Indian by Design_ Project Documentation by Rhishikesh Kedare

DIPLOMA PROJECT Indian by Design: A publication for Studio ABD Sponsor: Studio ABD, Bengaluru Volume: 1 of 1 STUDENT: RHISHIKESH BHAGWANRAO KEDARE PROGRAMME: POST GRADUATE DIPLOMA PROGRAMME

GUIDE: TARUN DEEP GIRDHER

2014 COMMUNICATION DESIGN FACULTY (GRAPHIC DESIGN)

National Institute of Design Ahmedabad

The Evaluation Jury recommends RHISHIKESH BHAGWANRAO KEDARE for the Diploma of the National Institute of Design IN COMMUNICATION DESIGN (GRAPHIC DESIGN) herewith, for the project titled "INDIAN BY DESIGN: A PUBLICATION FOR STUDIO ABD" on fulfilling the further requirements by *

Chairman Members:

*Subsequent remarks regarding fulfilling the requirements:

Registrar (Academics)

Copyright ÂŠ2014 Student document publication, meant for private circulation only. All rights reserved. No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopy, xerography and videography recording, without written permission from the publisher, Rhishikesh B. Kedare and the National Institute of Design. Designed by: Rhishikesh B. Kedare Edited by: Tarun Deep Girdher Proofread by: Swati Kedare Printed in Ahmedabad, India October 2014.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Originality Statement I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this diploma project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this diploma project is the product of my own work, except to the extent that assistance from others in the projectâ&#x20AC;&#x2122;s design and conception or in style, presentation and linguistic expression is acknowledged. This diploma project (or part of it) was not and will not be submitted as assessed work in any other academic course. RHISHIKESH BHAGWANRAO KEDARE Signature: Date:

Copyright Statement I hereby grant the National Institute of Design the right to archive and to make available my diploma project/ thesis/dissertation in whole or in part in the Instituteâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. RHISHIKESH BHAGWANRAO KEDARE Signature: Date:

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

The National Institute of Design The National Institute of Design (NID) is internationally acclaimed as one of the foremost multidisciplinary Institution in the field of Design Education and Research. The establishment of NID was a result of several forces, both global and local. The late 1950s saw a confluence of these forces, and this time would be a significant one for Indian culture and education. This was a time of reappraisal and reconstruction in a newly independent India. A young nation was confronted with the mammoth task of nation building, of balancing age old traditions with modern technology and ideas. The Modern Movement, the philosophy of Machine Aesthetics, and revolutionary experimentation in the arts, architecture and design were all taking place at the same time. There was a search for the Indian identity across all aspects of life. In 1955 Pupul Jayaker, the noted writer on Indian craft traditions and the founder of the Indian Handlooms and Handicrafts Export Council (HHEC) met the renowned American designer Charles Eames at the Museum of Modern Art in New York. The Museum had organised a unique exhibition titled The Textiles and Ornamental Arts of India. This would be the beginning of a lifelong dialogue between these two eminent individuals. At the same time the Government of India was considering establishing an institute of design, under the advice of Pupul Jayaker and other like-minded people. The 1950s were a decade of rapid industrialization in India and clearly, the need for such an institute grew stronger. In 1957 the Government of India requested the Ford Foundation to invite Charles and Ray Eames to visit India. Charles and Ray Eames travelled to all parts of the country, meeting and talking to writers, craftspeople, architects, scientists, industrialists, educators and philosophers. On April 7, 1958, the Eames presented the India Report to the Government

of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time. Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, as it was originally called as an autonomous all-India body in September 1961 at Ahmedabad. Gautam Sarabhai and his sister Gira were played a major role in the establishment and early years of NID. Gautam Sarabhai sidestepped the accepted wisdom and conventional method of education. He revived the philosophy of the Bauhaus design movement which was learning by doing. This unique curriculum and revolutionary educational philosophy remain part of NID to the present day. Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India and is recognised as a Scientific and Industrial Research Organisation. In 2014, Government of India declared NID as an institute of national importance. Source: http://www.nid.edu/institute/history-background

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Graphic Design

Diploma Project

Acknowledgement

Graphic design plays many roles, as effective information-dispenser, communicator and persuader. Technology and mediums are rapidly changing the way the graphic designer works, but basic principles of good design hold strong. Besides aesthetic considerations, graphic design encompasses contemporary culture, media, research, analysis, and critical judgement. Development of conceptual thinking as well as traditional design skills are given equal emphasis during the course. Graphic design offers different areas of study such as typography, illustration, publication design, identity design, branding, and information design. It covers a wide range of work, from signage systems to medical leaflets, and educational tools to logos. The design of messages, in the form of text, image, and now moving images is the role of the graphic designer.

The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the diploma project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the diploma project, after which, student is awarded NID’s professional education programme diploma. The diploma project is an opportunity for student to demonstrate his/her expertise as independent practitioners of design. However, this project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method with which the student must carry out his/ her project.

My sincere thanks to Mr. Abhijit Bansod for initiating this project and giving me an opportunity to work and to learn. Special thanks to Tarun Deep Girdher for his guidance for this project, especially for teaching me the process. I am also grateful to everyone in the Studio ABD, for all the discussions and debates regarding the project. Also thankful to cleaning staff of ABD, who kept my desk clean and tidy so that I could start my work with fresh mood every morning. Sincere thanks to the staff of KMC at Paldi and Bengaluru campuses for giving me an access to the various publications and being so friendly whenever I asked for help. Bharatbhai Suthar for all the discussion regarding the print production. I am also thankfull to Bala Kumar and Gopi for helping me for my accomodation in Bengaluru. Prabuddha for allowing me to borrow his valuable books. I would also like to thank to all my classmates and colleagues from NID for constantly being in touch with me and updating me on relavent news. And special thanks to my family for being constant source of love and support.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Indian by Design:

A publication for Studio ABD

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Contents

Information Collection

Analysis and

and Research

Synthesis

Synopsis

Understanding the Context

Consolidation

Project Proposal

Insights

Scenario Building

Introduction, Choosing project

Research on Content

Communication Strategy

Project Guide, Sponsor, Myself

Findings

Structure of the Publication

Project Brief

Case Studies

Project Methodology and Timeline

Print Production Study

User Study

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Explorations

Execution

Conclusion

Typography

Final Design and Layout

101

Conclusion

133

Colour Palette

The Grid

104

Reflection

134

Information Hierarchy

The Elements

105

Bibliography, Webliography

135

Content Generation

Cover Design

113

Colophon, Contacts

136

Flat Plan

Promotional Collaterals

116

Visual Explorations

Printing and Binding

120

Naming the Publication

Estimate

121

Prototype

122

Other projects

129

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Synopsis This diploma project is about a publication design for Studio ABD. Studio ABD is an award winning product design firm based in Bengaluru. The studio believes in celebrating creativity that combines fragments of Indian tradition combined with cutting edge technology and new age thinking. It’s focus has been on finding Indian connect with the way of life and translating it into iconic, purposeful, meaningful and memorable design solutions. Studio ABD proposed to communicate this exceptional design celebration through a publication. The project started with understanding Studio ABD from various point of views, the work they have done, the process, the philosophy they follow and there futuristic projects. This happened by going through the studio work from various resources like website, blog, social networking pages, books, studio library. This includes various publications (magazines, newspapers etc.) in which studio’s work has been featured previously. Next phase of the project started with researching on the content that is provided by existing design publications. This includes study of various design publications, (books, magazines, newspapers) especially their content and the way it has been presented –The visual language, typography, grid system and the copywriting. This was followed by details case studies of some of the design publications, and understanding user through various perspectives, which helped to build the firm understanding of overall scenario about the project.

and overall visual language was set. For the print production purpose, meeting was arranged with paper vendor and from wide range of varieties, paper for inside pages and cover was chosen based on the features required. The physical structure of the publication was also decided from various dummies made for it. By the time the content was also finalised and generated from available resources of the Studio ABD. Based on all these factors, visual explorations were started. One project was taken and explored to see how the same strategy can be communicated in different way. From all the exploration, one approach was chosen and taken forward for all the other projects featuring in the publication. After all the explorations, design and layout for each product was composed and then all of them were compiled together as a one publication. The Outcome of the project is a publication with 20 interesting stories of the designs having deep Indian connect, along with the people behind these designs. Story of each design is beautifully narrated through graphical visual language and carefully chosen typography. The Publication can be opened on any spread and enjoyed and need not to follow the order.

On the basis of this study, the strategy for the communication was structured, according to which the typography, colour palette, information hierarchy DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Project Proposal

Diploma Project Proposal

Date: Rhishikesh B. Kedare

Publication design reflecting the Indian connect with design

E-mail: rhishikesh.k@nid.edu rhishi29@gmail.com Contact No: +919409171542

Proposed Methodology

Phase one: Information Collection > Understanding the Context > Research on Content > Case Studies > Production Process > User Study

Objectives > Understand the Indian connect the way Studio ABD has perceived it over the years. > Find the common link in all the work that has been done so far. > Create visual language around the work. > Compilation of the work that has been done and aspired to be done and objects/stories that has inspired to do so.

Target Audience > All the stakeholders of Studio ABD > Design Professional > Design Students

Deliverables > Publication Design > Promotional Collaterals for the publication > Exhibition Panels for the launch

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

/ 2014

Context

Studio ABD proposes to communicate this exceptional design celebration through a publication.

Student ID: S1101109 PGDPD 2011, Graphic Design, National Institute of Design, Paldi, Ahmedabad.

Phase Two: Analysis > Consolidation and Scenario building > Communication Strategy > Structure of Publication Phase Three: Exploration > Visual Language, Typography > Information Hierarchy, Colour Pallete and Images > Content Generation: Text and Visuals Phase Four: Execution > Design and Layout > Prepress File > Cover Design Phase Five: Promotion > Promotional Collaterals: Online and Offline Phase Six: Documentation > Documentation of entire publication design project

Project Sponsor

Project Guide

Studio ABD Design Services Pvt. Ltd.

Prof. Tarun Deep Girdher

Lakeview Farm, Whitefield - Old Airport Road, (Near Shell Petrol Pump) Ramagondanahalli, Bengaluru - 560066. Contact No: (080) 28543061.

Senior Faculty, Graphic Design and Head, Printing Labs. National Institute of Design, Paldi, Ahmedabad, E-mail: tarundg@nid.edu Contact No: +917926629647.

Introduction

Choosing Project

The idea of this project is initiated in the quest of defining what is Indian design and how it can be added to life through meaningful and memorable designs. We often hear about different design philosophies around the world but rarely hear about anything like Indian design philosophy. Historically, we have had amazing heritage of products and systems, but discipline, sense of aesthetic and sense of belonging was missing there. But now the picture is changing slowly and design is getting importance like never before. In this evolution of Indian design, studio ABD is playing its role by reflecting Indian values through their designs. By getting inspiration from India, its culture, heritage, way of living and everything else that reflects an Indianess. But only practicing this philosophy is not enough as there is need to share this philosophy with the India and with the world as well and hence the idea of this publication came into the light. This documentation is about the detail process that has been followed for the making of this publication.

It was May 2014, probably I was alone in the campus from my entire batch as almost everone else had started their diploma project. I was also having discussion with few firms which were offering a diploma project. One of them got cancelled after 2 weeks of discussion. I was worried as time was flying and I had to start my diploma project as soon as possible. One fine day I got an offer from studio ABD, saying that they liked my portfolio and they would like me to work on the project they are having. The project was about publication design so I immediately discussed with some of the faculty members and decided to confirm on this because It was about publication design, something that I love and wanted to learn and explore. After making the documentation of one of my classroom project, I fell in love with publication design and was curious to know the detail process of it and get hands on experience on a live project and this project was perfect opportunity to get all this. So this is how I ended up choosing this Publication design project.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Project Guide

Sponsor

Myself

Tarun Deep Girdher

Studio ABD, Bangalore

Rhishikesh B. Kedare

Tarun is a Sr. Faculty, Graphic Design, at the National Institute of Design, Ahmedabad, India.

Studio ABD is an award winning product design firm based in Bengaluru. The studio believes in celebrating creativity that combines fragments of Indian tradition combined with cutting edge technology and new age thinking. Itâ&#x20AC;&#x2122;s focus has been on finding Indian connect with the way of life and translating it into iconic, purposeful, meaningful and memorable design solutions. Emotions underlines their products giving them poetic and inspired meaning, which connect deeply with the user by telling vivid stories by overlaying the familier with new and surprizing.

I am a post graduate student of Graphic Design at the National Institute of Design, Ahmedabad. I enjoy communicating through visuals and words. Apart from various areas of graphic design, I love writing Poems, T-shirt quotes, graffiti and Calligraphy.

Since the last 14 years, he has been teaching typography, publication design, illustration and printing technology at National Institute of Design, besides mentoring senior level design students on their projects. His professional work includes some renowned visual identity designs for Right to Information, National Book Trust and Uttar Pradesh State Organic Certification Agency; and several publications on disability, Disaster Risk Reduction and gender.

Taking the Indian asthetic in their own line of work, Studio ABD has designed a unique product range that speaks unique Indian language. Life things as it called, the products are propelled by humor, craft, rituals, peoples, situations and heritage of India. The second brand Mubhi, a new line of exquicite hand crafted products takes inspiration heavily from traditional Indian stories and brings them a twist thereby making the products unique and engaging. The story of the brand resolves around the Indian stories and Indian way of life. Studio ABD exclusively work in various segments like product design, packaging design, lifestyle accessories design, trophy design, environmental design. Source: http://www.studioabd.in/about.html

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C 0 M 100 Y 100 K 0

Project Brief

Designing a publication for Studio ABD by understanding the Indian connect the way Studio ABD has perceived over the years.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Project Methodology and Timeline Phase one: Information Collection > Understanding the Context > Research on Content > Case Studies > Production Process > User Study

Tentative Timeline Months & Weeks/2014 Phase

Phase Three: Exploration > Visual Language, Typography Information Hierarchy, > Colour Palette and Images > Content Generation: Text and Visuals Phase Four: Execution > Design and Layout > Prepress File > Cover Design Phase Five: Promotion Promotional Collaterals: Online and Offline Phase Six: Documentation Documentation of entire process.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

June

July

August

Sept.

