semester
one
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Rujuta Thakurdesai Sem 1 M.Des. Graphic Design 16-17
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The last five months that I spent at NID was like a rollercoaster ride, with so much to learn and so many new experiences. This is the documentation of the begining of my journey in Graphic Design. On the very first day we learned what to pack for this adventure....
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acknowledgements With successful completion of my first first semester I wish to thank the institute to provide us with an enriching learning environment. I’m thankful to my faculty Mr. Tarun Deep Girdher and Mr. Kaushik Chakraborty for anchoring the foundation courses. I am greatful to Mrs. Mona Prabhu, Dr. Tridha Gajjar, Mr. Bharat Suthar for guiding and motivating me. I would want to thank to my batchmates and seniors for helping me throughout and making the semester a memorable one.
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Contents Introduction to Design Science and Liberal arts Fundamentals of Visual Design Typography Design Process Image Making Production Process
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Introduction to design 1 w | th The course aimed to give an overview of the field of design across multiple disciplines with reference to the industry. It addressed the very integral question “What is Design?�
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Objective of the course• Orientation to design thinking and design as a profession through talks by design educators and practitioners and documentary films. • Sensitising with respect to relevance of design in world • Awareness about different historical perspectives and contemporary thoughts about design. On the personal level this course inspired me thoroughly and eased my way into the design world after being taught in a certain way and worked professionally, it was a refreshing start to the journey which made me more receptive towards new and different thoughts. Following were the speakersProf. Ashok Chatterjee Sudhir Sharma Pravin Nahar Dr. Tridha Gajjar Ved Shakti Pravin Singh Solanki Dhiman Sen Gupta
Dr. Gayatri Menon Amit Krishna Gulati E. Suresh Kumar Neelima Hasija Rajesh Dhaiya Arun Gupta Vijay Singh Katiyar
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The first assignment of the course was to express what according to you is design in form of a poster. Listening to the talks I realised that you need to be aware about so many things at a time and balance them
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Rujuta Thakurdesai | Graphic Design
Product: Menstrupedia comic: the friendly guide to periods for girls
Breaking the bloody silence Menstrupedia is a graphic informational book developed as an educational platform to help prepare Indian girls to enter into womanhood. Motivation – The need to create this book came from the personal experiences of founder, Aditi Gupta and Tuhin Paul, when after conducting a study of the scenario in the country they realised that the situation is much more shocking than expected. More than 88% girls from all sectors and strata of the country were ignorant about the details of menstruation and healthy practices to follow during their periods, not because of the education or financial status but the cultural taboo. Problem- The notion of periods being something bad, impure or unspeakable which is typical in Indian houses, schools and work places, has created a hostile setting to have a dialogue. The traditions like not touching worship related object or not taking a bath at the time of periods relates the phenomena with shame and stigma. Things like these lead to severe issues regarding health and sanitation and also affects the mental well-being of the girl as she is considered unclean. Solution- Hence the main intention behind the product was to create something that will give clarity about the topic and generate positivity which would create a comfort level in communicating about it and to create an environment where menstruation is no more a taboo, while being culturally sensitive and also technically sound (the organisation has a gynaecologist in the team) Basic things taken under considerationTarget group- The product was to be made for Indian girls for the age group 9 to 15 (Ideally also for boys to become more aware), which might be with the assistance of their parents or social worker/ volunteers. For this user group the product has to be engaging as well as informative. Hence they decided to create a narrative which will create curiosity paired with colourful and relatable graphics to make it interesting for the particular age group. The narrative has 4 central characters that are at different stages of their development which allows every reader to personally identify with each of them. The illustrations (made by Tuhin Paul) are simple and pleasant and the written information in the form of dialogues consists combination of scientific and informal words. All inclusive approach- The comic book has already been translated into several regional languages as well as foreign languages. It is also available as an audiovisual package as well for visually challenged girls. To serve its purpose the product doesn't require any electricity, special device (T.V. / computer etc.) which makes it affordable and convenient to use. As a product it has capacity to be handed down to someone else and to be reused. The materials used are recyclable. Limitations- As the book is playing the role of a catalyst to start the dialogue it is not an interactive product by itself. Experience- The book has been successful in educating many girls (specially from rural and low income areas) and is received very positively by the readers and has certainly started a dialogue about menstruation. The founder has received “Laadli media award” for the book. Personally I wish this book would have been available in my pre-teens so that although after being explained by my mother I would have felt comfortable to ask questions and be curious about periods without any hesitation. Even at this stage after reading the book I came across some new information. I connect with the truthful depiction of the reality by being straight forward and stating it as a fact. It also resonates on the emotional level as the characters assure indirectly the reader that everything is going to be okay. I think the comic book is doing a great job at giving girls confidence and respect. Product Details- The book is of 24.3 X 17cm size and has 88 pages. There have been more than 4000 copies sold of the book till now. Cost of the book is 390 and it is also available in subsidized rate for schools and NGOs. Launched on 15th September 2014. Bibliographyhttp://www.menstrupedia.com TED talks- A taboo free way to talk about periods, Can a comic book overcome India’s menstruation taboo? Images from- Facebook_menstrupedia
The second assignment was to choose a product and study it on the basis of information we have gathered through the week. I selected the informative book “ Menstrupedia”.
