06. Advertisement for Sarva Shiksha Abhiyan.

03. Press advertisement for Peter England.

07. Hoarding esign for Volkswagon .

04. Poster design for Emirates.

08. Hoarding for Mcdowell Soda.

Studio Profile : Oglivi & Mather

02 03

OGLIVI & MATHER 04 ADDRESS OGLIVI & MATHER LTD INDIA # 11-14 Commerz International Business Park Oberoi Garden City, Off Western Express Highway, Goregaon (East) Mumbai - 400063 PHONE +91 (0)22 4436 0360 FAX +91 (0)22 4434 4370

06 07

08 09

01. Logo symbol design for Expdia. 02. Logo symbol design for Kenya Power. 03. Poster design for Tang. 04. Poster design for Allen Solly. 05. Poster design for Eno . 06. Hoarding design for Itchguard . 07. Logo symbol design for ICC T20 (2012). 08. Poster design for Dairy milk . 09. Hoarding design for Ford.

Dynamic Persons : David Carson

DAVID CARSON An American graphic designer specialised in innovative magazine design & use of experimental typography. Carson was born on September 8, 1954 in Corpus Christi, Texas. Since then he has lived in and traveled extensively throughout the U.S. and Europe and lectured frequently around the world. Carson’s first actual contact with graphic design was made in 1980 at the University of Arizona on a two week graphics course, taught by Jackson Boelts. He attended San Diego State University as well as Oregon College of Commercial Art. Later on in 1983, Carson was teaching high school Sociology in del mar California when he went to Switzerland, where he attended a three-week workshop in graphic design as part of his degree. This is where he met his first great influence, who also happened to be the teacher of this course, Hans-Rudolf Lutz. Carson has a Bachelor of Arts in Sociology.He became renowned for his inventive graphics in the 1990s. Having worked as a sociology teacher and professional surfer in the late 1970s, he art

directed various music, skateboarding, and surfing magazines through the 1980/90s, including twSkateboarding, twSnowboarding, Surfer, Beach Culture and the music magazine Ray Gun. As art director of Ray Gun (1992-5), Carson came to worldwide attention. In a feature story, NEWSWEEK magazine said he “changed the public face of graphic design”. His layouts featured distortions or mixes of ‘vernacular’ typefaces and fractured imagery, rendering them almost illegible. Indeed, his maxim of the ‘end of print’ questioned the role of type in the emergent age of digital design, following on from California New Wave and coinciding with experiments at the Cranbrook Academy of Art. In the later 1990s he added corporate clients to his list of clients. including Microsoft, Armani, Nike, Levis, British Airways, Quiksilver, Sony, Pepsi, Citibank, Yale University, Toyota etc.

When Graphic Design USA Magazine (NYC) listed the “most influential graphic designers of the era” David was listed as one of the all time 5 most influential designers, with Milton Glaser, Paul Rand, Saul Bass and Massimo Vignelli. From 1982 to 1987, Carson worked as a teacher in Torrey Pines High School in San Diego, California.In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. By the late 1980s he had developed his signature style, using “dirty” type and non-mainstream photographic techniques.Carson went on to become the art director of Transworld Skateboarding magazine. Among other things, he was also a professional surfer, and in 1989 Carson was qualified as the 9th best surfer in the world. Steve and Debbee Pezman, publishers of Surfer magazine (and later Surfers Journal) tapped Carson

10 to design Beach Culture, which evolved out of a to-the-trade annual supplement; the new, quarterly publication was called Beach Culture. Though only six quarterly issues were produced, the tabloid-size venue—edited by author Neil Fineman—allowed Carson to make his first significant impact on the world of graphic design and typography—with ideas that were called innovative even by those that were not fond of his work, in which legibility often relied on readers’ strict attention (for one feature on a blind surfer, Carson opened with a two-page spread covered in black). A stint at How magazine (a trade magazine aimed at designers) followed, and soon Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, a magazine of international standards which had music and lifestyle as its subject. Not afraid to break convention, in one issue he used Dingbat as the font for what he considered a rather dull interview with Bryan Ferry. (However, the whole text was published in a legible font at the back of the same issue of RayGun, complete with a repeat of the asterisk motif). Ray Gun made Carson very well known and attracted new admirers to his work. In this period, publications such as the New York Times (May 1994) and Newsweek (1996) featured Carson and increased his publicity greatly.In 1995, Carson founded his own studio, David Carson Design, in New York City, and started to attract major clients from all over the United States. During the

