NIFT Graduation Project 2018 - The India Design Project by roy_nikita

MELANGE GRADUATION PROJECT AT The India Design Project

Nikita Roy Department of Fashion Communication (Batch of 2014-2018)

National Institute of Fashion Technology Gandhinagar, (2018)

Melange | Graduation Project Report

MELANGE GRADUATION PROJECT AT The India Design Project (TIDP)

Nikita Roy Department of Fashion Communication (Batch of 2014-2018)

National Institute of Fashion Technology Gandhinagar, (2018)

Melange | Graduation Project Report

Copyright ÂŠ 2018 by Nikita Roy Department of Fashion Communication National Institute of Fashion Technology, Gandhinagar (Ministry of Textile, Government of India) GH-0 Circle, Gandhinagar-382007 Gujarat, India Tel: 079-23240832, 23240834, 23265000 Fax: 079-23240772

All images and text ÂŠ NIFT This document is originally submitted as a part of academic learning to National Institute of Fashion Technology (NIFT), Gandhinagar and is for academic purpose only. The opinions expressed in this document are solely those of the author and NIFT does not bear any responsibility for the nature of its content. Reproduction, distribution, or transmittion in any form of this document must acknowledge the author and NIFT, Gandhinagar.

MELANGE GRADUATION PROJECT AT The India Design Project (TIDP)

Nikita Roy Department of Fashion Communication (Batch of 2014-2018)

Under the guidance of Industry Mentors Mr Ishaan Dixit Ms Nivedita Parihar Faculty Mentors Ms Jalpa Vanikar Dr Hir Vyas

A dissertation submitted in partial fulfillment of the requirements for the award of degree in Bachelor of Design, Fashion Communication

National Institute of Fashion Technology Gandhinagar, (2018)

Melange | Graduation Project Report

Completion Certificate

Melange | Graduation Project Report

Faculty Mentor Certificate

This is to certify that Ms Nikita Roy, (BD/14/531) Batch of 2014-2018, 8th semester, student of Bachelor of Design, Department of Fashion Communication, National Institute of Fashion Technology, Gandhinagar, completed her graduation project entitled â&#x20AC;&#x153;Melangeâ&#x20AC;? at The India Design Project from 8th January to 30th April 2018, under my supervision and guidance.

Ms Jalpa Vanikar Faculty Mentor, Assistant Professor Department of Fashion Communication National Institute of Fashion Technology, Gandhinagar

Dr. Hir Vyas Course Coordinator Department of Fashion Communication National Institute of Fashion Technology, Gandhinagar

Melange | Graduation Project Report

Jury Certificate

This is to certify that Ms. Nikita Roy, (BD/14/531), Batch of 2014-2018, 8th semester student of Bachelor of Design, Department of Fashion Communication, National Institute of Fashion Technology, Gandhinagar, completed her graduation project entitled â&#x20AC;&#x153;Melangeâ&#x20AC;? at the design studio, The India Design Project (TIDP) from 8th January to 30th April 2018 under the guidance of her faculty mentor Ms Jalpa Vanikar and industry mentors Mr Ishaan Dixit and Ms Nivedita Parihar.

The Evaluation Jury

Signature

Melange | Graduation Project Report

Declaration

I hereby declare this Graduation Project document, comprising my internship experience and project report titled â&#x20AC;&#x153;Melangeâ&#x20AC;? submitted to the institute, is my original work and no part of the report has been copied or reproduced from any other sources or work by others. However, any material taken from any other published source has been properly cited or referred to and acknowledged at places.

Nikita Roy Batch of 2014-2018, Semester-8 Bachelor of Design Department of Fashion Communication National Institute of Fashion Technology Gandhinagar, Gujarat Date-

Melange | Graduation Project Report

Acknowledgement

Graduation Projects are the first big step towards the industry which ensure we have a proper exposure to all the things, key to our future and careers ahead of us and it wouldn’t have been possible without the help and support of my friends and family and both of my mentors at the design studio ‘The India Design Project’, Mr Ishaan Dixit and Ms. Nivedita Parihar (co-founder of Chitrakosh, The India Design Project; founder at The India Crafts Project). I would like to thank my mentors for giving me an opportunity to intern at “The India Design Project” (TIDP) and also for their valuable guidance, keen interest and encouragement at various stages of my internship course. I would like to sincerely thank Dr. Hir Vyas (course coordinator, Department of Fashion Communication, ) and Ms Jalpa Vanikar(Faculty Mentor, Department of Fashion Communication), National Institute of Fashion Technology, Gandhinagar for her support and guidance throughout my graduation project course. I would also like to give a special mention to Ms Avani Vitthal Varia, daughter of late Professor Vitthal Haridas Varia for giving us the wonderful opportunity to catalogue and document the work of Prof. Vitthal Varia. And last but not the least, I would like to mention my fellow interns at “The India Design Project”- Mr Piyush Punj (NIFT Patna, Fashion Communication, 20142018) and Ms. Anamika Sonai (NIFT Gandhinagar, Fashion Communication, 2014-2018) for their unconditional support throughout the course. Hence I take this opportunity to express my gratitude to some if not all of them who have provided guidance and support to me throughout the course.