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Science & liberal arts 1 w | th Exploring the concept aesthetic through art in Indian and western contexts.
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Fundamentals and theories In the course we discussed about the notion of beauty and its changing perception in art and design. We traced the origin of art through the philosophy of art. Art and emotion- Questioning the purpose of art and the means by which art creates an impact over people was part of the study as we drew parallels between Bharatmuni and Aristotle, focusing on how the art affects emotions and human mind. The concept of Navarasa and Catharsis. I found the concepts of relationship between an artist-art-viewer (Rasik) interesting Knowledge and art- Theories of conception of art, theory of mimesis and Shankuk was a more logic based take on this very subjective topic. Art and Meaning- understanding beauty through language with means of meaning and lingual rhetoric like simile and metaphor, polyphony of text and image was very interesting as we realised that the underlying story of the art changes its meaning completely. Art and psychoanalysis- The discussion about human dreams and art and a brief discussion about theories by Freud was very complex and mind boggling. The learning from the course was to be reflected in the final assignment, which was selecting a theory discussed in the class and explaining it with the help of an art form. It included the explanation of the theory and it’s relevance with respect to aesthetics of the chosen art form. I believe that I learned to base my feelings and thoughts about an art form on a base to some extent and question them due to what I learned in the course.
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Assignment The assignment was an attempt to understand the theory of catharsis in contemporary times. Catharsis means purification and purgation of emotions especially pity and fear through art. Sigmund Freud and his contemporaries first considered catharsis as a therapy (today also included in art therapy) and can be helpful to deal with grief in a manner which avoids the aspects like denial. The ongoing Syrian Civil war that had started in the year 2011 has also created responses as catharsis. With thousands displaced and killed the country is in the state of devastation. And due to media the entire world has seen the ugly face of war. Today the people of Syria are deprived of their homes, there is a constant threat to them and they live in fear and insecurity. When they have lost their family and all the belongings and have nothing to live for, with no guidance to seek or no one to talk to it is in such conditions one can find peace through catharsis. Catharsis on stage-’Antigone’ by Sophocles is a shocking tale of death and defiance. A group of Syrian women, in exile in Lebanon, are performing a modern version of the play that encompasses their own contemporary traumas.
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Social Catharsis- In the given context graffiti can be an example of social or collective catharsis as by definition graffiti is a visual expression made illicitly within public view which usually has an underlying social or political message it also sends a message to stay strong to be positive; it has an ability to instil faith in life. It talks directly to the one in pain and echoes his feelings. It induces positivity to the depressed and gives warmth and love to the angry. Modern media- “Death of Allan Kurdi� the photograph became viral worldwide and triggered a massive response from all over the world. It shook the millions of onlooker. In the current times when we see examples of such extreme misery and go on living our lives with indifference, catharsis of this kind triggers empathy. The dauntingly tragic image was extremely powerful and made people more sensitive and sympathetic and helped in raising funds for the refugee crisis. In this particular case it is also an attempt of subversion through catharsis. As the art does not always provide a closure to the viewer and this can cause the discomfort and require the viewer to take an action in the real world. It is necessary then, to relate the visual to the real world experience.
