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PREFACE The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014. NID’s vision is to emerge as a global leader in Design Education and Research and become 4
a torchbearer for innovative design directions in the industry, commerce and development sectors. NID’s transdisciplinary environment consisting of 20 diverse design domains helps in creating innovative and holistic ecosystem for design learning.
A unique feature of NID’s design education programme is the openness of its educational culture where students from different faculties and design domains interact with each other in a seamless manner.
The overall structure of NID’s programme is a combination of theory, skills, design projects and field experiences supported by cutting edge design studios, skill & innovation labs and the Knowledge Management Centre. 5
1 Introduction Foundation Studies
2 Faculty Immanuel Suresh Swasti Singh Ghai Gayatri Menon Kaushik Chakraborty 6
CONTENTS 3 Courses Freehand Drawing-I Design Orientation Science and Liberal Arts-I Geometric Construction-I Basic Materials and Methods Analytical Drawing History of Art Elements of Colour Elements of Composition Freehand Design Drawing-II Geometry and Structure-II Combination of Materials Media Application Design Process Science and Liberal Arts-II Environmental Perception History of Design-II Space Form and Structure 7
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The Bachelor of Design programme commences with a two semester rigorous Foundation Programme followed by 3 years of specialised studies in any of the disciplines offered.
The Foundation Programme is geared to assist in developing values, attitudes, sensorial skills and aesthetic sensitivity necessary for specialisation in design. It introduces students to the fundamentals of design and orients students to thinking of design as a creative problem solving process. It helps develop an evolved ‘design’ perception and attitude, understanding of multidisciplinary nature of design and relationship of design with environment, culture, human senses and emotions. Basic design ‘studio’ courses are augmented by
introductory studies in Science and Liberal Arts, to develop world view and understanding of Indian milieu. It helps enrich conceptual thinking, insight for design concerns; design processes and prepares one to start thinking about eventual solutions. It aspires to create an awareness of the changing environment by constantly relating the students’ learning to real life situations. It provides the necessary direction, stimuli, facilities and experience to foster creativity and thereby help each individual to discover their own identity and potential. 9
FACULTY
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Immanuel Suresh
Activity Chairperson, Design Foundation Studies Immanuel Suresh is a designer and educator. He had been part of the Faculty development programme at NID before he joined as a faculty member in the VisualCommunication discipline. He has been actively involved in the Foundation Programme and teaches basic design courses. Suresh joined the College of Art and Crafts, Chennai one of the country’s oldest art institutions, where he learned from reputed painters and craftsmen teachers in a metal smithy. Self
supported by five years of part time work as a scientific glass-blower, he earned a postgraduate diploma in Painting with a first class gold medal. A short stint in advertising followed his education.At NID, Suresh teaches Colour and Drawing. His other interests include nature, form, and illustration. He teaches Environment Exposure. He has been in the teaching profession for the past 26 years and enjoys it thoroughly. 11
Swasti Singh Ghai
Co-Coordinator, Foundation Programme Swasti Singh Ghai has been teaching at NID since June 2006. In the Design Foundation programme she has been involved in teaching Elements of Colour and the field-based course called Environmental Perception and coordinating Basic Materials. Swasti completed the four-and-a-half-year School Leavers Professional Education Programme at NID in 1999 and specialised in Textile Design. Prior to joining NID, she has worked as a design facilitator with NGOs like Udyogini, Delhi and grass root organizations such as Society to Uplift Rural Economy, URMUL Marusthali Bunkar Vikas Samiti, URMUL Trust, Srajamyaham, community based initiatives in the desert districts of Rajasthan and Self Employed Women Association Gujarat. 12
Swasti undertook field research for Development Commissioner, Handicrafts supported Outreach projects on Handmade in India and Geographical Indicators of Craft Practices. She has worked with research teams of International Labour Organisation, Swiss Development Cooperation, and Tearfund towards contributing to better integration of culture and development. She has been a visiting faculty at Indian Institute of Craft and Design Jaipur and at Kalaraksha Vidyalaya, a design school for artisans, in Kachchh. Currently she is involved as State Head of Arunachal Pradesh in an Indira Gandhi National Centre for Arts supported Oureach Project on documenting textile traditions of North East India.
