19 – 30 January 2015
DRAWING— BY DESIGN International Open Electives 2015
OVERVIEW
METHODOLOGY
OBJECTIVE
National Institute of Design
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DRAWING— BY DESIGN International Open Electives 2015 Contents
Foreword
5
From Open Elective Coordinators
6
List of Workshops Ahmedabad Campus
21
Bengaluru Campus Gandhinagar Campus
29 37
Colophon
International Open Electives 2015
7
www.openelective.nid.edu
National Institute of Design
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4|5
Foreword Dear colleagues, The new series of International Open Elective Workshops, aims at revisiting the fundamentals of drawing from a multidisciplinary perspective and in the context of contemporary paradigm of design education. The idea of International Open Electives was mooted in 2006 in order to create a platform for our international MoU partners to collaborate with NID, explore, and co-create in unique and upcoming areas of design. The outcome of this platform has been very encouraging over the years. This year’s theme for the Open Elective is Drawing—By Design.
Since drawing encourages appreciating the details in myriad, extracting the essential, and empathizing with the subject, it becomes an indispensable activity in visual learning. Historically, the act of drawing has been an active mode of visualization, communication and documentation. The IOE 2015 being led by faculty colleagues Tarun Deep Girdher, Kaushik Chakraborty, Chakradhar Saswade and Y. N. Vivekananda aims to rediscover challenges and opportunities in taking up drawing as a means of thinking, visualisation, and communication. I heartily compliment my colleagues for their zealous efforts in putting forth a bouquet of 24 unique design workshops, carefully identified for the benefit of the students from NID as well as the partner institutions. I wish all success to the International Open Electives 2015.
Vijai Singh Katiyar Activity Chairperson Professional Education Programmes, NID
International Open Electives 2015
www.openelective.nid.edu
International Open Electives 2015 Drawing is a core subject in design pedagogy and is characterized by its application in various manifestations across design disciplines. Irrespective of the tools and techniques used, drawing is one of the fundamental means to observe, analyze, record, and translate the tactile and tacit world around us. For some, it is a tool to think visually and record their imagination, while for others, it is a medium of expression or communication. Transcending the barriers of language, drawing and drawn artefacts are considered as the most universal language for communication. Historically, the act of drawing has been an active mode of visualization, communication, and documentation. As a part of its curriculum, the National Institute of Design offers a two-week multidisciplinary series of workshops called Open Electives. This course carrying 2 credits is offered to M. Des. students of semester 2 and B. Des. students of semester 4 across all disciplines. The broad objective of this course is to provide an opportunity for interdisciplinary & multidisciplinary exploration and learning, beyond the specialisation of a specific design discipline.
The overarching theme for this edition of the International Open Elective is, Drawing—By Design. This booklet has an overview of all the workshops on offer in this edition. Offered by designers, academicians from India and abroad, from countries such as Switzerland, UK, Canada, and Germany, this bouquet of workshops explores various dimensions of drawing, ranging from thinking and visualization; representation and expression; semiotics and ornamentation; to narrative and communication. This course is scheduled from Monday, 19th January to Friday, 30th January 2015 at all the three campuses of NID. Twenty Four workshops are on offer across the three campuses—12 at Ahmedabad, 6 each at Bengaluru and Gandhinagar. At the end of this course (individual workshops), the students are expected to share their overall learning using their finished portfolio/drawn artefacts/ documentation of experience, through a community display.
Tarun Deep Girdher, Chief coordinator, IOE 2015 Kaushik Chakraborty, Coordinator, IOE 15, Ahmedabad Campus Chakradhar Saswade, Coordinator, IOE 15, Bengaluru Campus Y.N. Vivekananda, Coordinator, IOE 15, Gandhinagar Campus
National Institute of Design
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DRAWING— BY DESIGN International Open Electives 2015 AHMEDABAD CAMPUS
National Institute of Design
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8|9
Visual Language & Narrative Sequence OVERVIEW
Participants will consider the opportunities and limitations of the wordless narrative. They will be enabled to use their drawn imagery to express emotion and drama without the need of text. The workshop will be open to new ideas and there will be a chance to explain and test out approaches to the tasks given. Besides providing a platform for participants to gain hands-on experience, the aim is also to enhance the participants’ familiarity with the universal language of sequential art. All practice in the workshop will be complimented by theory.
OBJECTIVE
METHODOLOGY
To understand and appreciate varied approaches to a wordless narrative. To look at various methods and media for communicating and understanding basics of visual storytelling. To discover metaphors, identities, icons and styles that can be applied when developing a narrative visual sequence. A chance to learn the process of making a visual story and get hands-on experience in developing, storyboarding and drawing a small picture sequence, book/comic. To experience new ways of telling stories (oral histories) through imagery and narrative picture making.
The primary methods would be explanatory introductions/project briefs. Practical demonstrations, group discussions, power point slide lectures ( showing context for the work) individual tutorials, group seminars and reviews/critiques.
Prof. Andrew Kulman andrew.kulman@bcu.ac.uk Professor of Graphic Art and Illustration, School of Visual Communication (Drawing and Printmaking) Birmingham City University, UK Prof. Kulman is a practising artist and award winning illustrator since 1987. He is also a graduate of the Royal College of Art. In 2012 he re-joined the School of Visual Communication to lead a team of illustrators in developing a strong course. He was conferred as a Professor of Graphic Art in 2006. Andrew has been a strong advocate of transdisciplinary teaching and his own practice looks at autographic and digital printmaking. Andrew has published children’s picture books and worked for many prestigious newspapers, magazines and publishers. In 2003 he won the D&AD silver for best consumer poster campaign.
International Open Electives 2015
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Draw the World to know the World OVERVIEW
Children show a strong connection between what they draw, what they play and what they experience. What they draw, also shows distinct aspects of what children see, what they wish, what they want to describe etc. Unwanted importance given to learning and writing skills deny the possibility for the development of drawing to be used as a tool for observation and expression. Drawing also needs to be developed as a functional tool which anyone can learn, which also means that drawing needs to be distanced from art, which is supposed to be an activity that only the gifted or talented can do.
