Portfolio 2016 by Vishwanath

Portfolio 2016

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

2nd exposure

1st exposure

At National Institute of Design

From 2011 Tsunami in Japan.

1. Experiments Stories of double exposure

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

2. Studio Photography Miniatures from Vitra Museum

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

MINIATURE FURNITURE COLLECTION | VITRA DESIGN MUSEUM Gartenstuhl

Stuhl No. 14

Karl Friedrich Schinkel, 1820

Material: Cast iron

Long before Michael ThonetÙs first experiments with bent wood the use of iron had led to important innovations in this field. As early as 1736 an armaments manufacturer established by tsar Peter the Great started to produce large quantities of furniture made of cast iron. SchinkelÙs designs included not only wooden furniture but also, at the beginning of the 19th century, large numbers of iron trestle tables, garden furniture and other items of furniture.

The chair´s strict geometry recalls the Ladderback Chairs of the Shakers and clearly differs from the organic or feminine forms of early designs. It was made for the house of a Scottish publisher and his wife and functioned more as part of an artistic environment than as a piece of furniture for everyday use. The chair was assigned fulfilled a purely decorative function.

Rood blauwe stoel

Gerrit Rietveld conceived of each piece of furniture as an ideal, abstract composition of surfaces and lines in space. Designer has reduced given realities to their linear and surface characteristics. Where Mondrian took landscapes as his model, Rietveld focused on the concept of a traditional, massive armchair, which he transformed into a geometric entity.

lt is the first piece of seating furniture in the history of design to be made from seamless, precision-drawn tubular steel. lts transparency and visible structure are expressions of the stringent aesthetic approach that prevailed in architecture and design following World War I.

MR 90 Barcelona

Material: Nickel-plated tubular steel, leather cushions

The most prominent constructive feature of this armchair is the clear distinction between the load-bearing frame and supported elements. In concurrence with its programmatic name »Grand Confort«, the armchairÙs chrome-plated tubular steel frame and the five voluminous, orthogonal leather cushions evoke both comfort and formal reduction.

Johnson Wax Chair

Material: plywood seat, laminated frame, lacquered

In his designs, Alvar Aalto combines the functional ideas of the Bauhaus with the Scandinavian crafts tradition and a strong sense of unity with Nature. The armchair is of a simple, highly effective construction, because the rolled-up ends of the seat and back also function as springs – affording the sitter a degree of comfort hitherto unknown in wooden furniture.

DCW

Material: plywood seat, laminated frame, lacquered

In 1940, Charles Eames and Eero Saarinen developed a chair with a novel plywood seat molded into a threedimensional form for a competition , However, it was not possible to produce the chair commercially and so They dispensed with the multifunctional shell and divided the seat and back into separate, freely articulated elements connected by a spine (frame). Each element has a clearly defined function, which it fulfills optimally with a minimum amount of material. »Shock mounts« – rubber disks bonded onto the wooden surface – connect the seat and back with the frame, which exists in wood or metal and in two different heights, either as a dining chair or lounge chair.

Material: Laminated wood black, nickel-plated tubular steel

Charles Eames came up with the idea of an aluminium frame construction combined with a material »seat«. He wanted to develop a shape following the natural lines of the body, not however as a hard shell, but as a resilient length of material stretched between two supports which trace the body’s natural form. A narrow plastic strip extending the length of the material acts as reinforcement. The material is held in place by insertion into slits on the frame’s outer edge. Experiments with different covering materials later resulted in an upholstered sandwich construction consisting of two layers of »Nauga hide« with a thin filling of vinyl-foam and vinyl-wadding stitched at intervals of 1 7/8 inches using a highfrequency welding technique.

Material: Birch wood, paper twine

Material: Moulded plywood with teak veneer

The Lounge Chair is one of the best known creations of Charles and Ray Eames. Created in 1956, it has become a classic in modern furniture history. The miniature version in is a coveted accessory and collectible – reproduced in exact detail with outstanding craftsmanship. Come in several versions: with an A-shaped shell (armchair) or S-shaped shell (side chair) and on different bases, one of which is the famous »Eiffel Tower« base.