next three years (1995–1998). Carson was doing work for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software,Fox TV, Nissan, quiksilver, Intel, MercedesBenz, MGM Studios and Nine Inch Nails. He, along with Tina Meyers, designed the “crowfiti” typeface used in the film The Crow: City of Angels. He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers, after which his assistant Christa Smith art directed and designed the magazine until its demise. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors.In 2004, Carson became the Creative Director of Gibbes Museum of Art in Charleston, designed the special “Exploration” edition of Surfing Magazine, and directed a television commercial for UMPQUA Bank in Seattle, Washington. Carson claims that his work is “subjective, personal and very self indulgent”.

11 Carson’s work is familiar among the generation that grew up with Ray Gun Magazine, and in general, the visually savvy MTV generation. He took photography and type and manipulated and twisted them together and on some level confusing the message but in reality he was drawing the eyes of the viewer deeper within the composition itself. Steven Heller, of the New York Times book review and numerous books on design, said “He significantly influenced a generation to embrace typography as an expressive medium” while design educator and historian Ellen Lupton said after the release of Davids 4th book Trek. “David Carson continues to be one of the worlds most distinctive typographic voices--much imitated, but never matched” (ID Mag.nyc). AIGA (the American Institute of Graphic Arts) called Carson “our biggest star”. The magazine Eye (london) produced a graphic chart showing Carson to be the most ‘googled’ graphic designer ever. Carson continues to lecture extensively throughout the world, including in 2010/11”.in 2010 Carson worked as worldwide Creative Director for Bose Corporation. He also served as Design Director for the 2011 Quiksilver Pro Surfing contest in Biarritz, France, and designed the branding for the 2011 Quiksilver Pro in New York City. He also designed a set of three posters for the San Sebastián International Film Festival in Spain and the covers for Huck and Little White Lies magazines.

He was featured in 2011 in interviews in Vice magazine and Monster Children, as well as large features in Spain and Portugals largest newspapers. Carson designed the cover of the summer 2011 “Time based Art” issue and catalogue of Mercury mag in Portland, Oregon. Carson has been invited to judge the Europena Design Awards in London (DD+A) in both 2010 and 2011. Since 2010, he has lectured, held workshops and exhibitions in France, Portugal, Madrid, San Sabastion, Los Angeles, Novi Sad, Serbia, Ukraine, Sweden, London, Argentina, Brazil, India, Chile, Germany, Italy, Australia, and various states in the U.S. During the period of 1989–2004, David Carson has won over 170 Awards for his work in graphic design. Some of these awards include: 1) Best Overall Design, Society of Publication Designers in New York. 2) Cover of the Year, Society of Publication Designers in New York. 3) Award of Best Use of Photography in Graphic Design 4) Designer of the Year 1998, International Center of Photography. 5) Designer of the Year 1999, International Center of Photography 6) Master of Typography, Graphics magazine (NY)

7) The most famous graphic designer on the planet, April 2004 - London Creative Review magazine (London) David Carson & George Bates art direct the Quik Pro France David Carson, the designer famously quoted as the man who “changed the public face of graphic design” was commissioned to art direct and work on creative concepts for the 2011 Quiksilver Pro New York and later, the 2011 Quiksilver Pro France. To achieve a broad range of concepts and styles David collaborated with New York designers/artists/illustrators; George Bates, Michael Lotenero and Justin Kauffmann.Exhibited here (click the image above for slideshow) are the explorative concepts, illustrations, collages, idents and designs that made up the project. Of course, like with any creative project not everything was used, but it all contributed to the end product(s). The brief David Carson (DC): The brief was to come up with a look and feel for the Quiksilver NY Pro surf contest. A big deal, as something of this scale had never been attempted for an ASP pro surfing contest. It was left very open, other than to say they were currently using “stains and texture” in their ads. Collaboration DC: I knew I wanted to use art, and not only rely on photography. Having been a huge fan of George’s work for years, and the