METHODOLOGY
OBJECTIVE The workshop intends to open up possibilities for research on the potential of drawing as a cognitive tool as well as for communication among people and also to help designers invent simpler ways of drawing. The larger purpose is to get schools to give children more time to draw, especially the children among lower age groups.
• Presentation on children’s drawings in order to understand the children’s stages in drawing, content, etc. • Working with people who do not know drawing. To get them to draw in whatever manner they can. • Putting them together to analyze the way literate and non-literate people draw. • Take the drawings back to another group of people and get them to share what they understood of the drawings. (The focus will be to work with children of various age groups) • Reflection of the experience. • Documentation.
Jinan K B jinankb@gmail.com Independent Designer, Researcher on cognition, creativity, aesthetics etc http://cognitiveimportanceofdrawing.weebly.com/ As an educationist, Jinan has been studying the cognitive damages of the present educational system and cognition among so called ‘illiterate’ people. He has been concerned about the way modernity is homogenizing and standardizing thoughts, tastes and dreams of people through social engineering. In the context of children, he has been studying various aspects— cognition, play, aesthetics, drawing, since 1999. Since 2011, he has been involved with a school which is creating a space for children to awaken their natural cognitive tools and processes.
National Institute of Design
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10 | 11
Expressive Lettering— Emote Visually with Words OVERVIEW
Lettering is a unique art form. We all recognise the power of communicating effectively through perfectly selected words and sentences. Going beyond that initial idea of communication, it is possible to harness the immense emotive and expressive potential of letterforms to make your message highly engaging and memorable. In this workshop, you will learn to understand the personality of different letterform styles, develop the skills to draw and experiment with them and create unique artworks based on some very exciting exercises.
OBJECTIVE
METHODOLOGY
During the intensive duration of the workshop, students will be introduced to the history and range of letterform styles, participate in lettering and calligraphy drawing sessions, look at combining colour and composition, and work on exercises to explore the expressive and communicative potential of lettering. While the workshop mainly focusses on the Latin script, we may look at bringing in Indic scripts to some extent as well.
• Overview and appreciation of Calligraphy, Lettering • and Typography • Brief overview of the history and styles of letterforms • Drawing practice using a wide range of tools and techniques. • Exploration of unusual tools • Analysis and class discussions on style and expression • Composition, colour, layout • Exercises exploring concepts such as type and sound, type and taste, type and feeling (poetry, quotes), type in communications, tactile type, etc.
Kriti Monga turmeric@gmail.com Founder Director, Turmeric Design, New Delhi www.turmericdesign.com Kriti has become known for her self-initiated and graphic art work. These include custom hand lettering, type installations, hand-drawn diaries, live sketch-notes and limited edition art prints. She also occasionally teaches and leads creative workshops and fellowships. She has been invited to present her work at multiple Indian and international events. Kriti was the recipient of a prestigious Honourable Mention at the American SOTA Young Catalyst Award, 2011 and an invitation to attend TypeCon at New Orleans, USA. In 2010, she was one of Delhi’s ‘20 Under 35’ shortlisted young designers invited to present her work at the DesignXDesign show at Alliance Francaise. Select press includes Creative Review UK, Taschen’s Asia Graphics Now, Elle, Platform, Architectural Digest and Verve.
International Open Electives 2015
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Aroma of the Soil— Narrative & Communication OVERVIEW
The workshop focuses on the narrative and hidden stories in tribal Gond art, Tanjore mural painting and Odisha Scroll painting. The workshop shall help the students document the extraordinary visual amalgamation of both tribal art and crafts/ folklore. Both a ‘surface-art student’ & a ‘visual art student’ can attend and be benefitted. The main aim of the workshop is to understand the thinking behind the tribal/folk artist. The workshop shall be in the form of explorations and interactions.
METHODOLOGY
OBJECTIVE The objective of the workshop is to document the oral tradition of Gond artist techniques and imagination along with the mural painting/ scroll painting ideas belonging to Tamilnadu/Odisha/West Bengal. The students will interact with the Gond artists, Tanjore mural painters and scroll painters of Odisha/West Bengal. The students shall document and translate this into a digital format. This knowledge can be given back to Gonds, Tanjore painters and Odisha/West Bengal scroll painters.
Total team members- 9. Three groups shall demonstrate live before the students, the various teaching methods (Path-chitr, Cuttak, Odisha/ West Bengal, Tanjore mural painting and Gond, Madhya Pradesh) to be used in painting. They would demonstrate how the scroll painting is made along with the Gond painting/Tanjore drawing technique.
Kulasekaran Seshadri Seshadri bhopal@yahoo.in Modeler/In charge Computer section, IGRMS(National Museum of Mankind), Bhopal Kulasekaran Seshadri is a Clay Modeller, 3D artist and Graphic designer since 1989 at Indira Gandhi Rashtriya Manav Sangrahalaya (National Museum of Mankind), Bhopal. He has visualized and created permanent galleries and exhibitions on Human Evolution, Variation, Island cultures of India, Tribal Habitat, Rock Art, Mythological trail. He has also organized several artist-tribal workshops and exhibitions for IGRMS. He has designed and published more than 10,000 artworks for IGRMS (National Museum of Mankind) Bhopal.
Team of artists: Dhavat Singh Uikey Purushottam Singh Kushram Ram Singh Urveti Satrupa Urveti
National Institute of Design
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12 | 13
The Visual Essay as Drawn Journalism OVERVIEW
The drawer/illustrator as a journalist has to leave the campus for the world outside. Questions are to be asked, curiosity is required. What students see, find out and document will be turned into a visual testimonial, edited as a narrative or essay. Authorial drawings are by nature, personal and subjective but a shared truth emerges from the authenticity of individual perception. Every participant will contribute 4 pages to a group publication which will assemble all contributions under a common theme (not yet defined).
OBJECTIVE
METHODOLOGY
• Methodological introduction into visual forensics and work as a creative process— drawing as a language, an instrument to change the way you see and document, • How to combine text and image and make a non-linear dramaturgy work. • How to surprise yourself.
• Teaching methods include lectures, short exercises, individual tutorials and group feedback. • Drawing as a language, visualization techniques, how to use text and drawings as opposed to photography, how to establish a clear narrative departing from a simple question, how to find your voice and how to bring the combination of text and image to life and reach out to an audience.