Nikita Roy

Melange | Graduation Project Report

CONTENTS 01 02 03 04

About The India Design Project

Projects Undertaken

Project 4 - Symbols to Identity

Project 1 - School of Thought

Others

Project 2 - Indian Design: The Inception

Learning

Project 3 - Rags to Razai

About The India Design Project

Started in the year 2016, The India Design Project (TIDP), is an initiative to explore collaborations & discussions contributing to various aspects of Indian Design (Education, Research & Documentation). India, a home of diversity, vividness and ironies has a spectrum of geography, culture, traditions, languages, beliefs and practices. This makes it an astonishing environment to understand creativity, adaptability and innovations in every possible manner. From a history ranging from prehistoric settlement to Silk and spice routes, Indo-Aryan culture to Mughals, European Traders, British Rule to present day, Indian Design, Craft and Architecture beholds the best of every age, culture and knowledge. IDP is dedicated to provide a platform to collaborate and address such issues and projects. The India Design Project (TIDP) also has a sister firm named “The India Crafts Project (TICP), 2017, an initiative to explore and contribute to Indian crafts (Research, Documentation and more) which are a part of the parent firm ‘Chitrakosh’- a visual production house. - The India Design Project Mentor Details: Ishaan Dixit Co-Founder | The India Design Project + Studio ChitraKosh Studied at National Institute of Technology, Trichy Nivedita Parihar Co-Founder | The India Crafts Project + Studio ChitraKosh Studied at National Institute of Fashion Technology

Organisational Structure The company consists of a handful but efficient staff who manage all the operations at The India Design Project. The organization is divided into the following basic categories: - Design - Accounts - Human Resources I was a part of the Design and Research Team where my job varied from making posters to ideating about some of their ongoing projects and more. Though it is a small unit of people working, every department works effortlessly under the head of the team, taking in the guidance of Mr Ishaan Dixit and thus making the work process efficient.

Melange | Graduation Project Report

Projects Undertaken 01

School of Thought (Design Research, Graphic Design)

Indian Design: The Inception (Design Research,

Rags to Razai (Craft Research, Sourcing, Field visits)

Symbols to Identity (Design Research, Documentation, Archiving)

Creating infographics based on the study of of design institutes in India

Graphic Design)

Creating infographics based on the study of the first design institution of the country- National Institute of Design

Research about the crafts which are used to make quilts for “The India Crafts Project” (TICP)

Documentation of Late Professor Vitthal Haridas Varia’s work

PROJECT 1

SCHOOL OF THOUGHT Creating a series of infographics based on the study of design institutions in India

Melange | Graduation Project Report

INTRODUCTION

There is little mention about the humble

beginnings of Indian design, its prosperity to the current changing scenarios have been discussed rarely in the open, besides the design community itself. From the modest “Lota” to Ratan Tata’s dream project “Nano”, design has come a long way in this country; but with proper design journalism backed away for a long time, it brings the importance of design history to spotlight. Design History establishes the context, give us new perspectives and an insight into the work of many, thus it is an integral part of design essential in shaping the future.

“Design History

establishes the context, give us new perspectives on design and an insight into the work of many. ” Process doodles while making the database of the institutes with some significant insights Doodles created by Nikita Roy

Project 1 | School of Thought

Step by step secondary research process doodles illustrating the steps-research, the listings, reports and insights Doodles created by Nikita Roy

Brief: To perform extensive research about the various design institutes in and across India, to produce a commercially viable product. The product should reflect the research, hereby promoting the information to the audience in a crisp, concise manner in the form of a series of infographics/booklet/poster or any other medium.

Guidelines: Create a well-designed infographic with the relevant information keeping in mind aesthetically appealing colours which doesnâ&#x20AC;&#x2122;t hinder the readability of the text/content and makes for a good flow of information throughout so as to also constitute standalone posters (if one might want to use one side particularly). The infographic should be handy, well balanced with text and visuals and is meant to cater to a wider audience respectively.

Melange | Graduation Project Report

Process: Phase 1 In process doodles of guidelines given for the project: Design Institutes Doodles created by Nikita Roy

Conceptualization With the increasing number of design colleges and institutions in the country, the initiative to make a compilation of the same to utilise them for promoting design through either a commercially viable product or workshops/events held in different institutions. Methodology (Secondary Research) The first phase of the project started with â&#x20AC;&#x153;Design Institutionsâ&#x20AC;? across the country. A secondary research of all the design colleges and universities alike, which are entitled for a proper design education, ensued with a proper compilation of the details about the college itself.

Going through all the institutes and their enormous numbers, the first step was to categorize them. The primary categories, at the beginning were rather concise limiting to basic information about the institutionsso as to give us a basic idea about the number of design institutions in every state of the country. The primary categories, at the beginning were rather concise limiting to basic information about the institutions- Name, Location, Contact Details

Project 1 | School of Thought

etc. so as to give us a basic idea about the number of design institutions in every state of the country. Later, as suggested by our mentors after our discussions regarding the criteria, more criteria were added related to fests, curriculum and more which not only tell us more about the institute and its functioning but also provides us information regarding their annual festivities, workshops and more. Conclusion After going through numerous articles, sites and more, nearly 800 colleges (approx.) from all the states of the country were covered, diploma and degree giving institutions, giving us a headcount of the increasing number of design institutions across India. Interestingly, some well-known colleges were found out to be the brainchild of many famous designers themselves, who wanted to cultivate the culture of a proper design education and have thus contributed their share of setting up fine institutions. This research not only produced a quantitative analysis of the institutions but also provided an insight into their online content on their respective sites. Thereby, after listing down the institutes, I analysed the quality of content, design institutions are putting forth for their audiences on their website. Snippet of listings of design institutes

Melange | Graduation Project Report

Lack of relevant content Most of the institutional sites do not have proper information regarding the courses, course curriculum, contact details or information relevant to the institute itself. Missing, irrelevant content with grammatical errors comprise a majority of the content on the institute sites.

