Documentation of Semester 2

2 RETSEMES

SEMESTER 2

Surbhi Jalan S1401107 | PGDPD Graphic Design 2014-2015 Semester 2 surbhi_j@nid.edu

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Surbhi J | PGDPD Graphic Design | Semester 2

“ EVERYONE GETS STUCK IN THE PROCESS OF CREATING. IT’S THE GREAT AMONG US WHO RELIGIOUSLY PRACTICE GETTING UNSTUCK. ” Keith Yamashita Chairman, SYPartners.

Surbhi J | PGDPD Graphic Design | Semester 2

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Index Science and Lberal Arts ~ II

One WU

1

Photography

Two WU

17

Word and Image

Design Management ~ I Research Methodology Department Elective Open Elective

Design Project ~ I

Three WU

One WU One WU One WU

Two WU Six WU

7

29 31 38 44 54

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Science and Liberal Arts ~ II Visiting Faculty: Dr. Shewli Kumar Anchor Faculty: Shilpa Das Duration: 1 week

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Perspectives on Indian Society Introduction Human society is made up of people, kinships, groups and communities. These societal relationships are fluid and ever changing with time and interaction and often very complex.

Human beings over decades have evolved several social codes and norms, which govern behaviors, dress, food habits, religious beliefs of people and form the cultural ethos of specific societies. India has diverse forms of such cultures and communities and these are often challenging to understand. Within these diversities critical aspects of the society in India is governed by people’s location within caste, tribe, class, gender, religion, region, rural and urban. This course enables us to make the process of unpacking conceptual frameworks on some of these aspects of society in India as well as ensure the engagement us to reflect and develop insight into the operation of these within people’s lives.

Unit 1 Society and Culture (4hrs lecture and film discussion, 2hrs reading assignment for presentation on last day) Social structure and culture: concept and significance; Evolution of social structures: Relationship with culture; Social stratification; Social change.

Essential Readings: B.S. Baviskar. Ed. (2007) Themes in Indian Sociology, vol.7. Sage Publication. New Delhi Gupta, Dipankar. 1991. Social Stratification.

New Delhi: Oxford University Sunil Khilnani. (2003) The Idea of India.

Penguin Publications

Unit 2 Caste, class and society (6hrs: lecture, film and discussion).This unit enables us to delve deeper into the manifestation of caste, class, inequality, power, access and control over resources and marginalization.

Essential Readings: Kannabiran Kalpana. (2009). Sociology of Caste and the Crooked Mirror: Recovering B. R. Ambedkar’s Legacy. EPW. Sameeksha Trust.

Marx, Karl. 2008. “Classes in Capitalism and Pre-Capitalism”; “Ideology and Class”; in Social Stratification: Race, Class, and Gender in Sociological Perspective edited by David Grusky. Colorado: Westview Press.

Unit 3 Tribe (6 hrs: lecture, film and discussion).

Defining a tribe; Evolution of tribal societies, features of a tribal society; Processes and nature of changes in tribal societies; Isolationist versus integrationist approach; Impact of ‘development’ on tribes; Issues related to tribal identity and rights of tribals over natural resources.

Essential Readings: Xaxa, Virginius. (2005) Politics of Language, Religion and Identity: Tribes in India.

Economic Political Review. March 26 2005.

Sameeksha Trust Guha, Ramchandra (2007), Adivasis, Naxalites and Indian Democracy, Economic and Political Weekly, August 11, Vol. 42, No. 32.

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Unit 4 Gender, caste and tribe: Intersectionalities (4hrs: Workshop, 2hrs: film and discussion).

This unit focus on understanding gender, patriarchy, public and private gendered spaces, androgyny and misogyny. The class will also delve into the complexities of interaction between gender, caste, and tribe and class their intersections. Changing dynamics of gender relations, gender and development and frameworks for analysis.

Essential Readings: Bhasin Kamla. (2004)Understanding Gender.

Kali Publications. New Delhi V Geetha. Gender. Stree Publications. Kolkatta Pandit Maya. (2013). Gendered Subaltern Sexuality and State. Economic Political Weekly, Aug 10, 2013, Vol. XLVIII no 32

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Unit 5 Ethnicity, Culture and Identities (2 hrs film and discussion, 4hrs group work and lecture).

To understand the concept of ethnicity and diversity of ethnic groups. The sessions will explain diversity and plurality in sociocultural milieu of India and will provide a framework to comprehend developmental challenges and issues.

Essential Readings: Mushirul Hasan and Asim Roy, (ed). (2005) Living Together Separately: Cultural Indian in History and Politics. Oxford University Press Kanungo Pralay. (2014). Shift from Syncretism to Communalism.

Economic Political Review. April 5, 2014 vol xlix no 14. Sameeksha Trust Ayaram N. (2012). Identity, Community and Conflict. A survey of Issues.

EPW. September 22, 2012.vol xlvii no 38.

Sameeksha Trust

Caste and Class in India.Author: K. L. Sharma The journal majorly examines the existence and inherence of class and caste in the context of Indian society. The author drives attention to the study of class and caste by different scholars and critiques their approaches and observations.

Major Themes Definition of caste: Something with a common name, common descent and same hereditary calling and communitarian living. Self contained segregated units.

Difference between caste and class: Caste – Rural, ascriptive, closed, non-competitive Class – Urban, achievement based, open, competitive Approaches to the study of caste system: Cultural or structural, survey or participation, functional, from westerner’s point of view, Interactional and attributional approach Features of Indian society especially the Hindu society: Sanskritization, pollution and purity, endogamy/hypergamy.

Understanding The Indian caste system cannot be directly compared and studied as the class system of the western society.

Caste and class coexist.

When treating caste as a cultural phenomenon, it is a system of values and ideas. Thus it naturally promotes and huge variety of crafts, art forms and ritual styles.

Caste is a dynamic system. Adaptations, transformations and contradictions make it resilient.

Tribe The difference have been a hallmark of Indian society The tribe is the term which came in the practice at the time of colonial construction.

The term ‘tribe’ is used to describe people so heterogeneous from each other in respect of physical and linguistic traits, demographic, size, ecological conditions of living etc.

Heterogeneous Came into practice at the time colonial construction.

On the basis of the linguistic traits, demographic, size, ecological conditions, we can differentiate the two tribes.

Tribal people had their own culture but because of industrial development their lands and habituate has been snatching.

Identity crisis, getting converting into a class hinduisation and go up the caste system through the sanskritisation. Due to this, tribes are been absorbed in to a larger society by loosing primitive identity.

Tribe have been studied only in relation to general Indian society, on the bases of caste, peasant status and social differentiations but not in their own rights.

In all indicators of development, they remain the most excluded despite the fact that various kinds of policy and programs have been pursued for their upliftment in the postindependence India.

Indian society is marked by inequality, discrimination, exploitation, domination, and deprivation.

All development indicators show them to be the most excluded from mainstream Indian society despite the fact that various kinds of policies and programs have been pursued and executed from their social and economics upliftment in post-independence India.

The various measures taken up for the upliftment of the tribal people are usually divided into three categories: Protective Mobilization Development ‘Protective’ measures include constitutional and legislative rights that safeguards keeping this in mind, for protecting tribal land rights and stopping the forcible transfer of land from tribes to non-tribes.

‘Mobilization’ refers to the reservation extended to the tribal in domains of politics, government employment and educational institutions.

“Development’ measures aim at programs and activities that are initiated for promoting the welfare and development of the tribal people.

Identity, community and conflict Introduction: GLODALISATION verses IDENTITY Social construction: Individual and societal Conflict (industrialization or cultural conflict) Concept: Construction of identity.