Thomé Pierre pierre.thome@hslu.ch Art and Design, Lucerne University of Applied Sciences and Art, Switzerland. www.illustration-fiction.ch www.strapazin.ch/pierre_thome/ Thomé Pierre was born in 1960 in Luxembourg, graduated in Art teaching, (1984) and Visual Communication (1989) at the Stuttgart State Academy of Art and Design. He worked as a freelance illustrator and founded in 1994, the Swiss/ German Comic Art Magazine “Strapazin”. Since 2002, he is the Academic and Head of BA in Illustration at Lucerne University. His current research interests are Visual Reading and Drawing as a tool for Visual Literacy. Some of his publications are,‘Thinking in Pictures: An Experiment on our Perception of Images’ (2014 Applaus Publisher) and ‘Geduld und Gorillas’/‘How to make an illustrator’ (2009 Niggli Publisher)
International Open Electives 2015
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Drawing in Surface Ornamentation OVERVIEW Surface Ornamentation, still remains a part of our day to day life in spite of many different inventions for communication & decorative mediums that have now come into existence.
METHODOLOGY
OBJECTIVE The objective of this workshop is to promote an innovative use of drawing in surface ornamentation and decoration and study how different styles & cultures emerge through this medium. The students will research on a traditional cultural expression, for its vocabulary and grammar in ornamentation. They will explore and innovate with the visual paradigm to develop new surface ideas for ornamentation of fashion products and accessories for modern lifestyles.
Students will be given an introduction to the subject through lectures, field work & presentations. They will identify a culture or tradition and analyse the elements and structure in its visual expression. The students will also explore the styles of decoration using drawing techniques. Students will then develop surface ornamentation for selected fashion products.
S M Kulkarni designquest@rediffmail.com Founder Director Design Quest, Noida S M Kulkarni completed his post graduation in Textile Design from National Institute of Design Ahmedabad in 1984. He has worked on various Design development projects in the areas of craft and Industrial Design. In 1985, he worked on the Golden Eye exhibition at New York as a part of ‘Festival of India’. The exhibition was concerned with the idea of seeking a new direction for Indian Craft in its application and its marketability In 1995 he started his design studio & production unit (Design Quest) at Noida that works on various design development projects in Textile & Leather for export market. He is also associated with institutes such as NID, NIFT, IICD Jaipur, FDDI- Noida & Pearl Academy as a visiting faculty.
National Institute of Design
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14 | 15
‘Made by’... OVERVIEW
The workshop aims to develop the student’s sensitivity towards patterns and surfaces. Through associative drawing, the students recognize the potential for their creative work and will use it as a design resource. The aim of the workshop is to expand the student’s individual design repertoire, to communicate across barriers and to use the benefits of group activities. Questions concerning the authorship, styles and trends, variety of themes and their influence in the globalised world will be debated and will function as inspiration for new designs.
OBJECTIVE
METHODOLOGY
The focus is on the creative personality— What are the benefits of individual activities or group work? An essential point is the ‘fundus’ (sum of all works), which arises from a session of associative drawing. A personal series of drawn composés or interpretations of the traditional Indian folk art narratives will be worked out, which can include various dimensions in space design and types of repeat patterns. The students fulfil assignments on rhythm, texture and composition. In the last phase, the projects are implemented and completed for the presentation and exhibition. A variety of symbols, icons and patterns, large and tiny ones, drawn with pencil and with other tools, will be exhibited and will demonstrate a variety of surface ornamentation.
• Hands-on learning (on repeat patterns and drawing techniques) • Discussion and discourse • Input on given topics (i.e. textile design history, cultural crossing, documents about trends for Spring/ Summer 2016 (European market), • A team exhibition • Workshop on analogue and digital design techniques and methods to create new designs • Developing appropriate ways of presenting the results • Group work (learning from each other, understanding themselves as a collective)
Prof. Tina Moor tina.moor@hslu.ch Lucerne University of Applied Sciences and Arts School of Arts & Design, Textile Design www.hslu.ch/design-kunstproduktdesign.hslu.ch/textildesign Tina Moor studied textile design in Zurich. She then worked as a freelancer for a number of firms in the interior design sector. In the research team of the company Prospective Concepts AG, she spent eight years developing pneumatic structures from textiles used in the aviation and health sectors. Since 2001, she has taught and conducted research at the Lucerne School of Art and Design
Brigitt Egloff brigitt.egloff@hslu.ch Lucerne University of Applied Sciences and Arts School of Arts & Design, Textile Design Brigitt Egloff studied textile design in Lucerne. She has taught at the Lucerne School of Art and Design since 1999. She is a lecturer in the field of textile printing and has worked as a mentor in the Master of Arts in Design since autumn 2011. For her artistic work she received various prizes and awards: 2002 and 2008 artist in residence scholarship in Berlin and Chicago; Awards for her artistic creation in 1998 and 2008. International Open Electives 2015
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3D Drawing— Subtractive Clay & PoP Carving OVERVIEW This workshop is intended to address engagement with physical space and materials. Design involves purposeful decisionmaking about using the elements & art principles in an integrative way. One will use an image of a figure in motion, along with analyzing the work of abstract sculptors, for inspiration to create an abstract work of contemporary art & design form.
METHODOLOGY
OBJECTIVE Modern Artist & Designer experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of design. A tendency towards abstraction & function are characteristic of contemporary art and design. Using subtractive clay and plaster carving process, one will create a 3D abstract sculpture of a figure in motion with open areas and textures. It is based on ‘Drawing Theory’ and is conducted in small groups. At the end, all art forms, objects and installations are brought together in open exhibition to share experience and learning.
• Hands-on experiments to explore material characteristics, understanding the hand building techniques and versatility quality of clay & plaster. • Development of various forms would be a major component of the course. Live demonstrations on the art of making and possibilities of clay & plaster as a material. • Addition of other accessories/ material to come up with new design/forms as well as functional products to representation. • Sketching & Planning
Anjani Kumar anjanikumar6@gmail.com Visiting Faculty, NID anjani_ceramic_ahm@yahoo.co.in Anjani Kumar is an artist and Industrial Designer from Ceramic & Glass Design from the National Institute of Design, Ahmedabad. He has worked with a range of materials including Ceramic/Terracotta, Glass, Plaster, Wood, Metal, Textile, Jewellery etc and enjoys manipulating and combining them in innovative ways. He has also received many awards and scholarships for his work.