Gayatri Menon
Coordinator, Foundation Programme Head, Design Teachers Programme Gayatri Menon studied Product Design at NID, prior to which she completed her graduation in engineering. She worked for two years in the field of creativity and universal design for children. In 2001, Gayatri joined NID as a faculty in the Industrial Design discipline. Gayatri takes courses in Design Overview, Design Methods, Colour and Form, Game Theory, Creativity and Innovation, Material and Mechanism, Craft Documentation, and Design Research Methods. She guides students in the areas of Toy Design, Game design, Design for Special Needs, and Systems Thinking and Design. Gayatri has headed socially-relevant projects in addition to working as a designer cum consutant
for various industrial and public sector initiatives, and on ventures focusing on institution building and sustaining crafts heritage. She has conducted several workshops for industries in areas such as Creativity, Design Strategy and Opportunity Mapping in Design, and Introduction to Design. Her responsibilities also include looking into curriculum development, student evaluations and admissions, and interacting with the industry. She has headed projects such as the Asian Paints Kids Room project, UNIDO-sponsored design intervention for capability development of Indian toy industry, and design intervention possibilities for Madhya Pradesh Craft Cluster project, and Geographical Indication for the Kerala craft cluster. 13
Kaushik Chakraborty
Co-Coordinator, Foundation Programme Kaushik Chakraborty enrolled into the Faculty Development Programme at NID and joined the institute in 2010 as a faculty in the Communication Design discipline. He has worked in the industry for five years. Kaushik holds postgraduate diplomas in Animation Creation and Direction from Indo-Italian Institute for Development Communication, Kolkata and Multimedia Development Technology from MTDRC at Kolkata’s Jadavpur University. He taught at NID for three years prior to joining the institute as faculty. He is part of the faculty group offering inputs in Freehand Drawing and Environmental 14
Perception in the Foundation Programme. In Animation Design, Kaushik teaches Drawing and Basics of Locomotion. He also conducted a workshop on Basics of Animation as part of the summer workshops held at the institute in 2011. Kaushik has worked as a visualiser and animator at Riddhi Management Services, Netguru and worked on projects such as Geographic Information System or Gram Panchayat, series animation, web animation, and animation content for mobile phones. Kaushik’s hobbies include reading, photography, and learning foreign languages.
COURSES
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FREEHAND DRAWING – I RELEVANCE • This course helps develop a quality of keen observation and experience space in terms of perspective. Sharpens the ability to analyze and appreciate the structure that is either visible or hidden. • Helps understand the basics of drawing in terms of perception and representation of distance, concepts of 3D spaces and forms on 2D surface. • Helps establish a sense of inter-relatedness of parts in overall proportion. 16
OBJECTIVE • To observe and represent images, ideas, concepts and ability. • To develop an ability to visualize and articulate one’s thinking process. • To improve coordination of eye and hand. • To explore pencil as a media.
COURSE CONTENTS Basic Exercise Movement of fingers, elbows and arms in drawing. Different grades of pencil, its properties and use. Representation of textures. Freehand plotting and layout. Nature Drawing Analysis and appreciation of natural form through visual reference. Capturing of an overall formcharacter, overall proportions and fine details. Understanding depth, light and shade. Human Figure Study Over all human form study with actual model, quick sketching to enhance observation. Human body details - understanding of form, relative proportions and details by rendering techniques. Dimensional Solids Drawing basic solid (cube/cone/ sphere) and understanding its hidden dimension and structure in perspective. Perspective Study Simple one point and two point perspective of interior and exterior spaces. Complex perspective. 17
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DESIGN ORIENTATION RELEVANCE • This course helps understand the idea of design and different definitions of the word design. • It introduces the origin of design and the difference between craft, design and art. • It will introduce students to the basic process of design & encourage them to recognize the significance of courses offered in a Foundation Program. 20
COURSE CONTENTS OBJECTIVE • To instill values, ethics and responsibilities observed in design. • To understand and appreciate the interdisciplinary nature of design.