Misleading information can cause false notions for the audience, especially students who want to pursue a certain discipline, only to find out later that their opportunities are limited.

Snippet of the Website

Snippet of the Webiste

Project 1 | School of Thought

Lack of uniformity About 50% of the university and college sites, have no flow or uniformity, related to graphical elements and content. Haywire strings of information across the site with colourful fonts and other graphic elements. Different centres of the same institute, for instance, sometimes have different sites

altogether with varied layouts, content and contact details. This makes it difficult for the audience to comprehend and choose the right contact of the respective institute.

Snippet of the Webiste

Melange | Graduation Project Report

Lack of good visual elements When an institution has a course on Graphic Design, Visual communication and so on among its various disciplines, one would certainly expect appropriate graphic elements on site, whereas the actual scenario in most cases is pretty worse.

Most of the sites use unreadable fonts of various colours, sizes; hyperlinks that go nowhere and blinding colours which makes reading text impossible.

Snippet of the Webiste

Project 1 | School of Thought

Poor web design About 50% of the university and college sites, have no flow or uniformity, related to graphical elements and content. Haywire strings of information across the site with colourful fonts and other graphic elements. Different centres of the same institute, for instance, sometimes have different sites

text on the site. Links that lead to nowhere need to be omitted too along with the bright colours, typefaces and unnecessary pop ups.

Snippet of the Webiste

Melange | Graduation Project Report

PHASE 2: IDEATION

After the secondary research which resulted in the a detailed report of the institutes, the reports were proposed to be used either as a commercially viable product for the design fraternity or as a resource for design events/ programmes which includes workshops, exercises and more in design institutions and colleges. The design based events/ programmes was proposed to host students of different institutions participating in design workshops and exercises promoting design education across the country. While, an alternative was proposed to the initial idea for easier accessibilty among the design fraternity with the help of commercially viable products, i.e., posters, infographics, short films or videos on design.

Discussions Due to the complexity of the process of hosting events and other programmes in design institutions, the alternative was approved to be served as a means to propagate design education in the form of an infographic. The target audience for the product includes the whole of the design fraternity and would serve as the conclusion to this research promoting fine design education.

1) Ideation for events based on design: College Interactions- different methods

2) Ideation for videos for college interactions: structure and elements for the video, engaging add ons

Project 1 | School of Thought

PHASE 3: THE INFOGRAPHIC Infographic literally means a combination of information and graphic elements. They are a way of graphical data representation using text and visuals, of any kind of information- data, numericals and more. They are an important tool of mass communication and are meant to improve the cognitive ability using visuals to remember factual data and information. Thus, it is one of the most effective ways to propagate information among the masses from every corner of the world. The initial secondary research on various design colleges and institutions culminated in the idea of making a series of infographics based on the design institutes (degree and diploma) of India. Featuring maps of all the respective states with a healthy balance of text and images, the infographic was to serve as a standalone poster too, if one desired. Owing to the large amount of information to be placed, the size of the infographic, was first decided to be an A3 (297 x 420mm, 11.69 x 16.53 in) but after much thought it was decided to make in an A2 (420 x 594 mm OR 16.5 x 23.4 in) size format.

Size of the infographic: A2 (16.5 x 23.4 in)

1) DLE Infographic 2016 Source: https://heri.ucla.edu/infographic/ 2) Infographic based on Fifth Annual Makovsky/Kelton â&#x20AC;&#x153;Pulse of Online Healthâ&#x20AC;? Survey: Consumer Behaviors around online healthcare information use. Source: https://hitconsultant.net/2015/02/24/ infographic-todays-digital-patient/

Melange | Graduation Project Report

FOLD EXPLORATIONS

Folds are an integral part of an infographic since it fulfills the most basic requirement in the case of infographics- easy to carry or handy. For such a large infographic to carry, it was essential that we choose a fold which reduces the size of the infographic as much as possible without losing any kind of information and is handy to use by the audience. Therefore, eleminating any complex folds, a simpler and concise fold was needed.

Scribbles: Exploration - folds Doodles created by Nikita Roy

Project 1 | School of Thought

REFERENCES FOR LAYOUTS

Infographic Map - Minimaps by Victoria Fernandez

Infographic Map - London map by Katherine Baxter

Infographic Map- Designs for the University of Sheffieldâ&#x20AC;&#x2122;s Students Union

Resume Infographic

Melange | Graduation Project Report

LAYOUT EXPLORATIONS

The infographic is handy and balanced with visuals and data (text) which takes place after deciding the necessary fold required to make it handy. After the fold was worked out, the layout was set to accomodate the two state maps of craft and design institutes of the respective state along the details. To avoid overcrowding, both the maps were on different sides to make it more efficient and balanced. This was the initial stage of the process of making layout which consisted of 8 small panels upon folding. The layout lacked a flow of information with the front and the back of the infographic in the middle and little space for the diploma colleges. Thus, after the suggestions given by my mentors, after our discussions, the layout was changed to accomodate the map of the crafts instead of famous places in the respective state, more space was allocated to the diploma institutions and a steady flow of information was inculcated after making some changes to the placement of some panels.