National Institute of Design
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16 | 17
Drawing from The Mind OVERVIEW
Do we draw from the mind or from the hands? How is consciousness connected to drawing? How do we experience and consume drawing? Does drawing get affected by the space in which it is drawn? What happens in the mind and the brain when we draw? Why is it that some are good at drawing and some are not? Can drawing reflect and affect one’s personality? Can science help in improving drawing skills, and thereby, the mind within and vice versa? Do we draw from imagination or do we imagine by drawing? This workshop seeks to understand and explore the underlying processes that give rise to drawing, art and aesthetics and any form of expression and use that understanding to help alter our drawing, imagination and expression abilities.
OBJECTIVE
METHODOLOGY
To understand the source of drawing and all expression and to use that knowledge to improve our overall imagination and expression skills— through drawing, design, word, moving/still image or even through service and leadership.
Lectures, Audio visual presentations, documentaries and real life experiences through field trips, personal journeys, etc. The course will be conducted in the ‘Drawing, Reading, Thinking, Contemplating, Experimenting and Experiencing’ format and a high level of openness and willingness of the participating students for the same is expected. Sensory field trips and visits (both internal and external, individual and group) will be a major part of the course and hence weekends, evenings and early mornings may be used for class work.
Krishnesh Mehta krishnesh@nid.edu Senior Faculty, NID, Ahmedabad. Since 1995, Krishnesh Mehta has been teaching at NID in the Product Design discipline. He holds a master’s degree in Physics from Gujarat University, a diploma in Space Sciences and a master’s degree in Business Administration from Indira Gandhi National Open University. At NID, Krishnesh teaches Design Management, Retail Merchandising, Multisensory Design, Lighting, Design Science, Technical Studies, Marketing Communication, Strategic Design, Design Research, and Design Mix. His interests include DSTM Convergence, Immersive Designs, Futuristic Technologies, Design Measurement, Multi-Sensory Experiential Design, Neurophysiology of Creativity, Leadership and Systems Thinking, 6D Cross Sensory Perceptual and Intuitive User Interfaces (PUI & IUI), Design for Senses and Behaviour, and Conceptual Design.
International Open Electives 2015
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Magaj ki Kaagaj OVERVIEW Paper is the most common surface used for drawing and mark making. Various tools such as graphite, charcoal, colours, etc, are often used to draw or make images on paper. Different papers have different surface finishes and thicknesses, which influence the quality of marks made. No wonder, making paper is an art (and science) in itself.
METHODOLOGY
OBJECTIVE Basics of handmade paper making on a small scale. Creating watermark on paper. Embedding drawn images in during the process of making paper. Participants will learn the process of making paper from plant fibre and cotton rag pulp along with watermarking, embedding, stenciling and relief casting methods. They will also explore the surface quality of various objects.
Lectures and demonstrations on handmade paper making. Selecting and preparing raw materials (including waste rag and plants) used for making paper. Create textures and linear designs, based on a provided theme. Stenciling and paper casting. Individual and group assignments.
Anupam Chakraborty anumpam.paper@gmail.com Founder & Creative Director, Nirupama Academy of Handmade Paper, Kolkata www.nirupama.org Anupam Chakraborty is an artist, designer and papermaker by profession. In 2003 he set up Nirupama Academy of Handmade Paper, which is an educational and entrepreneurial organisation, specialising in the area of hand papermaking and the art of bookbinding, printmaking and product designing. He has over twenty years of teaching experience and has conducted diverse workshops on subjects related to papermaking, printmaking and bookbinding. His ongoing research areas are papermaking from indigenous plant fibre and artists’ book. He has also received several awards like National Scholarship, junior and senior research fellowship from Ministry of Culture, Government of India and Charles Wallace India Trust fellowship, etc. His artworks are a part of the collection of Chicago School of Art, Tamarind Art Gallery USA, National Gallery of Modern Art, New Delhi and many others.
National Institute of Design
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18 | 19
Star, Peacock, Aeroplane & Kites OVERVIEW
Students are invited to experience the craft of ‘Katab’ both as a skill and as a design concept. Each student will be paired with a traditional ‘Katab’ artisan and will learn how to make sketches by hand-stitching units of cloth. The workshop will be an opportunity to enhance the understanding of expressing daily life objects as simplified and abstracted motifs/ideas.
OBJECTIVE
METHODOLOGY
With appreciation of how stars, peacocks, aeroplanes and kites have evolved in the folk craft of ‘Katab’, the students will learn the traditional skills of folding, cutting and stitching of cloth. The workshop will be an opportunity to learn how to ideate and conceptualise new designs, by sketching with units of cloth. As a physical output, each student will have a portfolio of textile explorations leading to a focus theme. An important aspect will be scouring sustainable materials and application of colours.
Appreciation and exposure to the craft of ‘Katab’. • Learning the traditional skills and sourcing of raw materials. • Textile explorations for various themes and materials. • Selecting and focusing on a particular theme. • Presenting the theme as an exploratory culmination.
Lokesh Ghai creativelokesh@yahoo.com Researcher & Textile artist travelsintextiles.com/tag/lokesh-ghai/ Lokesh Ghai is a textile artist, researcher and academician working with traditional craft practices. His work has been featured at the V&A Museum of Childhood, London, Harley Gallery, Nottinghamshire, Gallery of Costume, Manchester, Blackburn Museum and Ahmedabad international Art Festival. He has taught and contributed towards the growth of students at Kala Raksha Vidhalaya, India’s premier design institute for traditional craft communities. He has lectured at Royal College of Art, London, University of Lancashire, Preston, NIFT, Gandhinagar and NID, Ahmedabad, India. He has assisted and collaborated with designers, artists and researchers from Japan, UK and India. Lokesh is interested in textiles, costume, heritage, hand-crafts, and working with communities.