• Differences and similarities between craft, art and design Idea of Design • Nature of Design Education • Design and Society • Introduction to different design professions • Professional practices in design 21
SLA-I
(INTRODUCTION TO INDIAN CULTURE) RELEVANCE The course aims to focus on the visual aspects of the Indian culture with a special reference to the distinction that is commonly made between “classical” and “folk”. The course will examine the notions of “Indian” and “Culture” and what we really mean when we say that there is a “tradition” of Indian aesthetics. It would seek to problematize the issues within a broad framework of traditional theories like Rasa-Bhava, sthapatya, citrakala, and their repercussions at the grassroot level: the folk. It would also seek to enquire about the concept of “Indianness” and as to how it raises relevant questions of our own identity. The course seeks to focus on, therefore: • Concepts and actual practices within the broad framework of India • The generality and the specificity of Indian visual culture • The possibilities of looking at culture in alternative ways • Awareness of the form and content of past, present and future trends in cultural aesthetics 22
OBJECTIVE The course intends to create a blend of theory and practice as it is amply evinced in the Indian tradition. It aims to: • To arouse an interest in the aesthetic criteria of Indian visual art forms; • To necessitate a discussion and debate on the accepted norms of “tradition”; • To create an awareness of the multi-layered nature of Indian culture; • To explore the possibilities of alternative ways of looking at culture; • To provide a healthy mix of theory and praxis as found in culture; • To enable the learner to graduate to the level of production from mere acquisition.
COURSE CONTENTS Story behind stories, Oral tradition of learning, Indian aesthetics, palette, iconography, utility or beauty, symbols of Indian beauty, Traditional Ecology , Sacred groves, Indian medicine and material medical, Classical Dance forms, community dances, language of mudra, Music Hindustani , Karnataka, folk, festive, Ethics and
value systems Pancha tantra, Chanakya, Manu, epics, Celebrations and rhythm of seasons, History and geography through food and cuisine, Interpersonal relationships, samskara and value systems, Composite Culture and continuity of tradition. 23
GEOMETRIC CONSTRUCTION – I RELEVANCE • Geometry (literally ‘earth (geo) measure’) is primarily a philosophical pursuit. Along with Arithmetic, Music & Astronomy, Geometry was one of the four obligatory educational studies in ancient times. • It provides the tools, methods and vocabulary to giving tangible form to abstract ideas, which is the primary concern of Design. • It enables the analysis and description of shapes, patterns and their interrelationship. • It sensitizes designers to the hidden geometric order in natural forms, which can contribute significantly to their work. 24
OBJECTIVE • To teach the students how: • To use traditional methods of two-dimensional geometric construction with precision & dexterity. To seek out, observe and analyze occurrences of Geometry in the world. • To articulate and develop their imagination & intellect through drawings, reading and discussions.
COURSE CONTENTS Introduction to tools Peg & strings (carpenter’s method), Compass, Straight Edge, T-Square, Set square Basic Concepts & Terminology Angles, Division of a line, Tangents Proportions The root proportions, The Golden proportion Series & Progressions Fibonacci, Logarithmic Symmetry Two-fold, Three-fold, Four-fold, Five-fold Tiling & surfaces Regular tessellations, Semi regular tessellations 25
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BASIC MATERIALS AND METHODS RELEVANCE Materials are one of the most basic resources for designers to give tangibility to their concepts and ideas. In this context it becomes important for them to understand the various kinds of materials that they can use, know their properties, the processes and the tools and their interrelationships required to work on them. New materials, processes and tools keep getting developed and it becomes relevant for the students to learn the method and pedagogy of understanding the materials, processes and the tools and techniques involved so that they can get confidence to work with any material, processes, tools and techniques known or new. It is also 28
important for the students to develop sensitivity to experience the properties of different materials to get comfortable to interact with the world around filled with materials.