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Fundamentals of Visual Design 6w | sd The course focused on enabling us to use the very basic tools of designing and visualisation which are
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This course is very crucial so as to get sensitized towards visual understanding and communication. The course made us more aware about form, balance, harmony.It involved us observing our surroundings more consciously and to relate our perception and experiences to the way we record and represent it. For me it was a refreshing to go back and learn what I was just introduced to in my graduation it reminded me of how beautiful working with hands can be.
Drawing Lines... lines... lines
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Human Anatomy & Gesture Drawing
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Perspective Study
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Nature Study
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Mixing it all up
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Value scales Explaining Tints and Shades.
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Colour Basic Theory We began this module with the questions like what is colour? We were familiarised with Additive and Subtractive processes, Different colour schemes I enjoyed this module as after a very long time I went back to using poster colours. We all struggled with the patience and neatness demanded by the material.
24 colour wheel. This colour wheel has Primary, secondary and tertiary colours
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Understanding colour intensity and translating it into grey scale. This was extremely tricky when it came to bright colours like yellow.
Complimentary colour scale which shows how mixing two complimetary colours produce browns.
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Pointillism
This was an experimental exercise where we explored the visual illusion created by placing different coloured dots together creating a third coulour effect from a distance.
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The assignment was to make a film poster focusing on the role colours play in the film. I chose the “Fight Club� as it has contrasting elements which I have tried depicting. It also has a psychedelic style which is shown by the neon colours.
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Composition Basic Theory
The module taught us the different ways of seeing. It made me think why do we like any visual and are there any rules for that. We studied the elements of composition conceptual and visual. Then we tried composing dots to capture a trail or motion. Composing lines to express Rhythm and movement.
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After studying about different shapes and it’s dynamics. The compositions were to highlight principles of focus and depth. We then learned the principles of design and Gestalt’s principles.
Composition highlighting balance and focus.
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The last assignment of the module was to make a sequential story about change in environment using the principles we learned. I have tried using principles like closure, proximity, focus.
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typography 2 w | sd An introductory course about fundamentals of typography and developing a sense towards its right function.
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Fundamentals As typography is one of the most important basic elements for visual communication it was very exciting to learn the fundamentals and try to apply them. Learning the history, physiology and the way to use typography was very new and informative. To understand type having denotative and connotative meaning was a very challenging part. An additional learning for me on personal level was to work with softwares like Illustrator and Indesign which I was completely new to.
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Assignment 1
In this assignment we worked hands-on with the letters kerning. Along the way I realised few subtleties in the typefaces like the distence berween the letters might not be physically equal to make it look equally spaced. We got to familiarise ourselves with the form and structure of the letterforms.
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Assignment 3 & 5
To explore the letterforms further in terms of the characteristics and try composing it with focus given to the specific structure of the letterform. Later we also added colour to it to see how it affects the composition.
Typeface - Dutch 801Rm BT Rujuta Thakurdesai Abstract composition with 2 letterforms 14th Sept 2016
Typeface - Dutch 801Rm BT Rujuta Thakurdesai Abstract composition with 2 letterforms 14th Sept 2016
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Assignment 2 In this assignment we were supposed to choose a quote and express it with only typography. It took me time to really understand the aim and implement but eventually I think I got the knack of depicting the meaning of words in a physical form.
never
Rujuta Thakurdesai Assignment 2 Typeface- Modern no. 20
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Assignment 6
contrast Typographic design depends on the
between elements. The most elementary contrast is that between the type and the
The most significant contrasts in typographic design are the contrasts of
form,
weight,
sIze,
texture & direction.
Contrast of form, weight and size can be established with the smallest typographic unit- the letter. Contrast of texture and direction encompasses several elements: words, lines of type, lines, or geometric elements. The formal qualities of an element become more pronounced when the element is juxtaposed with a contrasting form, which then intensifies the visual qualities of both elements. Contrast is expressive: it may the reader, or intensify and articulate a visual statement. Contrasting elements are reference points: they help establish a visual hierarchy and clarify communication. To be effective, contrasts must always be clear and decisive; they depend on omitting the extraneous that distracts from the essential.
The aim of this assignment was interpretation and representation of the meaning of the text given. I tried depicting contrast through the colours used, positive negative space and sizes of letters. In the process I explored how to make the composition pleasing even after going away from a set style or conventional way of writing 33
Assignment 4 Informative poster of the typeface- Adobe Caslon Pro.