International Open Electives 2015
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Print Making— Serigraphy & Woodcut/Etching OVERVIEW This workshop introduces students to the basic techniques of Serigraphy (screen-printing), one of the most versatile and contemporary of printmaking techniques. In this workshop, students will be use a photoemulsion process and learn the various methods of creating a film positive. They will learn multiple registration techniques as well as printing on fabric and paper. They will also survey major historical movements in screen print, as well as contemporary artists and projects working in print along with considering the conceptual and political possibilities behind working in a medium that can create multiples. They shall create a final project that pushes the boundaries of the medium to consider a range of possibilities— from book form to single sheeters.
METHODOLOGY
OBJECTIVE Understand major components of photo-emulsion based screenprinting: coating a screen, creating film positives from both manual and digital methods. Demonstrate an ability to register the layers of their prints well Demonstrate and understand the tradition of editioning their prints Build upon a familiarity with the language of visual critique specific to the social history of screen print Print clean and even screen-prints and recognize and address problems with their printing To use screen printing across disciplines and mediums.
• Artworks • Film Positives • Screen Making • Lectures & Demonstrations • Film viewing and discussions. • Hands-on experience • Making limited edition prints
Sanjay Pandey sanjayiaf2013@gmail.com Faculty, Design & Development Academy, Ahmedabad Sanjay has worked extensively as a freelance artist/painter since the last over five years. He has been on the coordination teams of India Art Summit and India Art Fair in 2012, 2013 and 2014. He holds an MFA in Printmaking & Printmedia, and BFA in Painting from the M.S. University, Baroda. Currently spending time doing serigraphy in his studio at Baroda, he has also taught drawing and painting at the Teerthanker Mahaveer University, Moradabad, and at NID, Ahmedabad as a visiting faculty.
National Institute of Design
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DRAWING— BY DESIGN International Open Electives 2015 BENGALURU CAMPUS
National Institute of Design
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22 | 23
Drawing Your Personal Voice OVERVIEW
My profession and pedagogy as an Illustrator is, exactly, ‘Drawing— by Design’. Illustration (through drawing) is design and design is communication. We are all able to read the same pictures. What is unique, however, are the individual stories and how an artist tells such stories. This is where design comes into the equation. The combination of the things we know (the communication) and the things we don’t know (what the artist reveals to us through personal expression) equals excellence in graphic communication. The workshop will focus on utilizing drawing to help students visually communicate effectively through their own artistic voices.
OBJECTIVE
METHODOLOGY
The aim of this workshop is to highlight the individuality of the student’s expression through drawing. This shall be achieved by working with the students on one large project coupled with smaller, support projects. Despite subtle as well as overt differences in graphic arts (such as in cultural/language symbols and expressions), the concepts and meanings in drawings visually communicate best when they are universally understandable. Honouring the necessity of communication as a pertinent starting point in drawing, it provides the artist a basis (and opportunity) to form a personalized style in their visual expression.
Assigning a project whereby the students are given free reign to create their own narrative on a subject. They will then build towards creating process sketches and a subsequent final piece of art. This will be done through both individual and group critiques. Observational drawing is vital to the creative process and thus, will be a component of the workshop. In addition, this would extend the notion of drawing to mixed media and engage the students in exercises that honour the initial ‘mark’ they make on their paper or canvas.
Gary Taxali gary@garytaxali.com Associate Professor, Illustration Program, OCAD University www.garytaxali.com, www.taxali.com Gary Taxali is an Indian-born artist residing in Toronto. He has worked for every major publication including Esquire, Newsweek, GQ, Time, Rolling Stone, The New York Times and The New Yorker. He has exhibited in many galleries and museums such as The Whitney Museum of American Art and The Andy Warhol Museum. He is a Founding Member of IPA and sits on the Stamp Advisory Committee for Canada Post. Gary created the cover art and inside illustrations for Aimee Mann’s album ‘Smilers’, which won a 2009 Grammy Award Nomination for Best Package Design. In 2010, he released his first children’s book entitled ‘This Is Silly!’, published by Scholastic Press. In 2012, The Royal Canadian Mint released a special edition of six Gary Taxali 25¢ coins, each one bearing his initials.
International Open Electives 2015
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Everyone is an Artist* (*no conditions apply)
OVERVIEW
OBJECTIVE
METHODOLOGY
We all have stories that we have been unconsciously collecting in our mind. We gather these experiences by seeing things around us with various emotions that our mind generates. By the time we grow old we are like a human library full for stories and wisdom.
Everyone has their own way of communicating their stories. The objective of this workshop is to make the students understand that stories are all around us and all we have to do is to look around and recognize them, understand them and use whatever drawing skills we have, to narrate these stories so that everyone can benefit out of them as every story that has been told has a hidden message in it The intent is to identify such old generation story tellers and listen to what they have to say about their experiential learnings by using simple drawings Truly beliveing in the concept of emptiness, I have gained one understanding that-everyone is an artist* (* no conditions apply)
1. Removing the fear— This will be done by sharing some of my own stories that I have collected so far and then asking the students to share theirs. Such an activity will break the ice and dozens of stories will be shared. 2. Quick drawing sessions and demonstrations with the use of different media. 3. Field visits— To make new friends who are old and listen to the stories they have to share. 4. Visual notes and documentation of the experince (photographs, words, audio etc) 5. Sketch shorlisted story on a small dummy format 6. Short-list the style, treatment, characters, colours and cover.
Siddhartha Tripathi siddhartha.nid@gmail.com Independant Illustrator and Storyteller trip-arty.blogspot.in Siddhartha Tripathi has graduated from the National Institute of Design in Animation Film design. Currently he is working as a freelancer and also teaches at NID as a visiting faculty. For the past couple of years he has been working on many illustration based projects and many TV commericials as a visual artist. He frequently travels , makes new friends and enjoys capturing their stories through his artworks and sharing them.
National Institute of Design
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24 | 25
Educational Illustration for Craft Training OVERVIEW
Research studies have clearly demonstrated that under certain conditions, graphics and illustrations in instructional materials improve the learning outcome. Many researchers give emphasis to visuals, assuming that form plays the principal role in determining what is understood by the viewer. Illustrations occupy a relatively large space in the printed text books. Educational illustrations intend to extend the meaning of the illustration beyond what is shown literally.