12 stuff we did for BIG magazine, he was my first choice. I really didn’t have much to give him, so we worked on the actual words and some photos I had of a team rider; Dane Reynolds. George just kept sending me stuff and I kept tearing it apart, and using what he sent as new design elements. I ended up presenting over 100 ideas to Quiksilver, most of it involving George Bates’ art in one way or another. Two top Quiksilver folks told me it was the “best presentation of work they ever saw” presented at Quiksilver. Both George and I being surfers helped a lot. It was a great project, and the Quiksilver people were great to work with. New York to France DC: The head of the Quiksilver Pro in France saw the NYC work, and immediately contacted me to see if I was interested in working on his project. Helloooooo. I jumped. He told me the only requirement he wanted was that it beat the work I had done for NYC :). There is a nice little rivalry between the different Quiksilver headquarters around the world :) So George and I basically started up again, he sending me letters and words and me mucking with them and adding them to different photos or art. Justin Kauffmann and Michael Lotenero also contributed to the presentations. Justin’s work can be seen on the merchandise for the NYC event. The NYC approach was very gritty. The French wanted something more in the tradition of old paintings from the Biarritz area.

Working with George… DC: George was amazing to work with, so many solutions and variations. We both went a little crazy I think, but it was certainly a labor of love, and we were both stoked to be working with Quiksilver on such huge projects. Ultimately very little of the work we did for NYC was used, for reasons I’m still not totally clear on, but for France, George’s painting and type is all over that event! David Carson http:// www.davidcarsondesign. com/

Dynamic Persons : Neil Kellerhouse

NEIL KELLERHOUSE

Having lived closed by to lumaniries of the arts & child it’s no wonder that the carrer path of neil kellerhouse is filled with stars. From the Criterion Collection to Steven Soderbergh Kellerhouse has worked with renouned film directors & film publishers, producing outstanding movie poster and other communication for top -class productions. Graphics Buzz catchs up with Neil Kellerhouse.

Graphic Buzz : Could you provide a brief history on how you started designing for the movie industry? Neil Kellerhouse : I studied at the California Institute of the Arts (CalArts). Within 4 years years I was there , We saw the leadership of 3 diffrent personalities in the Visual communication department- April Grieman, Eric Martin ,& Lorrian Wild. Modernist Lou Danziger was my mentor. I originally got into the school as a fine artist & didnt’t transfer to design until the second semester in my first year. My earlist influ-

ence was Theodore Geisel,better known tto the world as Dr. Seuss. I grew up down the street from him.My brother & I would walk up to his house & get our books signed. The butler would answer the door & lead us back to his studio. I only remember the view of the ocean & his small drawing desk. I also had a friend whose Mother worked at the La Jolla Muesume of Conemporary Art, so after school we had hang out there. On the walls of this Muesume were graphic pieces by John Baldessari, Andy Warhol, Sol Lewitt.

GB: A poster is often one of the first impressions an audience will get of a movie. How do you make sure that your image makes a strong impression? What’s your process? NK : You start with trying to learn as much as you can about the property. Then try to figure out what it is that you have that nobody else has. Like, why am I going to your film? What do you have that I can’t get anywhere else? [You also have to] stay true to the story, especially these days. In advertising I don’t think you can be disingenuous at all.

With social media and the speed of communication you have to be really honest and up front about what you have with your property and be true to the story. So it’s all that and then trying to figure out an interesting and compelling way to communicate that. And that’s the hard part. A lot of times we’re coming into the process a little bit late and other people have been living with the story or the property for a lot longer than we have, so they’re much more intimate with it. So part of it is trying to glean that information out of those who are most knowledgeable about it. GB : Do you read the script, talk to the filmmakers? What do you require from the filmmakers or the studio to get started? NK : All of that. Sometimes it’s an existing story or it’s a book or it’s a fairy tale, or it’s something that’s already woven into the fabric of our society, so then it becomes about: how are you editorializing the story? What’s your take on the story? Why are you redoing it? What are you bringing to the party that nobody else brought before? An original story is different. Then you have

The Criterion Collection and they’re in a more curatorial role. And they’re editorializing with the luxury of hindsight and everything that’s happened since it was made. It’s like a museum curator, and if he was doing a piece on a collection of paintings by an artist, he’s going to have one viewpoint in one era and another in a different era, even though they’re the same paintings. It’s kind of interesting how you can tell a story with the same art and just reconfigure it and it [means] something completely different.

and an amazing visual sensibility. I usually generate a lot of work. I think for “The Girlfriend Experience” we did 40 or 50 pieces the first round. [Though] with that particular piece he did pick [one version] and ask for a couple changes and try a couple different things. And we ultimately abandoned it and went for one that was untouched.He just lets you do your own research and figure it all out on your own and lets you suffer through all that on your own.really have any rebuttal. There was nothing to argue about. GB : Would doing Bollywood movie posters be an exciting proposition for you? Would such a project make you work diffrently from the way you normally do?