Designed by William Caslon I 1722 Caslon refers to a number of serif typefaces designed by William Caslon I and it’s various revivals. It is sited as the first original typeface of English originand is said to have influence of Dutch Baroque typefaces which were used in England previously. It is classified as an Old style serif typeface. The letters have a relatively organic structure resembling handwriting with a pen.
A well defined ascender with a beak
Vertical stress defined in letters like o and q a defining hook and a ball terminal
It fell out of interest in the late eighteenth century, due to the arrival of transitional typefaces. Interest in eighteenth-century printing returned in the nineteenth century with the rise of the arts and crafts movement, and Caslon's types returned to popularity in books and display use in situations such as advertising. a significant descending stroke/ tail
Used here is the font called Adobe Caslon, which is a popular revival designed by Carol Twombly. It is based on Caslon's own specimen pages printed between 1734 and 1770. It added many features now standard in high-quality digital fonts. Adobe Caslon is the typeface used for body text in The New Yorker and is one of the two official typefaces of the University of Virginia.
short ascenders and descenders
moderate stroke contrast
a humanist style cross stroke
concave apex is the most peculiar characteristic of the type.
an acute finial
italics have varying slant angles and hints of flourish and swash
arc of stem having more contrast and a teardrop terminal
Bilateral Serifs extending on both the sides of the stroke
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ABCDEFG HIJKLMNO PQRSTUV W X Y Z abcdefghi jklmnopqr stuvwxyz P22 1234567890 UNDERGROUND aka , . Johnston ? ! &$“Underground ”(){}
ABCDEFG HIJKLMNO PSomeQof theR S T “M”UunlikeVthe aspects of letters style is W Xas YRoman are Geometric straightZ sided the “o” is almost like seen in aperfectly b ccircular. d e f Caslon. ghi jklmnopqr stuvwxyz 1234567890 , . ? ! &$“ ” ( ) { }
Classification Humanist san serif By Edward Johnston in 1916 Known for identity of Underground Electric Railway Company London and signages Variations- New Johnston P22 Underground ITC Johnston Characteristics- The capitals of the typeface are based on Roman square capitals such as those on the Column of Trajan, and the lower-case on traditional serif fonts. Justin similarity of the design to the eighteenth-century Caslon type designed by William Caslon in particular. Some aspects of the alphabet are geometric: the letter O is a nearly perfect circle and the 'M'. The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and otherpunctuation marks. capital-form 'q' in the lower-case and a single-story 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design. However, many early versions of Johnston included a Garamond-style W formed of two crossed 'V's. Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold and has almost no contrast in the stroke thickness.
Classification Humanist san serif By Edward Johnston in 1916 Known for identity of Underground Electric Railway Company London and signages Variations- New Johnston P22 Underground ITC Johnston “g” is double The typeface can be Characteristicsof the typeface are based on Roman square storied as The capitals identified by the capitals such thosediagonal on the Column Trajan, and the lower-case on seen in as most placed of square traditional serif fonts. dots/ Justintitles similarity of thelike design to the eighteenth-centuserif fonts on letters ry Caslon type designed byi.William Caslon in particular. j and Some aspects of the alphabet are geometric: the letter O is a nearly perfect circle and the 'M'. The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and otherpunctuation marks. capital-form 'q' in the lower-case and a single-story 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design. However, many early versions of Johnston included a Garamond-style W formed of two crossed 'V's. Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold and has almost no contrast in the stroke thickness.
Comparative analysis of fonts with character overlay
ABCDEFG HIJKLMNO P Q R ST UV W X Y Z abcdefghij klmnopqrs Comparative t u v w x y z 1234567890 GILL “SANS , . ?!&$ ” ( ) MT {}
Classification- Humanist san serif By Eric Gill in 1928 Foundry- Monotype Based largely on Johnston’s Underground Originally produced for the London & North Eastern Railway, and used for all signs, advertising, and timetables.