OBJECTIVE
METHODOLOGY
The objective of this course is to explore instructional illustration techniques and to create a learning module through illustrations. This workshop is designed to engage students in a variety of experiences and visual literacy skills and teach critical viewing skills to various audiences. The course will familiarize the students with visual media, especially photography and line illustrations and help them develop the ability to critically analyze and produce visual instructions. The students will choose a craft sector, analyze the task and create instructional illustrations.
Lectures Presentations Case study analysis Field trips to craft villages in the vicinity
C S Susanth cssusanth@nid.edu Senior Faculty, NID R&D Campus, Bengaluru Susanth graduated from National Institute of Design with specialization in Furniture Design. With NID’s Outreach Programmes and Consultancy Services, he has worked on many projects in the areas of School furniture, Coir Composite Furniture, Bamboo projects and with various craft clusters in different parts of India. He also heads the NID Centre for Bamboo Initiatives
J Antony William willi@nid.edu Sr Instructor, NID R&D Campus, Bengaluru Antony William has been working on Web and Interactive Media, for over 13 years at NID. His areas of interests are Interactive Media, Digital Story Telling, Visual Ethnographic Research, User-Centered Design & Prototyping, Web Usability & Accessibility, Photography & Special Effects, Typographic Animation, Instructional Video Making, Instructional Illustration, Craft Research and eLearning.
International Open Electives 2015
www.openelective.nid.edu
Poetry and Comics— the Rhyme & Rhythm of Sequential Art OVERVIEW
The visual rhythms of comics are just as pronounced as the verbal cadences of poetry. Many modern poems place importance not just on the words, but the actual location of words on the page and movement of the human eye. Students will learn how poems and sequential art are structured in order to communicate feelings, narration and abstract concepts. Exposure to classical poets and breaking down their techniques in order to understand what the poem means or communicates, will be key .
OBJECTIVE
To expose students to the world of classical poetry and comics and teach them techniques to integrate both of them into a new medium. To practice and learn various techniques in comic book creation using traditional knowledge of hand drawing, inking and lettering.
METHODOLOGY 1. Daily workshop sessions on traditional comic book techniques and drawing for design. 2. Poetry readings and analysis of classical poets and their place in literature and the arts. 3. Screening movies and sequential art that have used poetry to push the narrative structure.
Arjun Gupte angupte@gmail.com Animation Film Director www.angupte.blogspot.in Arjun Gupte is an Animation Director who has studied Animation Film Design at the National Institute of Design. He has worked in animation, film and games for the last 14 years for clients such as Sony, Henson Studios and Warner Brothers on feature films such as Mirrormask and 34 published games. He is currently a Director in Appy Monkeys Studios based in Bengaluru, India.
National Institute of Design
www.nid.edu
26 | 27
Print it Bold II— Drawing & Linocut Printmaking OVERVIEW
Linocut is a modern avatar of the ancient relief technique of printing called ‘Woodcut’. As the earliest form of publication, books printed with woodcut presented a distinctive style of letters and illustrations that has fascinated many visual artists. Woodcut artists elegantly resolved the issues of form— simplification, representation of contour and form overlaps, as well as of forms and spaces which is a natural outcome of skillful handling of this medium. Print it Bold- II is the second linocut elective after the one offered in 2004 in NID.
OBJECTIVE
METHODOLOGY
The workshop intends to undertake the process of relief block-making in the spirit of drawing along the way of Linocut printing that has laid the foundations of graphical image simplification providing clearer, simpler, bolder and expressive images compatible with the body of letters. It will facilitate students to use Linocut to produce a limited edition print of their graphical work. It is exploratory in content and students will either refer to a chosen narrative or can choose to express their own thoughts and ideas through their prints.
Hands-on linocut printmaking, lectures, slide-shows, demonstrations, discussions and display
Chakradhar Saswade chakradhar@nid.edu Senior Faculty, NID R & D Campus, Bengaluru Chakradhar Saswade is a printmaker, painter and poet. His work depicts subjects of human discrimination, sacrifice and suffering. In NID, he offers courses related to Visual Semiotics and fundamentals of Visual Design including Design Drawing. A faculty in Visual Communication, he coordinates the post graduate programme in Information and Interface Design offered at NID’s Bengaluru campus. In NID he has undertaken number of visual identity design projects including that of the Kendriya Vidyalaya Sangathan. He has done his masters in printmaking from MSU Baroda in 1993 and is the recipient of the National scholarship in Fine arts as well as junior research fellowship from Ministry of Human Resource Development, Govt of India.
International Open Electives 2015
www.openelective.nid.edu
Character Development & Design OVERVIEW
This workshop will explore the visual develeopment and design of characters for ‘Visual Storytelling’; based on observation, research and visualization, with a hint of the unusual.
METHODOLOGY
OBJECTIVE To develop an enhanced ability to observe behavioural idiosyncrasies, and visually articulate them through characterization. To encourage ‘thinking humour’ as a communication tool.To develop a keen sense of appreciation for— the ‘everyday unusual’.
• Assignments • Presentation • Demonstration • Critique • Display
Prosenjit Ganguly pjganguly@yahoo.com Animation Film Designer A popular face in Indian animation, Prosenjit is an alumnus of the National Institute of Design, India. He is a professional Animation Film Designer, writer and mentor, whose clientèle include top broadcasters like Turner International, global studios like Toonz Entertainment and Electronic Arts. He is also a visiting faculty at several Design schools including MIT Pune, DJ Academy of Design, Symbiosis Institute of Design and CEPT University. His works have been showcased at prestigious film festivals in over 20 countries, winning several international awards. Known for his power-packed ‘Living Animation’ workshops, Prosenjit has been an invited speaker at prestigious festivals and forums including TEDx, Anifest India, Hamburg Film Festival, Asifa, Indian Animation Masters summit amongst many others.