OBJECTIVE • To enhance the understanding of different materials and their properties- technical, structural, behavioral and visual. • To explore the potential of these material through the use of various hand tools.
COURSE CONTENTS • Introduction to basic forms - solid, sheet, clay and linear form. • Wood removal of material, understanding the grain structure and the form exploration. • Sheet metal and plastic - shaping and forming, space filling possibility. • Clay – molding and shaping (pinching, slab work and coiling.) • Linear materials (rope, metal wire)- exploring tension properties. Techniques that can lead to surface and volume generation. 29
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ANALYTICAL DRAWING RELEVANCE • It helps to understand the concept of coordinates, line, planes and orderly movement of planes in spaces. • It also helps in conceptualizing, visualizing and communicating ideas through the concepts of isometric representation and orthographic projections.
OBJECTIVE • To develop an analytical attitude, understand and represent the structure of forms. • To develop an ability to deal with complexity of imagination and visualization. 32
COURSE CONTENTS • Basic exercises exploring concepts of dot, line and angles for hand and eye coordination and thereby acquainting with the concepts of figure and configuration • Concept of grid and coordinates for generating 3-dimensional forms in an isometric space Construction of curvatures to understand how they operate in lines, planes and solids • Concepts of orthography and orthographic projections that help facilitate isometric views Understanding the compound curves • Drawing objects that characterize the human environment, with single & compound curves 33
HISTORY OF ART RELEVANCE Students of design need to engage with art and design history as a way of informing design practice as well as thinking. This course will introduce students to the breadth of art and design history from Indian as well as a Western perspective.
OBJECTIVE The objective of this course is to introduce students to historical developments in art and design against the background of major movements, styles and periods and with relation to social, cultural, economic, scientific and 34
philosophical developments. The course will introduce students to Indian as well as Western perspectives in history and also introduce students to resources for studying history that will enable them in their own future investigations. It will cover historical developments until the Industrial Revolution in the 19th century.
COURSE CONTENTS Pre-history and Ancient Civilizations Pre-historic sites and cave art in Africa, Europe, India and China Indus Valley Civilization China, Persia and Babylon Egypt and Nubia Classical Greece and Roman Civilization Incas and Aztec Civilization Western Art and Design till Industrial Revolution Byzantium and medieval Europe Renaissance and Humanism Baroque, Mannerism and Rococco Eastern influences – Islamic Spain, Chinoiserie, Japonisme Neo-classicism, Romanticism and the Age of Enlightenment
Indian Art and Design till Industrial Revolution Buddhism and rock-cut Architecture Hindu temple art and architecture The sultanate period The Mughal period: miniature paintings and luxury goods Company Style and the Colonial India Industrial Revolution: the first machine age Inventions and innovations Mechanization in the textile industry and printing Rise of socialism and the middle class The Great Exhibition of 1851 The Aesthetic Movement, Arts & Crafts and Art Nouveau 35
ELEMENTS OF COLOUR RELEVANCE It helps in understanding the perceptual qualities of color and the interaction of color and form and application of different media.
OBJECTIVE • To understand the science of color and its application. • To understand color perception and • its relationship with form. • To develop visual sensitivity through application of color and be able to differentiate the steps in hue, value and chroma. 36
COURSE CONTENTS • Color theory in terms of science, terminology explanations, harmony, contrast and texture. • Light and Pigments, additive and subtractive mixture • Color and form relationship • Develop steps and the range among chromatic and achromatic colors • Laws of Gestalt • Color interaction as a phenomenon 37
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ELEMENTS OF COMPOSITION
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RELEVANCE • It helps students understand the basic elements and principles of visual composition. • It takes the students through the process of arrangement of elements in proper inter relation with a logical approach such that it communicates the expected or intended.
OBJECTIVE • To develop sensitivity towards visual perception. • To acquire conceptual ability and the necessary skills of creating communicative compositions
using basic elements of point, line, plane, volume, etc. in an abstract way. • To develop an understanding of visual dynamics that exists between any two or more elements within a given format.