The models for his Y-Chair stem from China. The Y that is the backrest resembles the natural forking of a branch. The plaited seat is a reference to the grass along the shallow shores of the Danish landscape, and is in the tradition of northwest European utilitarian chairs.

Material: Solid walnut, varnish

In the thirties and forties, Scandinavian design followed the principles of functionalism: simple structures, clear lines, a lightweight visual appearance. Verner Panton worked new materials like wire mesh and polyester demands new forms. The Heart Shaped Cone Chair embodies the transformation that took place in Scandinavian design in the late fifties. The purist furniture of lassical modernism was now joined by sculptural forms inspired by the new technologies. At the same time, the shape and color of the Cone Chair anticipate the »Pop Art« furniture of the sixties.

Material: Seat and back made of beech plywood, aluminium base, plastic glides

A »Big Easy’s« voluminous steel body of the »Big Easy« resembles a traditional upholstered club armchair but can hardly be associated with a sense of comfortable interiors. Ron Arad considered it an art object that could likewise be functional, but was not intended to be particularly practical.

Knotted Chair

Belgian designer and interior architect Maarten Van Severen noted for its intense engagement with a few basic furniture types, such as the chair, table, chaise longue, shelving and cabinet, for which he developed fundamental solutions.. This chair, with its simplicity of form, has a seat and backrest crafted from a continuous piece of material – a sheet of aluminium or thin plywood – set on an aluminium base.

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Cardboard furniture as an inexpensive and light alternative to traditional furniture already appears as early as the 1960s. Gehry chose a different method, which gave birth to sturdy cardboard furniture like carboard sculptures From the end of the 1970s onwards Gehry once again devoted his attention to the use of corrugated cardboard as a material for making furniture. And ‘Experimental Edges; was the name given to unusually expansive armchairs and easy chairs with a rough, ragged- looking surface. Strips of thick cardboard usually used as the filling for door leafs were sawn or cut vertically to the corrugation lines and fashioned into solid volumes of varying shapes. Using this method, single items or small series of furniture were created, which were both furniture sculptures and surprisingly comfortable chairs and sofas.

Material: Cord, carbon fiber, resin

The Favela armed chair is one of the most striking works by the Brazilian designers Fernando and Humberto Campana. According to a statement by the brothers, the architecture of the typical shanty towns in their native country was the inspiration for the design and name of this extraordinary item of seating furniture. Like the majority of hut-like dwellings, the favela is also nailed and glued together from oddments and waste materials. The Campanas made use of small, differently-sized strips of wood, as are produced in abundance in every joinery, for their representative chair. In the Favela, they prove that objects of singular elegance and beauty can even originate from apparent mundane, worthless materials. Knotted Chair is made of knotted netting soaked in artificial resin and simply hung out to dry. This produces a highly expressive seat shell which is as fragile, transparent and light as a hammock but is as solid as a seat should be. The use of simple knotted cords gives Knotted Chair that additional warm, personal feeling. The design is based on three innovations. Firstly, the process of hardening a textile in such a way that it can serve as a constructional element, becoming part of the structure of a threedimensional product. Secondly, the use of knotting techniques to create curved, solid surfaces and structures. Thirdly, the manufacture of an industrial product made of plastic without resorting to a mould, but by simply making use of gravity and artificial resin as a stiffening agent.

Vegetal (Set of 3)

The Tom Vac Chair was first realized as one element in a sculpture consisting of 70 stacking chairs named “Totem”.The chair is something of an innovation by virtue of its industrial and by extension inexpensive production. While the design of the Tom Vac Chair only deviates minimally from the first plan, the flexible seat shell of polypropylene offers a high degree of comfort.

