ART SCHOOL by alagu chockalingam

ALAGU CHOCKALINGAM

VCD 9.05.2012 | SRISHTI SCHOOL OF ART DESIGN AND TECHNOLOGY, YELAHANKA.

CONTENTS TIMELINE | WORK | REFLECTIVE VISUAL ESSAY

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

TIMELINE I’ve measure my time here at Srishti, in the three conditions I consider most essential - Fun, Learning or growth and Succesful projects. During my first semester, it was all new I had a good time and got some good work done, the grade sheet wasn’t too bad and I went home happy. The second was brilliant, my best semester at Srishti, I loved everything I learnt, and learnt a tonne had a glorious time and didn’t even think about the grade sheet. The third by stark contrast was my worst semester, I had some trouble adjusting to the new system and took a while to catch up. The grade sheet could have made me cry. SEM 1

SEM II

SEM III

The fourth semester was a good finish, I was wiser in my course choices, more confident in my skills and thoroughly enjoyed myself.

FUN

LEARNING/GROWTH

SUCCESSFUL WORK

SEM IV

TYPOGRAPHY - I The typography course where we spent time learning about leading, kerning, tracking, rags, grids and all the other finer details of the craft, laid the foundation of my learning in graphic design. LAYING FOUNDATIONS Being from a non arts background, this was my first major leap in understanding and becoming a designer / design student. Shown here are few of the exercise we did in class.

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

TYPOGRAPHY - I During the course for the purpose of the exercises we picked the lyrics of a song to work with. I had no music on my computer at that time, so i picked a song that i was not familiar with and titled my album â&#x20AC;&#x153; I dont have music.â&#x20AC;?

of life and philospher's stone and what helped Mr. Brunnell to build the Thames Tunnel wasn't it poteen frotm ould Inisowen. So stick to the cratur' the best thing in nature for sinking your sorrows an Let your quacks and newspapers be cutting their capers about curing the vapors the scratch and the gout with their medical potions, their serums and their lotions upholding their notions, they're mi

ALBUM COVER the end result of the course was to create an Album

ghty put out. Who can tell the true physic to all that's pathetic and pitch to the divil, cramp, colic and spleen you'll know it I think if you take a big drink with your mouth to the brink of a jug of poteen.So stick to the cratur' the best thing in nature for sinking your sor

cover, mine (shown here) used the lyrics to create a flat frequency implying that no music was playing.

rows and raising your joys oh what botheration, no dose in the nation can give consolation like poteen me boys. Come guess me this riddle,what beats pipes and fiddle what's hotter than mustard an d milder than cream what best wets your whistle, what's clearer than crystal what's sweeter than honey and stronger than steam. What'll make the lame walk, what will make the dumb talk, the elixir

i dont have music

front cover

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

TYPOGRAPHY - I

audio track 01

audio track 15

audio track 03

audio track 05

audio track 12

back cover

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

TYPOGRAPHY - II In this course we created a series of four posters around the theme ‘Sans Shot the Serif”, where we had to make a poster about a sans serif and a serif typeface that were related to each other in some way. LOGO My logo reads “Sans Fires The Shot” as I realised, that serif = fires read backward and decided to use this word play in the logo.

SANS FIRES THE SHOT

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

TYPOGRAPHY - II The research about typefaces, typographers, foundries etc. to ferret out links between serifs and

dr i a n

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arial is a core font for Windows 3.1 and has become part of the standard font offering in the Windows operating system. arial is a core font for Windows 3.1 and has become part of the standard font offering in the Windows operating system. arial is a core font for Windows 3.1 and has become part of the standard font offering in the Windows operating system. arial is a core font for Windows 3.1 and has become part of the standard font offering in the Windows operating system. arial is a core font for Windows 3.1 and has become part of the standard font offering in the Windows operating system.