Strong and exclusive sense of belonging to one group who decides this identity? dominant groupwhy do a group follow ones identity? for the sense of belongingness leads to social security, privileges enjoyed by the other grouplegitimizing identityresistance identity project identity.

Definition of identity by individual depends upon individual needs The “we and they” and “us and them” feelings leads for conflicts resulting into hardening of the boundaries.

Nation: Homosapiensand civilization and race.

Nation and nationalism.

Different relationship between citizenship and national identity.

Citizenship, nationality and ethnicity are interrelated.

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Globalization of economy and internationalization have lead to problem in nation: Capitalist transformation, environmental limits, identity politics and post-militsrism.

Sub nationalism –demand for separate statehood-statehood (ghorkaland).

Sub nationalism –demand for self determination -secessionalism (telengana) Challenges the idea of India a nation?

Sub nationalism in North East –insurgency and conflict; affected women and children egpartition of India and Bangladesh Muslims in West Bengal and Hindus in Bangladesh.

Religion as Identity Religious identity was the reason for Regional separation of Indian and Pakistan during their Independence era. Making it more rigid about their respective communal; thoughts.

Examples include communal riots in Gujarat, BabriMasjidIssue in Ayodhya.

Communal is thus a Negative term in India.

Intra religion –caste system –even the Govthas a part to play in creating an Identity.

Same religion but different ideologies and identity leading to intra caste conflict along with inter cost.

Sikh identity –even though the caste not defined, influence of Hindu caste system has affected it.

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Diversity, Multi-culturalismand Secularism Though India is “secular”, the majority often play the role of deciding how the identity should be framed up of social, political and legal, administrative even complicated with the addition of caste system Society being comprised of multiple communities, often overlapping in cultural religion language race distinction leads to conflict between the communities.

Cultural conflicts always o not occur within the parameters of civic peace.

Hydra-headed state –the majority minority conflict ; the allowances and rights towards the minority can insure disturbances with the majority and vice versa.

Conversion and Religious Identity Proselytisation People wanting to become part of the dominant group to have a sense of belonging and also want to move away from the oppression they get as a lower caste in their former religion.

Each culture has societal absorbance, so, even the Christian and Sikh systems adopt caste system as influenced from Hindu caste system.

After this, there is oppression from both the sides, creating counter culture-where people start creating their own culture.

Caste and Tribe as Identity Social stratification for bringing the tribes into the society by Hindusiation/ Sanskritisationor by treating them as peasants. This will lead to losing of identity from the tribal point of view or they will not be accepted as a part of community.

Sometimes on the contrary, in Sikkim the tribal’s are not considered as oppressed but as a political power –maybe because they form the majority.

This influences the regime of representation in order to appropriate entitlements and resources.

Migration, Diaspora and Identity We are living in the age of migration.

Migration results in identity issues, conflicts and political issues.

Diaspora:Inter-national migration from India has resulted in the formation of what is called the Indian Diaspora.

India Diaspora in not homogeneous and not only heterogeneous, it reflects the diversity in the Indian population.

Religion, gender and status do not dissolve or disappear after migration.

Gender and identity: Gender identities are formalized and ritualized through language, ritual, narrative and politics.

Women: vulnerable and subject to violence.

Conclusion Defining a community in India is a very tough or fuzzy/chatociconcept due to the diversity.

Pro –belongingness.

Con –Communal; leading to riots making communal wall much more stronger.

Though the needs of the minority has to be fulfilled, the prevalence of capitalistic approach which favors the majority puts the Govtin a very tight situation.

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Word and Image Faculty: Immanual Suresh Duration: 3 weeks

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The study of visual images, the issue of “word and image” focuses attention on the relation of visual representation to language. More broadly, “word and image” designates the relation of art history to literary history, textual studies, linguistics, and other disciplines that deal primarily with verbal expression. Even more generally, “word and image” is a kind of shorthand name for a basic division in the human experience of representations, presentations, and symbols.

Consider, for instance, the words you are reading at this moment. They are (one hopes) intelligible verbal signs. You can read them aloud, translate them into other languages, interpret or paraphrase them. They are also visible marks on the page, or (if read aloud) audible sounds in the air. You can see them as black marks on a white background, with specific shapes, sizes, and locations. In short, they present a double face to both the eye and the ear: one face is that of the articulate sign in a language; the other is that of a formal visual or aural gestalt, an optical or acoustical image. Normally we look only at one face and ignore the other: we don’t pay much attention to the typography or graphic look of a text; preferring to concentrate on the meaning they convey. But it is always possible to shift our attention, to let those black marks on a white background become objects of visual or aural attention, as in this self-referential example.

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Drawing with pen and ink allows me to create strong areas of contrast. Most ink drawings are completed using black inks on white surfaces which leads to heavy contrast in value. It describes the process of using pens to apply ink to a surface.

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So, we have to make the list of what we touched the objects from morning right after getting up for the bed to night, after sorting down the list we had to around 20 to 30 sketches.

Chose any one object; I opted a compass.

We had to make the sketches using different techniques – pencil shading, pen and brush etc with different angle view. Also we had to do explore view of the object. Understanding the structure and form of the object. How the shape of compass is formed? Why is this shape of the compass is made? What this compass is useful for?

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We were assigned to go for outdoor sketching, a place called Old City, Ahmedabad. First-hand observation of the subject is one of the benefits of on-location drawing, which may lend a more convincing feeling to your drawing. We have observed a real picture, memorized the same picture into the brain, it is not necessary to draw a perfect sketches it is about understanding through what we have seen the objects and composed it. After memorizing the picture, one could have a visual feeling what to draw on the piece of paper.

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Pick any one myth around the world; I opted Lamia: She was a beautiful queen of Libya who became a child-eating daemon. The assignment is about to design a booklet not only booklet but also to make anything including pamphlet, folding paper and leaflet etc which matches (makes sense) to the myth. We had to design in typography as an image the represents the myth.

Trying to come up with explorations of how to make the word understand to make a symbol using word and image.

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One word + One numerical (M and 7) Two words (E and O) Understand the integration of 2 different type forms.

Weight distribution and learning visual correction.

Learning final finishing (smoothness of curves, straight lines, blending of curves into straight lines etc.) Understanding how elements interact in a layout is a critical step in stimulating visual thinking and compositional decision making. I learnt how conventional black and white color harmony affect form and space and how to apply elements to images to create balanced layouts.

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Understanding of the object simplification, in which the number of vertices, edges, and faces, is reduced. By sampling the input object and using low-pass filtering to gradually remove the high frequencies (i.e. detailed features) of the object. We had to combine a word with the object.

Compass was an object and pick out any one words I picked “perfect� which means to make a proper round circle with the help of compass.

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Different sketches exploration.

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We had to make a poster of Old City, Ahmedabad.

It is familiar to outdoor sketches, we have observed a real picture, memorized the same picture into the brain, it is not necessary to draw a flawless sketches it is about understanding through what we have seen the objects and composed it in A3 size vertical poster. One thing is we need to understand the volume of the elements in the poster e.g.: What is the dimension of the auto, a man, houses, carts, markets all in one and perceive it.

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Photography Faculty: Saurabh Srivastava Duration: 2 weeks

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Relevance This course is offered as part of the fundamental skill development in image making. This course focuses on Skill development of creating an Image using tools like camera and light in form of natural source or artificial source.

Objective To understand Camera Basics.

To understanding of Light fundamentals in it’s basic form or artificial form.

To learn fundamentals of using photography as documentation tool.

To explore photography as medium of expression.