National Institute of Design
www.nid.edu
DRAWING— BY DESIGN International Open Electives 2015 GANDHINAGAR CAMPUS
National Institute of Design
www.nid.edu
30 | 31
Need for Speed—Visualization Techniques for Industrial Design. OVERVIEW
The ‘Industrial Design workflowʼ has evolved beyond our imagination and the quality of both process and outcome has reached unprecedented levels, thanks to diverse and sophisticated tools (digital, in particular) available now for the designers to communicate their ideas. However, quick 3D CAD visualization tools are gradually taking over conventional flow of design ideation, posing a great threat to the traditional freehand sketching phase that is incredibly intuitive and creative in nature and an inevitable part of the ideation process. This workshop is an attempt to race against time to ideate/visualize/ communicate the ideas one has in mind through freehand sketching & rendering techniques, specific to Industrial Design.
OBJECTIVE
METHODOLOGY
To empower the participants with rapid ideation & representation skills to enable them visualize/ communicate their ideas quickly & more effectively. The workshop will explore the possibilities of ‘designingʼ few techniques more consciously to simplify the ideation process, bring down the time it takes to make realistic 2D renders exploiting some of the hidden gems of traditional/ digital media and creatively manipulate seemingly ordinary tools for very specific instances.
This result-oriented workshop will include live demonstrations of various techniques, intensive rapid sketch/render practice sessions, and creative assignments, eventually leading to sketchbooks, professional presentation boards (on any chosen design theme) as final outcome.
Balaji Rengarajan balaji_r@nid.edu Associate Senior Faculty (TAD), PG Campus, NID National Institute of Design, India Balaji Rengarajan has a keen interest in mentoring budding Automotive designers towards professional practice. He helps them enhance their conceptual abilities and visualization skills to make them globally competitive. He holds a masters degree in Automotive Design from School of Art & Design, Coventry University, UK and has worked at TATA Motors Design, Pune and Revolution Motors, USA (a California based electric vehicle start-up), and taught Industrial/Automotive design at ITESM, Campus Monterrey, Mexico, before joining NID. Balaji is also an avid photographer and loves Graphic Design.
International Open Electives 2015
www.openelective.nid.edu
Drawing with Materials— Alternative Surfaces OVERVIEW During this workshop, students will develop a sound comprehension of ‘alternative surface methodologies’ to create works as a visual and material form of drawing and storytelling. Various 2D and 3D techniques and methods will be used, in addition to direct experimentation and application of traditional and unconventional materials to foster discovery and ideation. Students will be working from their own personal, historical, and artistic references in relation to their own material choices to create their work.
METHODOLOGY
OBJECTIVE • Ability to express individual ideas through experimentation and discovery. • To increase awareness of the inherent properties of the drawing materials used. • To express drawing through material explorations and surface, and explore how these ideas can best be utilized to develop contentdriven work. • Investigation of shape, markmaking, line, form, texture, color, and scale. • Focus on design approaches and ideation development through sketching, mood boards, and material exploration. • To build resources and drawing materials in the form of samples, sketches, and prototyping • To understand that process is equally as important as product
• Lectures • Group discussion and critiques • Hands-on technical demonstrations (surface embellishment, joinery techniques, collage, flexible structures). • Ideation layout— mood boards, sketching, and prototyping
Rachel Miller rachel.miller@sheridancollege.ca Craft and Design, Textiles Department, Sheridan College Institute of Advanced Learning. www.rachelbmiller.com Rachel Miller is an artist, educator, Design consultant and researcher from New York. She received her MFA from Cranbrook Academy of Art and her BFA from the University of the Arts. She is currently a Professor/ Head of the Textiles Department at Sheridan College. Rachel lectures on Textile design, fiber and materials studies and sustainable practices, and has taught at Pratt Institute, Fashion Institute of Technology, University of the Arts and Srishti School of Art, Design and Technology in Bengaluru, India. Her works, which include sculpture, installation, and costume, examine the constant resurfacing of the past, and its integration with the present.
National Institute of Design
www.nid.edu
32 | 33
Drawing with Light OVERVIEW
Moholy-Nagy saw photography as a new kind of writing, “The illiterate of the future will be the person ignorant of the use of the camera as well as the pen.” (Moholy, 1947). Moholy valued photography as an expansion of natural sight— a technique for penetrating opaque bodies, recording the passage of time, or layering multiple images onto a single, unified surface. For Moholy the ‘realism’ of photography lay not in its ability to produce traditional perspectival images, but rather in its status as a neutral, mechanical record of phenomena. With tremendous progress in digital photography Mohaly Nagy’s vision of ‘photography as an expansion of natural sight—a technique for penetrating opaque bodies, recording the passage of time, or layering multiple images onto a single, unified surface’ can be explored to the fullest.
OBJECTIVE
METHODOLOGY
To explore ‘drawing with light’ as the exclusive photographic technique, the students will bring forth the dimension of the medium to observe, analyze, record elements like Perspective, Spatial Rendering, Space Time, Motion Articulation, Layers, Transparency, Visualization etc.The explosive possibility of drawing with light is limited only by the student’s imagination. Drawing with light is used in art, advertising & communication videos.
• Images designed, visualized and created through technique of drawing with light. • Understanding basic photography— Shutter Speed, Aperture, ISO, Exposure, etc. • Large prints to be displayed.
Shailan Parker shailanparker@gmail.com Photographer, Educator www.shailanparker.com A professional photographer, Shailan has been practising since 1983, working on a range of commercial photography assignments. Trained as a Communication designer, his specialization is in Product, Industrial and Food photography. He has also been a visiting faculty member, teaching photography at institutes like NID, Ahmedabad, NIFT, New Delhi, the Pearl Academy, New Delhi, IICD, Jaipur.
Saurabh Srivastava saurabh@nid.edu Associate Faculty, PG Campus, NID, Gandhinagar Saurabh Srivastava has been teaching at NID’s PG Campus at Gandhinagar for the last seven years. He holds a Master’s degree in Computer Application & another in Information Technology. An avid photographer, he teaches Graphical User Interface Design Principles, Interactive Media and Still and Video Tools for Research.