Vegetal (Set of 3)

Material: Polyamide dyed throughout

Gaetano Pesce unites individuality and industrial manufacturing techniques with individual, amorphous forms in his designs. The Greene Street chair, named after a street close to Pesce’s New York studio, resembles a multi-ped insect. The irregular, highly polished chair body rests on eight legs of thin metal rods with feet made of suction cups. A face can be discerned on the backrest. The nose, a red dash of color, seems to have walked onto the seat area. This red stroke of color is typical of Pesce and as an unmistakable design feature located in a different place on every chair. Different bases, one of which is the famous »Eiffel Tower« base.

Ronan & Erwan Bouroullec, 2008

The chair was designed to provide a relaxing sitting position as possible. The basic shape has been obtained through the use of flexible steel mesh and conforms with the human anatomy. The swiveling seat which was of fibreglass reinforced polyester was connected to the base by an intermediate steel spring and rubber dampers. The seat shell and base were coated with semigloss plastic paint in the colours white and black. For upholstery only leather was used.

Material: Plastic shell, steel wire »Eiffel Tower« base

Marcel Wanders, 1996

Ron Arad, 1999

Material: Plastic, chromed steel wire

Material: Corrugated cardboard

Fernando & Humberto Campana, 1991

Tom Vac Chair

The lathe-turned stools, which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. The sculptural and decorative character of the stools makes the most striking impression when they are grouped together.These pieces were inspired by an African stool that stood in the living room of the Eames House, as shown in a photographic series by Monique Jacot from the year 1959.

The chair was actually designed to resemble a prehistoric, female fertility figure, with a ball attached to symbolize captivity. The unconventional nature of the shape also applies to the construction and marketing of the chair which was one of a series of six. Donna consists of a molded monoblock of foam withut any supporting structure since the foam rubber is dense and free-standing. First a finished piece of furniture covered with elastic nylon jersey is reduced in a vacuum chamber to about 10% of its normal volume and is then wrapped in airtight foil. The customer can easily transport the otherwise unwieldy piece single-handedly. After removal of the wrapper at the destination, the chair slowly recoveres its original shape without outside help as air seeps back into the capillaries of the polyurethane foam.

Favela

.02

Yrjö Kukkapuro, 1964

Material: Wickerwork furniture of rattan and bamboo

Ron Arad is one of the liveliest and most productive figures in contemporary designs. He contrasts polished, stylish commercial design with highly poetic objects with an archaic feel to them. Its form is not the product of artificially shaping the sheet steel but is instead generated by screwing the tensile sheets into arches. Given its flexibility, the spring steel always bounces back into its original shape. The armchair is therefore not just a brilliant formal idea but also conveys a completely new feel for sitting.

Maarten Van Severen, 1992

Karuselli

This Laminated Chair is regarded today as the Danish designer’s bestknown work. The chair, for which Jalk also created a companion side table, was realised in collaboration with the cabinetmaker The expressive sculptural form of the chair, composed of two similarly shaped pieces of moulded plywood, marks a late highlight in the engagement of prominent designers with this material, which had commenced in the 1930s.

Material: Stainless sheet steel

Material: Steel, glass-fiber reinforced plastic

Little Beaver Frank Gehry, 1987

Ron Arad, 1988

Verner Panton, 1958

Material: Wickerwork furniture of rattan and bamboo

Material: fiberglass, iron rods, wood

Designed to be displayed next to the exhibits in NID

Gaetano Pesce, 1985

Big Easy

Charles Eames, 1960

Laminated Chair

Designer has decided to treat seat and back as separate, freely articulated elements that were linked with each other via a backbone – the frame. Each component is therefore reduced to a clearly defined function which it fulfills with a minimum of materials being used. The rubber »shock mounts« glued onto the wood enable the seat and back to be connected to the frame.

In contrast to the trend of adapting sitting furniture to the requirements of the human body, George Nelson designs sitting objects from the formal repertoire of spontaneous, popular everyday culture. The shapes he used were strongly stimulated by the art of the 1950s. His symbolic statements promoted a new, very casual form of sitting. Nelson’s Coconut Chair was inspired by the coconut shell. The seat consists of a glass-fibre reinforced plastic shell with upholstery. The three-legged base of tubular steel is stabilized using fine crossbars. One has the impression that the frame spans the floating, swinging form taut and fixes it to the floor.