To learn editing photographs using digital tool.

Course Contents In this course we learnt fundamentals of Single Lens Reflector Camera and physics of light. We explored photography as medium of expression, Documentation and experimentation with light, camera and visual perception aspects and high-end editing of photographs using digital tools.

Understanding the Three Basic Elements of Photography (Aperture, Shutter, ISO) Each setting controls exposure differently: Aperture: controls the area over which light can enter your camera.

Shutter speed: controls the duration of the exposure.

ISO speed: controls the sensitivity of your camera’s sensor to a given amount of light.

Shutter Speed A camera’s shutter determines when the camera sensor will be open or closed to incoming light from the camera lens. The shutter speed specifically refers to how long this light is permitted to enter the camera.

“Shutter speed” and “exposure time” refer to the same concept, where a faster shutter speed means a shorter exposure time.

Shutter Speed 1 - 30+ seconds 2 - 1/2 second

1/2 to 1/30 second

1/50 - 1/100 second 1/250 - 1/500 second

1/1000 - 1/4000 second

Typical Examples Specialty night and low-light photos on a tripod To add a silky look to flowing water Landscape photos on a tripod for enhanced depth of field To add motion blur to the background of a moving subject Carefully taken hand-held photos with stabilization Typical hand-held photos without substantial zoom To freeze everyday sports/action subject movement Hand-held photos with substantial zoom (telephoto lens) To freeze extremely fast, up-close subject motion 18

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Aperture Setting

ISO Speed

A camera’s aperture setting controls the area over which light can pass through your camera lens. It is specified in terms of an f-stop value, which can at times be counterintuitive, because the area of the opening increases as the f-stop decreases. In photographer slang, when someone says they are “stopping down” or “opening up” their lens, they are referring to increasing and decreasing the f-stop value, respectively.

The ISO speed determines how sensitive the camera is to incoming light. Similar to shutter speed, it also correlates 1:1 with how much the exposure increases or decreases.

However, unlike aperture and shutter speed, a lower ISO speed is almost always desirable, since higher ISO speeds dramatically increase image noise. As a result, ISO speed is usually only increased from its minimum value if the desired aperture and shutter speed aren’t otherwise obtainable.

f/1.0

f/1.4

f/2.0

f/2.8

f/4.0

f/5.6

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DSLR Camera Construction

Digital cameras take photographs using an image sensor that converts light to electronic signals. The distinguishing feature of singlelens reflex (SLR) cameras is that the optical viewfinder displays the view through the camera lens. The “single lens” in the name “single-lens reflex” is a reference to this feature: a single lens serves both for taking photographs and for the viewfinder. The “reflex” portion refers to the reflection of light. DSLR Cameras are equipped with mirrors that guide light from the lens into the viewfinder by reflecting it upward, hence the term “reflex.” The light that is reflected upward falls on the viewfinder focusing screen; after passing through the screen, it then proceeds through a pentaprism or pentamirror to the viewfinder eyepiece window. This allows the photographer to view the image from the camera lens directly in the viewfinder. When the shutter-release button is pressed all the way down, the mirror is raised and the light coming through the lens proceeds straight through to the shutter curtain. The curtain simultaneously opens to allow the light to fall on the image sensor and a photograph is taken. The shutter then closes and the mirror drops back into its original position. By linking the action of the shutter with the movement of the mirror, the light passing through the lens can be made to fall on either the viewfinder focusing screen or the image sensor.

Some newer DSLR Cameras can display the view through the lens in the monitor: this is known as “live view.” The mirror is raised during live view; blocking the light that would otherwise reach the focusing screen and preventing photographs from being framed in the viewfinder.

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Brief: (Individual Work) The Walled City of Ahmedabad is more than 600 years old, the people, true to the ethos and philosophy of the Walled City, which is their true identity. One connective story that binds the beautiful havelis, the people living in them, the syncretic culture and the neighbors made them a single entity.

The light of the subject, composition, space and the elements were my areas of learning. I observed the people doing different kinds of activities, tried to picture the frame in my mind and then capture it.

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Rasas Brief: Studio Exploration (Group Work) Shringara (Love): Shringara is the mood in which we concentrate on creating a lovely atmosphere, on family and friends, on good manners and romance, on art, culture, and decoration, on dressing attractively and behaving nicely, on beauty and enjoyment.

Hasya (Joy): Hasya is real happiness, a Joy that comes from within for no apparent reason. It may come when we feel that God or life is kind. This Hasya Joy is a divine Rasa, an expression of divine bliss. Humor is a very powerful tool against Sadness, Fear, and Anger.

Adbhuta (Wonder): From the dawn of civilization, human beings have tried to understand everything and are still trying. The feeling of Wonder comes when one recognizes one’s own ignorance.

Shanta (Peace): Although everybody experiences some relaxation sometimes, real Shanta or Peace exists only in samadhi, a state of superconsciousness that is the final stage of any yoga.

For true Peace, body, mind, ego, and intellect must become perfectly still.

Raudra (Anger): Some people harbors Anger over one particular subject all of their lives. The repetition of angry thoughts can work like a mantra that over time comes to dominate one’s entire being.

Veera (Courage): Veera or Courage is the Rasa of fearlessness, self-assurance, determination, heroism, valor, and perfect control of body and mind.

Karuna (Sadness): When we feel sad for all who do not see through this illusion of suffering, for the ignorance created by maya, then we experience the highest form of Karuna, which is Compassion.

Bhayanaka (Fear): Fear is often caused by ignorance. When something is unknown, the mind can only imagine what it can do and if the ego is not confident enough, the mind will only imagine fearful things.

Vibhatsa (Digust): Vibhatsa is a feeling of Disgust or dissatisfaction with oneself and others Vulgar, uncivilized, and perverted actions, using bad words and manners, and showing bad intentions to others are all manifestations of the Vibhatsa Rasa.

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Design Management ~ I Faculty: Krishnesh Mehta Duration: 1 week

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Relevance Design is rapidly becoming the key to differentiation, premium realization and positioning. The need for strategically managing design, projects, processes, new design related areas and leading innovation have become significant in the job description of not only managers but also designers who want to move up the value chain, either in corporate or with their own enterprise.

Besides design talent it is also important to learn how to make the design successful and sustain in the competitive market as a creative professional.

Objective The aim of this module is to equip us with the necessary skills and competencies needed to perform task of design management in an efficient manner. Main objective is to familiarize us with the basic concepts of management and to see how that can help in the context of design.

Course Contents Following are the contents of this module; Relevance of design management and various aspects of management for designers in the business context

Principles of Marketing Marketing Mix (Product, price, Place, Promotion) Marketing Strategy (Segmenting, Targeting, Positioning) Principles of Branding & Brand Management Identity, Personality, Equity, Valuation An overview of Intellectual Property Regime and its relevance in knowledge base economy Types of Intellectual Property Rights (Copyright, Patent, Trademark, Industrial Design) Business secrets for designers provide a context for other challenges and shares real‐ world scenario.

Design management encompasses the ongoing processes, business decisions, and strategies that enable innovation and create effectively-designed products, services, communications, environments, and brands that enhance our quality of life and provide organizational success.

On a deeper level, design management seeks to link design, innovation, technology, management and customers to provide competitive advantage across the triple bottom line: economic, social/cultural, and environmental factors. It is the art and science of empowering design to enhance collaboration and synergy between “design” and “business” to improve design effectiveness.

The scope of design management ranges from the tactical management of corporate design functions and design agencies, including design operations, staff, methods and processes—to the strategic advocacy of design across the organization as a key differentiator and driver of organizational success. It includes the use of design thinking—or using design processes to solve general business problems.