International Open Electives 2015
www.openelective.nid.edu
Healing ‘SELF’ through Drawing OVERVIEW Although the key to healing lies in our ability to express and release our painful, stress-producing emotions, accessing these emotions isn’t always easy, when we continue to do it in the only way we know how— using words. But the feelings remain, because our left brain’s verbal language is only capable of expressing what we think, we feel. To access our real feelings, we must use the right brain’s language of imagery. The Drawing therapy can support the individual’s need to express and creatively transform the issues of pain and can help prevent some of the psychological, social and behavioral problems resulting from some unresolved suffering.
OBJECTIVE
The workshop will help the participants not only to observe, analyze, record and translate the tactile and tacit world around us, but also help experience their inner self. The participants will learn to travel back in time of their lives to become nostalgic. The workshop will also help individuals in the release of emotions, introspection, insight, interpretation, creative expression and spiritual practice through drawing. The output will help the participant to listen to the self, Love & nurture oneself, letting the Inner Child out to play, creating a personal support system, discover the healing power of dreams and finding guidance in the wisdom of the body.
METHODOLOGY The class involves a process of using guided meditations, journaling, and artwork to get in touch with emotions that cause hyper excitement or stress, in order to heal them. Brainstorming exercises Guided visualization & expression Putting all the imagery together to make a final output
Poludas Nagendra Satish satish@kora.co.in Design Lead, Kora Designs Pvt. Ltd., Hyderabad https://www.facebook.com/explorekora Satish, an alumnus of the National Institute of Design, is a design and research practitioner who has an extensive background and expertise working at a grass root level in the textile and craft sectors across India. His work is a practical application of the principals of ecology, which sees people as crucial to any successful environmental projects. The work focuses mainly on understanding available natural resources, developing local skills and setting up decentralized, least ‘capital-energy’ requiring systems that would create a sustainable livelihood for hundreds of people. Satish teaches, trains and upgrades the skills of any individual to increase their efficiency at work and generate self employment by blending indigenous craft techniques with contemporary designs, which bring aesthetic and affordable products to today’s consumers.
National Institute of Design
www.nid.edu
34 | 35
Animals are Beautiful People OVERVIEW
Animals are one of the most fascinating aspects of nature. The first form of art ever created by early humans was an animal. From dynamic forms, behaviour, habitat to colour, every element in the animal kingdom is a subject of study. It is time, one celebrates their existence in several forms. Through the workshop one would like to achieve a comprehensive character analysis and model making of animal forms in its real state or at a hypothetical/ amalgamated state.
OBJECTIVE
METHODOLOGY
The main aim of the workshop will be to understand animal anatomy/ skeleton and behaviours, and to design characters/prints/concepts taking them as an inspiration.
The workshop will enable character design and concept arts on chosen animals. Sketches and doodles to understand the skeleton, followed by developing one’s own character with a story or a context. There will be shorter exercises based on character design. Clay models and wire models are expected as an output of the drawings. And finally a display to end the process.
Priyankar Gupta priyankar.gupta@gmail.com Independent Illustrator & Animation Film Designer priyankargupta.blogspot.com Priyankar Gupta is a graduate of Animation Film Design from National Institute of Design, Ahmedabad. He has been working in the field of Media and Entertainment for the last nine years as a previsualizer and storyboard artist. He has also worked for television channels on promos and motion graphics as a Broadcast Designer. Illustration, being his passion has resulted in him delving into illustrating children’s books for renowned publishing houses such as Penguin, Scholastic, Tulika, Rupa, etc. With animation being his forte, he has made several short films, corporate advertisements, etc. He loves traveling, teaching and trying new avenues of Communication Design.
International Open Electives 2015
www.openelective.nid.edu
Turn Futuristic— Drawing the Future OVERVIEW The students shall imagine and put their visions down. (Will there be paper in the future?)
METHODOLOGY
OBJECTIVE Imagining the best possible future. Learning the history of futuristic visions (Jules Verne, BuckminsterFuller, LeCorbusier, Guiseppe Arcimboldo, etc)
• individual artistic quality • dialogue • fun and humor
Lucie Pribik lpribik@lycos.com Professor Visual Studies, University Potsdam, Faculty of Architecture, Germany As the only artist on the faculty of Architecture at Potsdam University in the suburb of the German capital on the Berlin subway, Lucie Pribik engages students in design (Gestaltung in German) and in Fine art. In times of increasing specialisation and standartisation, artistic sensibility combined with intellectual curiosity are greatly needed. Art provides us all with vital information of depth about the world. And right now, engagement of this kind seams to matter more than ever.
National Institute of Design
www.nid.edu
36 | 37
Colophon
INTERNATIONAL OPEN ELECTIVES— 2015 TEAM MENTOR Vijai Singh Katiyar
ACKNOWLEDGEMENTS Pradyumna Vyas Krishna Amin Patel
CHIEF COORDINATOR Tarun Deep Girdher
Dr. Bibhudutta Baral V. Sakthivel Bhaumik Nagar
COORDINATORS AHMEDABAD CAMPUS Kaushik Chakraborty
Dhiman Sengupta Samir More Catherine Aberneithie Jaswinni Bet
BENGALURU CAMPUS Chakradhar Saswade
Chanda Naidu Dilip Oza Hardik Sanghavi
GANDHINAGAR CAMPUS Y N Vivekananda
Hasmukh Prajapati Suresh Kuntmal Sachin Panchal
SECRETARIAL SUPPORT Rekha Naidu Lalitha ben Sreekumari Pillai Uma Chandran
Bharat Patel Sudarshan Talapalli Amit Patel Kiran Sarola Lalsinh Zala Mehul Dabhi
STUDENT VOLUNTEERS Bidisha Biswas Easha Ranade Kalyani Tupkary Kunal Agnihotri Michelle Parmar Sukanya Baskar
Niranjan Pandya Rahul Kansara Ronak Parmar Piyush Pankhania Kamlesh S. Chauhan Nasir Hussain Bharat Darji P. Ramesh Kumar Prabhat S. Desai Paresh M. Parmar Helga Govindan Sanjay pandit Govind bhai Hemant Sawle Rossama Mathew Jayanti S K Siddhalingeshwara Alagappam Nibu George Mohan Suvarna Sridhar Anchor faculty of each workshop, faculty colleagues, staff members and friends.
International Open Electives 2015
www.openelective.nid.edu
National Institute of Design
www.nid.edu