Assignment 4 a
Characteristics- The proportions of Gill Sans stem from monumental Roman capitals in the upper case, and traditional "old-style" serif letters in the lower. Distinctive characters of Gill Sans. The upper-case of Gill Sans is partly modelled on Roman capitals like those found on the Column of Trajan. While Gill Sans is not based on purely geometric principles to the extent of the geometric sans-serifs that had preceded it, some aspects of Gill Sans do nonetheless have a geometric feel. Following the traditional serif model the italic has different letterforms from the roman, where many sans-serifs simply slant the letters in what is called an oblique style. TGill Sans use ligatures to allow its expansive letter "f" to join up with or avoid colliding with following letters. Gill Sans MT has almost no contrast in the stroke thickness.
study of two typefaces
Humanist san serif A B C D E F G ClassificationBy Eric Gill in 1928 Monotype H I J K L M N O FoundryBased largely on Johnston’s Underground produced for the London & North Eastern RailP Q R S T U V Originally way, and used for all signs, advertising, and timetables. Few gletters portray strong geometri- lower case letters resemble to Old Style cal design and can be comparedY to Serif Fonts like Caslon. W X Z Geometric Sans Serif fonts like Futura. Italics glyphs have caligraphic tail unlike Characteristics- The proportions of Gill Sans stem from monumental Roman San Serif fonts. capitals in the upper case, and traditional "old-style" serif letters in the lower. a b c d e f g h seen i j in contemporary Distinctive characters of Gill Sans. Double storied lower case “a” and “g” are upper-case of Gill Sans is partly modelled on Roman capitals like those as the Serif letters. k l m n o p q rtraditional s The found on the Column of Trajan. While Gill Sans is not based on purely principles to the extent of the geometric sans-serifs that had t u v w x y z geometric preceded it, some aspects of Gill Sans do nonetheless have a geometric feel. Following the traditional serif model the italic has different letterforms from roman, where many sans-serifs simply slant the letters in what is called 1 2 3 4 5 6 7 8 9 0 the an oblique style. TGill Sans use ligatures to allow its expansive letter "f" to up with or avoid colliding with following letters. , . ?!&$ “ ” ( ) { } join Gill Sans MT has almost no contrast in the stroke thickness.
P22 UNDERGROUND GILL SANS MT
Some of the aspects of letters are Geometric as the “o” is almost perfectly circular.
“M” unlike the Roman style is straight sided like seen in Caslon.
“g” is double storied as seen in most serif fonts
The typeface can be identified by the diagonal placed square dots/ titles on letters like j and i.
Few gletters portray strong geometrical design and can be compared to Geometric Sans Serif fonts like Futura.
lower case letters resemble to Old Style Serif Fonts like Caslon. Italics glyphs have caligraphic tail unlike seen in contemporary San Serif fonts. Double storied lower case “a” and “g” are traditional as the Serif letters.
The assignment aimed at studying two typefaces of the same family and study it on different aspects.
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Assignment 7 Informative poster of the South Asian Film Festival Alpavirama Hosted by the institute My main struggle was with the large amout of information to be encorporated in the limited size. I learned to prioratize the content by the size and location Typeface- Gill Sans MT Day 1 Oct 4
Vande Mataram FVC (India) D The Stowaway FOA (HK) F Hotate Shijimi Soup FOA (Japan) D Pottu CSA (India) F Life of Sailors VIFF (Pakistan) D Maach Bhajaa CSA (India) F The Manliest Man CSA (India) F Where's the Head? FOA (HK) F Nugli and the Tunes of Yore FVC (India) D Drawing the Tiger FSA (Nepal) D Kamuki CSA (India) F Sagar Manav FVC (India) D A Time to Say, A Time to Leave FOA (HK) D Bilori FVC (India) F
Day 2 Oct 5
Shaheedo Tum Kahan Ho VFF (Pakistan) Documentary Nidhiche Ajoba FVC (India) Fiction My Leg CSA (Myanmar) Documentary Amma FVC (India) Fiction Songs of the Synagogue CSA (India) Documentary Donated Life CSA (India) Fiction Imaging Bombay CSA (India) Documentary Habitable Mountains FOA (Japan) Documentary The Journey Within FSA( Pakistan) Documentary Broken Chord FVC (India) Fiction Kong Rice FOA (HK) Documentary E-thil CSA (India) Fiction The Mountain Bird LCP (China/SRFTI) Documentary Roots LCP (China/SRFTI) Documentary Long Hair Song LCP (China/SRFTI) Documentary Kam Grand Choir LCP (China/SRFTI) Documentary The Moon Fairy of Yangshuo LCP (China/SRFTI) Documentary
alpavirama
Day 3 Oct 6
South Asian Short & Documentary Film Festival October 4-8, 2016 Asia through the Asian eye Dept. of Film & Video Communication National Institute of Design Paldi, Ahmedabad 380007, India alpavirama@nid.edu www.nid.edu/alpavirama/index.html
Alpavirama brings you 70 odd short fiction and documentary films from India, China, Japan, Bangladesh, Pakistan, Sri Lanka, Myanmar, Nepal and Hong Kong. A rich collection by any standards, the offering is topped by a Masterclass on Editing the Documentary and an Exhibit/Seminar on Video on the Edge looking beyond the present conventions and practices in moving image, which is being hosted in collaboration with the New Media department at NID.