26 -30 02-06 09-13 16-20 23-27 30-04 07-11 14-18 21-25 28-01 04-08 11-15 18-22 25-29 01-05 08-12 15-19 22-26

Phase Two: Analysis > Consolidation and Scenario Building > Communication Strategy > Structure of Publication

May

One Two Three Four Five Six

Phase

Information Collection and Research

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Understanding the Context This is very beginning of the project, which started with first discussion with Abhijit Bansod, founder of Studio ABD. So far I had the open idea that the project is about designing a publication for his work, but this discussion made the brief more clear to kickstart the project here: Some of the key points been discussed: > This publication is not about Studio ABD portfolio. > This is about the ideology this studio follows. > This publication is intended to give a good experi ence to the audience. > The publication is expected to have more of visual communication that just paragraphs of work. > This publication should act as an inspiration for the design students. > It can be targeted to international clients to com municate the Indianness in design. > It’s not only textile or craft design that reflects Indianess or our culture. It can be anything. > The publication may talk about the process that studio follows or how we have taken an inspiration from India. Following this discussion, it was time to collect the information about Abhijit Bansod, his journey so far, Studio ABD, it’s work, the ideology, the process, the designs, the awards and many more factors that describes Studio ABD. So it started with accessing the information from various resources like studio’s website, social networking pages, studio’s library etc. It was interesting to go through each and every project along with its process and the stories behind. This

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

helped me to understand the way of working and to get an idea about the ideology followed. All the information that has been studied was collected in a seperate folder. It was huge amount of information containing the work of Abhijit Bansod, right from his NID diploma project in the year 1997 to recent projects done by Studio ABD in 2014. Although studio is known as a product design firm, it works in various segments. The collected information had all these projects mixed, which was difficult to segragate. So seperate folders were made to categorise the projects which became convenient to look at each project. Studio ABD’s Segments of work: > Product Design > Packaging Design > Lifestyle Accessories design > Environment Design > Trophie Design Abhijit’s work has been featured in various publications including national newspapers and national and international magazines. All these resources were studied to understand the following factors: > The projects done > The process followed > The ideology > The work culture > Project described

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Studio ABD Studio ABD, founded by designer Abhijit Bansod, one of the leading creative voices in the Indian design context is built around the credo, “Storytelling is the most powerful way to put ideas into the world today.” For Abhijit and his wife and codesigner Amrita Kaushal-Bansod, products are not just consumables but animated anecdotes, living stories that connect the past with the present, narratives that speak a global language but have an Indian core, a throbbing sense of self that without compromising itself, can be at home anywhere in the world. Like Abhijit says,”Studio ABD designs from heart. Emotion underlines the products, giving them poetic and inspired meaning. By telling vivid stories, by overlaying the familiar with the new and surprising, products connect deeply with the user. Studio ABD believes in celebrating creativity that combines fragments of Indian tradition with cuttingedge technology, and fuses cultural motifs with new age thinking. This conjures up sophisticated products that resonate with India’s rich past. Propelled by humor, craft, rituals, people, situations and Indian heritage, stories are created which have profound meaning and understanding of our universe, world, society and personalities.”

who is passionate about the wealth of detail that products with a historic perspective must have. She is committed to form, function, warmth, harmony, uniqueness and poetic connection whether she is designing watches, sunglasses, furniture, trophies, lifestyle products or even doodling caricatures. One of her most definitive roles has been to redefine the brand Titan RAGA by melding Indian opulence with contemporary appeal. This work won her the BW NID Design Excellence award.

No wonder then that Studio ABD’s work has swept many national and international design awards like Young Creative Entrepreneur 2011 (Design) by British Council, Red dot Design award 2010, Designer of the year 2008 and many more. As a designer, Abhijit describes himself as thus, “I am a quirky designer and like to think not just out of the box, but out of the whole carton. I like whimsical wit and emotion so that they can reach beyond mere functionality to interact with their users, heighten creativity and imagination. In my studio, the story is scripted before the designs are born.” Amrita compliments him beautifully as a product designer DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

One of Studio ABD’s signature collections is Life Things...a collection of lifestyle accessories that according to Abhijit, “have a unique identity of their own, inspired, naturally, by life. That talks to us, not just about us. That sort of getting up and shaking our hands can do everything else in the communications business. Take us into the past (memory), work in the present (functionality) and illuminate the future (imagination). Life things is an attempt to locate a space where there is fusion of Indian handicrafts, recycled and reused materials and high precision industrial production processes. Inspired by people, nature and everyday situations, Life Things invokes memory and interprets contemporary culture in an inimitable and rather eccentric way.” Another collection called Mubhi, uses Indian mythology as a reference point because, “Indian Mythology is one of the richest elements of Indian culture and through generations, different stories in Indian mythology have been passed from generation to generation either by word-of-mouth or through carefully stored scriptures. Be it the subtly educative tales of Panchatantra or Bhagvad-Gita, Ramayana and Mahabharata or the daily Indian soaps,they have infused themselves into our contemporary lives and culture, into the products we use, the people we are, the ways we play, and worship and work. This collection is about an earthy twist, an upsidedown gaze, a cartwheel of perspective that creates beautiful and functional products and services which bring the old stories we yearn for, to life in exciting new ways.“ While Amrita acquired a degree in accessory designing from NIFT, Abhijit learnt design at NID. When Amrita and Abhijit got together, their sensibilities fused, technology acquired a soul, products became not just about precision and processes but also about narratives as is visible in the range of watches they have designed for Titan. What is an essentially a time-keeping instrument 12

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became a snatch of timeless memory and preservation of legacy. A unique design vocabulary that was inward looking and also connected to the future, evolved. “What we learnt,” says Abhijit, “is that because of this fusion, the Indian story is now profitable and what was once a 30 crore company (Titan) has today turned into a 200 crore company. We know now without doubt that every global citizen wants to own a story and not just a product.” This is Indian design’s unstoppable journey towards global triumph but with its heart intact. Says Abhijit, “Our modernity has its sense of history.” And the world is nodding in approval.

The core process followed At ABD the process combines tradition, trends and technology in design to create truly outstanding and innovative designs for the clients.

Tradition In order to truly be able to connect to the audience, it is essential and equally important to understand where they come from - their history, cultural background, belief systems and tradition (as a whole). For a country like India, this becomes all the more imperative as cultural influences play an important role in everyday lives.

Trends Studio ABD work very closely with international trend forecasting agencies apart from indulging in frequent trend-spotting exercises itself. It is important to understand trends like material culture, fashion, movies, lifestyle, etc. and also larger socio-economic trends to be truly be able to make the most effective industrial design/communication decisions.

Technology Technology impacts all of us in more and more ways in our everyday lives. This makes it essential to understand and align with technological advancements in different fields so as to deliver the best possible experience for the customers. Studio ABD dive deep into understanding and using material, process, tooling and integration technologies in the most optimal and costeffective ways.

The Magic Difference Although Studio ABD follow the processes quite rigorously, The Magic Difference or Delta that creates the spark is something in-explainable. This comes from years of understanding materials, technology and design apart from the internalization of numerous different experiences along the way. In short Delta is ABDâ&#x20AC;&#x2122;s secret sauce. DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Individual projects Titan Heritage Collection Titan, world’s fifth largest manufacturer brand of watches is the clear leader in Indian watch market. The companies watches are sold in over 1800 towns across India and in 40 countries across the world. Titan has changed the rules of the game in the Indian watch industry by its reasonably priced sleek models, elegant showrooms and imaginativ advertising have helped create one of Indias most well known brand. Titan watches were the most part european design in contemporary styles. While this was good for watches in general, there was need to differentiate Titan’s position in the consumer mindset. Sowing the seeds of an Indian aesthetic: Abhijit Bansod began working on Heritage in early 2003 during his quest to discover what Indian design is and how it can be celebrated globally along with Bollywood and curry! Truth is, the soul of Indian design lies deep within India – our infinite history, our rich heritage, our fascinating culture. The Titan Heritage Collection is a unique design voyage to discover this soul. It engages deeply with the ancient and medieval traditions of Indian architecture, yet interprets this heritage with modern sophistication. And what better vessel to hold these timeless symbols of India, than a watch– the instrument of time itself? These are watches which stand at the confluences of the old and the new, the many faiths and styles, the flowing centuries and grand monuments which define India. An ancient India, unchanging like mother earth herself together with a resurgent India which stands proud and tall at the crossroads of tomorrow’s world. 14

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The design of every watch in the Titan Heritage Collection emerges from these beautiful stories silently told by grand ancient monuments of our great country. Intricate detailing and beautiful work have created unique time-pieces which are a eulogy to the romance of culture, history and time itself. Blending a timeless muse with contemporary workmanship, drawing on the essence of each inspired monument, and interpreting it in today’s design vocabulary. Evolving what could be the beginnings of a true Indian design aesthetics.

Sun Temple

Taj Mahal

Stambha

The magnificient Sun Temple at Odisha is a inspiration for the Konark featuring the colossal charriot of the Sun God Surya, led by seven horses, as it moves through heaven. The wheel of this chariot is etched delicately onto the dial of the watch. A brilliant sunray finish ensures that the watch remains true to its inspiration, the Sun.

The Taj line in heritage collection is directly inspired by Taj Mahal and are carefully constructed out of mother of pearl. The watches resembles and highlights the purity of marbles, even as they celebrate exquisit inlay craftmanship which decorates the Taj. The unmistakable silhouette of the dome is captured on the crown of the watch.

The Stambha, recreates the stone texture of the cosmic pillar, the Stambhâ&#x20AC;&#x2122;s, which are said to join the Heaven and the Earth. A requisite feature of all hindu temples, the Stambhaâ&#x20AC;&#x2122;s comes to vibrant life on the dials and straps of these watches.

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BPL Halo BPL is one of India’s widely recognized consumer brand that deals with appliances, home entertainment products and healthcare devices. BPL approached ABD with a unique insight – millions of students across India go through anxiety and stress during exam times, especially when there is a power-cut. This not only results in mental stress, but there is considerable strain on the eyes due to the poor quality of ambient light. This very insight became an inspiration for an opportunity to design a unique product for a unique Indian situation. Wisdom. Sage. Halo. The inspiration of StudyLite came from the ring of halo that hovers above the head of the wise and saintly. Such sages impart wisdom. Guide us onto the right path. And provide solace at moments of crisis. “To me light is the quintessential metaphor of enlightenment. So, I intended to have a ring of light glowing above your head when you study. In its form, Halo to me is almost magical. A ring suspended in nothingness. Open. With no ego centre. Spreading light all around. Perfect in its completeness.” - Abhijit Bansod

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Life Things Life Things is a collection of lifestyle accessories. Things that have unique identities of their own, inspired naturally by life. That talk to us, not just about us. That short of getting up and shaking our hands can do everything else in the communications business. Take us into the past (memory), work in the present (functionality) and illuminate the future (imagination). With a simplicity of mood and cheerful design creates a joy and a sense of feeling. Life Things is an attempt to locate a space where a fusion of Indian hand crafts, recycled and reused materials and high precision industrial production processes. Inspired by people, nature and everyday situations. Invoking memory. Interpreting contemporary culture in an inimitable and rather eccentric way.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Packaging Design

Just Mehfil

Packaging is a key factor in practically all forms of trade. It is crucial to protect, store and ship goods, and, in many cases the design of a package is the first a customer sees when confronted with any kind of products. It should carry soul of product to consumer and grab his/her attention.

Branding & packaging for new age “Take Away” Biryani joint encapsulated this regal experience of a sumptuous meal. As Indians we always look for larger delightful portions to savior the extra bit. Beautifully designed reusable tin boxes & environment friendly tray & cutlery just sets the mood for a perfect Mehfil!

In today’s world packaging plays important role in product’s success. Here are some experiments with packaging, there is an attempt to induce very high emotional value in packaging so that it becomes product in itself after its primary use. This conscious effort is to reduce impact of use and throw of packaging on planet.

Titan Heritage This collection of watches from Titan were visionary to encapsulate the architectural richness of India. Studio’s approach for packaging was to celebrate the classic designing a wooden box with prints engraved on it and a silk pillow residing within is inspired from the jewellery box. Studio beheld the essence of the collection from consumer point of view.

Ally Matthan

Mum’s Care

Inspired by the natures way of pampering us in all states and states. The packaging for Areev was essentiantly depictive of this secret in the most luxurious way! the packaging intente to deliver the fine experience of natural indulgence in an elegant form.

This packaging is designed in a way that it becomes the part of their wonder world and not just that moment. Kids are playful, curious and selective and this packaging design is intents to engage them while having this health suppliments.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Trophy design Studio ABD has been working on trophy designs for over a decade, creating many iconic trophies for various important events. The studio specializes in designing trophies (event identity) for various events from corporate, film to sports events. Studio support clients from concept to manufacturing the trophies.

Valli

The Zigwheels Award

Taj Excellence Award

Valli, a beautifully crafted shovel unfolds the hidden beauty of an intrinsic yet elegant tool, revealing the sustainable story of Omkar. Celebrating the story of sustainability and growth through its intricately carved leaf patterns, Valli is opulently crafted in brass with an impeccable. The exquisite play of light with the details bringing to the fore the eco-friendly story, the lavish glittering stones make it a jewel that will adorn your table.

