PORTFOLIO PRIYA JYOTI / PRODUCT DESIGN / 2010 - 2016
EDUCATION C.B.S.E. - 2008 Primary Education
2003 - 2008
St. Mark’s Girls Public School
PER CENTILE - 87.8
C.B.S.E. - 2010 2008 - 2010
Senior Secondary Educa
St. Mark’s Sr. Sec. Public Scho
PER CENTILE - 85.8
B.Des. - 2014
Bachelor of Design | Fas
2010 - 2014
National Institute Of Fashion
C.G.P.A. - 9.615
EXPERIENCE PRIYA JYOTI D.O.B.
21st SEPTEMBER 1992
B-E (S) 17/18, HARI NAGAR, NEW DELHI | INDIA pj_priya15@yahoo.co.in | +91 9899775096 NATIONALITY
INDIAN
29th MAY - 23rd JULY 2013 OCT 2013
1st JAN - 29th APR 2014 01 // CV //
INDUSTRY INTERNSHIP Inmark Exports Pvt. Ltd. Development of collaps shades for the same
ASEAN – JAPAN Student JENESYS- 2.0 Two way interaction pro Japanse Fashion & Cultu country.
GRADUATION PROJECT Inmark Exports Pvt. Ltd. Development of collaps with the corrugated mat pendant lampshades
, Meera Bagh, New Delhi
22nd SEP 2014 - 9th NOV 2015
ation
ool , Meera Bagh, New Delhi
JOB LOCO Design Pvt. Ltd. Worked with the design team in developing new branded products | Core member in developing the graphics, catalogues, external promotion and advertising collaterals | Worked upon the in-house brand - Pintark, in developing a system of surface design solution.
SKILLS
shion & Lifestyle Accessories Technology, Kangra
sible lamp bases and
SOFT SKILLS RESEARCH | CONCEPT GENERATION | FORM GENERATION & MANIPULATION HAND SKILLS SKETCHING | MATERIAL MANIPULATION - PAPER, WOOD (LATHE), METAL (LATHE, MOLDING, CASTING), CLAY/ CERAMICS / PLASTIC (MATERIAL KNOWLEDGE) | PHOTOGRAPHY (STUDIO & RESEARCH) SOFTWARES
t Conference
ogramme, learning about ure, representing the native
sible lamp shades & working terial to develop range of
02 // CV //
03 // project | FROM SHEET TO FORM //
01 FROM SHEET TO FORM The project was undertaken during my Graduation Project at Inmark Exports Pvt. Ltd. The time period for this project was, 1st JANUARY 2014 - 29th APRIL 2014, two projects were undertaken during this period of time. The project celebrates the beauty to be found between geometry, transformation and play. Its a collection of collapsible pleated lampshades in the form of flowers. Pleating being very geometric has been transformed into an organic form, playing with the depths and the dynamism of pleating. 04 // project | FROM SHEET TO FORM //
01
*01
TASK DESCRIPTION The task was to make a collection of pendant lamps using paper pleating. The first notion was to play and manipulate pleating in terms of form that eventually defined the strength & function of the pendant collection. I started with basics, dividing the paper into exactly halves, then quarters, eighths, using a simple and precise sequence of folds. These are some of the basic thoughts that were later transformed into structures while some are yet to be explored. The size of the product indicates the width of each pleat, minimum width is according to the ease of pleating by artisan.
05 // project | FROM SHEET TO FORM //
*02
02
EXPLORATIONS & PROTOTYPE Once grasping a hand over pleating, I approached the idea by mixing pleating with cuts and overlapping two surfaces. These are some explorations. While introducing cuts to the pleats minimum distance between the cuts should be more than 10 mm for easy removal of flash, otherwise the structure becomes weak. *02 This was made by keeping in mind the transition as it turns. The petals were very interesting.
06 // project | FROM SHEET TO FORM //
03
PROTOTYPES These explorations were based on the effect of cuts and light, the base being translucent butter paper. These were other explorations, inspiration being lines and dots, the main motive was to give a 3-D look through print and cut work.
07 // project | FROM SHEET TO FORM //
The dotted lines represent the creasing area and the solid lines represent the cutting area. This was made keeping in mind the transition as it turns, 2 - faces.
This is a variation of already existing small ornament, the petals were very interesting and so is the centre, the pattern has been given here, the readers can explore more.