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UNLIKE ROBIN NICOLAS WHO CREATED ARIAL IN 1982 Serifa He

d Serifa inAdrian Frutiger d velope evelo er de ped rutig Ser ed nF ifa d ri a in A l op in A ve dri an Frutiger developed Serifa in an de rifa inAdri Adri Fru an F erifa Se er ruti ed S tig ed ger rs his own sans seri lop er fon th in Unive lop eve de hose ose de ve rd ve in U fon t in SerifaHe based the shapes in lop ge ve nive seri de hapes Serif uti ed ns he s rs h r r l aH t a 964 1964 1964 1 F s d e e eb 964 1964 1 964 1 n is n a 9 64 1 bas

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Cause they called it ‘Janson Text’, after Anton Janson another Dutch punch cutter, mistakenly assuming he was the creator of the typeface. which he most certainly was not, poor Kis. U ni

but kis still lay in obscurity.

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Nicolas Kis created kis NOT Anton Janson. Robin Nicolas created arial. we all know that. Nicolas Kis created kis NOT Anton Janson. RobinNicolas created arial we all know that.

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Nicolas Kis created kis NOT Anton Janson. Robin Nicolas created arial. we all know that.

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Nicolas Kis created kis NOT Anton Janson. Robin Nicolas created arial. we all know that.

SANS FIRES THE SHOT

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Nicolas Kis created kis NOT Anton Janson. Robin Nicolas created arial. we all know that.

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Both typefaces were designed by a man with the name Nicolas.

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KIS AND ARIAL

the

rifa frutiger rian fruti fa d fa fl o 964 se erifa r e un erifa A ger develop inAdrian ba s e r i fa re e 9 641 ed serifa Adrian frutiger developed s his ive rses fle serifa i He ifa s a 641 rse b e ers rif serifa ser ifa ser a oped rifa 419 ative of a sla se rifa se rif n iv Se evel er 196 rif resent re serifa s ifa serifa rifa se a er d 964 e rep his ow erif s in re fle sans s n sa ns s ser own u t ig se a tru pe fle 641 erif his serifa ha n fr a is f 419 a s i i r 6 r d Se 19 he on inA his 64 e r if dt 9 s ns a ow a e f 1 s s n ri n lab 64 ba se own sans serif fontOn 19 as in Univers his those in ed 64 of He n those Unive 19 lop fontO rs his ive if fontOn those in Univers h 64 serif ve own t at is ow sans ser 19 sans de en wn s own 64 er es is o hapes in SerifaHe based th n sans seri rs hi 19 pr tig rs h d the s f e nive e re s s nive U a fru h U e apes eb in n ru e in based the shape rifa se ria in S ifaH in SerifaHe at hos s in S s es erifar r tho nt apes is Ser Ad erif erifa On e sh nt ntO He ifa aH s in rifSerifa is a true represent d th f fo er bas f fo eb slab se ative eri ase ape ed eri f the of th ss as eb sh the ss an ve o i H e e t s n e a a s f a t d n la b h sh s ri en tative of the slab ser th ow n s er ap dt Se represen ifSeri res es his ifS es fa is in ow ep a true se rs eri a tru ha s serifon those in Univers is er in ifa is es ba ive fa wn san e re Ser his o tru pe S sh ap Un is his o erif wn er in SerifaHe based the shap He in sa a t erif sh vers san prese bs hapes iv es in a ai Uni aH s in e se sla ru ss nta f n f the s n i S o i i d h e e r e er r rifa e t U ti th e se e th 4 1964 1964 1964 1964 1 bas un

I absolutely enjoyed working with typography.