The paradigm of creating trophies that blend with the ideals and values of the brand as well as contemporary technologies is reflected in the Zigwheel Trophy designed and crafted by Studio ABD for the Auto awards. Inspired by power and speed, â&#x20AC;&#x153;Flight of Fantasyâ&#x20AC;? captures the elegance of an aerodynamic form and represents the motion of forward movement. The singular and iconic shape of this trophy also creates the feel of insignias of luxury cars.

The Taj Excellence award is a trophy that captures the essence of floating flowers in spa hotels. Beautifully crafted in aluminium, glass and silver, this design relives the serene as well as the magical experience of a spa.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Environmental Design

Titan Sail An innovative clock structure at Carter Road Promenade, Mumbai. Inspired from sail of the boat stuck on the shore, this gigantic clock installation is now a landmark on Carter Road promenade.

ABD’s evironmental design projects are designed to bring human integration of form with space and aims to celebrate aesthetics, laud creativity and share the joy of design with society. Integrating public spaces with the personal concept of time, the goal of the initiative is to seamlessly construct and cultivate aesthetic and functional spaces without disturbing the environment. Through these projects studio seek to affect changes in social perspective by allowing good design to be an experience for the common man and become a part of public life. Going to micro spaces like visual merchandising, the ethos of design process remains same. The challenge is to create context for product and user to meet and interact–leaving him/her with lots of imagination and aspiration.

Bat of Honour An Iconic installation on Carter Road Promenade, Mumbai celebrating success of cricket legend Sachin Tendulkar. The core idea behind the concept was to make it timeless and iconic like Sachin, his ‘magic wand’, Crafted out of stainless steel, the bat is sculpted in a grand scale to capture its true weight, which with each shot connected millions of hearts across India.

Tree of Life An innovative clock structure at Bengaluru Golf Club, Bengaluru. ‘Tree of Life’ assume the form and the function of their surroundings. The clock takes on the form of a tree, harmonizing nature with time an illustration of the harmony between golf and nature.

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Insights Studio ABD is a product design focused studio, however it works in various segments like packaging design, lifestyle accessories design, trophy design, environmental design. Before founding the studio Abhijit has worked with Titan for a decade and established the strong brand image of Titan in competative market with his uniqe designs language. Storytelling aspect of the product is an unique feature of Studio ABD. Emotion underlines their products, giving them poetic and inspired meaning. By telling vivid stories by overlaying the familiar with the new and surprising. Studio takes inspiration from Indian traditions, blend it with contemporary trend by using advance technology and gives new meaning to the designs. Wit is also one of the key element in studio’s designs along with the element of surprise and quirkiness.

situations in India. Studio also has its another collection called Mubhi, having the designs with an earthy twist that creates beautiful and functional products bringing Indian mythological stories in exciting new way. Most of the work that is done by Studio ABD reflects strong connection with Indian culture and traditions. In packaging design, studio attempts to infuse very high emotional value so that it becomes product in itself after its primary use. This conscious effort is to reduce impact of use and throw of packaging on planet and also to have an Indian connect of reuse. The studio specializes in designing trophies (event identity) for various events from corporate, film to sports. In environmental design, studio attempts to seamlessly construct and cultivate aesthetic and functional spaces without disturbing the environment.

Studio has won many prestigious awards including Red Dot Design Award in 2010 for BPL Halo Studylite design. Studio’s work has been featured in various publications including more than 30 magazines and 50 newspapers, over the years Co-designer Amrita Bansod has played definative role in redefining the brand Titan Raga. ‘Life Things’ is Studio ABD’s signature collection of lifestyle accessories having unique identity of their own, inspired by people, nature and everyday DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Research on Content After getting enough understanding of the context, it was time to understand the scenario in a larger scale, for which variuos publications were studied to understand following factors: > What are design publications in India > What are design publications that are covering Indian design scenario. > Which of them focused on Indian aspect of design > Which of them are focused on product design? > How many are multideciplinary? > What kind of content they are having? > What is the way of content presentation? > What is the periodicity of these publications? There are so many publications in India which talks about design, features design, discuss design. Not all of them focused on Indianess in design Some of these publicatios are:

Pool The monthly design magazine published by DesignIndia and launched by INDI Design–explores the Indian design scene for fresh, promising talent and fresh perspective on the talent of some well-known figures. Being India’s first international magazine dedicated to all walks of design, innovation and art, Pool aims to stay true to the very essence of creativity by inspiring, informing and entertaining readers via fresh approaches and ideas in never-seen-before design features. Although pool is more focused on 22

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Indian design, it also features work and interviews of an international designers and artists. Content The content of this publication is diverse and aimed at inspiring the reader and the designer in him. Without putting any designer on a pedestal, it brings to you their thinking on a very relevant and elemental level. Every issue of POOL brings a unique mix of interviews and talks, with focus on the designer’s entrepreneurial views, socio-cultural and ecological commitment, their participation in the sustainability efforts towards their art, and the likes.

Design: The Indian Context Design: The Indian Context by H. Kumar Vyas is a manual with multifarious significances for both—the teacher and the taught. It is a literary assistance for all those who wish to append a logical reasoning to the ‘Indian design idioms’ and want to translate the thoughts belonging to the Indian tradition into terms dictated by the modern rationale. It is as much an inevitable aid for teachers of design as it is for teachers of architecture and fine and applied arts. Content This content or the cache of information is divided into three sections. The first part includes an explanatory text along with guidelines running along its left margin. It continuously prompts the teacher with ideas and clues to encourage discussions and student participation. It lightens the experience of teaching by rescuing the teacher from the dilemma of when to make use of audio-visual aids. The latter section includes a list of assignments to be worked upon by the students which is followed by the last part which displays the work done by the students on the assignments given to them. The book ends with feedback from the teacher on the students work and follow-up work. This book is a handy tool to infuse a sense of sensitivity in the designers through a simple series of ‘structured talks,’ ‘informal discussions,’ and appropriate use of audio-visual aids. This is one time publication and talks about design in Indian context through theoretical way supported by diagrams wherever needed.

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Better Interiors Better Interiors believe in wearing this designconscious attitude on sleeve. Over the last nine years Better Interiors, has grown to become an established name amongst a multitude of Indian interior design publications in the country. An editorial team thatâ&#x20AC;&#x2122;s in sync with the field of design and dĂŠcor works towards bringing out thoroughly researched and unbiased content, aptly supported by spectacular visuals. This includes inputs and regular contributions from several industry experts. Content What sets this publication apart is its appropriate mix of content that caters to the design fraternity as well as the homemaker who is looking to set up her space in keeping with an aesthetic bent of mind. And also features that bring trends in design, materials and technology. From design fundamentals and do-it-yourself guides, from product information to industry trends, Better Interiors is the definitive guide in the design domain.

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Kyoorius Showcase Kyoorius Design Showcase promotes Indiaâ&#x20AC;&#x2122;s creativity to the corporate world and to the world around. It has grown to become a must have resource book for CEOs, corporate communication, marketing and brand heads across companies. After distributing the 3rd edition of the book complimentary to 2000 corporates across India, the 4th edition of the book will now be sent to over 3000+ corporates. Content The content of the entire publication is a work/ portfolio of different design studioâ&#x20AC;&#x2122;s in India. One page is given to each studio and details of the studio are mentioned on the beginning of the page. The format for each page is default in which studio has placed their portfolio. This publication has start up as well as established design studios in India and act as a good platform, connecting the clients with the designers or studios.

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50 Years of the National Institute of Design As the name suggests, the publication is about 50 years that shaped what NID is today. It talks about the various design practices and changes that happened over the years. Content The book has 6 chapters and 404 pages documenting the instituteâ&#x20AC;&#x2122;s emergence, advancement and development. The opening chapter describes the national factors that led to the necessity of setting up a design Institute in post-colonial India and the global influences that impacted it. The next 5 chapters describe each decade in the existence of NID from the 1960s to the 2000s, covering aspects such as curriculum, events and milestones in design education and consultancy at the institute.

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Communication Arts Communication Arts magazine is the leading trade journal for visual communications. Itâ&#x20AC;&#x2122;s the largest selling creative magazine in the world and showcases the top work in graphic design, advertising, illustration, photography, interactive design and typography. Since 1959, more graphic designers, art directors, creative directors, commercial photographers and illustrators have turned to Communication Arts for ideas and inspiration than to any other creative publication. Content Unique combination of respected juried Annuals, in-depth profiles and numerous informative columns printed with the highest standard of quality makes Communication Arts the premier publication to cover all aspects of visual communications. Whether in print or online, CAâ&#x20AC;&#x2122;s editorials, feature articles and the annual competitions it sponsors provide new ideas and information, while promoting the highest professional standards for the field.

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Harvard Design Magazine Relaunched in summer 2014, Harvard Design Magazine probes beyond the established design disciplines to enrich and diversify current discourse. Scholarly, poetic, and visually lush, each issue triggers new interpretations of designâ&#x20AC;&#x2122;s defining role in todayâ&#x20AC;&#x2122;s culture. Content The content is mostly about the research done on the global issues. Distinguished and unexpected voices from the fields of architecture, landscape architecture, and urban planning meet those from the realms of art, science, literature, and beyond. A space for dialogue, speculation, and surprise, Harvard Design Magazine opens a door onto the applied device of design, and the people, places, and politics it engages.

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Creative gaga Creative Gaga is the launch product of Open Bracket Publication, which aims to publish trade-specific, knowledge-rich magazines. Creative Gaga hence aims to be a celebration of good design. And a useful reference for techniques and exposure. It is a monthly publication. Content The publication acts as a portfolio platform for young and budding artist in India. Content in it is the work shared by various designers and artists in India. The publication majorly showcase graphic design, product design, t-shirt graphics, pottery making, paintings, animation movies, 3D renders, an ad campaign, website, applications etc. It asks the reader, designers to send in their work to be featured in the coming up issue. Since, the publication is started by young creatives for sharing and showcasing work, young designers gets good support through it.

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Dekho Dekho is an anthology of inspirational conversations with designers in India, probing their stories for cues to the development of design in India and highlighting approaches that are unique to designing for India. This is one time publication. Content The content of the publication is in the form of interviews of eminent designers in India and their design practice over the years. Each interview is beautifully crafted to engage the reader. The publication has taken a multidiciplinary approach towards the design and gathered up the designer from different decipines that has shaped the Indian design.

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Take on Art A quarterly publication on contemporary art with theme based issues in India and abroad. Take on art is gathering of a different perspectives on the contenporary art in India and also provides plaform for the discussions and debates on the same Content The publication comprehensively covers reports and critiques on art and cultural events from India and South Asia. This publication is a good resource to know whats happening in the art sector around. The content is in the form of interviews, conversations and news report fo various exhibitions and happenings around.

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Few other publications Indian Design and Interiors As the name suggest, this monthly magazine is about interior design and features deigns and products relative to an interior designed by Indian designers. Design This monthly magazine talks abour design in broad sense and features design from multiple deciplines. it features designs from local as well as global designers and communities. Kyoorius Magazine This magazine is yearly publications and features portfolio of indivisual designers and design studios. The primary purpose of this publication is to connect designer with the potential client/industry. Design & Interiors Design and interiors talks about interior decoration ideas and relative product design. It is more of an updates on whats in the market about making your home or an office a better place. The Bengaluru The Bengaluru is a lifestyle magazines on happenings in Bengaluru City. Along with other happenings in the city it also covers exhibitions and design activities happening. It is a monthly magazine and contains 2 to 4 spreads covering the art or design happenings in the city.

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Findings Some of these publications are purely act as a platform for the portfolio of various Indian design professionals and students.

Altogether these publications also work as great resources for news, articles, discussion boards, links, list of firms and portfolios, job postings, etc.

Each of these publications have their own set of target audience like Pool reaches to various desig institutions and studio whereas Better Interiors, Indian Interiors caters more to individual audiences.

Some of these publications act as a resources book for CEOâ&#x20AC;&#x2122;s of a corporate and thus connects designers to their potential clients.

Some are one time release, some have annual or monthly releases. Few of these are totally theoretical having intervies, discussions and perspectives of various Indian designers. They contain writings and viewpoints on design and culture. Some of them are having more visuals/work and described in brief. While some of them are keeping balance between visual and text volume giving equal amount of space to both. In most of them projects descriptions are provided by designers or studios where in some publication, its in reporters or editors view. Altogether all these publication are contributing to the developement of design in India by providing exposure and platform. Platform dedicated to understanding and creating awareness of design methods in the emerging world aming to highlight design ideas that could rethink systems, products and programs and lead to a more sustainable and efficient model of subsistence.

There is no specific publication coming out from the design studio whish is only about their work. Most of the studios prefers online branding through website, blogs or social networking pages. It is also observed that, with the changing time digital mediums are prefered more to communicate the studios work or philosophy than the in print form, although many studios still keeps printed brochure for offering to the potential client. Today design scenario or the awareness is much better than what it was a decade ago and some creadits must be shared with the design publications in Indian market. Together these publications are contributing in taking design to the layman which has resulted in changing social perception of the design in India. There are various premiere design institutions which publish design publications periodically like Design Samvad, Design folio etc from National Institute of design, Ahmedabad, Design Thoughts from IDC IIT, Mumbai. Publications also act as a source of inspirations for design students and professionals in India.