Stool (Modell A, B and C)

Grete Jalk, 1963

Charles Eames, 1945

Material: bent plywood, cast aluminium and leather cushions

Material: Polyurethane-foam, fabric

Material: Polyurethane foam, nylon-jersey

The enthusiastic, progressive atmosphere of the 1960s and Pierre Paulin’s sculptural training were influential factors in the design of the Ribbon Chair. The curving loops of its shape, covered in colourful upholstery fabrics or psychedelic patterns by Jack Lenor Larsen, give it a captivating, futuristic appeal. The seat, backrest and armrests of the chair have a unified metal frame that is completely covered with foam upholstery and stretch fabric. The seat is mounted on a lacquered pedestal made of pressed wood. The de-velopment of the Ribbon Chair was facilitated by technological innovations during the Sixties. The biomorphic, slightly resilient seat of the Ribbon Chair allows a wide variety of sitting positions and provides a high degree of seating comfort.come in several versions: with an A-shaped shell (armchair) or S-shaped shell (side chair) and on different bases, one of which is the famous »Eiffel Tower« base.

Greene Street Chair The style of this furniture demonstrates characteristics originating in the pictorial arts of the 1960s. Studio 65’s contribution to the »radical design« included a sofa in the shape of a woman’s mouth. The subtitle Studio 65 gave to its Sofa Bocca: »alias lips, alias Marylin, is a reference to the inspiration for this design and its symbolism. Salvador Dalí, to whom the idea for a design of this kind has been attributed, was quoted by Studio 65 in this context as follows: “Objects with a symbolic function leave no room for formal considerations. They are characterized only by each individual’s idea of love and are above any notions of shape.”

Well Tempered Chair

Heart-shaped Cone Chair

Hans J. Wegner, 1950

In 1940, Charles Eames and Eero Saarinen developed a chair with a novel plywood seat molded into a threedimensional form , but they dispensed with the multifunctional shell and divided the seat and back into separate, freely articulated elements connected by a spine (frame). Each element has a clearly defined function, which it fulfills optimally with a minimum amount of material. »Shock mounts« – rubber disks bonded onto the wooden surface – connect the seat and back with the frame, which exists in wood or metal and in two different heights, either as a dining chair or lounge chair.

LMC

Charles Eames, 1945

The characteristic feature of the series is that the supporting structure has been pared to a central supporting stem »like a wineglass« in order to emphasise the uniformity of table and chair. He describes the Tulip Chair: “I wanted to design a chair as an integrated whole once again. All important furniture of the past always had a holistic structure, from King Tut’s chair to that of Thomas Chippendale.. I am looking forward to the point when the plastics industry will be capable of manufacturing the chair using just one material, the way I have designed it.«

The furniture and lighting objects created by Milanese architect Vico Magistretti are notable for their restrained formal idiom inspired by Pop At. Magistretti’s stackable one-piece plastic chair »Selene« was commissioned by Ernesto Gismondi, the owner of the company Artemide. Its most remarkable feature is the design of the legs: the S-shaped curves increase tensile strength while permitting an unusually slim and elegant silhouette.

Ron Arad, 1986

Charles Eames, 1956

Y-Chair

Charles Eames, 1945

The Johnson Wax Chair is characterized by round forms which also reflect the lines of a famous building designed by Frank Lloyd Wright, namely the S.C. Johnson & Son Company Administration Building in Racine, Wisconsin. Wright believed the furniture, rooms and even the building itself were an abstracted organic continuation of the surrounding landscape or cityscape.