DISCUSSIONS

Layout Exploration doodles with guidelines, sizes and more Doodles created by Nikita Roy

The first sample layout (back) created consisted of 3 horizontal panels, each about the state, design and design institutes (diploma), much like a handy design infographic. Since the information about design and the institutes were going haywire, so after the discussions and suggestions by the mentors, it was complemented by another craft map on the other side. The second sample layout, thus consists of the craft map supported by the required information, with a few changes, as suggested.

Project 1 | School of Thought

about uttar pradesh

where to go?

some critical FACTS

muzzafarnagar

Hindi, Urdu

Meerut ghaziabad

Fatehpur Sikri

- Official Languages

noida

agra

discover

Lucknow - Capital of the state

saharanpur

firozabad

19.98

gorakhpur

Crores population of Uttar Pradesh according to Census 2011

lucknow deoria

Kanpur rae baraeli

allahabad

Go on a tiger safari and if your’e lucky enough, maybe you’ll see one!

Sarnath

Chikankari Koftas

A plethora of flora and fauna along with ancient Buddhist stupas and more.

Taj Mahal

67.68 %

One of the seven wonders of the world, its unparalled beauty makes it a must visit site.

Literacy rate of Uttar Pradesh according to Census 2011

Abbreviated as UP, it is the most populous state in the Republic of India as well as the most populous country subdivision in the world. The densely populated state, located in the northern region of the Indian subcontinent has over 200 million inhabitants.

Pilibhit Tiger Reserve

It is one of the most preserved Mughal Architectural sites along with Jama Masjid and many more.

varanasi

Awadhi Biryani

Banarasi Saree

912 Sex ratio of Uttar Pradesh according to Census 2011 Literacy rate of Uttar Pradesh according to Census 2011

When is the best time to go?

Varanasi

Jhansi

Located by the river Ganga it is the holiest city in the world.

Visit the city synonymous with female power- the Rani of Jhansi.

67.68 %

Leather Accessories

Carpets & Pottery

Phirni

Kebabs

Summer: March to May, Monsoon: June to September, Winter: October to February.

WHAT IS DESIGN?

Design Disciplines

DESIGN INSTITUTES

DESIGN is really problem solving, it is not just fonts, colours and images. It makes our ideas visual and good design solves real time business problems and also eases our living. It is conceptualization and creation of new things: ideas, interactions, signs and books and many more. Multi faceted unlike disciplines, design thus entails numerous sub disciplines within itself, of which some are mentioned on the next page.

Graphic

Interior

Interaction

Exhibition

Industrial

UTTAR PRADESH

Customer Experience

2018 Service

design institutes in Uttar pradesh

Design Research

Interaction

Interior

diploma

design institutes in Uttar pradesh

Industrial

Exhibition

2019

Textile

Graphic

Customer Experience

International School of Design

Noida

International School of Design

Mahimas School of Fashion

Lucknow

Mahimas School of Fashion

Maharana Pratap School for Vocational Studies Kanpur

Maharana Pratap School for Vocational Studies

Mangalayatan Univeristy

Aligarh

Mangalayatan Univeristy

MJP Rohilkhand University

Bareilly

MJP Rohilkhand University

National Insitute of Fashion Technology

Rae Bareilly

National Insitute of Fashion Technology

Noida International University

Noida

Noida International University

Pearl Academy

Noida

Pearl Academy

Sahu Ram Swaroop Mahila Mahavidyalaya

Bareilly

Sahu Ram Swaroop Mahila Mahavidyalaya

Sai Academy

Noida

Sai Academy

Satyam Fashion Institute

Noida

Satyam Fashion Institute

Infographic Sample 1

CRAFTS IN uTTAR pRADESH Tarkashi (Saharanpur and Bijnor) See the art of inlaying brass and copper in wood in Saharanpur and Bijnor

some critical FACTS Lucknow - Capital of the state Hindi, Urdu

Brassware (Moradabad) A leading cluster of Brassware, valued for its golden lustre & ornate designs

Block Print

Crores population of Uttar Pradesh according to Census 2011

67.68 % Literacy rate of Uttar Pradesh according to Census 2011

Location

The Design Village

Noida

admissions@thedesignvillage.org

Uttar Pradesh Institute of Design UPID

Lucknow

director@upid.ac.in

United Institute Of Designing

Kanpur

uidkanpur95@gmail.com

FIDM - Fashion Institute of Design & Management

Jahumandi

institute

Academy of Fine Arts & Design

Ghaziabad

Just Designs Institute

Noida

Indian Institute of Fashion Studies

Agra

Cane & Bamboo Flutes

(Metal Inlay in Wood) See the art of inlaying brass and copper in wood in Saharanpur and Bijnor

(Bareilly and Pilibhit) The wet grasslands produce some of the most unique bamboo flutes and cane furniture

- Official Languages

19.98

design institutes in uttar pradesh (diploma)