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Research Methodology Faculty: Gayatri Menon, Shrinkhala Aren Anchor Faculty: Gaurab Kar Duration: 1 week

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Relevance Introduce us to the practice of research as a system of inquiry. This course focus on integration of research and design, and how each can inform the other. Familiarized with research worldview, approaches and methods that will help us in design profession.

Objective Introduce research worldview, approaches, methods and tools with respect to design.

Develop an understanding of research as used by design professionals.

Offer hands-on experience of conducting research.

Course Contents 1. What is research worldview and approaches?

What approaches are conducive to design?

2. a)What is Research? And what it is NOT? - Positivist, Hermeneutics, Phenomenology - Types of knowledge - Goals (Why are you doing this?)

- Research Questions (What do you want to understand?)

- Methods: Data collection and Analysis (What will you actually do?)

- Findings (What do you do with the findings) - Reliability and Validity (How might you be wrong?)

b) Approaches to Research c) Why do we conduct Research?

Importance / Relevance Research Methodology / NID, Ahmedabad d) How do we conduct Research? Methods & Tools

3. a) Research Methods relevant to design (Qualitative Focus) - Literature Review - Interviews: Types of interviews - Observations: Types of observations - Focus Groups - Case study - Ethnography - Survey Design and Questionnaire b) Application - Which ‘methods’ to use, in what combinations? c) Analysis of Research Data – What does it mean?

4. a) Ethics of Research b) Communicating Design Research

5. Design Research- Case Studies - Why care about ethics?

- Codes and Principles - Informed Consent, Confidentiality - Referencing Styles (one from APA, MLA, Harvard, Chicago Style) - Report Writing (for Colloquium Paper, Diploma Document)

- Case studies from Faculty Projects - Case studies from Design Professionals

Instructional Content Three types of instructional content will be offered: a) Lecture Sessions b) Case Study Presentations c) Field study

Lecture Sessions introduced the theoretical framework of research as well as familiarize us to research methods suitable for their topic of inquiry. Case Studies showcased to reflect the variety and ubiquity of research across the spectrum of design disciplines.

Field study enables us to have a hands-on experience of applied research.

Methodology The methodology includes Lectures, Case Study, Presentations and field study. Lectures took place for the entire group.

Deliverables At the end of the course, an individual assignment and a group assignment due from each of the individual / group.

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Group Work: Need for Socialization When we are born, we have a genetic makeup and biological traits. However, who we are as human beings develops through social interaction. Many scholars, both in the fields of psychology and in sociology, have described the process of selfdevelopment as a precursor to understanding how that “self” becomes socialized.

“It’s lifelong process whereby an individual’s behavioral patterns, values, standards, skills, attitudes, and motives are shaped to conform to those regarded as desirable in a particular society”.

Everyone feels happier when they socialize, concluded the researchers. ~ William Fleeson

Research Objective: To understand the role of social spaces on students in NID.

Research Questions: What is a space?

What are social spaces ?

What is communication ?

What is Interaction ?

What do you do at a Social Space?

When do we need a social space?

Why do we need a social space How does Social / Public spaces affect people?

Where do you find a social space?

How do you get to know about social places at first place?

Why / Why not is there a need for Social Space?

Who are the stake holders involved in social space ?

How does socializing affect development of students at NID? Does the space help to socialize and how?

Research Methodology: Primary Research ~ Observations (Participant) Survey Interviews (Personal, Unstructured) Video recordings Group discussions

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Secondary Research ~ Internet Books Journals Magazines Video recordings

Secondary Research: Definations Space (Noun) The amount of an area, room, surface etc., that is empty or available for use An empty area between things.

Social (Adjective) Relating to or involving activities in which people spend time talking to each other or doing enjoyable things with each other Liking to be with and talk to people: happy to be with people

Hang-out (Verb) A place where a person spends a lot of time (A favourite place for spending time; also: a place frequented for entertainment or for socializing) Communication (Noun) The act or process of using words, sounds, signs, or behaviours to express or exchange information or to express your ideas, thoughts, feelings, etc., to someone else.

A message that is given to someone: a letter, telephone call, etc.

Facts About Human Conversation: Over all communication is perceived in three ways ~ 55% Non verbal (Body –Language) 38% Tone of Voice (Sound) 7% Spoken word (Verbal)

Humans talk in about 100 WPM ( words per minute), but we think 800 WPM which is 50,000 words per hour. Non verbal communication sends a sense of interest, trust and desire for connections or they generate disinterest, distrust and confusion. It helps one to understand how people are feeling, by their facial expression, by the way they dress, more than using a language.

Need for Socialization: When we are born, we have a genetic makeup and biological traits. However, who we are as human beings develops through social interaction. Many scholars, both in the fields of psychology and in sociology, have described the process of self-development as a precursor to understanding how that “self ” becomes socialized.

“It’s lifelong process whereby an individual’s behavioral patterns, values, standards, skills, attitudes, and motives are shaped to conform to those regarded as desirable in a particular society”, as stated

by American Psychological Association.

How Space is designed to communicate?

Our everyday knowledge about spaces are reintroduced to the language of design.

It helps in bringing a view to architectural and urban spaces as psychological, social and partly cultural phenomena.

They accommodate, separate, structure, facilitate, heighten and even celebrate human spatial behavior.

Elements, which help in building an experience, are Space, Movement, Light, Life, Human, Time, Matter, Sound, Feeling, Spirit/Mind, Condition, Negation, Existence, Relation & Equal.

As much about what it means to be a human, as it is about what it means to design a building or an architectural space.

Inital Findings: In the interviews it was observed that depending on one’s personality one makes a choice to either spend time peacefully with himself or go to a place accompanied with his friends.

It was found out that to socialize, people did not need a specific space but one chose to go to a specific place in order to take a break and the place they chose corresponded to their needs and temperament.

When people interact , meet and converse sometimes the time spent are fruitful and sometimes wasted based on how one chooses to use the opportunity especially at places where people gather in groups. imilarly when one chooses to be in a place where he wants to be in solitude, one gets the time to think and introspect. Even there when he meets someone the conversations are to the point or deep.

Overall Learning: To interact is a basic human need. We all socialize to find a common thread among us.

It helps us to shape a thought, or answer queries and doubt in our minds. It makes one feel connected and be a part of the society.

People are always looking for a contrast even in terms of spaces they interact in.

Individual and group associability to emotive values converts any space to social space.

Its not only the space that makes it sociable, but its people and their intent along with the attributes like mood, lighting, aesthetics, physical dimensions, etc of the space makes it comfortable to socialize.

Research helps one to see clearly in the end if one follows a structured method. In the beginning it might seem chaotic but in the end one can see things with a new light.

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Individual Work: We were assigned to do research on any one place in NID, in the group was divided: two people for one place, so Ramya and I were chosen a place “Foyer”.

Wednesday January 7, 2015 | Observation at Foyer Ramya and I were assigned a place “Foyer”. We came down in the foyer at 9pm; there weren’t much people around in the foyer at this time.

But there was the display of students work at foyer from 4-6p.m (Ul Invent Imultifunk 2015). We went to see the display; a boy from FID was explaining his work to his friends and batch mates. A girl was relaxing on the comfy chair and texting. There was a bunch of group gathering together, talking about what has happened around the campus and class, what assignment they have got, some also have random conversations like films, sports etc.