Material: Polished cast aluminum, leather

Material: Wickerwork furniture of rattan and bamboo

Gaetano Pesce, 1969

Studio 65, 1970

Lounge Chair & Ottoman

Aluminium Chair

Charles Eames, 1958

LCW

Frank Lloyd Wright, 1939

Material: Lacquered polyurethane and aluminum, fabric

Material: Bent plywood, lacquered steel tubing and steel sheet

Material: Polyurethane resin

Material: Bent tubular steel frame, foam padding covered with two-way stretch fabric, lacquered pedestal made of form-pressed plywood, plastic glides

La Mamma

Bocca The architect, engineer and designer Jean Prouvé played an influential role in developing a construction method for architecture based on lightweight prefabricated sections and he set up his own company Ateliers Jean Prouvé, produced these lightweight his own furniture designs.He produced an exemplary furniture series for the leisure area, the cafeterias and a series of rooms in the student residence. His series included the chair shown here, whichProuvé had designed a similar version of for Strasbourg university as early as 1950. come in several versions: with an A-shaped shell (armchair) or S-shaped shell (side chair) and on different bases, one of which is the famous »Eiffel Tower« base.

George Nelson, 1955 In contrast to the trend of adapting sitting furniture to the requirements of the human body, George Nelson designs sitting objects from the formal repertoire of spontaneous, popular everyday culture. The shapes he used were strongly stimulated by the art of the 1950s. His symbolic statements promoted a new, very casual form of sitting. Nelson’s Coconut Chair was inspired by the coconut shell. The seat consists of a glass-fibre reinforced plastic shell with upholstery. The three-legged base of tubular steel is stabilized using fine crossbars. One has the impression that the frame spans the floating, swinging form taut and fixes it to the floor.

Eero Saarinen, 1956

Alvar Aalto, 1930

Designer took as his starting point the ancient, scissors-shaped collapsible folding chair, already a symbol of power among Egyptian rulers. He adopted the representative qualities of the scissors chair, although he does without the folding function and interprets it afresh. Mies van der Rohe chose not to use wood like the historic models, but instead employed chrome-plated steel strip and leather upholstery with button stitching.

Material: Steel, glass-fiber reinforced plastic, leather

The scarcity of materials during the early postwar years inspired industrial designers to combine traditional crafts and organic, natural forms with innovative designs. Albini made an outstanding contribution to architecture and design by using readily available, inexpensive raw materials, with which he created distinctly modern chairs, like the Gala armchair. This chair represents a unique synthesis of minimalism, elegance and formal mastery.

Coconut Chair

Tulip Chair

Art. 41 Paimio

Mies van der Rohe, 1929

Material: plywood seat, laminated frame, lacquered

Josef Hoffmann’s Armchair No 670 combines the austere elegance of bentwood with the expressive formal vocabulary of the Viennese Secession. Its somewhat voluminous form, strict geometry, and adjustable back are attributes that suggest associations with the machine.

Le Corbusier, 1929

Le Corbusier, Pierre Jeanneret and Charlotte Perriand wished to prove with their chaise longue that furniture made of materials which were new for the 20th century could be more than just what they called metal furniture »for hospitals and bistros The designs were rendred strikingly elegant by opting for coverings made of simple curtain material decorated in leather, as well as the use of foal or calf leather covers pulled taut using steel springs.

Charles and Ray Eames developed this model in connection with the »Low Cost Furniture« competition and for the Herman Miller company, who produced various versions of the chair between 1951 and 1967. As with their plastic chairs, the seats and backs are again modeled on the human body. In the case of DKR, however, the result is a comfortable organic form even though such a hard and cold material as steel wire is used. It proved possible to sell the chair successfully at a relatively low price. In 1952, the design won the Trail Blazer Award given by the Home Fashions League in the United States.

Jean Prouvé, 1954

Faut. à Grand Confort

Le Corbusier, 1928

Material: Metal, cloth upholstery, cherry wood

Material: beechwood, mahagony stain, shellac varnish

Material: Steel wire chromiumplated, »Eiffel-Tower« base

Harry Bertoia, 1952

Antony Chair

Josef Hoffmann, 1905

Chaise longue à réglage continu

Material: Steel strip, leather belts, leather cushions

Material: Cherrywood, velour cover, plastic gliders

This iconic chair was an embarkation from earlier linear furniture designs; due to its round shape. Original features included a flared backrest, square spindle supports and a cushioned double-sided circular seat, In 1937, Frank Lloyd Wright re-created the Barrel Chair design in a larger version with other design modifications for the residence of Herbert F. Johnson, known as »Wingspread.