08 // project | FROM SHEET TO FORM //
09// project | FROM SHEET TO FORM //
10 // project | FROM SHEET TO FORM //
11 // project | FROM SHEET TO FORM //
12 // project | FROM SHEET TO FORM //
13 // project | FROM SHEET TO FORM //
14 // project | FROM SHEET TO FORM //
15 // project | FROM SHEET TO FORM //
16 // project | FROM SHEET TO FORM //
17 // project | FROM SHEET TO FORM //
18 // project | FROM SHEET TO FORM //
Grasp the edge of the inside star and pop it open.
19 // project | FROM SHEET TO FORM //
Push up softly to open the branch and repeat with each branch until the flower star is fully opened.
04
COLLAPSIBLE PENDANT LAMPS Insert the bulb into the shade and close branches around the cord. Bow tie string around cord keeping the branches close around electric cord.
This is a range of collapsible pendant lamps, it be used for decorating homes, windows, events, large gatherings and festive occasions. These can be used with or without lights. These shades can be in solid colors, printed or in off-white shade.
20 // project | FROM SHEET TO FORM //
21 // project | HEXA-EDGE //
// HEXA -EDGE //
02 HEXA-EDGE The project was done for a client’s office in Ahemabdabad, while I was working with LOCO Design’s brand PINTARK. The time period for this project was four months, from conceptualisation to manufacturing and installaton. Pintark specialises in surface treatment and creates standard and surface solutions that add sculptural softness to interior architecture. This was a SURFACE installation artwork done for the office area, being formal as well as advanced.
22 // project | HEXA-EDGE //
CITYLIGHTS
01
CONCEPT BRIEF & INTERPRETATION Our brief was to device a way to present a wall of size - 20 feet by 8 feet, by using its standard surfaces / new surfaces. The application was in an headquarters of a brand based in Ahemadabad. Using advanced materials and employing Pintark’s specialized techniques in sculptural surface treatments, we chose a ‘wall’ to demonstrate CITYLIGHTS. The walls were a means to create a spatially interactive experience connecting viewers to the citylights, getting lost in the depths.
23 // project | HEXA-EDGE //
*01
*02
*03
02
EXECUTION *01 Pixels being dynamic in nature, basic hexagon shape was chosen. *02 An artwork was made representing CITYLIGHTS. *03 Alongside, material was manipulated in terms of colors, depth and artwork.
24 // project | HEXA-EDGE //
*04
*05
03
MANUFACTURING *04 Hexagons are cut through router machine, *05 Materail is then cladded on them, *06 Base is edged and *07 They are finally assembled.
25 // project | HEXA-EDGE //
*05
*07
*06
*07
26 // project | HEXA-EDGE //
7645 Hexa Blocks | 3 Hexa Depths | 20 Varied Materials | 1 Skyline
27 // project | HEXA-EDGE //
CITYLIGHTS by Pintark
28 // project | HEXA-EDGE //
29 // project | BRANDING //
03 BRANDING | THE BIMINI ROAD The Bimini Road is a Spa & Saloon in Gurgaon, India. The client wanted a branding design to be simple yet ‘shabby chic’. The project was done while I was working with LOCO Design. The time duration for this was two weeks.
30 // project | BRANDING //
01 // LOGO
01
BRANDING KIT | THE BIMINI ROAD Our brief was to design a branding that was simple yet ‘shabby chic’. Why ‘The Bimini Road’, Bimini is oftenenly related to the lost city of Atlantis and hot springs are commomly found there. The brand is distinguished from the sub brands, by its spa services, hence The Bimini Road.
31 // project | BRANDING //
02 // SERVICE BOOKLET
02 // SERVICE BOOKLET
32 // project | BRANDING //
03 // VISITING CARD
33 // project | BRANDING //
04 // ENVELOPE
05 // LETTERHEAD
34 // project | BRANDING //
06 // POSTERS
35 // project | BRANDING //
07 // PAMPHLET
36 // project | BRANDING //
37 // project | CORRUGATED LAMPS //
04 RESPONSIBLE DESIGN The project was undertaken during the Graduation Project at Inmark Exports Pvt. Ltd. The time period for this project was, four months, two projects were undertaken during this period of time. IThe concept brief was client oriented. It is not the side of cardboard we are used to seeing – that thin layer of reinforcement visible along its edges, which has a different pattern from virtually any angle. That unique and shifting quality is most apparent when you cut curves into the material, and particularly if you then cast light through the resulting sides. That is the aesthetic idea behind these corrugated lamps. 38 // project | CORRUGATED LAMPS //
01
CONCEPT BRIEF & INTERPRETATION The brief was to develop a range of pendant lampshades. Why Corrugation? Brown color, fits in every environment, recycled medium, it throws appropriate light. •Initially I started with stacking because a single element is very weak, however stacking it together it becomes strong and durable. A number of shapes can be made out it. Pasting is no issue, but then their arrangement, assembling in the same order can be, hence simpler the shape more easier it will be for production.