The atmosphere around the foyer is semi open space. It is the main entrance that connects from one place to another. There weren’t people much around because they were busy for Ul Invent Imultifunk 2015; we planned of coming back again at 11pm because this is the time where most of the people are seen or being spent time at foyer. We came back again at 11pm, a boy had to sit in the foyer to work on his laptop because the studio was shut down but lack of Wi-Fi. Surbhi J | PGDPD Graphic Design | Semester 2

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Environment Sometime quiet place, sometime noisy place.

At night it is calm and perfect place to relax on comfy chair.

Can heard the echo when it is quiet.

Sometime more space, sometime less space depending on bunch of people gathering up.

Waiting Area.

Transcription – Respondent 1 Me: Hi! Respondent: Hi! Me: Can I speak with you for some time? Are you free for a while?

Respondent: Yeah yeah sure!

Me: What is your name?

Respondent: I am **********, and I am from **********. What about you?

Me: I am Surbhi Jalan and I am from Graphic Design. Are you an undergraduate student or a postgraduate student?

Respondent: Postgraduate student Me: How old are you?

Respondent: ** years old.

Me: So what are you doing at foyer?

Respondent: Doodling and interacting with my friends and batch mates.

Me: So what do you mean by socialize?

Respondent: To understand other’s perspective, helps to reduce stress by socializing the people, sharing different thoughts with the people etc.

Socializing is seeing other people, talking to other people, and calms you down by talking to other people or just being with other people.

Me: So how often do you come here? And how much time do you spend here?

Respondent: In the morning I get the chai from the chai gate and sit in the foyer for around 10 minutes to view beautiful sun light before the class begins. Again I come back in the foyer at night after 9 pm, sometime I doodle, hangout with batch mates behind the aquarium near the foyer for almost around 2 hours depending upon the mood.

Me: When you are here what do you actually do?

Respondent: I doodle and surf on the laptop to explore more; having a random conversation like films, interact with people to know what is happening in the class, like what did you do and what is taught in the class and who is the faculty?

Me: Any particular thing that you like or dislike about this place?

Respondent: I like to be in the foyer because of the red carpet and chairs. I hate cats roaming around, sometime this place gets crowded, water facilities and poor Wi-Fi server.

Me: So what does socializing mean to you?

Respondent: To get to know somebody’s story.

Me: Why do you socialize?

Respondent: Because I like to read people, I like to observe people and anything happening in their life can trigger yourself and it can help you in general life. So its like I like to ask people in general what did you do, what assignments you have got and how this can trigger in your work also.

Me: What is your ideal space where you will be comfortable to socialize? Like close or open space?

Respondent: Open space, because when you stay in open area you get to know what is happening around, get to know more information and after hearing any conversations I try to cope up in my mind to know what is the right or wrong thing to do just like general knowledge like playing thoughts in my mind. Also you get to know from so many people’s influence. Know what is their future plan. While is close space, we get to know less knowledge.

Me: How do you play with your thoughts in your mind?

Respondent: By hearing what people talks in face to face, over the phone, lectures, feel, taste etc. Over all I doodle it.

Me: Are there any other places in NID where you socialize, chill or hangout apart from Foyer?

Respondent: Yeah, I socialize on Chai Gate, Behind the Aquarium and BMW.

Behavioral Mapping: How? Track the positions and movements of people within a space over time.

Why? Recording the pathways and traffic patterns of occupants of a space helps to define zones of different spatial behavior.

Diagram of Foyer Understanding the structure and space around the foyer.

The green pathway indicates the problems of moving or finding the way to walk ahead. Less of space leads difficulties to walk. Walking behind the chair also has a lack of space cause the person to fall.

While entering inside the display (Yellow floor) they have small space that cause for two or three people to move or walk together at the time.

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In the crowded area, moving the chairs to form a group that causes more difficult for people to walk.

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Department Elective (Packaging Design) Faculty: Dr. Tridha Gajjar Duration: 1 week

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Surbhi J | PGDPD Graphic Design | Semester 2

Ethnic Indian Food Packaging

The Purpose of Packaging:

Types of Packaging:

Types of packaging.

Form and structure and personality of product.

Ease of manufacturing.

Ergonomics and functionality.

Surface graphics and communications.

Life after.

Storage – Maintain the condition of the contents until ready for use or – in the event that it is a consumer product – until the end of the life of the product.

Transit – Provide adequate protection against all potential hazards likely to be encountered during the journey to final destination.

Information – Provide all necessary information to those who may handle, store, use or purchase the product.

Advertising – Support the marketing of the product and establish, maintain or enhance the manufacturer’s profile in the market place.

Convenience – Packages can have features that add convenience in distribution, handling, stacking, display, sale, opening, re-closing, use, dispensing, reuse, recycling, and ease of disposal.

Safety – Provide a package safe to handle.

Environment – Protect the environment from the product.

Economy – Provide the most effective cost of ownership expenditure.

Primary packaging or sales packaging.

Secondary packaging or grouped packaging.

Tertiary packaging or transport packaging.

Service packaging.

It is design that has to function. It has to protect what is inside. It has to allow for easy storage and distribution, give information to the customer about what it is and draw attention to itself on a shelf full of competing products.

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Careful design of packaging, including aesthetics, color schemes, shape and form, often leads to a desire to learn more about the product inside, the choice of a culturally acceptable color scheme that targets potential customers, is also an important aspect of packaging.

Layout

Diagram

Spoon

Vada Heat Stalled Plastic Cover Sambar Container

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Packaging for Sambar Vada (Mechanism)

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Layout

Diagram

Salad

Chuthey

Kebab

Folding

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Packaging for Kebab (Mechanism)

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Open Elective (Stars, Peacocks, Aeroplanes and Kites) Visiting Faculty: Lokesh Ghai Duration: 2 weeks

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Surbhi J | PGDPD Graphic Design | Semester 2

Overview We experienced the craft of ‘Katab’ both as a skill and as a design concept. Each of them is paired with a traditional ‘Katab’ artisan and learns how to make sketches by hand-stitching units of cloth.

The workshop is an opportunity to enhance the understanding of expressing daily life objects as simplified and abstracted motifs/ ideas.

Objective With appreciation of how stars, peacocks, aeroplanes and kites have evolved in the folk craft of ‘Katab’, we learn the traditional skills of folding, cutting and stitching of cloth. The workshop is an opportunity to learn how to ideate and conceptualize new designs, by sketching with units of cloth.

Methodology 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.

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Day 1: Introduction to the art of Ralli quilts.

We were asked to select an interesting twodimensional object from anywhere around the campus. This was followed by a quick activity of capturing the form of the same with the help of black and white 1�x1� paper squares. The activity was aimed at helping students understand how to abstract yet capture the essence of the form keeping in mind the restriction of making use of only geometric shapes without cutting and overlapping them. The assignment which followed required every team to pick complementary objects, e.g. a lock and key, and capture their form on A4 sized sheets using the same technique with the black and white squares. This assignment helped bring the artisans and all of us students in sync with each other both in terms of understanding forms of objects and communicating with each other. The collaborative assignment helped bring out some very beautiful work showcasing the play of black and white and forms of objects.

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Day 2: Working with Colors, Textures and Patterns.

What followed was out first assignment with color. Wherein we were asked pick as many colors from a wide variety of pre-cut 1�x1�paper squares and place them on A4 sheet in which ever way we wished to.What this led to was an understanding of how to place various colors in accordance with each other and create effects such as depth,movement and pattern.

The second assignment, which was given to us, required us to play with the shapes and forms, and come up with different patterns. This time, form instead of color took precedence. Both activities by being juxtaposed, aimed at making us understand how to implement and make use of colors and forms, with a clear differentiation between the kind of effects both of them can bring about.