Material: Wickerwork furniture of rattan and bamboo

Material: Fiber-glass, Aluminum, Fabric

Eero Aarnio’s Ball Chair is a typical symbol of the optimistic, consumeroriented popular cultureof the 1960s. The idea of this kind of mobile capsule allowing people to sit where they want within the house. It is something between a piece of furniture and a piece of architecture and at the same time embodies both the mobile and the established, the fixed.

Selene

Diamond Chair

Charles Eames, 1950

Sitzmaschine

Marcel Breuer, 1925

Material: fiberglass, iron rods, wood

This was created as an entry for the »Low-Cost Furniture Design consists of two paper-thin fiberglass shells glued to each other but separated by hard rubber discs; the intervening space was filled with polystyrene foam. Charles and Ray Eames left the plastic shell untreated. The base is made of five in part angled metal rods inserted into a cross-shaped wooden structure. The space left open between back and seat is not technically necessary, but instead purely a design element.

Pierre Paulin, 1966

Vico Magistretti, 1968

Albini, 1950

DKR »Wire Chair«

Frank Lloyd Wright, 1904

B3 Wassily

Material: Steel, chrome-plated and painted, leather, steel springs, rubber

In the second half of the 19th century bentwood firms began to manufacture rocking chairs which, as a symbol of leisure and relaxtion, corresponded to the need of the bourgeoisie for an appropriate level of comfort. Thonet rocking chair being replaced by smaller bentwood loop at the back, the construction of the chair takes on an elegant and weightless appearance.

Material: Plastic shell, steel wire »Eiffel Tower« base

The Fiberglass Chairs are rare examples of a satisfying synthesis of formal and technical innovation. For the first time in the history of design, Charles and Ray Eames utilized the unlimited malleability of plastic for the development of a comfortable seating shell that corresponds to the shape of the human body. After experimentation, they were able make an industrially produced chair that is inexpensive, sturdy, and comfortable. The Fiberglass Chairs come in several versions: with an A-shaped shell (armchair) or S-shaped shell (side chair) and on different bases, one of which is the famous »Eiffel Tower« base.

Gala

Charles Eames, 1948

Barrel Chair

Gerrit Rietveld, 1918

Material: nickel-plated tubular steel, black leather

Material: Bent beech wood, cane

Material: Glass-fiber reinforced plastic shell, fabric, chromed base

The Womb Chair is regarded as one of the icons of postwar American Modernism. This armchair is the first piece of mass produced furniture in the history of design with an integrated seat shell made of fibre reinforced plastic. The expansive foam upholstered shell, which has two inset cushions for added comfort, is supported by a bent tubular steel frame. Saarinen developed the Womb Chair in close collaboration with a boat builder. He has designed a chair that would allow a variety of sitting positions and create a special feeling of relaxation and cosiness. This central design concept finds vivid expression in its name.

Ribbon Chair

Eero Aarnio, 1965

Charles Eames, 1950

La Chaise

Michael Thonet & Sons, 1882

Charles Rennie Mackintosh, 1903

Material: Wood, lacquered

Material: Beechwood, stained, lacquered, cane

This armchair is one of the world’s most successful, mass-produced products. It was the standard model in Thonet’s collection of bent-wood furniture and is considered the typical Viennese coffeehouse chair. By 1930, 50 million of the chairs had already been sold. A modified version of the »No.14« is still being produced today.

Ball Chair

RAR white

Eero Saarinen, 1946

Schaukelsessel

Hill House 1 green

Material: Black-stained maple, green fabric

Womb Chair & Ottoman

Michael Thonet & Sons, 1859

Poster

The Vegetal is an organically-shaped chair that is meant to look as if it had taken its shape naturally. With that goal in mind and inspired by small trees which American gardeners had fashioned into the shape of seating furniture. This is designed for outdoor use, the chair had to be both water-resistant and – for practical purposes – easily stackable The inspiration of natural vegetation is easy to see in the intricate, asymmetrical structure of the branch-like ribs that make up the Vegetal’s seat shell as well as the colour scheme. Made from polyamide and manufactured using injection moulding, the chair is an exploration of the limits of its material and the latest production techniques.