39 // project | CORRUGATED LAMPS //
Many shapes can be achieved, however no. of dyes as one can see from the layers is a lot. A lot of time is invested in changing the dies, overpowering the production. • Thickness of each board isn’t the same - so the design might vary a little. • Same symmetric shapes can be done here, pasting and alignment will be easier. • Organic shapes - direction of flute is obstructed more, less light will be emitted / so shall we go for geometric shapes then ? • While stacking one needs to focus on the following facts - Rotation of plane of the sheet while cutting - however, the sheet goes flat on the bed of machine - so for mass production there will always be a problem.
• For symmetrical shapes, one can rotate the cut out cardboard manually while pasting, this creates a different pattern throughout.
*01 Rotating the plane while pasting it, a different pattern is created throughout, that adds aesthetic value to the product and the direction of the light is also in the same direction. • Gapping between two layers is another aspect. But again the effect is different. • Closed shapes should be used again to reduce the loss of light. • Concentric shapes can made, however the number of dyes used will be very much.
These lamps through more light , so converging the light using a closed funnel like shape can be another criteria. • Vertically aligning the cardboard over a metal ring is another option - the shape of the ring will determine the shape of the lamp. What can be the maximum size of the ring, can it be collapsible or not ?
40 // project | CORRUGATED LAMPS //
*02 The alignment of the flutes vertically , however their is more noise and fight between the consequetive stacked layers. • In the process of Die Cutting, the corrugated sheets get pressed at the edges while die cutting, so the flutes get compressed by 1/3rd of their original size. • DIE - it needs to be made differently here , the pressure needs to be very low and the blades to be sharper and the width to be more. • Bulb - the bulb needs to be of more wattage - or it should have better output. The bulb can be longer also, so that the area covered is more. • Organic shapes - direction of flute is obstructed more.
The alignment of the flutes should compliment the path of light and shouldn’t obstruct it, closed symetric shapes are best for this.
*01
*02
41 // project | CORRUGATED LAMPS //
*Corrugated Sheets
*Laser Cut
*Assembled by hand
02
MANUFACTURING PROCESS The corrugated sheets are precision cut with a laser, then assembled by hand. Slight variations in color or corrugation pattern are a biproduct of the handmade process. The laser cutting process slightly burns the edges of the cardboard, which leaves a lingering smoky smell. It however diminishes over time. Other than laser cutting, one can go for die cutting also but then - 5ply cardboard of thickness 8mm should be used as the cardboard gets compressed while die cutting.
42 // project | CORRUGATED LAMPS //
11.18"
As one can see , concentric circles have been given, this is to reduce material wastage. Markings and numbers have been given, for easier assembly while pasting, and one can precisely place the consequitive ring over another one, hence the lines act as guide.
This is the artwork for die as well as laser cutting of the given shape, for die cutting - to reduce the number of dies and material wastage , minimum dies have been made and the shape as also bee transformed in the same way , thats why there is repetition of layer 5
43 // project | CORRUGATED LAMPS //
Bigger the shape more are the rings , so are the dies and the material, the width of each ring is 1 inches, consequetive 3rd layer falls apparently in the 1st layer , so using the same shape was little transformed, however earlier 18 dies were used and now, 5 only . numbers and markings follow the same function.
To reduce the number of dies and material wastage, minimum dies have been made.
44 // project | CORRUGATED LAMPS //
45 // project | CORRUGATED LAMPS //
03 LEARNING Handcrafted from cardboard, corrugated lamp series provides warm, intimate, and functional lighting for any occasion or type of space. Tough and elegant, each is precision cut with a laser and assembled by hand using a nontoxic adhesive. Overall in this project I learnt that, knowing the material is the primary and the most important step, hence following the design process.