Tharu Applique (Bishnupur, Behraich) Known as ‘Katab’ in Gujarat and ‘Khatwa’ in Bihar, it is used hugely for colourful, ornate garments

Khurja & Chinhat Pottery & Applique (Aligarh) Discover the beautiful glazed ceramic and clay pottery and applique

912 Sex ratio of Uttar Pradesh according to Census 2011

Pachhikari & Knotted Carpets (Agra) The beautiful city of Taj Mahal is one of the oldest carpet weaving centres and one of the unique places to see precious stone inlays

Crafts in Uttar Pradesh

what can you pursue? Carpets and Wood Carving

Chikankari and Block Printing (Lucknow) Renowned as the hub of Chikankari and Zardozi, Lucknow also has a rich history of Block Printing

legend Textile

Inlay

Bamboo

Carpet

Block Print

Wood Crafts

Brassware

Cane

Pottery

(Varanasi) The holy place is also renowned for high quality hand-knotted carpets and tiny wooden gods and godesses in detail

Fashion Design Interior Design Textile Design Visual Communication Industrial Design Product Design Interaction Design Space Design Transportation Design Automobile Design

Infographic Sample 2 Specifications: Typeface- Bebas Nue (for the titles), Myriad Pro (for the body); Colour: Teal (for the background), Yellow (for the map, legend, other details), Black and White (for text) Size: A2 (16.5 x 23.4 in)

Melange | Graduation Project Report

MAP EXPLORATIONS

After the layout, the next phase was selecting the kind of map the infographic needed. Since the emphasis was more on the factual data of institutions and their geographical locations, we decided to go with a minimal map with no graphic elements, so as to emphasise the text with readable typefaces which doesnâ&#x20AC;&#x2122;t hinder readibilty. Bright colours like yellow to enhance the map and to attract the attention of audiences to the otherwise factual data were decided to go along with.

Final Map of the state: Uttar Pradesh

Discussions The final map was the last one on the right with a little gradient of yellow since it was the right colour with the yellow gradients, minimal but with graphic elements that added to some character to the map. 21

1,2,3: Map Explorations of state: Uttar Pradesh

Project 1 | School of Thought

COLOUR EXPLORATIONS

Colours can evoke different reactions in people because of its subjective nature related to culture, prior association, or even just personal preference. Thus, the infographic needed to consist of colurs devoid of any possible cultural, political associations while still maintain a balanced colour scheme to go along with the map. Colours like green, orange and red were avoided and thus after exploring the color schemes of the map infographic, these were the shortlisted colours which we could use to go along with.

MAHARASHTRA

NAGPUR

NASHIK

MUMBAI

PUNE

BARAMATI

RATNAGIRI

KOLHAPUR

MAHARASHTRA

Discussions

MAHARASHTRA

NAGPUR

NASHIK

MUMBAI

PUNE

The final colour scheme chosen was the Teal and Yellow, because not only they are soothing to the eye but they also do not have any associations related to culture, politics and more so as to avoid any miscommunication, if any.

PUNE BARAMATI

BARAMATI

RATNAGIRI

KOLHAPUR

4 1,2,3,4 Colour explorations of the infographic; State: Maharashtra

Melange | Graduation Project Report

ICON EXPLORATIONS

Maps consist of symbolic representations or icons to represent places, so as to make it easy for the consumer to understand and interpret the map. Thus, the craft maps will consist of similar icons related to every craft in the country. Since the entire infographic is simple, bright with colours like Teal and Yellow and minimal graphic elements, minimal line drawing icons were chosen. Here are some of the icons selected to symbolize the crafts in every state.

Papier Mache and Handmade Paper Products

Basketry

Brass ware, Copper Ware, Terracotta and Pottery

Carpets and Rugs Source: The Noun Project

Project 1 | School of Thought

Embroidery and Handmade Paper Products

Textile and Embroidery

Musical Instruments, Bamboo , Cane , Furniture and Ganjifa Cards

Tools for Metalwork, Woodwork, Plants Source: The Noun Project

Musical Instruments, Toys , Crafts

9 Textile-Dyed, Puppets, Leather craft, Shoes and Jewellery Designed by Nikita Roy

Melange | Graduation Project Report

SAMPLE OF THE FINAL INFOGRAPHIC The details of the final infographic (front): Size : A2 (420 x 594 mm OR 16.5 x 23.4 in) Orientation: Vertical (front) Horizontal (back) Colour: (front) Teal (for the background), White (for text), Yellow (for map), Black (for the text on map) (back) Teal (for the background), Yellow (for map), Black (for the text) Specifications: Teal - CMYK (C- 63%, M- 0%, Y- 41%, K- 0%) Yellow- CMYK (C- 3%, M- 1%, Y- 97%, K- 0%) Typeface (front) Lemon Milk (for the Titles) , Myriad Pro (for the body), Semplicita (for text on map) Typeface (back) Lemon Milk (for the Titles) , Gidole (for the body), Semplicita (for text on map)

Colour Codes Yellow

Teal

Black

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Front)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Front)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Front)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Front)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Front)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Melange | Graduation Project Report

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

Project 1 | School of Thought

SERIES OF INFOGRAPHICS - STATE MAPS OF INDIA

(Back)

PROJECT 2

INDIAN DESIGN: THE INCEPTION Creating infographics based on the study of the first design institution of the country- National Institute of Design

Melange | Graduation Project Report

INTRODUCTION

Ever since Independence, design researchers and academicians strived to take Indian design forward by imbibing young minds with the concept of Design. Years of brainstorming finally culminated into the first ever design institution of India, the “National Institute of Design”, Ahmedabad in the early 1960s. It was built on the foundations of freedom to think, learning through experimentation and the innate desire to enquire. The desire to give the best design education not only inspired professors to explore more, but the institute also sent a lot of them to foreign institutes to help them learn more about their disciplines. With such an exemplary team of professors and an equally batch of spirited, design oriented students, NID began its course of writing the glorious era of India’s design history.