GB : How did you come to work with Steven Soderbergh and what is his process like? NK : I had done some pieces with Criterion and then he had signed up to do the HDNet films [including “Bubble” and “The Girlfriend Experience”] with Mark Cuban’s company [2929 Films] and then he called them to get my information because he’d liked what I had done on stuff for Criterion.With him, he doesn’t really art direct much. He’s pretty sharp and he knows what he likes, he’s got great taste

NK : Yes! I would welcome the opportunity. I don’t think the subject matters. I absolutely Indiscriminate Like my mentor Lou Danziger once said “It dosen’t matter the subject, it’s all about solving the problems.

Neil Kellerhouse http:// www.killerhouse.com/

Case Study : Adobe CS5

Adobe CS5 rebrand

21 Adbobe launched the much awaited CS5 this april. We had a chat with lead designer for CS5 , Shawn Cheris about the rebranding & we have extracts the conversation. With the merger of Micromedia & Adobe, 2005 witnessed the birth of creative suit that united print, web & portable documents.But this necessitated the creation of a visual system that was systematic as well as extensible to accommodate future additionals to the adobe family. You’ve also seen in the previous article that an isometric grid similar to Otl Aicher’s work for the 1972 Munich Olympics became the foundation of the new visual CS5 system. Let’s dig a little deeper into that with Shawn. We didn’t start with the grid, but ended up there as a result of the themes we were exploring: geometry, dimension, and translucency. From that grid, we developed a kit of parts that would be used as the rough building blocks of our new splash screens. And those bits were combined to get the final shapes. After a lot of experimentation, we discovered that five pieces would give the shapes exactly the right amount of complexity. That this was also the fifth CS release was merely a happy coincidence. From there, we added color and spent a lot of time getting the gradients just so. Below are a couple examples of the final result. Our intent was to reference dimensionality without making the forms overtly three-dimensional. The pieces merely form a tan-

gram and never overlap each other, using just the light and shadow to suggest form and depth. We wanted the results to be mostly unresolvable abstract shapes that played subtle tricks with the eyes. One our broader goals for CS5 was to try to have the visual language tie together at every level—marketing, packaging, installation, desktop branding, and UI. For that reason, we first took inspiration from the more metallic feel of the CS5 UI In terms of dimensionality, the sculptures of Richard Serra came to mind as did some of the work of M.C. Escher, and each influenced us a bit in their own ways. Light and shadow played a big role in our concept. We were interested in the ways light falls across metallic surfaces and found particular inspiration in BMW’s Project Gina. The more we played with light and gradients, the more we started thinking of old lithographic advertising posters, and they certainly were something we looked at It’s easy to see now, looking back, how all of these influences came to bear on our work for CS5. Our system is built on color, but there are only so many easily differentiable colors, especially as we start to work on smaller scales. There are a number of our products, for instance, that carry a blueish identity, and we wanted to separate them out a bit more. To that end, the first big change to the icons was the introduction of a second color, which allowed

us to separate the applications a little more when there are more than a few sitting in a row in the OS. We thought of the splash screens as a series of folded planes, so the icons took on some of that language, along with the same metallic sheen and translucency. The shape has reminded some people of a book, which wasn’t our intention, per se. We tried dozens of options, but this arrangement just felt right. The splash screens reminded us of folded planes, so the icons took on some of that language, along with the same metallic sheen and translucency. The shape has reminded some people of a book, which wasn’t our intention, per se. We tried dozens of options, but this arrangement just felt right. While looking at the splash screens my creative mind wandered off to think of a possibility to reflect the beautiful splash screens in these icons. I even did some quick sketching but quickly came to realize that you need several different pieces to convey that Escher like effect. Hard to replicate that in such tiny space, while keeping in mind that it needs to work in small size too. The splash screens also use different planes and angles so you would need to apply that in the icons as well.

Shawn Cheris is leaddesigner for Adobe’s Desktop brand team. His team is responsible for strategy,design, & execution of the Adobe brands across the desktops .