With an understanding of both these vital elements to be used in making a product, we were assigned the third task. We were to recreate the forms we had made on day 1, but with colored paper. This activity too was in pairs of two, along with the artisans.

Both of us students and the artisans had to make one object of the pair of objects we had chosen on day 1.

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Overall, the outcome and learnings of day 2 centered around understanding the play of colors and forms, and how to integrate the two in a seamless manner, so as to capture the essence of the object or concept. And yet at the same time how to represent in an abstract form. While we did do a lot of work the entire day, the outcome was a burst of colors on all the soft boards, with all works pinned up by the end of the day. Each assignment was also to be explained by us, in terms of talking about the concept they had thought of while making each sheet.

The artisans gave valuable pointers such as:

Blue and black are not considered appropriate for gifting purposes. Specially for kids.

The old fabric/sarees being used for the layering of the quilts must not have any embellishments.

Usually a traditional quilt has 4-5 layers.

Different fabrics are mixed and matched into the color palette, and print is used as part of the palette itself. This also helps in optimal usage of the fabric.

Traditionally the measurement for the patches of the quilt is taken with the help of fingers.

The various patterns abstracted and integrated into the design of the quilts, such as tube light, toffee wrapper, fish, star, peacock, aeroplane, kites {and hence the name}

Ideate and conceptualize new designs, by sketching with units of cloth.

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Day 3: Exploring Fabric.

A new journey for exploring things with more of colours, texture and obviously more on clothes. The clothes collected and gathered and were understood thoroughly.

Under the guidance of Lokesh Ghai and the fellow volunteers. We learned about clothes and that cotton happens to be the best of their choice and perhaps the best to work.

They displayed their works, the Rallis, the beautiful work and the happiness of being the proud owner of their creation. What we had in front of us was scissors, needle, heap of small cloth pieces and the eye to match the colour and texture with one another.

So, the ingredients starts to take a new turn, some new flavours and the obvious taste of Ralli. In the broad daylight the studio suddenly turned into a busy centre where our partners were busy teaching how to tear, cut, square it, precision, thread and needle relation, the straight stitch, line, flow, speed, pressure, picking up small pieces to build up to a new one. Picking up each colour, joy, surprise, and smiles to create a bigger ocean.

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For most of us as a participant it was our very first time so to do mistake was very much understanding the overlap and also how it’s going to react on a later phase when folded back, let not the stitch be seen, the depth at which the stitch is taken so that in later phase it does not weave out. Folding the pieces onto triangle and unfolding it to become a perfect square.

And so shall goes the stories of needle and threads and motifs.

The most astonishing and exciting part was to see our partners sewing and chatting and in couple of minutes the piece of the extraordinaire is done. Whereas we (not all) still figuring out which piece to come first and which one to be stitched later.

Spontaneity, calm, simple and smart it was, what they were creating. For us may be because of the education design was too symmetric, too edgy, fear of doing mistake and lack of risk factor. Whereas it was very relaxing. Till date what was done, was just too much of gaining brownie points.

Discussion with Lokesh, about what we want to do and carry forward the work.

Challenge part 2 was choose your theme. In which many wanted something wearable.

But as per suggested and due to time constrain it was fixed to a quilt. Once again the hearts fully charged with we started with brainstorming on quilts, the theme and colours.

It was very obvious for the volunteers that it has been their forte, their mark and their genre of expertise, but many of our fellow friends for their first time came out with beautiful patterns and celebration of colours, foreground, background, contrast and yes a new contemporary format of what we might call as designs, where again design happens spontaneously, happily, colours, festive, drama and life.

Day 4: Home Visit and Sourcing.

Their ‘godhadis’ are joyous, and they are soulful. They invite you to experience the joy that comes to you as soon as you open them. They are the stories of the life that these artisans have experienced in the past during the India-Pakistan partition.

The tradition of patchwork initiated at the time when refugees from partition had no money to buy the new clothes and they had to survive with whatever they had. So, they had to mend their torn clothes with an additional piece of fabric either stitching it as a patch or layering it on top of it. This gave the old fabric an extra life adding to the aesthetic appeal of it. Since then, this tradition has been passed from one generation to the other, from mother to her daughter.

These beautiful pieces of art are something that no machine can ever produce. ‘godhadis’’ are a way of utilizing the scraps and old clothes. These are not made to make money but to create their own wealth and heritage which continuous for generations.

At present, Meera Ben herself has her grand children and it has been more than fifty years now that she has preserved this beautiful ‘godhadi’ made by her mother in law. Having 50-60 number of ‘godhadis’’ is nothing great according to Meera Ben. Each and every single ‘godhadi’ has an element of surprise to it because it is a very spontaneous response to the scraps available to use. Through these ‘godhadis’, these artisans express their daily life experiences and objects from their surroundings . ‘Naagfani’Zigzag Snake, ‘Toffee’- candy wrapper, ‘Tubelight’, ”Laddoo’- sweet (ball form), etc. are a few examples of the designs that are used. These designs are very basic yet very playful. Their ‘Godhadis’ do not follow any set rules and boundaries.

Each and every single piece is the self expression of an individual and is unique.

The artisans also have a great sense of color and composition. The most amazing part is that they do everything directly on fabric, i.e. no initial drawings or sketches are made. That is how they turn out to be playful and surprising.

Every part of the quilt is paid attention in terms of choosing the color of the thread and embroidering the borders to give the final touch and add to the visual aesthetics of it.

The bollywood actress Nargis, once visted these artisans and got so fascinated by these quilts that she wanted a saree made for her daughter’s wedding. The design was named as ‘Nargis Buta’ after Nargis’s name. Meera Ben feels so happy to show the old photograph that she has preserved, taken with Nargis when she visited them. There is also a tradition of putting a mark as a signature on the quilt in order to prevent it from getting misplaced. Small embroidered flowers and other small motifs are used on the borders and the corners as a mark of identity.

These ‘godhadis’ also reflect the artisans’ own personality. Quilts made by Daahi Ben are as calm and peaceful as she is. Her work shows the amount of patience she has. One can easily differntiate between her quilts and others.

These beautiful textiles show the passion that these artisans have. It is not just the piece of textile for them, but a part of their own lives.

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Day 5/6: Sourcing Fabric.

As by now we were clear about the idea for the composition and theme for the quilt, we had another day for sourcing the remaining material. We had to maintain a budget and sustainability. For Layering the quilts we got saris at a very cheap price and we were not the only ones searching for fabric there were other local women who were also looking for worn out saris for making ‘godhadis’. These saris cost between Rs. 30 to Rs. 100. And the budget of 1 kg fabric is of around Rs. 50 to 100.

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Brief: Theme ~ Movie Nerd The part and parcel of the work was to enjoy it have fun and bliss. It never came less when the movies, comedy and romance came at the hand. The bedtime’s stories of childhood got promoted to some stories watching in the laptop. Movies were always the craziest bit of passion and moments of relaxation.

Rashmika, my partner artisan and the volunter of the journey, guiding, teaching, and correcting at each stage of sewing story. The story of the quilt stared with downloading it from the torrent to saving file. Waiting for the clock to strike to 10 and show starts. The essence of the darkness that it plays with the laptop screen, foreground, background. The colorfulness of it. The stars, actors with their hypes of glitter, the charm and passion in their work.

The glitter gold and the charm, thus was my theme, my very own movie nerd.