“It was built on the foundations of freedom to think, learning through experimentation and the innate desire to enquire. .” Research doodles during the secondary research of Indian Design Institute NID Doodles created by Nikita Roy

Created by Nikita Roy

Project 2 | Indian Design: The Inception

Step by step secondary research process doodles illustrating the steps-research, the listings, reports and insights Doodles created by Nikita Roy

Brief: To perform extensive research about the origins of design history, the story of NID respectively, to produce a commercially viable product. The commercial product should reflect the research, hereby promoting the information to the audience in a crisp, concise manner in the form of a series of infographics.

Guidelines: Create a well-designed infographic with the relevant information, with colours that doesnâ&#x20AC;&#x2122;t hinder the readability of the text/ content and makes for a good flow of information throughout.

Melange | Graduation Project Report

Process: Phase 1 Secondary research process doodles- the research Doodles created by Nikita Roy

Conceptualization The 80s and 90s especially was a shining era for the institute which shaped its course for the better. The opening up of the economy and the entry of multinationals gave way to a whole new decade of technological advancements and opportunities. Since then, the design institute has pioneered many design disciplines and institutes alike, in the country and has contributed significantly to the country and its citizens throughout the decade with its projects and documentations. Design History projectâ&#x20AC;&#x2122;s second part constituted a substantial amount of research about the first design institute of India, the â&#x20AC;&#x153;National Institute of Designâ&#x20AC;? or NID and inculcated all the major happenings in and around NID from the period 1980-1990. All the key people and their achievements, the different disciplines that were restarted during this period, the numerous projects and documentations and more were covered giving a thorough insight in the years that NID flourished. 43

Project 2 | Indian Design: The Inception

Methodology (Secondary Research) The first phase of the project started with the secondary research comprising of books, news articles, blogs and other media. It not only strengthened the base of the research but also helped delve deeper into the inner workings of the design institute, the projects which shaped the identity of the institute furthermore (which includes both government and international projects)along with the many controversies surrounding it. The project was also meant to inculcate illustrations and caricatures of the key people of the era or decade and hence below are some sample of the caricatures inspired by Mr Charles Eames, the inspiration behind the institute and Ms Nina Sabnani, the animation genius. The research culminated in an infographic about the National Institute of Design (NID) in 80s and 90s with a well-balanced layout by Anamika Sonai (NIFT Gandhinagar, Fashion Communication, 2014-2018) and graphic and content written by myself. Conclusion The infographic would serve as a quick reference to all the important events and happenings in the 1980s and 1990s, in the National Institute of Design and also be a stepping stone for the next phase of the project consisting of a series of videos, short movies/clips of eminent designers from the National Institute of Design.

Sketches of Charles Eames and Nina Sabnani

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CARICATURE EXPLORATIONS

After the layout, the next phase was making the caricatures, which will be used in the infographic (layout by Anamika Sonai). The style is minimal and black and white, as the one of 60s and 70s to continue the graphic language used in the other infographics. Below are the caricatures to be used in the design history infographic of the 80s and 90s.

Ashoke Chatterjee

Suranjana Satwalekar

Architectural sketches

Eveready flashlight model developed in 90s

Created by Nikita Roy

Project 2 | Indian Design: The Inception

Inside Classes

Vikas Satwalekar

Nina Sabnani

Inside Animation Studio

Architectural sketches

During jury display

Created by Nikita Roy

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SAMPLE OF THE FINAL INFOGRAPHIC The details of the final infographic: Size : A3 (297 x 420 mm) Orientation: Horizontal (back)

Colour Codes Yellow

Red

Colour: (front) Yellow, Red, Blue, Black (for the text) (back) Yellow, Red, Blue, Black (for the text) Specifications: Yellow- RGB (R- 255, G- 237, B- 0) Blue- RGB (R- 0, G- 159, B- 227) Red- RGB (R- 227, G- 6, B- 19) Black- RGB (R- 29, G- 29, B-27) Typeface (front) Futura Condensed Regular (for the Titles) , Robota (for the body) Typeface (back) Futura Condensed Regular (for the Titles) , Robota (for the body)

Black

Blue

Project 2 | Indian Design: The Inception

PROJECT 3

RAGS TO RAZAI Research about the crafts which are used to make quilts for “The India Crafts Project” (TICP)

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INTRODUCTION

The western part of Indian subcontinent is renowned for its numerous crafts from Applique, Kathputhli, Patan Patola to Bandhani and Ajrakh. Diverse and rich in culture, crafts in India has always been embedded more as a part of the same, like an extension rather than a separate identity and a way of living since generations. Rich in textiles, crafts and culture, the westernmost state of India Gujarat is not only famous for its many exquistite and intricate craft forms like mirrorwork and embroideries but also for its quilt or Godhri or Razai as we know it. Made from cotton and silk primarily, they are traditionally made from two or more layers of used rags or patches of cloth. Every quilt although employ the same technique, is an individual expression of the creativity of the artisan.