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Tutorials : Illustrator

How to Create a cool water effect in illustrator

In this tutorial i will walk you through the process that i have used in one of the design projects i finished recently . You will learn how to use mesh tool to create water droplets , use the symbol sprayer tool using symbol of water droplets and dispersing them .

> dropped a lighter and a darker shade on thenodes of the circle.Once a circle is created now we need to create random shapes of water , Use Wrap tool and play around with shapes to gain a few random droplets . Randomlay arrange them. select all and drop it into your symbol window.

colour lighter to darker and radial. Create a Rectangle and fill it up with a gradient

Here is a preview of the final image we will be creating by the end of tutorial Drop the water drop symbols on your work area . Use symbol shprayer tool to play around with the symbols and randomly distribute the droplets. Use symbol Shifter tool to disperse the droplets. Here i Reduced the transparency of the entire group and reduced the size.

Step 1 : Creating Water background Lets start by creating water droplets . I created a circle used mesh tool to devided it with two clicks

25 Create a copy , rotate a bit to get a more dispersed effect.

Step 2 : Creating the Text My aim is to create a text with water feel to it . Here i typed the word Water in bold and strong and created outlines ( object > Create outline)Create a copy of it and apply gaussian Blur. Create five copies in all save one for later use , colour and gaussian blur as seen below four of them. To one of them i applied a stroke of the art brushes ( line Art 50 right) and gave a stroke of white colour. Here is the arrangement one clear copy goes over its guassian copy. Here is what i get by stacking up all over each other in the order you see them above

26 To the fifth copy that we saved apply feather as seen below. This MAY very depending on your document size. Place the feathered text over the top most layer. Effects> Stylize > Round Corners

Use Round Corners to give the top most layer a soft look.

Create a cutout shape from one of the text copies

27 dicard the rest place the cut out which we will use as a higlight on top of all the text layers. set opacity Create small shapes which we will use as a higlight to over all effect place it over your tex area above the cutout layer. Set opacity

Step 3 Concluding you can adjust the colour of the water by playing with the text layers and setting up transparencies elect the water droplets and > Arrange > Bring to front. > set opacity.

Preview 1

Final

Institutions : MIT , Pune.

Redesigning the Study Of Designing

MIT, Pune

Set on the outskirts of pune - just off thepune - solapur National Highway, is a design institute that belives design institute that believes design by its nature defination. The reason for this lies in the inbuilt contradiction about design. The contradiction emerges from the fact that the design as we know it today,is at once one of the oldest human activities. The MIT Institute of Design is a part of Maharashtra Academy Of Engineering Education & Research(MAEER). MAEER was established as a society & trust with the sole aim of creating educational facilities to train the aspiring young generation & to turn on dedicated ,ambitious & skilled professionals. The eductional programmes offred cover a wide spectrum of subjects in the fields of engineering & technology. The faculty is now planningto expand the no of disciplines taught at MIT, making available all subjects that fall under the umbrella of arts & design, under one roof. This will facilitate the mingling of students from diffrent backgrounds, to give them well rounded & wider education.I t is an endevour to create a space where creative instincts are honed, a space which they have christened Design Habitat. It is in its stimulating environment that mentors from various designs related disciplines will be invited to interact with the students.Students from MIT have participated in various socially responsible projects one of which was the National Knowledge Comission project initiated by the state of Rajasthan. The students worked on redisigning three basic implements used by the road workers : the pickaxe, shovel & metal basket(Tagada) which is used to carry earth & bricks on their head. They particularly had to keep in mind the ergonomic aspects in their design of implements used by women workers.MIT is making an attempt to revolutionise the way design is thought of & taught in India.

MIT Institute of Design http:// www.mitid.edu.in

They invite professionals from relevant industries to discuss the need of the time & modify their curriculum & courses accordingly. It is in its stimulating environment that mentors from various designs related disciplines will be invited to interact with the students.