Material: Polyamide dyed throughout

ABOUT

It was about 20 years ago that the Vitra Design Museum in Weil am Rhein began making miniature replicas of milestones in furniture design from its great collection. As a kind of summary of the history of industrial furniture design – moving from historicism and art nouveau to the new objectivity of Bauhaus and radical design, and from postmodernism all the way up until the present day – the collection has grown to include more than 100 pieces. The chairs are all one sixth of the size of the historical originals. They are all true to scale and replicate the originals right down to the smallest details in construction, material and colour. Thus, not only have the design´s key points been translated in the miniature versions, but details such as materials, the natural grain of the wood, the reproduction of screws and elaborate handicraft involved have also been taken into consideration. All of this has made the pieces in the Miniatures Collection into popular collector´s items. At the same time they provide people who are interested in culture and design with insights into the history of the environments that we create.

Grouping Chairs designed in the same decade have are bunched together.

3. Book Cover

Based on my essay of The Reluctant Fundamentalist

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Interpretative Ambiguity “You seem worried. Do not be; this burly fellow is merely our waiter, and there is no need to reach under your jacket, I assume to grasp your wallet, as we will pay him later, when we are done.” The Reluctant Fundamentalist is a dramatic monologue by Mohsin Hamid in which he explores the idea of one’s conflicted identity and how it is shaped by the other’s perception; and he attempts to do so by allowing the reader to play both identities and perceptions. The story begins, as Changez, the main protagonist of the novel, offers assistance to an American in finding the perfect cup of tea in a very old and bustling part of Old Anarkali in Lahore. In the course of the conversation, Changez narrates his story beginning with when he first arrived in America. He was a young man from Lahore, Pakistan who came to the US to study at Princeton. He performed very well and got selected to work at the most sought-after valuation firm in New York. Soon afterward he met Erica, with whom he fell in love. As they grew closer, he learnt about her earlier relationship and her apprehensions. His professional life, however, remained in full swing until the 9/11 attacks happened. The world as he understood it changed after that. When he returned home for Christmas, he noticed he had changed and

he was uncomfortable with the person he had become. When he returned to America, Erica was gone. Through loss and loneliness, he saw how he was seen and what he had become. He decided to quit the firm and move back to Pakistan, to his family. Upon his return, he became a university lecturer and made it his mission to teach the students what he had learnt. Hamid strikes an engaging balance with the narrative in terms of the setting, the plot, the tone of the language, and the duration of the narrative, both as read by the reader and as narrated by Changez. He has used stereotypes first to allow us to relate to the characters and the settings, and then to challenge them by carefully eliciting doubt in the reader. Thus encouraging the reader to switch to another character’s perspective when the narrative presents the opportunity. By constantly switching back and forth between the geographical locations, the reader is allowed to re look at what he has read up to that point in both perspectives. Hamid further strengthens this association of the reader with the book by matching the time taken by Changez to narrate the story to the time taken by the reader to read the book. The formal, dignified and archaic British tone of the writing, in its similarity with Urdu, invites the reader to the narrative and adds to the geographical and social location of the setting. The reader finds himself being introduced to the city and the cuisine just as the American. The reader explores stereotypes about the people and

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

the environment of this foreign country. As Changez observes the American, the reader adds character to his imagination of himself as the American. And yet the reader is not quite sure who he is. He also realises how peaceful and culturally rich cities are in Pakistan. On the other hand, through Changez’s narrative, the reader comes across his aspirations and desires and Pakistani stereotypes of the Americans. The reader also looks at the American and wonders if he really has a gun inside his suit or is it a manifestation of another stereotype? But then why wouldn’t the American introduce himself? Then occasionally, when the details become fuzzy on both sides, the reader steps out of both characters and as a third person and wonders how certain he can be of Changez’s story. Both characters are about experiencing life as the citizen of the rival nation and while one is telling his story of it, the other is experiencing it. When Changez notices the glint of metal in the American’s pocket, the reader is left with the liberty of determining what the story of the American is. Is he just a tourist being misunderstood or is he in fact an undercover assassin? He now also has an understanding of a Pakistani’s perspective of his own country and the world. Is he just a university lecturer being misunderstood, or is he in fact a potential terrorist? Work Cited - Hamid, Mohsin. The Reluctant Fundamentalist. New Delhi: Penguin Group, 2007

Essay A study of the interplay of story, character, events, narration and time in building a narrative.