Gaathi CSA (India) 30:00 Documentary Naina CSA (India) 22:00 Fiction Channan Peer VFF ( Pakistan) 10:35 Documentary Bepurdah FVC (India) 20:10 Documentary Madarsa CSA (India) 27:50 Documentary An Unusual Summer FOA (China) 29:00 Documentary A Political Life CSA (Myanmar) 19:35 Documentary News From Jafna FSA (Sri Lanka) 26:20 Documentary Vaarsa CSA (India) 14:40 Fiction Gavhankur CSA (India) 07:00 Fiction The Ferryman FVC (India) 14:55 Documentary My Son, Pankaj FVC (India) 19:20 Documentary The Barber CSA (Myanmar) 25:30 Documentary Quila Aparajit CSA (India) 23:40 Documentary That Girl FOA (HK) 08:40 Fiction Maal CSA (India) 19:00 Documentary Sarus CSA (India) 20:00 Fiction Aina CSA (Bangladesh) 19:00 Fiction Angangaba Lei CSA (India) 13:20 Documentary Yahin Kahin Nahi CSA (India) 26:50 Fiction Sanctuary FOA (Japan) 10:45 Fiction
Day 4 Oct 7 Asian Short and Documentary Film Festival competition (south asia)
South Asia, a densely populated often-reluctant melting-pot of multi-cultural and multi-lingual ancient communities, immediately evokes an image of strife and stress, given its easily visible external divisions. But beneath the fissures is a steady subterranean stream of not very dissimilar lives, engaged in the common struggle for a dignified survival and the ever-expanding quest for peace and fulfillment. As the narrative of South Asia changes to an increasingly urban and capital-centric existence, its storytellers (including those in cinema) are alive to the challenge, readily bringing forth the paradoxes and parables therein, and the hideous and the beautiful thereabouts.
Jury
Majhe Maher Pandhari CSA (India) 21:05 Documentary Saatvin Khwahish CSA (India) 27:00 Documentary Goonj FVC (India) 18:05 Documentary Time Vampires CSA (India) 27:20 Documentary Multani Khussa VFF (Pakistan) 09:30 Documentary Kaisi Ho Laila CSA (India) 23:30 Fiction Sankrail Superstars CSA (India) 14:00 Documentary Birds FOA (China) 14:00 Fiction The Impasse CSA (India) 19:30 Fiction Two Women and a Camera VFF (Pakistan) 32:25 Doc Kalyani FVC (India) 12:00 Fiction Baghwa CSA (India) 29:45 Fiction Panneerselvam CSA (India) 05:40 Documentary Edpa Kana CSA (India) 25:20 Fiction Yathawat CSA (India) 22:00 Fiction Face It CSA (India) 08:55 Fiction Anjaan Rastay CSA (Pakistan) 24:00 Documentary
Day 5 Oct 8 Shilpa Das
Sonal Dabral
10:30 AM MASTER CLASS : EDITING THE DOCUMENTARY 3:00 PM SEMINAR:VIDEO ON THE EDGE
Karan Bali
CSA Competition (South Asia) FVC NID Film & Video Retrospective FSA Tribute to Film South Asia, Nepal FOA Focus on Asia LCP Looking China Package (SRFTI) F Fiction D Drama Bishwadeep Chatterjee
Parthiv Shah
Binod Paudel
ALEXANDER STREET
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Assignment 8 Redesigning the package typography
I Had chosen the tetra pack of Real Fruit Juice. The 2 types of functions this typography serves , which are 1. The Information should be readable , easy to understand and clear 2. It must be attractive -As the target group here is kids the original pack is much vibrant. My Design is catering to different group which needs consideration
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Design Process 2 w | dp The course introduced us to the methodical way of identifying, researching and solving a problem with design thinking.