Some Important shortcuts from Photoshop PHOTOSHOP :

Save Save as

1) Tool Box

Ctrl + S Ctrl + Shift + S

Ctrl + W

Exit

Ctri + Q

Undo

Ctrl + Z

Lasso Tool

Copy

Ctrl + C

Eraser

Copy Merged

Paint Bucket

Cut

Ctrl + X

Move Tool

Paste

Ctrl + V

Magic Wand

Free Transform

Ctrl + T

Paint Brush

Show Ruler

Ctrl + R

History Brush

Hide Ruler

Ctrl + ;

Blur

Show Grid

Ctrl + ”

Pen tool

SnapGrid

Ctrl+Shift+”

Type tool

Zoom In

Ctrl + +

Linear Gradient

Zoom Out

Ctrl + -

Marquee Tool

Shift+Ctrl+C

Eye Dropper

Hue / Saturation

Zoom Tool

Levels

Ctrl + L

Curves

Ctrl + M

Color Balance

Ctrl + B

2) Menu Bar

Invert Desaturate

New

Ctrl + N

Fill

Open

Ctrl + O

Auto Color

Ctrl + U

Ctrl + I Shift +Ctrl +U Shift+F5 Shift +Ctrl+B

Image Size

Alt +Ctrl+I

Canvas Size

Alt+Ctrl+C

3) Layers Shortccut : New

Layer

Ctrl+Shift+N

Duplicate Layer Cut

Ctrl+J

Layer

Ctrl+Shift+J

Bring Forward

Ctrl + ]

Send Backward

Ctrl + [

Group Layers

Ctrl+G

Ungroup

Ctrl+Shift +G

Merge Layers

Ctrl + E

Select All

Ctrl + A

Deselect All

Ctrl + D

Reselect

All

Ctrl

D Feather

Shift

Ctrl + Alt + D

Inverse

Ctrl + Shift + I

Another important thing to know is to switch between the background and foreground colors use “x” If you wish to restore the default colors then simply hit “d” If

you

are

looking

for

mo-

respace

the

screen

sim-

ply hit “Tab” to hide other tools.

Use “f” to switch the screen modes

Event : Unbox

UnBox The ﬁrst edition of UnBox (2011) was widely recognized as a pioneering event that helped bridge multiple disciplines. The second edition of the UnBox Festival between February 2-5, 2012 will delve deeper into the possibilities of collaborative practice, across a wide range of themes such as Habitats, Reform, Enterprise, Development, Innovation and Identity. The UnBox team is curating an assortment of people doing inspiring work in these domains (see blog for details). Fostering interdisciplinary dialogue, the festival is co-founded,

anchored and presented by four creative practices. Known as ‘The Box Collective’ these consist of – Quicksand: A research driven design & innovation consultancy based in Gurgaon and Bangalore. Codesign: A multi-disciplinary branding and communication design practice. B.L.O.T: An electronic and visual arts collective bringing their Basic Love of Things to India and the world through music, film, art & design. BlindBoys: A photo commune. It is a platform that encourages photographers to show their work in public using effective and affordable means.

Weâ&#x20AC;&#x2122;ve recently returned from the second staging of the Unbox festival, which took place over 4 days in Delhi, supported and hosted by British Council India. Featuring a wide range of talks, exhibitions, installations and performances, the festival organisers aimed to stimulate debate and encourage participation and interaction across a range of creative disciplines. Key themes for the festival were Development, Design, Business, Identity, Reform, Culture & Technology, The opening event at the British Council building on Kasturba Gandhi Marg featured the Indian premiere of SuperEverything, the latest multi-media sound performance by The Light Surgeons. A two day conference followed featuring speakers from across the globe; UK participants included Indy Johar from Hub Westminster and Gerry Hopkinson from London creative agency Unity. Throughout the festival Peckham based designers Hendzel and Hunt worked with a team of volunteers on an upcycling challenge, creating a table and set of 12 stools from locally sourced and salvaged materials, including a set of wooden police truncheons.

The festival also marked the culmination of a series of eight Unbox fellowships organised in collaboration with partner organisations working on a range of social issues across India. These fellowships were documented in an exhibition held as part of the main activities at the British Council building. In addition a series of workshops were run by the contributing speakers at the festival on a range of topics including humanist approaches to marketing, food and memory and planning social impact projects. Each night the nearby Goethe Institute building was transformed by local practice Anagram Architects into a temporary performance venue. A food labyrinth was created using recycled wooden pallets and involved a range of cuisines for festivalgoers to enjoy, followed the next night by a contemporary audio visual presentation of Antariksha Sanchar, a thematic dance performance using ancient Sanskrit and Tamil literature mixed with contemporary media. The final day saw the Unbox Festival move to the Hauz Klaus Village area in the South of the city, with a food trail, open studios and BlowUp, a pop-up photography exhibition on the streets.

Deadline : July 1, 2012

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