COURSE CONTENTS • Basic elements of composition and manipulating these elements in two dimensions to create and induce specific emotions. • Sequential and continuous experiences to strengthen the concept of harmony, rhythm, balance, contrast and movement. • Basics of graphic simplification and refinement of a form in a given format. 41
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FREEHAND DESIGN DRAWING – II RELEVANCE The course helps in conceptualizing, visualizing and communicating one’s idea through the study of environment through sketching and drawing from observation.
OBJECTIVE • To understand the environment, built exterior and interior spaces and the interaction of human beings in relation with the environment. • To apply and strengthen further the skills and understanding acquired in previous semester. 44
COURSE CONTENTS • Dimensional solids and objects • Complex one point and two point • perspective of interior and exterior spaces • Complex perspective in terms of one point and two point on the same plane as seen in the environment that has grown organically • Overall human form study with actual model, quick sketching to enhance observation • Human body details - understanding of form and relative proportions and details • Study of the human activity pattern and depiction of essential action/actions to convey the process. Study of mapping and measurement of spaces in terms of relationships 45
GEOMETRY AND STRUCTURE – II RELEVANCE • Geometry (literally ‘earth (geo) measure’) is primarily a philosophical pursuit. Along with Arithmetic, Music & Astronomy, Geometry was one of the four obligatory educational studies in ancient times. • It provides the tools, methods and vocabulary to 46
giving tangible form to abstract ideas, which is the primary concern of Design. • It enables the analysis and description of forms, structures and their interrelationship. • It sensitizes designers to the hidden geometric order in natural forms, which can contribute significantly to their work.
OBJECTIVE • To teach the students how: • To use traditional methods of three dimensional geometric construction with precision & dexterity. • To seek, observe and analyze occurrences of Geometry in the world. • To articulate and develop their imagination & intellect through drawings, reading and discussions.
COURSE CONTENTS • Basic Concepts & Terminology Introduction to Platonic Solids Introduction to Archimedean Solids Duality • Space Filling • Inter-relationships of the Solids Division & Extension of the Solids 47
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COMBINATION OF MATERIALS RELEVANCE After getting conversant with the properties, tools and techniques of the basic materials in the first semester, the students then need to experiment, explore and discover the new properties and processes that can emerge by the combination of different materials and understand the complementary nature of certain set of materials and how the combination of different materials leads to new possibilities.
OBJECTIVE • To enhance the understanding of various ways of combining different materials and introducing a 50
new property thereby. • To explore the potential of combining material through the use of various hand tools.
COURSE CONTENTS Combination of materials - the properties of each material both in terms of utilization of structural properties as well as visual, tactile and auditory properties.
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MEDIA APPRECIATION RELEVANCE This course helps understand the concept of media, its need and role it plays in society. Media studies, with their built-in interdisciplinary stance and firm location in contemporary society, are essential to understand the organic interplay between communication design skills and life. 52
OBJECTIVE • To give a bird’s view of the tradition, technology and variety of the media and their organic relationship with the world around. • To briefly introduce the complex, interdisciplinary landscape of media studies, converging media.
COURSE CONTENTS • The concept of media, their types • Folk and traditional media practices in the Indian culture • Contemporary emerging Medias • Assignments involving writing and/or other design skills 53
DESIGN PROCESS RELEVANCE This course gives students an overview of the process of design. This overview is essential for them to appreciate the learning through various courses. Design is a process. Anyone who wants to get into the field of design, irrespective of the discipline of specialization, needs to get conversant with the basic steps, their relevance, methods and approaches involved in the process of designing. This course seeks to introduce the design process and methods. 54
OBJECTIVE • To introduce students to the different stages in the design process – from perception of a problem to generating a solution to the problem through investigation, analysis and synthesis. • To understand the methodology of the problem solving process.
COURSE CONTENTS • Analysis and mapping of the design process • The morphology of the problem solving process • Role of creativity in design • Case studies 55
SLA-II
(APPROACH TO INDIAN SOCIETY) RELEVANCE Sensitize design students to the social context. 56
OBJECTIVE • To equip design students with social science concepts. • To bring in ideas of identity.