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Front

Back

Design Project ~ I Faculty: Immanual Suresh Anchor Faculty: Tarun Deep Girdher Duration: 6 weeks

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Context Today we are surrounded and defined by the everyday things we use. These could be functional, purely aesthetic or both. Lifestyle Accessory Design complements and enhances a person’s lifestyle, right from the most basic, to high-end luxury. The products we use are made of a variety of material, including plastics, leather and textiles. Leathercraft workshop at NID is nested within the Lifestyle Accessory Design discipline at PG Campus, Gandhinagar.

Mr. P. Rameshkumar with over a decade of experience in leather craft has put together a book, which explains the basic skills, tools and processes of working with leather as a material.

The manuscript covers the basics as well as a few do-it yourself projects.

Problem Statement Most of the books have less visual and more text. One tends to lose his/ her place two different ways: you can lose track of what word you are on at any point, or you can lose track of what line you are on when moving from one line to the next. Even though the words and sentences may make sense, you may not be able to put them together to get the meaning of it. You don’t have to memorize all of the facts does not mean that you can completely forget everything what you have read it. You still need to recall the main ideas.

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Brief and Target Audience The project entails designing the publication based on the manuscript, resolve the content structure (and sequence), develop visual language and information hierarchy. Target audience: Rural Indian such as craft person, artisans, students and women who can easily understand the process.

Scope of Work Developing the sequential narrative and style treatment of the visuals (photographs/ illustrations) and propose a template.

The task was to design a publication in English and Hindi that effectively documents this design intervention initiative and its contribution. The target audience were primarily the Rural Indians who cannot read.

Mind Map

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Surbhi J | PGDPD Graphic Design | Semester 2

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Target Audience You know that defining a target audience is a business best practice. But defining a target audience is a best practice for anyone that needs others to give them something. It might be a salary, an investment or money in exchange for a product or service. Whenever you need something from someone you go through at least some of the steps in defining a target audience.

We go through the target audience process even at an early age. Think back to when you were a kid. When you wanted a treat you went through the target audience process. You knew that your dad probably wouldn’t be the one to approve your request so you went to your mom and you made sure to catch her in the right mood.

That’s an example of defining your target audience.

It’s a basic example, but businesses go through that process so they have more success. It doesn’t make sense to try to please everyone. Your time, energy and money are better invested in a target audience.

And that goes for defining the target audience for your personal brand too.

* I did first focus on establishing a crystal-clear empathy with the audience I was planning to serve, so I know what their problem is, how they feel about it and what they currently do to try and solve it. * Once I know my audience I would craft a clear offer based on the position I want to take within an industry and focus on making sales as soon as possible. * Assuming I’ve done these tests and I know I have a buying audience, then my focus is simple - improve traffic and conversion. I expand what is already working, add more traffic sources, make more offers and run split tests to improve results.

In this chart explains craftsmen need text and image, artisans and housewives needs seeing and understanding and students can understand all above. It’s based on the level of literacy and education. After coming up with four users I have decided to add three languages – English, Hindi and Gujarati. I tried to identify the person’s motivations, as I build the profile of target audience, get inside their head and figure out their motivations. When I know what this person’s motivations are I can help them achieve their goals as a way to achieve my own goals (I get what I give).

I have created a chart of four users - Craftsmen, housewife, artisans and students. To understand whether will contents be helful for all four of them or not.

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Benchmarking Developing a visual language, style for the book and grid.

Developing visual hierarchy

The foundational elements of print-based design—typography, grids, space, scale, color, and use of imagery—guide visual treatments. These elements do far more than please the eye. They create hierarchy, meaning, and focus. Deliberate color choices, edge-to-edge imagery, large-scale typography, and intentional white space create a bold and graphic interface that immerses the user in the experience. An emphasis on user actions makes core functionality immediately apparent and provides waypoints for the user.

Why White Spaces are Good in Design?

It signifies space for more creativity.

White spaces attract the eyes.

There is always a positive response towards a white space.

Used to create a balanced and harmonious layout.

Increases your layout’s appeal.

Improves readability.

Creates professional, sophisticated and elegant designs.

Gives focus and emphasis to an object.

Directs a viewer’s eye.

Acts as a separator.

Signifies location, movement, importance and relationship between objects.

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We are visual beings and can quickly pick up on visual cues to better understand our environment.

Is what I’m looking for on this page?

Where is it?

How do I complete my task?

By creating visual hierarchies, designers enable pages to be scanned and make information easier to understand.

To make it easier for visitors to find what they’re looking for. To create clear paths to completing tasks and highlight actions the visitor wants to take and that we want the visitor to take. To communicate messages that reinforces or adds to the copy. Visual hierarchy makes clear the primary, secondary, and supporting elements on the page.

What Aspects of Design Control Visual Hierarchy?

You create a hierarchy in design, by adjusting the visual weights of your element. More visual weight is seen as more important. Less visual weight is seen as less important. Additionally we might look to shape, prominence, and images to adjust visual weights.

Your own judgment can lead you here. Look at any two elements and think about which carries more weight. Ask yourself why, what is it about one element that makes it heavier than another.

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Summary Hierarchies help give order. They prioritize items and aid in communication. Visual hierarchies organize, prioritize, and communicate visually by modifying the visual weights different elements carry.

It’s important to remember that before actually designing a hierarchy we take the time to think about our content and what should be seen as more important on a page.

Just because you can make a piece of text stand out doesn’t mean you should.

Your hierarchy should begin with thoughtful consideration of the content and goals of the page. Only after you’ve decided intellectually the hierarchy of your page should you attempt to visually design that hierarchy.

Prototype 1 Decision Making:

In the first prototype, it got corrupt when I began designing the structure of the book. I got stuck in between because I did not prepare the contents beforehand. I thought that using photographs of the process would be easier to understand, and hence I arranged them in a horizontal sequence.

However, after making the book, and on opening it, I saw that the middle picture and text got hidden. Moreover, the photographs looked untidy, which made me come to a conclusion that it is not necessary to use a cutting mat, which wouldn’t be affordable. One can cut with the help of a glass or floor.

Paper size: A5 (5.8” x 8.3”)

Margins: Inside 15 mm, Outside 12 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Adobe Jenson Pro (English).

Font Size: First page main title-18pt, Title-14pt (Bold Italics), Leading space-13pt, Body-10pt (Regular).

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Prototype 2 Decision Making:

The second prototype was of making a book into a square. The layout and structure of the book looks better by using the Calvert MT STD font.

I used color illustration of the product process, filing the color in specific objects (images) and index (text) that connected each other. However, after some thought process, it struck my mind as to why waste the ink. Also, I thought that using photographs of the tools and materials is important because one needs to understand the real objects, while, in the product process illustration, I thought of using only black and white line art.

Paper size: 5.5� x 5.5�

Margins: Inside 15 mm, Outside 10 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Calvert MT STD (English).

Font Size: First page main title-12pt (Bold), Title-12pt (Bold), Leading space-12pt, Body-8pt (Light).

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Prototype 3 Decision Making:

My guide asked me to add the columns, margins, and the measurement between the texts, columns and objects etc. He also asked me not to use dummy text everywhere since that caused distraction and one could make out the differences between the large and small font size. Instead, he asked me to use Lorem Ipsum, since it was a filler text commonly used to demonstrate the graphic elements of a document or a visual presentation. He added that replacing meaningful content, which could be distracting, with placeholder text, may allow viewers to focus on graphic aspects such as font, typography, and page layout while reducing the need for the designer to come up with meaningful text, as they can instead use quickly generated lorem ipsum text. A missing thing that I failed to add was bleeding mark. Created black and white line art illustrations for the product process.

Paper size: 5.8� x 7�

Margins: Inside 20 mm, Outside 12 mm, Top 10 mm, Bottom 10 mm.