Univers his own sans serif.

flec ts

e a ifa r p erifa rian frut erif an efle cts th seri p ed s d ri iger nA seredifo lo elop c f eu a A s r dev ve erif own sans e serifadrian frutige developed serifa seri a refle ts th rutige niv ed s de iver drian f rs hi s Adrian fr fa r e r dev serifa reflects rif elop er Adr serifa A utiger develope se elope efle cts th uni ers r dev a Iun the un unive d serifa Adrian frutiger developed utig d serif rutige e ed ve searifa reflects cts n fr e a A drian f f e sAhapeiasn fr e in am dria lo p the un iverse s if the univ rse seri e basedruttigh drian fru utiger develop drian frutiger developed serifa Adrian frutiger developed serifa A t hos rifa A eve e ivers er serifa refl ed s e ects th tige er ed serif erifa H un ers se fa er d e univ e se rifa re ifon ds s erses develop a Adrian fru r de dev re ri rutig erifa ive e flec s in S rifa erifa refle refle velop tiger developed serifa Adrian frutiger e s er ope cts the ia n f l serifa cts t r p e d e reflec unive a rse ser fa r fle s h l t A e r e 4 6 o 9 v d 1 efle st t s t he rsese univ fa serifa 1964 ped s sh rifa r ers unive eflec ese r de he ed seri Adrian fru rses s an cts rifa ts th se ifa efle erifa 9641964 erifa th e tiger developed serifa Adrian frutiger develop e un refl utige refle un ect iver th cts ri re Ad 19641 st se wn ed t rian fr

e om F IRES THE SHOT SANS es aw

ever since. This course made me realise that

Adrian frutiger based the shapes of Serifa on

fa r e

s ct

e ers is awespoedm s m Iu n i v pe erifa er

e so a

ed ti i a A d rsi aenr i ffaru A d r

u t o d o el ri i g eel deeelvve l o p e d n f an f ru ti greurtidgeevr drev

esom is aw

frutig

ria g e n iglop e frrud ute teivge dferv n elor d geriran fru pee frutAi d drian d vse tiga elro rian rifa ifaped serif A eAr ifa Ad d se Adria aAdria a Ad dde n ped ser velope n frut erif a riav rifa d nef lop iger defrutiger developed serifa Adrian frutiger develofrutiger de ds se rut ed s Ad veloped s n A lope ige erif erifa Adrian frutiger developed serifa Adria ped ifa ri a deve r a r nf velo tiger Adri Adrian fr se rut r de utiger de an f r rian fru ige utige ped utige r erifa Ad veloped serifa Ad elo i a n fr r de rian frutiger developed s A dev a Adr ri a

way I have looked at and worked with typography

UNIVERS AND SERIFA

kis was created in 1690 kis was kis was created created in 1690 in 1690 kis was kis was kis was created created created in 1690 in 1690 in 1690 kis was kis was kis was kis was created created created created in 1690 in 1690 in 1690 in 1690 kis was kis was kis was kis was kis was created cr created created eated in created in 1690 in 1690 in 1690 1690 ki in 1690 kis was kis was s was cr kis was created created eated in created in in 1690 16 1690 ki in 1690 90 kis w s was cr kis was as crea eated in created ted in 16 in 1690 1690 90 kis kis was was crea created ted in 16 in 1690 90 kis was created in 1690

KIS KMIS

sans serif pairs opened a whole new window to the

seri

rifon those in Univ ers h n sans se is ow is ow rs h based the shapes in Se n sa rif erifaHe nive S a H n n i e s base in U pes ser 1964 1964 1964 1964 se d th sha if o 64 1964 1964 ho es the 64 19 nt 1964 nt h ap ed 4 19 ho developed Serifa in Ad 196 196 es bas rifo Frutiger rian F se 41 964 in drian se faHe rutig 964 in in A 41 Se er d ri ns Un 96 rifa 19 rifa eve 64 sa in Se 964 1 ed Se ive lop He n 19 1 ed s rs lop 64 ba Se ow ape 1964 deve h se 19 rif h r

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TYPOGRAPHY - II INSPIRATION The Univers / Serifa poster was inspired by my learnings in Cosmic CafĂŠ, Astrofest during interrim of the first year I was at Srishti. I had researched and written content for the panel that cover fractal similarities, the first poster using the serif font (which was not allowed by the brief but I was hoping for reprieve ) shows the type placed similar to the computer simulation of how the universe looks on a really large scale. the poster then developed in steps into its current form, to reflect the universe.