â&#x20AC;&#x153;Every quilt, although employ the same technique, is an individual expression of the creativity of the artisan himself .â&#x20AC;?

Research doodles during the craft research process about artisans, techniques and more Doodles created by Nikita Roy

Project 3| Rags to Razai

Step by step secondary research process doodles illustrating the steps-research, the listings, reports and insights Doodles created by Nikita Roy

Brief: To study and research about the crafts which are used to make quilts for â&#x20AC;&#x153;The India Crafts Project (TICP)â&#x20AC;? and hereby compile a list of artisans working upon the same. It is to be followed by field visits to their respective work places and homes to inquire and gain knowledge about the same along with Shilpi Singh (Textile Design, School of Fashion Technology 2014-18).

Guidelines: Take note of the details involved and photograph, if and may. Along with that, create a brief questionnaire for the interviews so as to get the correct information from them. Be sensitive to the artisans and use of photographs and any other information should be used with proper permissions and prior notifications. All the details and the research will be the property of The India Crafts Project.

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PROCESS

Starting off with the secondary research about the respective crafts and the clusters in and around Ahmedabad, the project began with knowing about the crafts we were to inquire about. It was followed by a brief listing of all the possible clusters which still traditionally practice the crafts in their households and workplaces. With the listing done, all the possible additions to it and a brief questionnaire to help us through the interviews ahead, Shilpi (co-intern, Textile Design, School of Fashion Technology, Pune) and I set off to different places to gather as much information we could about respective crafts. All the visits culminated in a series of interviews which tell tales about the humble beginnings, the now faced problems, their conditions, market and their work- the craft which they have been practicing in their families since generations. Navigating through the areas in and around the city, we managed to find quite a few of the clusters still actively working and are keen to work with us, if the opportunity presents itself. The field visits during this primary research not only brought about a stronger base to the research but also provided us with more additional findings about quilting, and the craft itself.

Research doodles during the craft research process about artisans, techniques and more Doodles created by Nikita Roy

Project 3| Rags to Razai

Snippet of the report based upon the secondary research

CONCLUSION As a fashion communication student in NIFT Gandhinagar, I had the opportunity of meeting many artisans and craftsmen who worked on various crafts from “Kathputhli” to the “Tangaliya” sarees in clusters and trade fairs and so on, but this research only strengthened my knowledge about crafts. It has made me aware of not only the craft itself, but also of the current market conditions, their livelihood, economic problems, the various stakeholders involved in their business and the lack of awareness among the people about the craft.

PROJECT 4

SYMBOLS TO IDENTITY Creating infographics based on the study of the first design institution of the country- National Institute of Design

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INTRODUCTION

Having witnessed and read about so many eminent people of Indian Design, it was intriguing to see the marvellous work of many, often wondering about the design process behind a lot of them. One of the them which especially caught my eye was the work of animator R L Mistry and Nina Sabnani, their animation films which they made back in their time with limited technologies are fantastic and a beauty to look at. Every frame was drawn by hand effortlessly and put together to make a film. The early graphic designers too had developed strong visual languages to put forth beautifully made logos, and much more. One such graphic designer, Mr Vitthal Varia had designed the brand identity of Reliance Industries, the brainchild of Mr Dhirubhai Ambani.

Process, Guidelines and categories for the documentation and archiving Doodles created by Nikita Roy

He not only designed the brand identity for the Reliance industries, but also its smaller sister companies like Vimal, etc. He experimented with plenty of figure and ground, bold shapes and positive and negative space based compositions especially with alphabets and a deep love for photography as well. He did wonders with negative and positive spaces and bold lines and was an animator too by profession. He was especially good with watercolour paintings and would often paint with his students at Varia Design Centre, which he initiated to impart design education in Visual Communication Design. Unfortunately he passed away leaving behind a rich legacy and contribution to Indian design.

Project 4 | Symbols to Identity

Research process doodles-design language- Reliance logo, process steps Doodles created by Nikita Roy

Brief: To document the work of Professor Vitthal Varia, graphic designer and create an itinerary of the same to keep a record of all his work and finally culminate the documentation with a small clip of Ms Avni Varia, daughter of late Professor Vitthal Varia about the work of Prof. Varia.

Guidelines: Document all his important work throughout the years, sorting through the years if possible. Create separate categories and sort all the work by the year if possible and inculcate the necessary photographs, scans, videos with the necessary and required permissions to give a glimpse of Professor Vitthal Variaâ&#x20AC;&#x2122;s work.