COURSE CONTENTS Unity and Diversity in India: understanding differences, Basic concepts of identity formation, oppression, social hierarchy, hegemony, stigma Caste, Class, Religion, Gender, Tribal or other marginalized groups in the Indian context Basic discussion on concepts: India, society, identity, difference, social hierarchy, markers, stigma, oppression, marginalized populations. Set of readings given.
• Discussion on caste. Film and discussion. Discussion on readings. • Discussion on class and ethnicity . Film and discussion. Discussion on readings. • Discussion on gender. Film and discussion. Discussion on readings. Discussion on one marginalized identity. Film. 57
ENVIRONMENTAL PERCEPTION RELEVANCE It helps sensitize students to study the social, cultural and physical environment in which his/her design has to operate, so that it has meaning or relevance to the people.
OBJECTIVE • To broaden one’s perception about the Indian environment in terms of inter relationships and interdependence of its physical components. • To develop the ability to approach and mix with people in the environment and to share experiences and learn directly as they happen in life. • To learn to collect, analyze and represent macro to micro level information in the form of an illustrated document. 58
COURSE CONTENTS • Introduction to fieldwork and methodology: sociocultural structure of Indian society, preparatory exercises in environmental perception as representation • Field studies of the chosen environment, interaction with it and communication of understanding through maps, sketches and writeups • Draw (supported by writing) each component in a way that the essential character is depicted • Observe and depict the changes in the same object and area at different times of the day and/ or different objects at the same time 59
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HISTORY OF DESIGN – II RELEVANCE Students of design need to engage with art and design history as a way of informing design practice as well as thinking. This course will introduce students to the breadth of art and design history from Indian as well as Western perspectives.
OBJECTIVE The objective of this course is to introduce students to historical developments in art and design against the background of major movements, styles and periods and with relation 62
to social, cultural, economic, scientific and philosophical developments. The course will introduce students to Indian as well as Western perspectives in history and also introduce students to resources for studying history that will enable them in their own future investigations. It will cover historical developments post-Industrial Revolution until the end of the Twentieth century.
COURSE CONTENTS Modernism: Designing for Utopia, 1900-1940 Modern movements in art - impressionism, cubism, abstraction, de stijl, futurism, constructivism, dada Development of styles – Vienna secession, Art Deco, style moderne, streamlining The Bauhaus Modernist architecture Mid-century Modern Design, 1940-1970 American Design and the space age- Charles &Ray Eames, Raymond Loewy The International Style and socialist realism Ulm School, Scandinavian design Pop Art
Indian Art Movements in the Twentieth Century Industrial Art Schools, Shantiniketan and Coomaraswamy Nationalism and swadeshi Bengal School, the progressives, and Baroda India Report and NID Design for a Postmodern age, 1970-2000 Counterculture movements and design Robert Venturi, Wolfgang Weingarten and the New Wave, Ettore Sotssas and Memphis Design Collectives of the 1990s 63
SPACE, FORM AND STRUCTURE RELEVANCE • It enables students to understand the immediate environment and explore the physical forms, spaces, structure as well as elements of time involved in any happening. • Brings out and promotes the learner’s potential for creativity, aesthetic sensitivity and their logical application. • Helps sharpen the perception of meaning in the visual structure and narrative. • Prelude to the learning of design process.
OBJECTIVE • To enhance visual perception and develop sensitivity towards spatial relationship. • To instill a thorough understanding of • visual concepts using verbal and nonverbal means. 64
COURSE CONTENTS • Distinction of space and form as well as the changes occurring in the space and on the size of the form in relative proportion while enlarging it. • Understanding essential / peculiar character of familiar object which provides a clue for its identification. • Altering the point of interest with an emphasis and de-emphasis through the visual concepts like view point, size, color, texture, etc. • Depicting the minimum essentials that provide an experience of an environment and depiction of change of form over a period of time.
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