Each of these publications have distinct visual language of their own. DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Case Studies 1.Dekho About: Dekho is an anthology of inspirational conversations with designers in India, probing their stories for cues to the development of design in India and highlighting approaches that are unique to designing for India. Publisher: Co-Design, Delhi, 2012 Price: Rs. 2,100. Size: 15 X 22.5 cm Pages: 272 + Cover Binding: Section Sewn Paper Back Printing: 4 Colour offset Grid: 1 and 2 Column Grid Paper: 100 gsm Visual Language: The publication is best example of experimentation in terms of visual language, layout, illustration, the tone of publication etc. Publication keeps the curiosity holding on and engages the reader. Bold use of typography, various mediums of illustration makes it special. Attention to details is excellent. This book gives a great treatment with clear, beautiful drawings that cover every subject from the aesthetics of page layout to its functionality. Typography: The publication has also done a lot of experimentation in typography. Seperate typefaces 34

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are used for each chapter and handwritten typo is also used wherever suited. Combination of serif and san serif typefaces adding extra asthetics to the typography of the publication. All the body copy is set in Greta Text. Total 6 different typefaces are used throught the publication. In terms of typography, this publication reminds me Alan Flectherâ&#x20AC;&#x2122;s, Art of Looking Sideways. Information hierarchy is maintained through the appropriates size and colour of types.

2.Brutal Simplicity of Thought About: Brutal Simplicity of Thought is the creative philosophy of M&C Saatchi. It defines the way they work and the work they produce. Thought-provoking and incisive, "Brutal Simplicity of Thought" is the distillation, in words and pictures, of the Saatchi method of creativity. Whether you are a student, a manager, self-employed or a CEO, this book has something to teach us all: simplicity rules. Publisher: Ebury Publishing, 2011 Price: Rs. 675 Size: 24.5 X18 cm Pages: 108 + Cover Binding: Section Binding, Hardcover Printing: 4 Colour Offset Grid: Single Column Grid Paper: 100 gsm. Buff/matt. Visual Language: The publication talks with very simple and minimal content. A small visual on one page and a wity question following few (4 to 5) lines answering it. Humor is best used in the book. It keeps the curiosity alive while viewing the pages. No use of colours except the visual/object. The design of the book gives full justice to its title/subject: Brutal simplicity of thought.

see in the visulas, only 10% of the space is occupied by the typo for each spread. Centre and left allingnment has been used. The content of the publication is very strong and the chosen San serif type is giving full justice to it without getting attention to itself.

Typography: The publication has two typefaces, One for Heading and another for Body Copy. There are only these two order of typography in terms of hierarchy. All the typography is in black colour. As we can DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

3. 50 Years of NID About: The book has 6 chapters and 404 pages documenting the institute's emergence, advancement and development. The opening chapter describes the national factors that led to the necessity of setting up a design Institute in post-colonial India and the global influences that impacted it. The next 5 chapters describe each decade in the existence of NID from the 1960s to the 2000s. Publisher: NID Price: Rs. 5000 Size: 25 x 34.5 cm Pages: 404 pages Binding: Hardcover Section Binding Printing: 4 Colour Offset Grid: 2 Column Paper: 120 gsm (Cordinon Natural Evolution) Visual Language: Attention given to small details is what makes this publication design best. Each chapter is composed with ample amount of text and appropriate visuals. This is a well-structured and well-written text with refreshing examples from a wide range of designers. The entire publication is very well structured with the grids and maintains the formal approach and the seriousness in the content of the publication. Typography: This publication is nicely crafted with information hirarchy and appropriate type for the content. Typeface, its point size, colour is what catches eye throughout the publication. Througout the 36

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text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. publication, the text is supported with enough visuals to maintain the balance of overall layout and to reduce the strain of continuous text reading. All the

4. POOL About: The monthly design magazine published by Design India and launched by INDI Designâ&#x20AC;&#x201C;explores the Indian design scene for fresh, promising talent and fresh perspective on the talent of some wellknown figures. Being Indiaâ&#x20AC;&#x2122;s first international magazine dedicated to all walks of design, innovation and art, Pool aims to stay true to the very essence of creativity by inspiring, informing and entertaining readers via fresh approaches and ideas in never-seen-before design features. Publisher: INDI DESIGN pvt. limited Price: Rs. 250 Size: 22.5 X 28 cm Pages: 64 Binding: Section Binding Printing: 4 Colour Offset Grid: 2 Column Grid Paper: 120 gsm Glossy Visual Language: The magazine contains work of some of the distinguished comtemporary designers in India along with their interview. Sometimes It also features designers from other countries. With bold use of typefaces and more visuals elements, strong use of colours and enough void space and the handy size of it, the magazine leads among the contemporary design publications in India. The content and their pages are mentioned on the cover itself, which gives an idea about what is inside, just by viewing the cover. Although the publication has its flexible grid, it successfully maintains continuity.

Typography: There is not much experimentation in terms of type combination to create information hierarchy. Most of the content have heading and body copy as an order for reading. Typography is often overlapping the images in many chapters, which is working well to break the monotony of the overall layout and grid.

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5. Kyoorius Design Showcase About: Kyoorius Design Showcase promotes Indiaâ&#x20AC;&#x2122;s creativity to the corporate world and to the world around. It has grown to become a must have resource book for CEOs, corporate communication, marketing and brand heads across companies. The biennial Kyoorius Showcase Book is the only and most comprehensive directory on design in India. Featuring over 180 studios from across the nation in fields ranging from communication design to retail design and type design to product design. Publisher: Kyoorius Exchange, Mumbai. Price: Rs. 2500 Size: 24 X 33 cm Pages: 208 Binding: Section Binding, Hardcover Printing: 4 Colour Offset Grid: 3 Column Grid Paper: 120 gsm. Buff/matt Visual Language: On each page 1/3 of the page is occupied by visuals of work and page begins with the description of the studio. All different kind of work in diffrent vibrant colours is what makes this book come alive. The size of the book is bigger and number of pages and 120 gsm paper also puts some weight to it, so its not handy and need its own space. The kind of paper used (Karees Imprint) really gives full justice to the the colours of different work. Typography: Interplay of typography with the beautifull textured white paper is what gets the attention 38

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first. A serif type for title and a San serif for body copy is not working well, probably because of type characteristics which are not creating good contrast in visual appeal but the contrast of black type with white paper is hiding this drawback and getting more attention. Readability, the primary concern of the typography is maintained here.

6. The Art of Looking Sideways About: A visual feast of a design publication by the late, great, Alan Fletcher who left this world back in 2006. Itâ&#x20AC;&#x2122;s over 1,000 pages long, so not ideal for reading on the bus. More of an inspiration catalogue than anything, The Art of Looking Sideways can be opened at any page. No need to thumb in order. Publisher: Phaidon Press (20 August 2001) Price: Rs. 2,240 Size: 25.2 x 21.9 cm Pages: 534 pages Binding: Hardcover Section Binding Printing: 4 Colour Offset Grid: Grid rules are broken through everypage. Paper: 120 gsm uncoated Visual Language: This publication is a good example of breaking the conventional design rules to be the best. The book is an exceptional talent of Alen Flecher. The visual language is witty and full of humour. The graphics in the book really stand out and support the authors writing. This book provides a wide-ranging and practical understanding of how humans interpret visual information, then describes principles for applying that knowledge to the creation of compelling, memorable. You can open up virtually any page in the book and find something amusing.

Typography: The typography is explored from doodle, calligraphy, brush paint to beautiful type. Information hierarchy, colour coding is done at its best. Each chapter comes alive with something new, something different from earlier chapter. The publication is a good example of breaking the conventional use of typography to communicate the intended message. Modern, contemporary, expressive, experimental, classical, loose, grid based, geometric and everything that can be experimented with type can be seen in the publication.

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7. Communication Art About: The publication talks about visual communication practices world wide. Publisher: Coyne and Blanchard Price: Rs. 1431 (24 dollars) Size: 22 X 27.5 cm Pages: 222 pages Binding: perfect Printing: 4 colour offset Grid: 2 column Paper: 100 gsm glossy Visual Language: More of a visual/work and less description Is the structure used, good use of typography is done. Mostly one spread is dedicated to each featured artist/designer with key points and details describing the work. Without being too much filled, this publication has ample amount of content on each spread. Pure white paper is working well for the colourful illustrations. Typography: There is not much importance is given to the typography as the publication is more of a visual based, showcasing the portfolios. The supporting san serif type is used to mention the details of the portfolio which is going well with wide range of illustrations and designs.

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8. Harvard Design Magazine About: The publication talks about architecture, urban planning and design on global level. Publisher: Harvard University Price: Rs. 1637 (16 pound) Size: 21.5 x 27.5 cm Pages: 152 pages Binding: Perfect Printing: 4 Colour Offset Grid: 2 Column Paper: 100 gsm Visual Language: This publication is more of theory based and visuals are the images supporting the content/text. The overall visual language of the publication is simple and to the point, withough much experimention with visual elements like page no, or magazine title or image details. The layout of publication is functional and approach is more formal. Typography: San serif type is used throughout the publicaton and type size is varied to create information hierarchy. 2 column grid provides the convient approach for reading. It has uniform text with occasional interruptions of quotes from the chapters. The bold weight with large point size is used for such quotes. Enough void space around the typo is working well to reduce the load created by text heavy chapters. Colour coding could have been made the information hierarchy more appealing and pleasing.

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9. Take on ART About: The publication talks about art on global level containing views and perspectives on various contemporary issues on art. Publisher: Bhavana Kakkar Price: Rs. 250 Size: 22 X 27.5 cm Pages: 142 pages Binding: Perfect Printing: 4 Colour Offset Grid: 4 Column Paper: 100 gsm Glossy Visual Language: Good use of small visual elements like thin lines, dotted lines etc. Small visuals elements are provided as per the context. 4 column grid in such size is making compact to the content, allowing less breathing space to and makind the reading difficult. Even the visual are made to fit in that one column which is not creating pleasant layout. Typography: There is not much information hierarchy, which could have been posible with a quote from the article, which would have had reduced the heavyness of continuous text. The typography set in 4 column grid is creating strain for the eye flow of the information, even though the readability of the type is good. Through the use of the proper column no., size, and colours, same type could have been used to assist in the conveyance of information.

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Promoting the studio, an indirect way This study was carried out to understand how different corporate firms and studios are promoting themself indirectly through various mediums.

1. Turmeric Design A design studio in Delhi, run by Kriti Monga. She compiled her experiences/perspectives of daily life and travel, expressed through hand lettering and watercolour, pen illustrations. Each experience has been illustrated with beautifull watercolour and pen drawing and handwritten typography. After going through publication, one can get a fair idea of her perspective and creative way of looking at the things around, which definately appears to the potential client to initiate new ideas or projects, where this way of communication can be used best. The handmade approach of this publication takes it closer to viewer as it gives the experience of holding the actual diary of the designer. Although the publication is about designers personal experiences, the title of it is Turmeric design, the name of the design studio, she runs. Thus in a way, this publication also reflects the strengths and expertise of turmeric design in the field of visual communication.

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2. Kyoorius Papers Kyoorius Paper pramote its papers through Kyoorius Design Yatra by printing all of it’s print material on their papers especially Kyoorius Design Showcase. Kyoorius Design Yatra is one of the world’s biggest annual conferences on design, where designers from all over the world comes and shares their work, colobarate. Paper is one of the most important part of designers world and Kyoorius takes this opportunity to present their best quality papers with printed examples, which definitely results in creating thousands of potential clients, whoever attends or associates with this design conference. It is much more profitable appraoach to create own market for the papers, especially when there are equally strong competitors in the industry. Apart from the conference printed material, there are number of publication gets published every year from the Kyoorius like Kyoorius Magazine, Kyoorius Design Showcase, etc. which reaches to thousands of design studios including those don’t attend the Kyoorius Conference. The paper is a such a products which can be trusted only by its physical touch and Kyoorius provides this facility through various printed material in the Kyoorius Design Yatra.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

3. IDEO IDEO is an award-winning global design firm that takes a human-centered, design-based approach to help organizations in the public and private sectors to innovate and grow. IDEO has made a small power point presentation on the philosphy they follow. It is called The Little Book of IDEO. They also extended it to the videos. This small powerpoint presentation is consists of only 18 slides with a quick and simplified message on each slide. Each thought has been exemplified with graphical representation. Handwritten type is used for the main thought. All it is created to give the viewer an idea of IDEOâ&#x20AC;&#x2122;s culture. Although IDEO is one of the best known design firms globally, this little book helps them maintain that brand. It is one of the unique way to promote the firm in an indirect way and creating impact on potential customers.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

4. Lokus Design Lokus Design is a leading brand strategist and packaging design consultancy in Pune. It works with experienced industry professionals and fresh talent for over a decade now, promoting work that is innovative and has the potential to influence global design trends. Lokus Design organizes an event called Behance Portfolio Review, where various design professionals reviews the participated students portfolio/projects. One of the noticing point is that It also makes compulsory to like their studioâ&#x20AC;&#x2122;s social network page to partcipate in the event. Behance is the leading online platform for showcasing creative work. In a Behance portfolio review hundreds of design communities over the world comes together and share their working culture and philosophy. Students gets an opportunity to interact with design professionals and get their feedback and guidence over the work. By organizing this event Lokus Design gets to connect with all the participated design communities and finding possibilities for collaboration for new projects.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Print Production Study Meeting the paper vendor Meeting with paper vendor Mr. Uday from Kyoorius papers/K- series was helpful to understand the availability of variety in the papers in terms of quality and price as well. First the discussion was about the kind of paper we are looking for, and as per following features, the papers available, were shared. A paper that has feel of: > Natural/handmade Paper > Pure white, instead of yellow or extra white. > Earthy/buff touch paper instead of soft or shiny. > No Texture or very little texture > The paper which allows content to come out instead of paper itself. So on these details he shared various papers available and we short listed few and listed down the details of them. Also asked him to send the weight details of sheet, and some offset printers reference in the city. Also kept a paper swatch in the studio as a reference.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Papers short listed with details: 1. Grada Part 13 Kiara 90 gsm - 65 x 92 cm - Rs. 13 90 gsm - 70 x 100 cm - Rs. 16 115 gsm - 65 x 92 cm - Rs. 16 115 gsm - 70 x 100 cm - Rs. 19 2. Kares Recycled Diamond White 90 gsm - 64 x 90 cm - Rs. 13 120 gsm - 70 x 100 cm - Rs. 22 4. Karess Wove Soft White 100 gsm - 64 x 90 cm - Rs. 14 3. Emote + 130 gsm - 65 x 92 cm - Rs. 17 130 gsm - 72 x 102 cm - Rs. 21

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

After sharing these papers with client, one as final paper was chosen to be used for the publication that is...