46 // project | CORRUGATED LAMPS //
47 // project | RESEARCH //
05
DISCOVERING
the SPIRIT of JAPAN
48 // project | RESEARCH //
49 // project | RESEARCH //
JAPANESE PEOPLE
the SPIRIT of JAPAN
From children to adults, People are MYSTERY AT FIRST GLANCE; but are very polite , KAWAII ! onerous and HOSPITABLE. When the train is full they step out of the way so passengers can get off at each station. If you ask them for directions they will personally guide to give directions.
50 // project | RESEARCH //
45 // project | RESEARCH //
Seemingly not too talkative yet friendly
RELIGION the SPIRIT of JAPAN
53 // project | RESEARCH //
Shinto and Buddhism are Japan’s two major religions. Shinto is as old as the Japanese culture, while Buddhism was imported from the mainland in the 6th century. Since then, the two religions have been co-existing relatively harmoniously and have even complemented each other to a certain degree. Most Japanese consider themselves Buddhist, Shintoist or both. Religion does not play a big role in the everyday life of most Japanese people today. The average person typically follows the religious rituals at ceremonies like birth, weddings and funerals, may visit a shrine or temple on New Year and participates at local festivals (matsuri), most of which have a religious background.
54 // project | RESEARCH //
BUDDHISM Of the main branches of Buddhism, it is the Mahayana or “Greater Vehicle” Buddhism which found its way to Japan. Buddhism was imported to Japan via China and Korea in the form of a present from the friendly Korean kingdom of Kudara (Paikche) in the 6th century. While Buddhism was welcomed by the ruling nobles as Japan’s new state religion, it did not initially spread among the common people due to its complex theories. Nowadays about 90 million people consider themselves Buddhists in Japan. However, the religion does not directly affect the everyday life of the average Japanese very strongly. Funerals are usually carried out in a Buddhist way, and many households keep a small house altar in order to pay respect to their ancestors.
55 // project | RESEARCH //
56 // project | RESEARCH //
57 // project | CRESEARCH //
SHINTOISM Shinto, meaning “the way of the gods”, is Japan’s indigenous religion and is practiced by about 83% of the population. Note that due to its nature Shinto does not require the same admission of faith as Judeo-Christian religions. Instead, merely participating in certain aspects of Shinto is generally considered enough for association. Shinto originated in prehistoric times as a religion with a respect for nature and for particular sacred sites. These sites may have originally been used to worship the sun, rock formations, trees, and even sounds. Each of these was associated with a deity, or kami, and a complex polytheistic religion developed. Shinto worship of kami is performed at shrines. Especially important is the act of purification before visiting these shrines.
JAPANESE WEDDING Traditionally, the religious wedding ceremony is held in Shinto style at a shrine. Nowadays, this shrine may be located inside the hotel where the festivities take place. A Shinto priest conducts the ceremony, which is visited by only the close family members of the couple. In the ceremony, the couple is purified, drinks sake, and the groom reads the words of commitment. At the end of the ceremony, symbolic offerings are given to the kami. The couple is dressed in traditional kimono. After the ceremony, the couple welcomes all the guests, and the reception party is held. The party normally starts with the introductions of the bride and groom. Afterwards, a meal is held and several guests make contributions such as speeches, songs and the like. During the whole celebrations, the groom and especially the bride may change their dresses several times. At the very end of the party, the couple will make a speech to all the guests and thank everybody. Now many brides chose to wear white, Christian style dresses, and some religious ceremonies are even held completely in Christian style at a Christian church even though the couple may not be Christian. The ritual of cake cutting, the exchange of rings and honeymoons are a few other very common adopted elements.
59 // project | RESEARCH //
60 // project | RESEARCH //
61 // project | RESEARCH //
62 // project | RESEARCH //
63 // project | RESEARCH //
SHAKUHACHI Shakuhachi is the end-blown Japanese bamboo flute. Shaku is old Japanese measurement for foot and hachi is the word for eight. The word shakuhachi therefore means ‘one point eight feet’, the length of the standard shakuhachi. It contains four holes on top and one for the thumb underneath. Shakuhachi makers use the root of the bamboo as a natural bell. Most importantly, all shakuhachi share a common mouthpiece or blowing edge. This defining blowing edge, the utaguchi (‘singing mouth’) is made by first cutting the bamboo perpendicular to the piece at its top node or joint. A small, wedge-shaped piece is then cut from one side of the node, obliquely and outwards. The blowing edge begins from the inside wall of the bamboo and slants outwards towards the outside wall. The bamboo darkens as it matures. There are many lengths of shakuhachi apart from the standard 1.8 feet. They typically range from the tiny 1.3 to the long 3.6. The longer they are the lower they can play and the shorter the higher.