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TYPOGRAPHY - II HELVETICA AND ITC GARAMOND The copy on the poster reads, “ When Jack Summerford back in 1979 was asked to make a promotional poster for ITC Garamond, it had only one single word on it - Helvetica. I thought to return the compliment with this poster, but you know what - this still reads helvetica.”

co op er

k operblac ackco erbl oop kc co op er bl ac kc

o perblackc lackcoo operb ckco rbla ope kco ac bl

coo

kcalbrepoock c oc

po lbre oc

oper

COOPER BLACK AND FRANKLIN GOTHIC

epoockcalbrep oc albr epoockcalbrepoockcalbo kc c repooc kcbrepoockcalbr a c broopoop al rbl ope erbelrablac pe ckco ck kc co oop oo perbla op er ckbclackcoo erbbla a l r b lacckco ackcooper coope k o coopeperblac rblack co kco o p p e rblao r ckce oopbelac rbla kco ckc o oopp ereb lac kc

ITC Garamond

rbblalcakccooper peer

ckc rbla oo pe cooperblackcoop oo rblack kckcoope c a c bloperbla

B(L)ACK ck rbla ope rblackcoope

cooperb perla c k bla c k

p oo

Cooper black had gained a reputation as the “black

MENACE

menace” as it was an extremely heavy typeface causing typesetters to strain their backs. The poster

FREE

harnesses this fact.

iodex

double power formula

550gm PACK

WITH THIS TYPEFACE net. weight at typesetting: 83 lbs

When Jack Summerford back in 1979 was asked to make a promotional poster for ITC garamond, it had only one single word on it - Helvetica. I thought to return the compliment with this poster, but you know what - this still reads helvetica.

SANS FIRES THE SHOT

Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Bruce Cooper and released by the Barnhart Brothers & Spindler type foundry. It gained the nickname ‘black menace’, for as a complete metal font it weighed a hefty 83 pounds and strained the back of many a typesetter. This poster is set in franklin gothic because I didn’t want to strain my back.

SANS FIRES THE SHOT

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GRAD IDENTITY While working on the identity for the Graduation Exhibit, I was assigned â&#x20AC;&#x153;BE.THINK.â&#x20AC;? To work with

Logo

and create and identity for. I decided to treat it typographically, using solid colours. Due to the letter overlap - it was necessary that I try many variations in colours and spacing, Using more than two colours etc. To achieve an ideal result, not compromising on readability.

2011

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GRAD IDENTITY Extending the identity to create a visual language for the exhibition and to show how it will apply to

poster

communication (posters,postcards). 2011

15-19 DECEMBER AT CHITRAKALA PARISHATH ART COMPLEX,KUMARA KRUPA ROAD BENGALURU AT FREEDOM PARK SHESHADRI ROAD,GANDHINAGAR BENGALURU

SRISHTI SCHOOL OF ART, DESIGN & TECHNOLOGY, P.O. Box No. 6430, Yelahanka New Town, Doddabalapur Road, (Opp. Wheel Axel Plant) Bangalore - 560 106.

signage

2011

GRADUATE EXHIBITION 15-19 DECEMBER

FREEDOM PARK SHESHADRI ROAD, GANDHINAGAR

CHITRAKALA PARISHATH ART COMPLEX, KUMARA KRUPA ROAD

postcard

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GRAD IDENTITY The second option for the logo that I proposed worked with the number of students graduating ie; the number of dots, which spell BE, and think placed underneath. Here the process that went into resolving the readability issue of the BE is shown. The first version was not readable at all some reading 8 instead of B. So I worked on changing the construction of the B with the dots, made the dots

THINK THINK THINK

themselves bigger and changed the colours - this was claimed more readable but not clear enough. The solution then was to replace the dots with the squares and play with the spacing.