Karees Recycled Diamond White 120 gsm - 70 x 100 cm - Rs. 22

Why this paper...? It has those features that I was looking for: > Pure white colour (not yellow or extra/shiny white) > Little texture giving it earthy feel > The paper that allows content to come out instead of itself. > It is a natural paper/ recycled paper which also justify the subject of this publication (Indian). > Available in 2 sizes of sheets. Also for the cover, same paper is available in 300 gsm at the price of Rs. 58 per sheet.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

User Study Corporates CEO’s are the primary target audience chosen for this publication, hence following study has been done to understand the user:

CEO’s of corporate firms/inc. Purpose of this study was to understand the personality of a CEO’s. Their likes, dislikes for publications, preferences, choices etc.

Why CEO’s are the target user? Beacause they are the decision makes, the one who initiates the project. If we could communicate our ideology/philosophy of work through a design publication, It will influence and inspire them to initiate new projects with this philosophy which will play its role in establishing Indian design Philosophy.

Finding about CEO’s > They wake up early (between 5 to 6 am) > They read a lot > They read the books on Strategy, Leadership, Time management, People > They always look for fresh ideas > They are curious about new technology and next big thing > About the books, they are more concerned about the text content more than anything else like visual, layout, size, price of the book. For them content has to be in quality.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

> Some of the CEO’s as an example:

An Inside Look at CEO’s Life

- Kishor Biyani, Future Group - Bhaskar Bhat, Titan Industries - Naveen Jindal, Jindal Steel & Power - Rajiv Bajaj, Bajaj Auto Limited

Article by Neil Patel, co-founder of Crazy Egg and KISSmetrics:

> They are highly busy all the time > Some of the magazines read by most of the CEO’s: a. CEO India b. Economist c. Forbes d. Fortune e. Bloomberg Business Week > Some of the Books read by most of the CEO’s: a. Seven habbits of highly effective people b. Magic of Thinking Big c. First Thing First d. Good to Great e. Secrets f. Sell or be sold. From all this study, the fair idea about the target user was taken and used while designing the strategy for communication. Also to know the user, few online articles were studied: The following content is taken from those articles. Direct links to these articles can also be found in bibliography section of this document.

CEO’s look like they have it made. The pay is great, and the benefits are great–so what’s not to love? What most people don’t realize is how much time and energy a successful CEO devotes to his company. Most CEO’s need to make personal sacrifices in order to attain the level of success they desire. Getting an Early Start on Work: Successful CEO’s days start before they even step foot in the office. According to CEO Sabin Ephrem, the first thing he does upon waking is check his email to see if anyone emailed him while he was sleeping. Karen Blackett, CEO of MediaCom, says that she receives at least 500 emails a day, which arrive from early morning through the night. After waking up and checking email for any pressing business, it’s time for breakfast and coffee–in some cases. According to a poll conducted by Business Insider, only 45% of the CEO’s on the Inc 500 list have breakfast every day. Heading into the Office Although most CEO’s arrive at the office between 8:00-9:00 a.m., their work days often start in the car during their morning commutes.

Tim Armstrong, CEO of AOL, says this about his commute, “My desk starts the minute I leave my house. I have a driver and my commute is a little over an hour. I am very productive in the car.” Upon arrival at work, it’s time to check emails again and to prepare for the morning’s work. Most mornings are filled with work at the desk. The CEO answers emails and may have a few hours of meetings scheduled. He or she is also responsible for meeting with employees and project teams to ensure that assignments are on schedule. There might even be a phone conference or two thrown into the mix. Really, there’s no average morning for a CEO, as there’s a never-ending and always-changing list of things that must be done during the work day. Emergencies pop up frequently, putting everything else on hold while these are taken care of.

hour work day. After a long and tiring day, the CEO eats dinner and spends some time with his or her family. Tim Armstrong, referenced earlier, says that he spends most evenings with his daughters, reading them books. He then plays Nerf hoops with his son. Another CEO, Karen Blackett of Mediacom, says that when she gets home, she spends about an hour with her son before he goes to bed. As soon as her son is in bed, Karen begins working again, this time at home. This is the case with most CEO’s, who usually spend at least an additional two hours of their evenings working from home. Added to the previous hours spent working in the office, this makes for an even longer day of 13-14 hours. When asked what time they go to bed, most CEO’s said that they try to be in bed by 10:30 p.m., which gives them 6-7 hours of sleep before the next day begins.

are long and the schedules are full, but these disadvantages often represent the trade-offs needed to provide a high standard of living for the families of the CEO’s profiled. A CEO’s job is never done, but for the most part, this hard work pays off in the end.

Weekends – Not Just for Relaxing Time for a Lunch Break? Most CEO’s mornings are so hectic that, according to the business owners polled by Business Insider, only 35% of them take lunch breaks most days. Usually, lunch is just a sandwich taken at the desk while working through the meal. Some lunches consist of business meetings with clients or associates over lunch. After a quick meal, most CEO’s continue the work day with more of the same. According to the Wall Street Journal, CEO’s spend an average of 18 hours a week in meetings. These numbers are based on a 55 hour work week, which means that onethird of the time, CEO’s are in meetings. This doesn’t include the preparation work needed before each meeting, making these employee get-togethers a major part of the CEO’s work week. Closing Time Many of the CEO’s interviewed by The Guardian estimate that they arrive at home around 7:00-8:00 p.m. This gives most of the CEO’s interviewed an 11-12

Once the work week is over, it means the all the work is done, right? Unsurprisingly, this isn’t the case for most CEO’s. Many of the CEO’s interviewed by The Guardian stated that they try to spend quality time with their families on the weekend, which might include a movie night, kids’ sporting events, dinner with friends and family, or church. Family time on the weekend isn’t always set in stone, according to Hans Vestberg, CEO of telecommunications company, Ericsson. Vestberg mentioned that, depending on his travel schedule and customer meetings, he might not have much time over the weekend to spend with his family. Although most CEOs mentioned that they try to spend time with family over the weekend, they also said that they usually start working again on Sunday in order to prepare themselves for the coming work week. Certainly, CEO life involves compromises.The days

Image is for the representation purpose only.

Source: http://thinkingforward.tumblr.com/post/57074800895/the-realityof-running-a-business-an-inside-look-at DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

What's in a CEO's library? At his annual CEO Summit in 2005, Bill Gates recommended five books as essential reading. All five were in the business/management genre. It underlined an essential truth. Keeping up with management wisdom leaves most CEO’s with little time to read anything other than manuals on business strategy. Is this wise in a horrific new financial environment, which has turned traditional management wisdom on its head? Fiction, more than any other genre, is acknowledged to have an impact on the way people think and respond to life's challenges at home and in the workplace, but it is yet to find a pride of place in the libraries of most senior managers. "Story-telling is a good leadership style," acknowledges Vijay Kiyawat, former managing director of Duraline. "I don't read fiction, but childhood religious stories have helped me to lead companies consciously." Kiyawat started a reading club for CEO’s four years ago. The books they shared went beyond management and business to include spirituality and philosophy. The CEO’s paid attention to quirky titles such as 'The Art of Punctuation' by Noah Lukeman and 'The Pleasures of Watching Birds' by Lola Oberman. But fiction, for the most part, remained conspicuous by its absence. Not so Sanjeev Bikhchandani, CEO of Naukri.com. Bikhchandani seldom reads management books, describing them as "quite useless. They are fashionable to read but have little or no lasting value". He says it's important for managers to read fiction because "it illustrates real-life experiences, which shape a person's ability to manage people." He counts Harry Potter as his favourite read and lists important fictional influences as follows: 'All quiet on the Western Front', 'To Kill a Mocking bird' and 52

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

'One Flew Over the Cuckoo's nest.’ However, in the non-fiction genre, Bikhchandani admits to 'Built to Last' by James C Collins, Jerry I offering "a few eureka moments.” Publisher Kapish Mehra of Rupa books acknowledges the need to read fiction. "Fiction does open up new and powerful spiritual and emotional dimensions in people," he says, adding that it is "inappropriate (to compare) fiction with non-fiction. It is like comparing apples with oranges."

Television channels, such as National Geographic and books on military history have contributed more to his growth as a leader and to his understanding of conflicts in the workplace. "Watching a program on the way a bridge is built is an intense display of team work by a huge sea of faceless people. The way armies motivate people to risk their lives for their country with little or no financial incentive is also deeply motivating," he says.

But Madhu Ahluwalia, CEO of search firm Talisman Advisors, insists that "fiction helps me realize that people are all basically alike and we should not be sweepingly judgmental of people solely by their appearance". Ahluwalia, who loves mystery stories, acknowledges that fiction is more of an escape from the real life of a manager and management books may be better reads when it comes to dealing with workplace issues. Agrees Anil Nayyar, founder and MD of Prerna Centre for Learning and former CEO of Bharti Airtel, "All of us apply management theories in the workplace with respect to people, processes, marketing and finance. The foundations of Airtel were based on these principles and we were able to successfully apply them in nearly all fields pertaining to management strategy and functions."

Image is for the representation purpose only.

Some senior managers try to mix and match. Uday Chawla, managing partner of Transearch India, subscribes to a site that offers condensed versions of executive, management and business titles to keep abreast of the latest ideas. A senior executive of a multinational firm says he has not read a management book since B-school.

Source: http://timesofindia.indiatimes.com/home/stoi/deep-focus/Whats-ina-CEOs-library/articleshow/4130186.cms

Phase

Analysis and Synthesis

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Consolidation From all the study that has been done in phase one, following points were consolidated:

There are several publication in India dedicated to design in India:

Abhijit Bansod is a product designer and founder of Studio ABD located in Bengaluru, founded it in 2008.

Few of them are solely dedicated to design/art and rest are having some sections or part reserved for design/art.

He has won several national and internation awards for his designs. Before founding the studio Abhijit has worked with Titan for a decade and established the strong brand image of Titan in competitive market with his uniqe designs language. Studio ABD is a product design focused studio, however it work in various segments like packaging design, lifestyle accessories design, trophy design, environmental design. The studio has also created an online shop–Mubhi for its beautiful lifestyle products. Most of the work that is done by Studio ABD reflects strong connection with India through its culture, life and people. Studio's work has been featured in various publications including more than 30 magazines and 50 newspapers, over the years.

Some of them are theoretical, some are visual based while few are having both in balance. Very few of them are concern about Indian aspect of design while featuring the content. i.e. Dekho. Most of them act as a portfolio platform for designer and artist featuring work and its details in few words, like Creative Gaga, Kyoorius etc. Most of these publications are interddeciplinary. There are 2 ways they present the content: One: Design with designers interview (like in pool) Two: Design and its details in few words (like creative gaga, kyoorius showcase etc.) All these monthly/annually magazines have their fixed structure of presenting/featuring the work. Most of the design publications are four colour.

The process that studio follows is a blend of tradition + trend + technology.

The paper used by them varies from 90 gsm to 120 gsm for inner pages.

Studio wants to communicate this ideology through some of its selective work through a publication.

Most of the visuals used in these publications are images/very few are illustrated like Dekho. For production purpose, there are so many varieties

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

available in paper. It varies in size, price and gsm. Such a wide range of choices is a great support for experimenting in publications. After checking out various papers it was decided to go with Karees Recycled Diamond White 120 gsm. It has all those features, we were looking for this publication. Still we would like to have trial prints of a spread on shortlisted few papers to make sure the choice we made is correct. The primary target audience chosen for publication is corporate CEO’s and so level decision makers, to whom this publication will influence and inpire for new projects/ideas/initiatives. CEO’s are highly tied up with various activities. They read a lot. Always look for new ideas or techniques. They mainly focus on quality of content.