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PROCESS

Starting off with the sorting of materials in the library, numerous different items were found which showed us the strong design language of late Prof. Vitthal Varia, marking his way through his college years. Artworks, films, screens, negatives and photographs were carefully preserved from earlier to keep a record. The materials were sorted into many different categories- Films, negatives, sketch books, artworks, logo screens, books and many more, for a clear distinguished record. While his work was being documented and archived, several other important materials were found, giving us an insight into his life- letters from his time in Basel, Switzerland to his friend Tansukh Mahicha and his family and vice versa, photographs of his design centre and NID colleagues, short animated flip books, sketches of various animation films, journals and diaries from Basel, Switzerland and the time he was working on the Reliance logo and brand identity of many others. Many ideations related to exhibitions and international fairs were also found along with the above material. The sorting and archiving then gave way to the catalouging of the same, which was made a lot easier with the help of Ms Avani Varia, daughter of late Prof. Vitthal Varia. After all the catalouging and documentation, we (Anamika Sonai, Fashion Communication, NIFT Gandhinagar and myself) also took a quick audio interview about her father, his work ethics, quirks and her experience of working with him and his strong design language as a part of the documentation. Photograph: Home of late Prof. Vitthal Haridas Varia, Ahmedabad

Project 4 | Symbols to Identity

Scans (from left to right): Agricultural Refinance and Development Corporation logo (on film), Vitthal Varia logo, Maruti logo (on film), artwork (done in Prof. Varia’s College years, Agricultural Refinance and Development Corporation logo (on film), brand identity designed for ‘Dressup’

CONCLUSION We were grateful for this great opportunity to document and archive late Prof. Vitthal Varia’s work which wouldn’t have been possible without the help of our industry mentors and Ms Avani Varia. This project helped me delve deeper into the design process of a graphic designer, the strong design language and the many things that needs to be kept in mind with respect to design. The small interview with Ms. Avani Varia too, helped us knowing how design shaped Prof. Varia’s life and gave us the inspiration to do the same.

OTHERS

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CONFERENCE Brief: To attend the 361 degree conference about advancements in architecture in India and design education.

Discussions: Held annually, the 361 degree conference is one of the most important architectural conventions attended by the most premier architects. So, this year Anamika Sonai, my co-intern and I got the chance to attend the conference which along with the talks about architecture, was also hosting a panel talk on design education.

Others

Snippet from the conference; Photographed by @rat_lab (Instagram)

Snippet from the poster of 361 degree conference

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DESIGN BLOG: COTINKER Brief: To make a creative blog which talks about our progress in projects, experiences and more.

The Name: Cotinker is an amalgamation of the words communication and tinker, which is meant to combine my experiences and learnings with my daily scribbles and doodles.

Discussions: The blog initially was a raw compilation of scribbles and content thus a peek at the already exisiting blogs was required along with the understanding of basic web page layouts, colours and more. Include different elements in the blog, like photographs, videos, drawings/ sketches if possible with the relevant content. 65

Others

Blog - CoTinker

Blog Link: https://themadhatter1997.wordpress.com/

Blog - CoTinker

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VISITING CARD Brief: To make a visiting card reflecting our individual selves and work with all the necessary information and a strong recall value which people remember. A look into varied layouts and bright colours was recommended rather than the usual, boring colours blue, black, etc. and thus I turned to bright and cool colours like teal and turquoise. Set in a cool turquoise colour with a hand drawn doodle, it reflects my creative bent of mind along with my love for doodles and drawings. It also has a QR code, in case of more information about my work. Size: 3.5*2.5 inches (standard visiting card)

Guidelines: To make the card bearing all the basic factors in mind from the print cost to the colours, etc. with a strong recall value. 67

Others

Sample 1

Final Visiting Card

Details Size: 3.5*2.5 inches (standard visiting card) Orientation: Horizontal Colour: Teal (for the background), Black (for the text), White (for the background and caricature Typeface: Lemon Milk (for the back) 68

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POSTERS Brief: Create posters for “The India Design Project” and “The India Craft Project” for the oncoming summer internships (May-July 2018) 2018.

Guidelines: Create a well-designed poster with all the relevant information, keeping in mind the readability of the text/content and makes for a good flow of graphic elements throughout. The poster should be creative, well balanced with all the text and visuals and inculcate readable fonts with complementing colours. Refrain from using the words “Hiring” and “Help”. Checklist: • Logo, Graphical elements as required. • Departments/ Disciplines to intern in • “Summer Internship” • Mail Id • Size: A4 (210 × 297 mm) 69

Others

Summer Internship Poster for The India Design Project Illustration and Design by Nikita Roy, Typeface: Bebas Nue, Colour: Fuschia, Turquoise (for the graphic), White (for the text) Logo: The India Design Project

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Summer Internship Poster for The India Design Project Illustration and Design by Nikita Roy, Typeface: Bebas Nue, Colour: Yellow, Turquoise, Black (for the graphic), Black (for the text) Logo: The India Design Project

Others

Summer Internship Poster for The India Craft Project Illustration and Design by Nikita Roy, Typeface: Bebas Nue, Colour: Maroon, White (for the graphic), White (for the text) Logo: The India Design Project

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LEARNING

Graduation Project is the one of the most important projects, it gives us all the necessary opportunities and experience for our future careers. Thus, this time I decided to work with a startup, to get an overall exposure to an organizationâ&#x20AC;&#x2122;s work structure and its inner workings. After four months of working at The India Design Project , it helped me to get the experience of the same. These four months not only taught me many things for my professional growth but has also helped me grow personally. Patience, persistence, and working in a methodical and organised fashion have been some of my key learnings. It helped me enchance my existing skills set, get new perspectives on any kind of project and also to explore more. With a core learning experience along with the support of my mentors and my colleagues, all in all it has been an enriching experience, something which I will always carry forward in the future.