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We learned and used methods like systematic approach of framing a question and then collecting information about it through various techniques in our assignments. Then we used divergent and lateral ways of thinking to reach a solution. The experience was challenging and demanding yet enjoyable being the first group exercise with people across all the disciplines. There were multiple lectures conducted regarding the methods and case studies of design process. The visiting speakers were Amar Gargesh and Tarun Deep Girdher.
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Assignment 1
The task was to study the chosen product in different ways. Following are the criteria on the basis of which we reasearched.
Visual Assesment Static Aesthetics User Interractions Multisensory Assessment Mechanical Properties Strengths Weaknesses I was involved in the data collection process where we talked to people and asked their opinions about the product. It was an interesting exercise to frame the questions and asking without creating any biases.
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Assignment 2
The aim of the assignment was to study a System and provide design solution. We chose the Street food eateries system of Manek Chowk. It is a notable open square in the city of old Ahmedabad. Two historically important tombs are in Manek Chowk. Manek Chowk is known for the sumptuous food it offers at the alley of eateries. We did primary and secondary research using various sources. Then we identified the problem as “conjestion� and then using divergent methods of thinking tried to solve it.
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image making 3 w | sd The course focused on dealing with forms and visual elements and translating a verbal concept into a visual message.
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We discussed about understanding information, visual perception, the importance of meaning making and visual literacy in communication. Along with studying the anatomy of visual message we learned to simplify and integrate forms to build a visual. We developed the ability to create alternatives and possibilities and select a direction from that to solve a problem. I became more conscious about the logic that goes into choosing something over another and had an opportunity to apply things learned in composition module in this course.
letter integration Exploring visual relationship of different letterforms.
The dual function of type
To create meaning
Rt
Didot (regular)
Bauhaus 93 (regular)
To create a pleasing visual
My approachDeciding on 2-3 typefaces and trying different compositions with different sizes. Finalising the combination of 2 typefaces and integrating in the most visually pleasing manner.
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Initial explorations with the letterforms. Understanding how they share space creating positive - negative forms. chosen option was visually heavy and fragmented. By repositioning the R I tried achieving a more solid and strong form.
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The composition of letteforms R and t being initials of my name, where the character of “t” is strong and defines the presence of “R” and the letterform “R” reciprocating the smoothness of the curves and moulding “t” into a unique form.
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object integration The exercise focused on how an image and a letterform can be combined to convey a certain message. Using the initial of our name and an object that symbolises our personality to create the composition. It requires understanding the dynamics of the image of the object and how to represent it the best with the letterform.
Key words defining my personality organic, energetic, playful, elegant, strong
Object best symbolizing all of these characters Deer
Jumping Deer
essential to understad how the form of the deer would interract with the letterform R. I tried playing with principles of closure and similarity in order to find pleasing composition. Here it was important to make the image dynamic yet stable as per the connotative characteristics it portrays.
Explorations and iterations of the form.
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The composition with the positive strokes and the negative enclosures achieves the legibility/ identity of the deer and letter “R�. It guides the eye in a very defined manner with a strong directional versus stable quality of the forms. Typeface R- Didit (regular)
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Theme & Image To communicate in the most effective way it is crucial to understand how words and images coexist, compliment and strengthen eachother. The objective was to choose a theme and an object that can symbolize or represent the theme. Topic chosen by meFreedom of speech – scissors – censorship The exercise had 3 parts to it. 1. Object simplification 2. Designing posters for the theme selected - Using the simplified object - Same object in any different form 3. Designing a Pictogram based on the theme.
image simplification
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Poster 1
The simplified image of the scissors and the typography becomes the focal point with which I’ve tried to engage the viewer using irony by creating deliberate relation between opposite visuals of the scissors and the word “blunt”. Typeface- Rockwell
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Poster 2 a
I’ve tried encorporationg a new style in the work which makes it look more raw, made by non-artist. It has a distressed or angry feel to it inspite of the use of pleasing colours. Typeface- OCR extended
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Poster 2 b
I have tried depicting the concept of “truth cannot be hidden�. I’ve used the image of scissors to represent the unveiling of truth. The aim was to keep it as simple and minimal as possible hence ive used only 3 colours. Typeface- Bebas
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Pictogram
It resembles to the thing it represents. It does not have any connotations but only carries neutral, factual information.