Scenario Building After completing phase one of the project, it was time to make some connection that were hanging in the mind since the beginning of the project. For this a brainstorming session was organized to include all the people in the office. Subject was to reflect on what is â&#x20AC;&#x2DC;Indian thing.â&#x20AC;&#x2122; Everyone wrote down all they had in the head concerning the subject and at the end of session we got this sheet filled with all those words that reflects Indianess. Here are few words from this chart: Spices, Yoga, Saree, Agriculture, Truck, Auto, Bollywood, Peacock, Juggad, Handcraft, Vedas, Culture, Karma, Dirt, Languages, Heritage, Taj-mahal, Rangoli, Bangles, Rajanikant, Rupee, Power-cut, Classical music, Bindi/kumkum, Corruption, festivals, Kumbhmela, Reuse, Wedding ceremony, Kaamsutra, Sweets, M.K. Gandhi, Religions, Chalta hai attitude, Jaali, Mango, Largest democracy, Chai, Combine family, Mehandi, Astheics, Traditions etc.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Then it was time to reflect on what is Studio ABD thing?...and this was too interesting as first one. It has all those words that reflects Studio ABD. Here are some words from this chart: Abhijit Bansod, Product design, Indianess, Red dot design award, Storytelling, Traditions, Passion, Element of surprise, wit, Unique design language, Trend, Technology, Trophy design, Environmental design, Packaging design, Lifestyle accessories design, Mubhi, Deep thought, Indian Design Philosophy, Made in India, Sustainable, BPL Halo, Bat of honour, Chai paani, Titan Watches, Angara, Pupa, Masala watches, Titan Kaal Clocks etc.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

After this brainstorming there was a need to have visuals those reflect India. So the mood board was created with the visuals/images collected from various online resources and then printed to put up on soft board. Here are the names of some of the visuals from this moodboard: M.K. Gandhi, Rangoli, Swami Vivekananda, Mother Teresa, Saree, Lotus, Indian architectures, Peacock, South Indian Meal, A. P. J. Abdul Kalam, A. R. Rahman, Palaces, Corporate women, Holi, Indian trains, Corruption, Auto, Power cut, Yoga etc.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

So now...we had 3 basic things: 1. Brainstorming on India 2. Brainstorming on Studio ABD 3. Visual mood board on India So it was time to make those connections hanging in the head. The projects/words from the ABD panel were connected to the visuals of inspiration for that particular project and same thread was connected to the word from India panel that relates with that project. Colourful woollen threads were used to make connection which helped to keep each connection separate from other. So for each project we have a visual inspiration and a word from India that made the project an Indian thing. So now the soft board is ready to inspire the visual explorations for each project.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Communication Strategy What do we want to communicate:

How we want to communicate? (how would be the publication)

> The ideology of work we do. > How we reflect Indiannes through our work. > How tradition and technology can be blended together to create unique Indian Products.

> It would be more of a visual based rather than the text heavy. > It could be opened at any page and need not to follow the chapters in order. > The publication will be handy in size and care would be taken to keep the weight as less as possible. > The communication tone of the overall publication would be wity.

What we don't want to communicate: > The step by step process we follow. > The journey of Studio ABD. > The portfolio of Studio ABD.

Whom do we want to communicate: > The decision makers, CEO's of corporate compa nies. (primary target audience) > Design students and professionals in India. (second ary target audience)

What is the immediate goal of the publication: To influence the decision makers for new initiatives/ projects/ideas.

What are the distant goals of the publication: > To act as an Indian design vocabulary. > As an inspiration for design student and professionals. > Sharing Indian design philosophy.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Few more important points: > Its not about Abhijit's earlier work or Studio ABD's work. It's about the work and the philosophy used. > How are we going to reach this publication to its target audiences: Every year in the forbes award function in mumbai, Studio ABD gets a place to showcase its work to the CEO's and decision makers from various seg ments of industy. These book can be introduced best in that showcase. > An approach can be made to various institutions librares, public/private libraries on national and international level to have this book in collection. > The book can be made available to order on studio website as well as social networking pages.

Structure of the Publication By this time, the discussion was happening on what should be featured in the publication, result of this discussion is a list of the projects shortlisted to feature in this publication: 1. Titan Kaal Clocks 2. Titan Heritage Collection 3. Fastrack Masala Watches 4. Titan Raaga 5. Titan Black 6. Nebula Palace Collection 7. Pupa 8. BPL Halo 9. Inwaste 10. Allvaze 11. Money Tree 12. Kundan USB 13. Chai Paani 14. Karmameter 15. Just Mehfil 16. Mannat 17. Aangara 18. Zaadu 19. Amrita’s characters drawings 20. Hul Yoga 21. Cyclub 22. Bat of Honor 23. Titan Sail 24. Titan Dash Packaging 25. Omkar Valli 26. India in envelop 27. Trophies

Content Structure Ideas: 1. Projects with sections The publication can have sections or themes to present the projects which will provide the certain context to the projects within that section. eg. Section one: Living, an Indian way–so it will have lifestyle accessories designs/projects. So as per this concept given projects were divided into different sections depending upon the type of the product they relate: 1. Designing the Titan Stories a. Titan Kaal Clocks b. Titan Heritage Collection c. Fastrack Masala d. Titan Raaga e. Titan Black f. Nebula Palace Collection g. Titan Sail 2. Design For Better Future a. Karmameter b. Pupa c. Zaadu d. Inwaste

e. Mannat f. Aangara g. Allvaze 4. Design for First Impression a. Dash Packaging b. Just Mehfil c. Hul Yoga 5. Design for Honor a. Bat of Honor b. Trophies c. Omkar Valli 6. Untitled a. Amrita’s characters drawings b. Kundan USB c. India in envelop

Initially this idea was liked by all, but practially looking at sections, it wasn’t giving justice to the individuality of each projects, as the each project is totally different from another one and only common thread they were having is Indianess. So it was decided to keep this idea aside and explore some more ideas for the structure of the publication.

3. Design for Life a. Cyclub b. BPL halo c. Money tree d. Chai Paani DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

2. Projects with relavent themes or thoughts/concepts

Life beyond homes… public spaces. Pride and sense of belonging.

Materialism, Indian way.

This idea came up with the thought that if we create curiosity for every project by giving a hint or clue, it would work and keep the reader engaged in it. The idea was also intend to show product in zoom view. One sample created to check the look of the same.

Tolerance and design.

For Allvaze:

Creative societies.

Teaser spread will have only upper half of the vase as a visual and below will be a question in small type size, size of subheading or body copy. The question will be: Can a non living object motivate human? And next spread will have Allvaze with sub heading– A flower vaze that motivates you to stay connected.

Since sections were not working well, it was thought that a theme or a thought could fit projects of different types, as themes or thoughts would be broader that the sections, so themes were made and decided to fit those selected projects in these themes:

Karma and us.

Our way of life: Open, acceptability, embrace change, improvise (jugaad) any given situation, forget and forgive, efforts more important than results, chalta hai, intuition vs intellect. Technology and us: Technology vs religion, how technology became new symbol of progressiveness, how communication and entertainment became necessity of our life. Population and democratizing design: Access to new technology at cheap price, good design for everyone. Mobile phone is best example. Standing in line vs online. Contemporary vs ornate. Being indian (what it meant and what it means today /tomorrow). Designed in India. Made in India. Indian luxury Next big thing (Ayurveda, Yoga, Bollywood... Indian design?). Humor and us 62

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

3. Projects with teaser spreads

Culture of aesthetics. What is Indian design?

Althought the themes or thoughts were interesting, they were making the publication bulky. As we were looking CEO’s and decision makers as a target user, we left this idea.

Everyone in the office liked this idea as it was having less content in text form but the problem with teaser spread was that all the projects were not having their images/photographs in the required format, as some of them were designed quite long time ago and studio was not having those designs to reshoot. So for a time this idea kept aside.

4. Individual project with no sections or categories Although this idea was obivous, it was examined seriously after validating earlier 3 ideas. So the idea was to have each project directly withough any pre spread of theme or section or teaser. The plus point of this idea was that, this way it was being crisp and to the point. Also the strategy ofâ&#x20AC;&#x201C;Open any spread and enjoy was possible with this idea. So with these advantages of this idea, it was decided to go ahead with the same.

Confirmed Content Structure How do we present these projects: We can have one spread for each project. (One page will be too less to express and more than 2 pages will make it too much, especially when we are looking at CEO's as a primary target audience). The projects which really require more than a spread can be given as an exception. (For exa. to showcase a series of a same family product, like watches)

they can expect from the article. It should work with the headline and this is why it is a good thing to place it just below the headline. Natural flow of the article is: 1. Headline 2. Intro/subheading 3. Body copy In this way reader can easily follow the story in its natural way.

From the content research and the case studies, it has been observed that when a book is allowed to start/read from any random page get's better response. The obvious reason is that, in today's super fast life, no one want to spend the time in reading entire book to know the subject, unless it contents something of deep interest. So, when we allot a spread to each project, any opened page will have a beginning there for that specific project, providing convenient approach for the reader. How would the structure within the project be: We can have 3 categories of text for each project to set the information hierarchy throughout the publication: a. Heading/ title of the project. b. Sub-heading as 3-4 lines quickly describing the entire project or the concept. c. Body copy, detailing story of the project in a crisp manner. Subheading gives to the readers a summary of what DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Physical Structure of the Publication Various physical structures for the publication were explored to check, which one suits best. Vertical as well as horizantal sizes were explored to make sure that best one gets shorlisted for publication. Best in the sense, the size which goes well with the content. Following are the closed sizes explored: Vertical sizes 25 x 35 cm 22 x 34 cm 20 x 30 cm 18 x 22 cm Horizontal sizes 21 x 16 cm 22 x 18 cm Square sizes 19 x 19 cm

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Since the visual explorations were also happening simultaneously, one layout was taken and placed in different sizes and black and white prints were taken to see how actually the layout will look in diffenrt sizes. After sharing these trial prints, the decision was taken to go ahead with a bit larger and odd size.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

After checking out different sizes and disscusing with client, it was decided to go with the size 20 x 30 cm, because: > It is an odd size for the publication and hence will stand out from conventional sizes that we see around. > The publication is more about visual treat to the viewer and hence this big size gives full justice to the cause by providing more space for the content. > The publication is having specifically short listed few projects (20 -25) and each project is occupying 1 spread. So the publication is not going to be heavy and hence it will support the larger size of it.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Imposing the chosen publication size with shortlisted paper size 100 cm

The paper shortlisted for publication is Karees Recycled Diamond White 120 gsm and it comes in the size 70 x 100 cm. The size of the each spread of the publication is 40 x 30 cm.

30 cm

70 cm

30 cm

So when placed on the paper, each paper can print 8 spread (4 on the front and 4 on the back) by leaving 3 mm bleed for each spread.

20 cm

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Phase

Explorations

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Typography After going through hundreds of type families from different resources like my laptop archives, some online resources like websites and blog etc.,10 were short listed, which are commercially free to use, as this is one time publication and Studio ABD donâ&#x20AC;&#x2122;t want to buy a typeface just for this project. The chosen ten typefaces are:

So, first the print of all chosen typefaces was taken in various point size for the body copy to check which point size suits well for the publication size we have chosen. Point sizes considered were 9, 10, 11 and 12. From all thes, 10 point size of body copy was looking perfect on the paper. So the dummy body copy was placed in all 10 different shortlisted typefaces with 10 point size and 12 leading. Then the print of these types was taken and observed.

1. Aurelent Sans 2. Bookman Old Style 3. BPreplay 4. Fontin Sans 5. Ek Mukta 6. Signika 7. Ubuntu 8. Aleo 9. Titillium 10. Crimson These typefaces were short listed on the basis of following factors: 1. High readability and legibility 2. Elegant in look 3. Variations in style 4. Having its own character which can stand out from the conventional typefaces been used by other publications 5. Most importantly, commercially free typefaces

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Angara means embers. Embers that holds the warmth of the fire deep within and the ember that manifests into a flame with a slight trigger. Beautifully hand crafted bidriware agarbatti stand, with silver inlayed calligraphic pattern held atop by a simple wooden base. Angara collects all your wishes and with your mere belief, helps harness the reaps of your dreams!

Aurulent Sans / Regular / 10 Pt / 12 L

Bookman Old Style / Regular / 10 Pt / 12 L

BPreplay / Regular / 10 Pt / 12 L

Ek Mukta / Light / 10 Pt / 12 L

Signika / Light / 10 Pt / 12 L

Ubuntu / Light / 10 Pt / 12 L

Titillium Text22L / Light / 10 Pt / 12 L

Crimson / Roman / 10 Pt / 12 L

Fontin Sans / Regular / 10 Pt / 12 L

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Aleo / Light / 10 Pt / 12 L

From all of them one type was picked up quickly, that was Signika. It is designed by Anna Giedry and uploaded online in 2012. Itâ&#x20AC;&#x2122;s beautiful and has an aesthetic touch to its character. Then observed each type calmly and came to conclusion that first choice made quickly is perfect, so itâ&#x20AC;&#x2122;s Signika / Light / 10 Pt / 12 L Signika is a sans-serif with a gentle character. It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. The typeface comes with a wide character set supporting most of the Eurpoean languages, small caps, pictograms and arrows. The figures are designed as tabular. It is more elegant in its thin weight letterforms and looks beautiful in small weight. Available in various weights, so from same family bold type can be used for sub-heading or heading. It has its own character which set it apart from conventional typefaces.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes.

Aurulent Sans / Italic / 15 Pt / 18 L

Bookman Old Style / Italic / 15 Pt / 18 L

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes.

Fontin Sans / Italic / 15 Pt / 18 L

Ek Mukta / Medium / 15 Pt / 18 L

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes.

Ubuntu / Italic / 15 Pt / 18 L

Aleo / Regular / 15 Pt / 18 L

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes. BPreplay / Italic / 15 Pt / 18 L

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes. Signica / Regular / 15 Pt / 18 L

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes. Crimson / Semibold / 15 Pt / 18 L

Then same process been followed to choose the typefaces for the sub heading, and Bookman old style was chosen which is designed by Alexander Phemister in 1860 and named Bookman. Bookman Old Style / Italic / 15 Pt / 18 L Bookman or Bookman Old Style is a serif typeface. Bookman has straighter serifs, making it more suitable for book and display applications. It maintains its legibility at small sizes, and can be used successfully for headlines. In italic, itâ&#x20AC;&#x2122;s beautiful than its regular weight, as it gains rhythm throughout the words. For the sub heading we wanted to have medium weight type which neither slim nor too heavy, and this type fits well in it. Also this type would be good contrast to the Signika Light, which is chosen for body copy.