Selecting Typeface: Title-Scotch Roman MT STD, Body-Helvetica Neue (English), Devanagari MT (Hindi)

Font Size English: First page main title-18pt (Bold and Italics), Title-18pt (Italics), Leading space12pt, Body-9pt (Regular).

Font Size Hindi: Title-18pt (Bold), Body-9pt (Regular), Leading space-12pt

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Prototype 4 Decision Making:

Paper size: 11.7� x 15�

The rest of three dummies are of small book sizes. However, in order to explore more I have increased the size of the book, and used more of the white space. In every section, the page following the starter page looks in same order. It was a well-structured book but the margins were not added. To create a contrast look, I added few photographs related to the topic (leathercraft) in the content page. My guide asked me to make the tools into classification e.g.: There are three hammers and an iron loss; they should be together in a family and that the pattern communication should not be broken. There was still a lot of white space remaining and hence, to explore more, I have added one more language i.e. Gujarati. I thought of adding South Indian languages but since majority of the people who are interested in doing this process are gujjus. I restricted myself.

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Margins: Inside 20 mm, Outside 12 mm, Top 12 mm, Bottom 12 mm.

Selecting Typeface: Title-Baskerville Semi bold, Body-Arial (English), Devanagari MT (Hindi)

Font Size English: Title-24pt (Capital/Baskerville Semibold), Leading space-14pt, Body-12pt (Regular/Arial Regular).

Font Size Hindi: Title-24pt (Bold), Body-12pt (Regular), Leading space-18pt

Prototype 5 Decision Making:

Improving the structure of the book layout by adding all the elements.

In two dummies I did not add the margins since I wasn’t familiar with the functioning of the InDesign software completely. After ‘YouTube’ing some videos, I finally learnt how to add grids, columns, and margins. Adding margins makes the book layout more beautiful. Let the grid guide you, you cannot add it manually. I have placed the three languages (English, Hindi and Gujarati) in ascending order, so it would be easier for the reader to read the pages like flow of the water.

The same thing goes for the product process.

Paper size: 11.7” x 15”

Margins: Inside 20 mm, Outside 20 mm, Top 20 mm, Bottom 20 mm.

Selecting Typeface: Title- Scotch Roman MT Std, Body- Helvetica Neue (English), Devanagari MT (Hindi) Font Size English: Title-24pt (Italics), Leading space-18pt, Body-12pt (Regular/Arial Regular).

Font Size Hindi: Title-24pt (Regular), Body-12pt (Regular), Leading space-18pt 64

Surbhi J | PGDPD Graphic Design | Semester 2

Prototype 6 Decision Making:

This is to the redefine the prototype 5, to make the book more interesting by adding one color (brownish maroon) in all the titles. In the main title “D-I-Y Leathercraft” on first page I added three languages. I positioned the images that support the text. Added the page number after the contents and also attached the name of the product process along with the page number to avoid any confusion while reading the product process on right track.

Paper size: 8.26” x 9.5”

Margins: Inside 20 mm, Outside 15 mm, Top 15 mm, Bottom 15 mm.

Selecting Typeface: Title- Scotch Roman MT Std, Body- Calvert MT STD (English), Devanagari MT (Hindi), Gujarati MT (Gujarati) Font Size English: Title-18pt (Italics), Leading space-14pt, Body-10pt (Light).

Font Size Hindi: Title-18pt (Regular), Body-10pt (Regular), Leading space-14pt Font Size Gujarati: Title-18pt (Regular), Body10pt (Regular), Leading space-14pt

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Chosen viewing order of images followed for the accurate numbering of captions.

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Selecting Typeface

the quick brown fox jumped over a dog the quick brown fox jumped over a dog THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG Scottish typefounders exerted a strong influence on the development of “transitional” typefaces, the bridge from “oldstyle” (Jenson, Garamond) to “modern” (Bodoni, Didot) designs. Scotch Roman designs were first cut

by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow. Monotype Scotch Roman has wide proportions, short descenders, bracketed serifs, and large, strong capitals; its subtle charm makes it suitable for any text setting, particularly books and magazines.

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the quick brown fox jumped over a dog the quick brown fox jumped over a dog the quick brown fox jumped over a dog THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG THE QUICK BROWN FOX JUMPED OVER A DOG Margaret Calvert’s typeface is a contemporary interpretation of the slab serif style, less mechanistic than many, and owing more to humanist letterforms. Designed in 1980 for Monotype, Calvert is based on letters Margaret Calvert originally drew for the signage system of Britain’s Tyne and Wear Metro system.

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एक भुरी फुर्तीली लोम कुत्ते के उपर से कूद के चली गयी एक भुरी फुर्तीली लोम कुत्ते के उपर से कूद के चली गयी The design was conceived by Tim Holloway and Fiona Ross. The construction of the letters is based on traditional penmanship but possesses less stroke contrast than many Devanagari types, in order to maintain strong, legible forms at smaller sizes. To achieve a dynamic, fluid style the design features a rounded treatment of distinguishing terminals and stroke reversals, open counters that also aid legibility at smaller sizes, and delicately flaring strokes. Together, these details reveal an original hand and provide a contemporary approach that is clean, clear and comfortable to read whether in short or long passages of text.

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આ ઝડપી ભુરો શિયાળ એક કૂતરો પર ગયો આ ઝડપી ભુરો શિયાળ એક કૂતરો પર ગયો Designed by David Brezina of Rosetta Type.

Fiona Ross consulted on the design and valuable feedback was provided by Kalapi GajjarBordawekar and Hitesh Malaviya. The brief for the Gujarati was to follow the design language established by Devanagari. In fact, the Gujarati and Devanagari writing systems resemble each other in many ways with the notable feature of Gujarati being that it lacks the headline that is such a prominent component of Devanagari.

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Cover and Spine Design Four visual concepts for a book cover design that explores and elucidate the formal and compositional properties. The first three designs were done in hand typography, as rural people cannot read so I had to create in typeface. To make the cover page look contrast, I choose brown as a light background and peacock blue as a leather material, so that it stands out. In order to make the visual image to communicate easily for the rural people, scissor cutting over the leather material and hammer is added to give a simple message to the rural people.

The spine design is the simplest, most dramatic, and most legible book spines that stands out.

Using bright cobalt blue with black bold font helps to stand out. Clarity and simplicity tend to stand out and be effective.

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Production Details Printing Process: The print process used was digital and not offset.

Binding Method: Dilip Oza suggested me to go to the printer stores because some of the printers do not have all varieties of papers. The publication was large enough to be sewn and bound, infact it was not possible to complete the whole book, my guide told to pick one chapter and give out explorations. So I did the simple and basic process of Centre Stapling was convenient, suited our requirement well in first printing book with the help from Sachin Bhai.

After getting the print out of first book, it turned out to be baser. The color came out to be dark and it was not the color I expected. The font size looks unfinished and huge.

First printing paper used: Book cover ~ Ivory Paper, 250 gsm.

Inside pages ~ Fine Paper, 100 gsm.

Second printing paper used: Book cover ~ Puf paper, 280 gsm.

Inside pages ~ Puf Paper, 130 gsm.

To improve the level of errors, I decided to go for second print out. It turned out to be decent.

Using puf paper gave out the proper finishing and applicable color. To do more binding exploration, I decided to go for Perfect Binding, it is the easiest and least durable way to produce books, and is how most paperback books are bound.

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The print out of the first book

The print out of the second book

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This document is set in the typeface Cambria and ChunkFive, designed by Jelle Bosma and Meredith Mandel respectively.

Printed on Puf Paper.

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