64 // project | RESEARCH //
65 // project | RESEARCH //
66 // project | RESEARCH //
YES THIS IS JAPAN Where land is only 30% and still the people have make the most out of it.
the SPIRIT of JAPAN
JENESYS 2.0 LEARNING This was a documenation done while I was a part of JENESYS 2.0 | JAPAN - East Asia Network of Exchange. The photographs were taken by me, and the documentation was done, it was a two way interaction programme, learning about the Japanese fashion & culture, reprsenting the native country. The text in the documentation has been taken from internet.
68 // project | RESEARCH //
69 // project | BOOTH DESIGN //
06 BOOTH DESIGN The project was undertaken at LOCO DESIGN. It was a self booth at ID DESIGN, Okhala grounds, New Delhi. The time duration for this was two months from conceptualisation to production and installation. The company specializes in conceptualization, material application and technical engineering. The design house’s services encompasses Furniture & Accents, Accessories, Objet and Custom solutions & we had to creatively show the companies forte. 70 // project | BOOTH DESIGN //
01
01* Brand Collateral
CONCEPT BRIEF & INTERPRETATION The brief was to develop a booth for LOCO DESIGN, that depict the amalgamation of craftsmanship and technological know how, hence embodying the companies philosophy and strength. We created a wall - showcasting LEATHER , WOOD & METAL work, working together to create a spatially interactive wall connecting viewers to the surface - with meticulous use of exquisite materials and details.
71 // project | BOOTH DESIGN //
02
02* Brand Collateral
EXECUTION The brief was to create a wall consisting of all the three workmanships, leather, wood and metal, so according an existing PINTARK SURFACE was chosen, SHANGHAI - that incorporates all the three. An autocad dwg, was made, showing a transition in terms of the base material as well as the material. Alongside, material was manipulated in terms of colors, depth and artwork.
72 // project | BOOTH DESIGN //
2700 mm
Booth at India Design
73 // project | BOOTH DESIGN //
2000 mm
1370 mm
SHANGHAI Pattern
03 LEARNING
2000 mm
LOCO DESIGN
It was a team project and my role is this project was its conceptualization, material application and the brand collaterals, Photoshoot and graphic in it. I learnt, how to convert a concept into a product, and a lot of changes were made, simplifying the concept as well as experimentin with it. The basic concept was how the three different craftsmanship, wood, metal and wood work together with technological know how to create products. 74 // project | BOOTH DESIGN //
75 // acknowledgement //
ACKNOWLEDGEMENT Wholeheartly I would like to thank my father, grandmother, grandfather, my aunt speacially - her unconditioned love and my mother of course, for thier constant support and words are few to thank them. Not to forget my friends Padmini Rao, Yachna Marwah, Sannu Kumari, Sakshi Singh, Maneet Bedi, Raveena Sharma, Alok Kumar, Parul Bansal and Richa Singh, fortunately we dont share blood but hearts. Then my office colleagues, Shagun Sangha, Sukirti Sengar, Palak, Prachi, Yogesh, Monika Di, Jitender maam, Neetika, Ateet Ji, Arpita. I feel that my list of friends keeps on incresing. There is a lot to learn from all of them. Manohar Uncle and Haider Ali - you both rock : they have been a hand in me being punctual to my work, thanks for driving me to office and home. I would also like to thank my faculties and mentor Mr. Ashutosh Porus (if one goes to Dharamshala, dont forget to mee him), Mr. Anil Tirkey sir, Mr. Asit Bhatt sir and Mr. Vinod sir for their valuable guidance and support during the course of my graduation and Mrs. Rajni Srivastava maam. Also, Devender sir and Sukesh sir, for opening labs for us until we wanted, and addind their inputs whenever we went wrong. Feeling nostalgic while thanking all of them.
76 // acknowledgement //
PRIYA JYOTI @copyright_2016
A: B-E (S) 17/18, HARI NAGAR, NEW DELHI | INDIA
E: pj_priya15@yahoo.co.in
P: +91 9899775096