Collect your wishes, beautifully crafted in metal with a wooden body, This incense stick stand remembers all your prayers and wishes. Titillium Text22L / Medium / 15 Pt / 18 L DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Angara

Aurulent Sans / Bold Italic / 30 Pt / 36 L

Bookman Old Style / Bold / 30 Pt / 36 L

BPreplay / Bold / 30 Pt / 36 L

Angara

Ek Mukta / Extra Bold / 30 Pt / 36 L

Signica / Semibold / 30 Pt / 36 L

Ubuntu / Bold / 30 Pt / 36 L

Angara

Titillium Text22L / Xbold / 30 Pt / 36 L

Crimson / Bold / 30 Pt / 36 L

Fontin Sans / Bold / 30 Pt / 36 L

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Angara Aleo / Bold / 30 Pt / 36 L

Now...it was time for Title/heading Same process been followed and chosen one type common for all the title, which will keep continuity throughout the publication. The type chosen is Signika / Semibold / 30 Pt / 36 L Its has well balanced look in its semibold weight. Has good readability and strong appeal what is needed for title. This type has the soft curves to its characters which is adding value to its asthetics and making it more suitable for the Title of this publication.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Colour Palatte Since this publication is all about design that is inspired from India, its culture, traditions, it has been decided to create our own colour palette that is inspired from India. After going through lot of visual/images that represents India, its culture, traditions, five images were taken forward to create colour palette. The colour palette is created in Adobe Photoshop using eyedropper tool. Each image is taken on seperate A4 sheet and five colour were chosen from the each image. Five colours because all these five images will give us five palettes, which will be combined together to get the larger colour palette. From that larger colour palette, tentatively 7-10 colours will be chosen as a final colour palette. less than that would not be sufficient for entire publication and more than that can create cliche or can break the continuity of publication, which can be maintained with fixed 7 - 10 colours. So here are those five colour palettes, created from the chosen images:

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

1. Colours of Holi

2. Indian Spices

3. Rangoli

4. Indian Umbrellas

5. Indian Truck Art

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

After having these five options of colour palette, all of these are put together to create one final colour palette:

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

From all these colour palettes combined together, repeated colour and nearby shades were eliminated, and chosen final 10 colours. So finally, in a organized manner, this is how final colour palette was looking:

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Information Hierarchy This Publication is having 3 basic layers of information as following: a. Heading Title of the project b. Sub-heading / Introduction One or two lines quickly describing the entire project or the concept. c. Body copy, Detailing story of the project in a crisp manner. Subheading gives the readers a summary of what they can expect from the article. Natural flow of the article is: 1. Headline, 2. Intro, 3. Body copy. In this way reader can easily follow the story in its natural way. For the title, the chosen typeface is Signika Bold and the size and colour will be chosen as per the product or content. For the sub heading, the type chosen is Bookman Old Style, Italic, and size will be mostly between 15-20 points, depending on the product or content of that specific project. For the body copy, chosen type is Signika Light and point size 10 and leading 12. Colour will also be black 100% in most of the cases, except where it has readability issue.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

These fixed factors will help to maintain the information hierarchy and continuity throughout the publication. Rest of the content like visual/images, page no, book title etc., will be defined as per the order of getting viewers attention. More attention will be given to enhance the product through the layout design.

Content Generation Finally 20 projects, which are having strong Indian connection through their process or design, were selected to feature in the publication. The selected projects are: 1. Allvaze 2. Angara 3. Mannat 4. Just Mehfil 5. DIYa 6. BPL Halo 7. Bat of Honour 8. Inwaste 9. Karma-meter 10. India in Envelope 11. Titan Kaal 12. Fastrack Masala 13. Titan Black 14. Nebula Palace Collection 15. Titan RAGA 16. Titan Heritage 17. Forbes Philanthrphy Award 18. Chai Paani 19. Deepstambha 20. Money Tree

For all these projects the content was generated from various resources and archives of Studio ABD, like studio server, old cd collections, studio dropbox etc. Images which were not available in high resolution or good quality were seperated and checked, whether those products/designs were available in the studio. Some of them were available, so the photoshoot of those products was done in the studio and new images were generated to be used in the publication.

Along with these 20 projects, Few spreads were given to the following content to be added. > Mubhi > Abhijit and Amrita Bansod > Studio ABD

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Flat Plan Title Flat plan shows where all articles and adverts are laid out, and in what order. It allows complete control of the publication production process avoiding confusion. Front cover

Introduction

Forward

02 / Allvaze

06 / BPL Halo

Content

03 / Mannat

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

05 / DIYa

08 / Inwaste

01 / Angara

04 / Just Mehfil

07 / Bat of Honour

Inside front cover

09 / Karmameter

10 / India in envelope

11 / Titan Kaal

14 / Nebula Palace Collection

Abhijit & Amrita Bansod

Mubhi

Credits

17 / Forbes Award

20 / Deepstambha

Studio ABD

13 / Titan Black

16 / Titan Heritage

19 / Money Tree

18 / Chai-paani

15 / Titan Raga

12 / Fastrack Masala

Photograph

Inside back cover

Back cover

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Visual Explorations By this time, content for the most of the projects was ready and it was time to focus on visual explorations. For each project, keywords were listed down and the visuals were looked from the moodboard that was created in earlier phase. Layouts were scribbled on sketch paper first and then executed digitally. The explorations were shared with the client, feedback was taken and further changes were made. This process was followed for each project. Only the first proejct has taken more time, as various approaches were made to check which one suits best for the content. Finally the flat graphic style approach was chosen to be used for all.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

1. Allvaze: In this exploration, an attempt was to narrate the story behind making of the product through sketches. Colours were chosen accordingly to reflect the spiritual aspect of the inspiration. Considering layout of the spread, elements like sub heading and digonal lines were used to break the monotony. The basic idea was to build the visual story of the product with its inspiration. 2. Allvaze: This exploration was more about the productâ&#x20AC;&#x201C;Allvaze as a flower vase. Subheading talks about staying connected, hence love was expressed through harmonious composition of visual elements.

3. Allvaze: In this exploration, an attempt was to reflect the product through its graphical form. Various features of the product eg. Eco friendly, Natural colour etc., were added to the bottom to highlight the making of the product. 4. Allvaze: This was created to express the unique selling point of the productâ&#x20AC;&#x201C;the magnet which keeps two parts of this product always together.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

5. Allvaze: Photograph was used as a key element and all the content was composed around it. Hand drawn calligraphy is used for the title of the spread to connect it with hand crafted aspect of the product. 6. Allvaze: This exploration was also photograph based where the connecting feature of the product was expressed through its placing on the folding space as there is no spine. While opening the spread the product appears in two seperate parts and when fully opened one can see the connection between two parts.

7. Allvaze: In this exploration, the product is showcased exactly the way it is. Two seperate parts with no space in between. 8. Allvaze: This was more focused on staying together which is expressed by placing the product in the centre of the spread. The colours were also used to depict the gap between two parts of the product.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

9. Inwaste: In this exploration an infographic was created to convey the use of the product in appropriate order. Earthy tone in the background is to connect the products with its eco friendly nature. 10. Mannat: Mannat means the secret wish one makes which is expressed here through broken star in the sky. 11. Mannat: This exploration was also an attempt to express the wishmaking tradition of Indian culture. A wish tree is placed in the background creating the context for the product in the foreground.

12. Mannat: Through this exploration, the beauty of the product was communicated through zoom in view. The colours contents are also chosen to depict the Indianess of the product.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

13. Angara: This exploration was a traditional appraoch with calligraphy and watercolour wash to express the devotional aspect of the product Angara. The typography is also overlaping the product to break away the static feel of the layout. The vertical two lines with the title are called Shirodand Rekha in Sanskrit. This traditional element is used here to reflect the Indianess of the product. 14. Angara: This was clean layout appraoch to depict the peacefull surrounding created by the devotional product Angara.

15. Angara: In this exploration, the feel of the ancient Indian manuscripts was given to the spread to depict the Indian connection. 16. Angara: This was modern approach with flat graphic visuals. Vector viusal were created and repeted to create an eye pleasing layout with meaningful small small elements like insence sticks as a line.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

17. Just Mehfil: This exploration was created by taking a design element form the product itself. With the use of colour and form this layout was created in such a way that product gets viewers first attention. 18. Just Mehfil: This was to express the meaning of Mehfilâ&#x20AC;&#x201C;get together. Same design element is repeated and composed to depict the gathering. The form of the frame is also taken from the product itself. 19. Just Mehfil: This was also to express the word Mehfil by composing the elements as a dining table.

20. Just Mehfil: This was too same concept depicting the togetheness through lines as family has sat for the dining.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

21. DIYa: This exploration is photgraph oriented. The unique point of this DIYa is that one can create nice rangoli out of these. Same messgae was communicated through this layout. 22. DIYa: This was more of a flat graphic appraoch used to create the context of Diwali. Positive and negative space is created for the eye pleasing.

23. India in envelope: The idea was to showcase the details artwork done on these designs for which close up photoshoot was done and same photographs were used here. Orange colour in the backgraound is for the association with Indianess. 24. Karma-meter: The complex structure of the process is simplified throug infographic by summarising the details of the product.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

25. BPL Halo Stydylite: This exploration was created to depict the playful character of the product and quirky design of it. Paper plane is used to guide the viewer throughout the layout. 26. BPL Halo Studylite: This was a flat graphic approach using light in a rhythmic form to create a flow in the layout. The solar charging feature is also communicated through the layout. 27. BPL Halo Studylite: This was an exploration with a strong contrasting colours to grab the attention. Light is used to compose the layout.

28. BPL Halo Studylite: This was a photograph oriented layout with a little experiment in typography and composition.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

29. Bat of Honour: For this project, there were limited photohraphs available using which following layouts were created. This one was to show the various angle views of the bat. 30. Bat of Honour: This was the earlier layout with less elements and some colour changes. Here the focus was to showcase the scale of the bat. 31. Bat of Honour: There was pixel portrait of Sachin Tendulkar available in the studio which was used on the bat itself. That portrait was used here to give the quick idea about whom this bat of honour is.

32. Bat of Honour: This is the similar earlier one with black and white graphic portrait of Sachin Tendulkar. For the body copy, ball was used as a background to make connection with the sport that Sachin plays.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

33. Titan Kaal: This exploration was to depict the evolution or the next stage which was attempted by abstract graphic language in the backgraound through a cycle and its next phase as a motorcycle. 34. Titan Kaal: This was created by taking an elementâ&#x20AC;&#x201C;leaf from the clock itself. Large size clock dial is created to connect the two pages of the spread. 35. Titan Kaal: This was typographical approach communicating the features of the clock.

36. Fastrack Masala Watches: These are the watches made for teenage generation. This generation is reflected through commonly used words by them.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

37. Fastrack Masala Watches: This was created by doodling all those things which are part of day to day life of these teenage generation. 38. Fastrack Masala Watches: This was a bold approach made to create the clock out of spread. 39. Fastrack Masala Watches: This one was to express the teenage generation through colours. watch dials were repeated in vibrant colours.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

40. Titan Black: The unique feature of this watch is that, it has a Delhi time added to it along with the time of world cities. Along with a map, a graphic elementâ&#x20AC;&#x201C;line was taken from the watch and used to compose the layout.

41. Titan Black: This was another variation form earlier exploration with stong use of black. 42. Titan Raga: The watch collection has taken an inspiration from the leafs and flowers which is narrated through this layout. 43. Titan Raga: This one was created with strong colour contrast directing towards the watch. 44. Nebula Palace Collection: This exploration was to communicate the inspiration story of these watches.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

45. Nebula Palace Collection: This was also talking about the inspiration of the product in a flat graphic visual language. Contrasting colours were used to enhance the product more. 46. Titan Heritage: All the watches in this collection were designed by getting inspiration from Indian monuments and architecture. This fact is communicated through graphic approach. 47. Forbes Award: This one was done to give spotlight experience within the spread. The typography is composed to balance the layout.

48. Forbes Award: This exploration is as simple as it looks, just expressing the journey of award and how it has came to life.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

49. Chai Paani: The wity nature of the product was depicted through the common words used to ask for bribe. The coin was placed to give the idea of the scale. Graphic tea stains are randomly put up to create the context. 50. Chai Paani: This exploration was to express what chai paani meant to be at a first glance. 51. Chai Paani: This one was also just a variation to the earlier one but is important to share here to show small chane in the elements or position can create big difference in the layout.

52. Chai Paani: This exploration is having the illustration used on the product and just another medium is used to depict the Chai Paani on the top of the cover.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

53. Deepstambha: The uniqueness of this products is spreding light in all direction, which is expressed through rays created with lines. The typography is also composed in a way to go well with the product. 54. Deepstambha: This was also created with the thought of having multiple rays from one source. All the rays from one page directs eye to the next page and connects with product. 55. Money Plant: Literal meaning of the title was taken and vector money plant was created to reflect the quirkyness of the product.

56. Money Plant: This exploration was created with concept of money falling from tree, just like the coins are falling from the productâ&#x20AC;&#x201C;Money Tree. An attempt of visual balance was made by using colours and rhythmic lines and forms.

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Naming the Publication Right from the beginning of the projects, there were few names considered, but this time it was discussed and taken forward to be finalized.

From all these names, two names were first taken forward: 1. Made in India

Various options for the name were suggested as following: 1. Made in India 2. Desi Design 3. Design: an Indian way

2. Indian by design From these finally Indian by design was finalised. Because, it is expressing the overall concept of the publication in just three words. Also, it was considered important to have the word India or Indian in its name, as the publication is all about Indian connection of design.