Here I have tried to use the object and relate it to just “editing” rather than “censorship” keeping it simple for wider use. The pair of pictograms can be used by any content editing firm (magazine or films etc) Content editing
Film and video editing
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Production process 2w | sd As printing is one of the most extensively used mediums of mass communication it becomes important for graphic designers to understand it.
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This course was very fascinating for me as we learn how what we design can be turned into an actual object and how your ideas manifest into reality. To get an impact desired it is extremely important to design keeping printing in mind. In the course we learned the history and technology of printing. We got to visit a printing press, had opportunity to print our own work. We learned the aspects of pre-press, press and post press in a very practice oriented environment which was very useful. During the course I truly enjoyed the hands-on work of book binding.
Printing technology
Block
Pin Mark
Groove
The objective of the course was to expose the students of graphic design to the basic fundamentals of printing technology. The entire process from the finalisation of the design to the artwork to the prepress, nature of printing and post printing stages were dealt with. We also be probed into other related but critical issues such as kinds of paper, specifi cations, costings, etc. The idea is to understand how your graphic design is going to be eventually reproduced in numbers, so that one can effectively use the knowledge of limitations and Face Shoulder advantages of each process more meaningfully and creatively. Also to understand the most Stem appropriate printing techniques ,colour mixture and the method of Knicks achieving quality control input 55
Offset printing process
The course initially felt like just bombardment of information but as we went further to practical demonstration of work we realized the importance of knowing the theory behind it. It was also very informative in terms of equipting us with choices for any future printing works.
Screen printing process 56
field visit
The field visit helped us gain a practical view-point on the various processes, right from pre-press, press to post-press. We studied the following machines and techniques throughout the visit Location - Art-o-print, Sarkhej Art-O-Print is a partnership firm established in April 1996. The company specializes in printing and packaging materials with facilities equipped to manufacture large and small volumes of various products - Packaging Material, Braille on Pharmaceutical Packaging, Pharma Outserts, Pharmaceutical Product Packaging, etc. we got to see the following thingsCtP machine, Offset Printing Perfecting Press, Die cutting machine, System of Storage Flexography, Bobst box manufacturing machine Folding, Corrugated Sheets and Boxes
It was very helpful to understand how exactly the work done by the designer is taken ahead and how the industry works. 57
Conventional printing
This poster was printed as a group assignment to gain a better understanding of offset printing and screen printing. The design of the poster allowed us to see how the images and text gets printed in different forms. The poster talks about the Heidelberg offset printing machine. We first chose one colour for printing in offset press and decided the second colour to print over the first one by screen printing. The experience was very exciting and informative and we got to witness the nitty-gritties of the process.
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The final poster.
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digital Printing
The new palette
The poster is an attempt to record the changed colour scheme in my surroundings since past five months. These colours play the role of a beautiful backdrop in my everyday routine life.
to name a few ... Pantone 2234 CP RGB 60 154 159 CMYK 75 10 37 6
Pantone 402 UP RGB 165 161 153 CMYK 10 9 13 31
Pantone 471 CP RGB 186 106 47 CMYK 5 71 100 23
Pantone 2286 CP RGB 157 192 76 CMYK 48 0 86 0
Pantone 2028 C RGB 235 51 0 CMYK 0 84 98 0
Pantone 2330 CP RGB 217 215 208 CMYK 13 9 13 0
Pantone 2183 UP RGB 64 141 174 CMYK 87 26 14 0
Pantone 1685 CRGB 131 57 33 CMYK 11 82 100
Pantone 2234 CP RGB 60 154 159 CMYK 75 10 37 6
Pantone 3508 CP RGB 83 118 34 CMYK 56 10 97 40
This assignment aimed at comparing the colours visible in print and the way they ate actually printed. I took this opportunity to learn drawing in illustrator and portrayed a very personal relation with colours. 60
binding
During the module we had an opportunity to have a hands on experience of binding. We tried three types of bindings, • Pad Binding •Perfect Binding •Section Sewed.
I enjoyed the experience of binding books by hand thoroughly.
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