Image

Filter

Changez Khan from the movie adaptation by Mira Nair.

Mystery as to the nature of the character

Typography 'Reluctance' of the tile to face the same direction.

Pakistani Green Printed over with UV coating to stand out from the matt finish.

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Video https://youtu.be/23u54CUF23M

4. Video Editing Chroma Keying

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

White space Boundary

Retains familiarity with the previous logo

Indicative of the strong standards set by the bureau

5. Iconography

For the Bureau of Indian Standards Symmetry Implying growth and renewed energy Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

White space From afar, the break in bounding box calls for further inspection, revealing the nature of certification

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Saturation Dilution of black indicative of the corresponding certification.

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Style Loop starts at the top and not further to the left, making it more modern.

6. Relief Printing

WIP

Making 20 copies of a fairytale

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Foamboard

Inking

Stamps

Drying

Carving out nonprinting areas

Testing shades of colour

Made of foam sheets

Meawhile in preparation for printing on reverse

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Proportion The sharp contrast gives the typeface a classic feel.

Style Loop starts at the top and not further to the left, making it more modern.

7. Type Design (Tamil) Internship at Indian Type Foundry

WIP

ŕŽ&#x2021; Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

சைட ரேஷ Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

Bold 223/268 pt

Wide characters Makes attaining a unifrom grey value challenging.

பதடலல இமயமலை பகதயல மகப பெரய நலநடககம ஏறபட உளளதக மததய உளதறை அமைசசகததன பதடலல இமயமலை பகதயல மகப பெரய நலநடககம ஏறபட உளளதக மததய உளதறை அமைசசகததன இயறகை நேரடம மேலணமை நபணரகள எசசரததளளனர இநத நலநடககம அலலத அதறக மேல இரககக கடம எனவம அவரகள தெரவததளளனரபவ

பதடலல இமயமலை பகதயல மகப பெரய நலநடககம ஏறபட உளளதக மததய உளதறை அமைசசகததன இயறகை நேரடம மேலணமை நபணரகள எசசரததளளனர இநத நலநடககம அலலத அதறக மேல இரககக கடம எனவம அவரகள தெரவததளளனரபவ அமைபபன அடபபடையல ஏறபடடளள மறறம கரணமக சமப கலமக இமயமலையை ஒடடய பகதகளல கடம நலநடககம ஏறபடட வரகறத ல சககமல ஏறபடட அளவலன நலநடககம ல நேபளததல ஏறபடட அளவலன நலநடககம சமபததல மணபபரல ஏறபடட அளவலன நலநடககம ஆகயவறறல இமயமலை சதைநத வரவதக நலநடகக கணககடட நபணரகள தெரவததளளனர இதன தடரசசயக இன வரம கலஙகளல இதை வட பயஙகர நலநடககம இமயமலையல ஏறபட உளளத இநத பயஙகர நலநடககததல நேபளம படடன மயனமர இநதய ஆகய நடகள மகப பெரய அழவை சநதகக உளளதக எசசரககபபடடளளத அடததடதத ஏறபடம இநத நலநடககஙகள இநதயவன மலைபபரசே மநலஙகள பகர உப டலல வடகழகக மநலஙகள ஆகயன மகப பெரய பதபபை சநதககம

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016

8/9.6 pt Designed for use as body text.

Thank you vishwanath_p@nid.edu

Vishwanath Pasumarthi | B.Des | Graphic Design | National Institute of Design, India | Portfolio 2016