4. India: a design inspiration 5. Inspiring India 6. Indian touch to design 7. Very Indian 8. Design beyond Jugaad 9. Design by the Indian 10. Indian by Design 11. India Inspires: A Design journey 12. Indian DesignÂ 13. Desi UberÂ

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Execution

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Final Design and Layout After completing the exploration process, final design and layout was initiated. From all the explorations done for each project, one concept for each project was chosen and taken forward to execute. For each project, First, the work on the image was done using Adobe Photoshop. For many of the products background had to be removed withought disturbing the product. This was time consuming but was easy and more than that, it was important, so that the product can be used in a way it is needed.

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Then the layout was created using Adobe Illustrator. Since in many layouts there is a repetition of visual elements, those had be created in vector format to be used in different scales. Many of the vector objects were created by looking at the photographs of that object as an inspiration for exa., creation of incence stick.

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The design done in the Illustrator was used in Adobe Indesign to create final layout. All the visual elements were first created in Illustrator and then imported in Indesign to create compositions. Although the layouts were first created in Illustrator, lot of minor changes/corrections were made while actual composing the elements according to the grid system created in Indesign for this publication. All the projects were executed in the same manner.

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The Grid In graphic design, a grid is a structure made up of a series of intersecting straight or curved guide lines used to structure content. The grid serves as an armature on which a designer can organize graphic elements (images, glyphs, paragraphs) in a rational, easy to absorb manner. A grid can be used to organize graphic elements in relation to a page, in relation to other graphic elements on the page, or relation to other parts of the same graphic element or shape.

1.5 cm

1.5 cm 1.5 cm

2 cm

1.5 cm

2 cm

1.5 cm

30 cm

For this publication 6 column grid was created which can offer convinience for the variation in the amount of content especially body copy. so if less content is there, it can be placed in two column to appear it as a one small paragrah insted of having one or two lines in a big column. Also this grid offers convinience for the placement of visual/images as well. The margines were created with the priority of giving an appropriate breathing space to the layout of spread.

40 cm

Number of Columns: 06 Margins: Inside: 2 cm Outside: 1.5 cm Top: 1.5 cm Bottom: 1.5 cm Baseline Grid: 12pt. Gutter Space: 0.5 cm

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1.5 cm

1.5 cm 1.5 cm

The Elements

Subheading Type: Bookman Old Style Size: 15 pt.

Title/Heading Type: Signika Semibold, Size: 30pt

Body copy Type: Signika Light Size: 10pt

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Cover Design Since the cover of the publications interacts first with the viewer or user, it was decided to give more emphasis on the title of the publication, which is strong enough to get the viewers attention. So the few concepts were explored and one was finalised. While exploring the concepts, the idea was to communicate Indianess with flat minimal graphic style, which has been used throught the publication. Accordingly some Indian elements were created in a vector format and layouts were explored.

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As decided, more emphasis on the title of the publication was given in this design. The graphical form of a lotus flower is used as a supporting element, as lotus is universally known as an Indian element. Lotus is the National flower of India. The Lotus symbolizes spirituality, fruitfulness, wealth, knowledge and illumination. On the other hand the lotus symbolizes purity of heart and mind. All these featurs were connecting to the publication very well. As decided earlier, flat graphic form of lotus is used which is a part of publicationâ&#x20AC;&#x2122;s visual language. On the back side the flowers from front were continued and the logo of Stuido ABD was placed in the bottom. Colours were also chosen which are used inside the publication and which are purely Indian colours. Since the publication is going to have saddle stich binding, no spine space was added to the cover. To support the title of the publication, one line asâ&#x20AC;&#x201C;Designs with deep Indian connections was added to the cover page to make it clear, what the publication is all about.

Back side

Front side

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Promotional Collaterals Promotional collaterals is a collection of different medias used to promote and support the sale of a product or service. For this publication, various promotional collateral were designed as per the medium in which it is going to be used. The basic concept behind the designs of these collaterals is to arouse curiosity about this publication and giving them the idea of what this publication is about. Collaterals for online as well as offline use were designed along with the banner which can be used in the exhibition stall of this publication. After checking various sizes of the bookmark available in studioâ&#x20AC;&#x2122;s library books, one size was chosen, that is 5 x 15 cm as it is widely used bookmark size and provides enough space for the artwork or design to create upon. This chosen size was checked with paper chosen for the cover of the publication. Each sheet can print 72 copies of bookmark on one side. Since the bookmark is going to have artwork on both side, each sheet of Karees Recycled Diamond white paper of 300 gsm will give 72 bookmarks printed on both size.

Size: 5 x 15 cm

Front

Back Bookmark

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Size: 1366 x 768 px

Poster for online use

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Poster for print use

Size: 29.7 X 42 cm 118

DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

Size: 4 X 2 feet

This is banner to be used in the exhibition stall of the publication. Every year in the month of October, Forbes Award function happens in Mumbai where Corporate CEOâ&#x20AC;&#x2122;s and decision makers gathers. Studio ABD gets a stall there to showcase its designs. Considering this opportunity to showcase the publication, this banner is designed. The size of the banner is decided after discussion about the stall and its tentative size and vinyle sheets sizes. DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

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Printing and Binding This publication will have offset printing with 4 colours. For the binding various options were checked like saddle stich, section sewn binding, centre staple binding. All these binding methods were checked because the publication is about opening any spread and enjoying, so the layouts of each project is designed as a spread and not as a single page and hence, on many spreads, project is sharing the elements. So it was important that nothing should be lost in the spine. From all these methods, saddle stich thread binding was chosen as the publication is having less number of pages and this binding is quick and convenient for such type of publication. Saddle stitching is a relatively simple method which joins the folded pages and cover with threads and even though simple, the result is a very professional looking document publication. Saddle stich been found perfect for this publications because it is the least expensive binding method and It can be used for very short production runsâ&#x20AC;Śfor example, 150 copies.

Image is for the representation purpose only.

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Estimate Job Name: Indian By Design

A. Paper Cost

Quantity: 1,000

For inside pages 1 sheet = 16 pages (back to back) So for 56 pages = 56 / 16 = 3.5 sheets 1 copy of publication = 3.5 sheets Therefore, for 1,000 copies = 3.5 x 1,000 = 3,500 sheets + 350 sheets (considering 10% wastage in the production process) = 3900 sheets. = Approximately 4000 sheets (8 reams) = 10,000 x 8 = Rs. 80,000

Actual Size: 20 x 30 cm Open size: 40 x 30 cm Pages: 56 + cover Binding: Saddle stitch thread Paper: Karees Recycled Diamond White, 120 gsm Paper Size: 70 x 100 cm Price of paper: Rs. 22/per sheet (For a ream of 500 copies10 % cost off) Colour: 4 colour on both side Paper for Cover: Karees Recycled Diamond White, 300 gsm

For cover 1 sheet = 4 copies of cover Therefore for 1,000 copies = 250 sheets + 25 sheets (considering 10% wastage in the production process) = 275 Sheets Rs. 58 x 275 = Rs. 15,950

For cover 4 colour set = Rs. 4,000 So for 1 sheet, single side 4 colour printing we need 1 set = Rs. 4,000 Total Printing cost = Rs. 28,000 + Rs. 4,000 = Rs. 32,000

C. Finishing Cost

(Cutting, folding and binding) For one publication Per copy: Rs. 10 1,000 copies = Rs. 10,000

Total A+B+C

So, total paper cost = Rs. 80,000 + Rs. 15,950 = Rs. 95,950

Rs. 95,950 + Rs. 32,000 + Rs. 10,000 = Rs. 135,950

Paper Size: 70 x 100 cm Price of paper: Rs. 58/per sheet (For a ream of 500 copies10 % cost off) Colour: 4 colour on single side

B. Printing Cost For inside pages 4 colour set = Rs. 4,000 So for 3.5 sheets, both side of 4 colour printing we need 7 sets So, 7 x Rs. 4,000 = Rs. 28,000

So, for 1000 copies = Rs. 137,950 + 13,795 (10% contingency cost) = Rs. 151745 Therefore for one copy = Rs. 151.74 = Rs. 152 (Round figure cost)

So, per copy estimated cost of printing is = Rs. 152 DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

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Prototype

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Other projects 1. Studio ABD logo refinement

Existing logo DIPLOMA PROJECT DOCUMENT / RHISHIKESH B. KEDARE / PGDPD GD 2011 / NID

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2. Product making photoshoot at Chennapatana (Karnataka)

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3. Material Library photoshoot at Studio ABD

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Phase

Conclusion

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Conclusion Designing a publication for studio ABD was a nice learning experience for my professional career. Since the project was inhouse and Abhijit Bansod was client himself, regular interaction and discussion was possible. The content of this publication is beautiful and interesting that made the process of this publication enjoyable. This project has certainly initiated many project ideas of publication and turned me more towards choosing publication design and typography for professional practice or as a career. The working environment at Studio ABD was very friendly and casual. Many times I got an opportunity to be part of the brainstorming and discussion of other projects executing in the studio. This helped me in understanding how the design studio operates the projects actually. Working on this timebound project by following the process was a completely different experience. Although it was exhausting at a time, it was helpful for me to understand the design world outside the NID campus. It gives me feeling of satisfaction that client has appreciated the work and the efforts that I had put in.

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Reflection It was like I wanted to spend some time in library and got a job as a librarian. I always wanted to know, how a design studio runs, how these creative people co-ordinate with each other. This project was a perfect package to know it all. Through this I got to know about all the projects done by Studio ABD and the interesting process they have followed. This has also resulted in developing my personal interest in product design. On the other side, the project was about publication design, something that is close to my heart, something that I was excited to explore and get hands on experience on the live project. There are so many minor but detailed things that I have learnt at various stages of this project. One of them that I should mention here is courage. I realised that being a designer, one need to have courage. Courage to take project decisions, courage to take ownership of the work. Also this was my first encounter with the professional world, and this experience has taken away the fear from me about the industry and it gave me the confidence and faith that I can serve the design client independently. Understanding each project done by Studio ABD and expressing it through visual storytelling was exciting and I enjoyed that time. There was also a time of frustration and depression especiallly when generated ideas were not enough to communicate and had to work on them again and again untill getting an appropriate track, but I believe it was all a part of the process and was helpful to learn. Looking back to all this experience, I feel good.

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Bibliography

Webliography

Bhaskaran , L 2007, What is Publication Design, Rotovision publication, East Sussex.

Patterns in India, Pattanaik Devdutt < http://devdutt.com/video/ted/india-is-not-chaotic. html >

Harris , P & Amborse G 2011, Basic Design - Layout (second edition), Bloomsberry publication, UK. Fletcher, A 2001, The Art of Looking Sideways, Phaidon Press, UK. Gill, B 2003, Graphic Design as a Second Language, Images Publication, Australia. Co-Design, 2012, Dekho, Co design, Delhi. NID, 2013, 50 Years of NID, National Institute of Design, Ahmedabad. Amborse, G 2006, The Fundamentals of Typography, AVA publishing, Switzerland. Bansal, R 2012, Connecting the Dots, Westland Books, Bengaluru. Kyoorius, 2013, Creating Change–Design Writings from India, Kyoorius Design Yatra, India. Brokman, Muller, J 2008, Grid System in Graphic Design, Niggli Verlag, Switzerland.

Basic Magazine Design and Structure, Redhouse Lane < http://www.redhouselane.com/blog/ten-top-tipsbasic-magazine-design-and-structure > Architectural Publication, Studio Lotus < http://www.siddharthdasari.com/works/studiolotus-architectural-publication/ > Daily routeen of 17 CEO’s < http://www.lifehack.org/articles/lifestyle/the-dailyroutine-of-17-ceos.html > What time do top CEO’s wake up? < http://www.theguardian.com/money/2013/apr/01/ what-time-ceos-start-day > A Day in the Life of a CEO BY Inc. staff < http://www.inc.com/magazine/201109/inc-500infographic-a-day-in-the-life-of-a-ceo.html > An Inside Look at CEO’s Life < http://thinkingforward.tumblr.com/ post/57074800895/the-reality-of-running-a-businessan-inside-look-at > Rituals and corporate cultures, Sharma Sudhir < http://sudhirsharma.wordpress.com/2014/06/19/ rituals-and-corporate-cultures/ > Design for India, Ranjan M.P. < http://design-for-india.blogspot.in/ >

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Colophon

Contact (Designer)

Contact (Studio)

The typeface used in this documents is Frutiger Lt Std designed by Adrian Frutiger in 1976. Following weights are used in this document:

Rhishikesh Bhagwanrao Kedare

Studio ABD

3. Frutiger LT Std / 55 Roman

R.B.Kedare, Flat No. 601, B-09, Bhujbal Township, Kothrud, Pune - 411038. Contact No: +919409171542

2. Frutiger LT Std / 65 Bold

E-mail Id: rhishi29@gmail.com

Studio ABD, Lakeview Farm, Whitefield - Old Airport Road (Near Shell Petrol Pump), Ramagondanahalli, Bengaluru - 560066 Contact No: +918032471481

3. Frutiger LT Std / 47 Light Condensed

Portfolio: http://rhishikeshkedare.wordpress.com/

Softwares used to make this document:

Poetry: http://rangshabdanche.blogspot.in/

1. Frutiger LT Std / 45 Light

Adobe Photoshop: For image editing Adobe Indesign: For Layout.

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Annexure

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Existing Brochure of Studio ABD

Designed in: 2014 138

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Closed size: 21 x 21 cm Paper (inside): Natural Evolution, 170 gsm Paper (cover): Natural Evolution, 270 gsm

Total Pages: 20 Printing: 4 colour digital Binding: Centre Staple

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Thank you!

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