THINK THINK

THINK

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GRAD IDENTITY After Ashisâ&#x20AC;&#x2122;s identity was chosen, we worked at extending the visual language of his logo, shown here are some of the extensions I came up with.

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GRAD IDENTITY

wayfinders

wayfinders wayfinders - II

wayfinders - I

pictograms straight

to the right to the right

to the left

pictograms straight and right

straight and right

straight

2 ways

toilet

straight & left

to the left

exit

place marker eg: to denote a room

straight and left

SCREENING ROOM

place markers

pictograms

stairs up

toilet

pictograms

stairs up

drinking water toilet

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY stairs up

drinking water

LETTERFORM Mahendra bhaiâ&#x20AC;&#x2122;s course on letterform was very insightful in understanding the construction of letters and how the tool influenced this. Exploring with the reed pen, the quill pen and the flat brush and the different ways to hold them depending on the script (curves) allowed me to better understand these mediums.

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LETTERFORM Handcutting and adjusting these sans serif letters to what I considered were ideal width and weight was a great experiment to do. It primed me to recognise the nuances in typefaces and their many weights/cuts.

Sans serif letter in normal weight and width

Light

Normal

Condensed

Sans serif letter in varying width and weight. learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

LETTERFORM We used the sans serif letters we had created as a base for style explorations to come up with custom

style exploration

logo type. The brief was to take two of the styles forward and create logos with one of them. Seen here is Twill, the typeface that was derived from the wiggly letters on the second and third rectangles. The other typeface created was â&#x20AC;&#x2DC;Pandaâ&#x20AC;&#x2122; - derived from the explorations on rectangle one.

Twill: the other typeface developed.

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LETTERFORM Here ‘Panda’ is used in logo type, the logo on top is for a bamboo forest reserve. The reed pen was used to create the bamboo used in the logo.

The second logo is for - ‘The Panda Detective Agency’ - using the negative space created by the placement of the letters to show the beams of a torchlight and a foot.

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PUBLIC SPACES AND HYBRID MEDIA Mili Sethia and I worked as a team throughout the course. It dealt primarily with 3 entities the RTI as a tool provided by the government, The citizens who would benefit and the government itself. We chose the issue of the ‘namma metro’ project to encourage people to use the RTI (Right to Information). We created the ‘RTI - Find out now’ campaign and propagated it using various tools. The poster shown here takes the hactivist approach, using the metro colours and visual language to make it look like an official document, it is only when a person went closer would they find out that the poster questioned whether the metro would be running in December of 2010 as promised.

photos of the poster in different locations across the city.

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PUBLIC SPACES AND HYBRID MEDIA The second phase of the campaign we made posters that would appeal to different target groups ie: youngsters -the one with the facebook like interface. Environmentalists - the one about 1200 trees being chopped off to accommodate the metro. The reactions people had to the posters were interesting to observe. photos of the posters in different locations across the city.

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PUBLIC SPACES AND HYBRID MEDIA Actionising on church street was an amazing experience. Watching people react to our questions asking to be involved, not wanting to be associated, indifferent to it, irritated by us taking up platform space - broadened our views on the subject. We also handed out cards with KIC website on it that said entry free, encouraging people to visit the KIC and make use of the RTI as a tool.

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PUBLIC SPACES AND HYBRID MEDIA more photographs of people participating, we got nearly a 100 responses.

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VISUAL CULTURE Duringthe span of this course, we went to avenue road to walk about and understand the unintended glories of the street. My final project were film posters, inspired by tamil movies and culture. This poster is for the fictional movie “Rajiniyin Thevathaigal” transalting to mean Rajinis angels Using actor Rajinis cult status (he’s reffered to as superstar) in the industry and naming the angels (Poosani Ammal, Molagai Maami and Moonji Mekalai) after things that in tamil culture are traditionally used to ward off evil.

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VISUAL CULTURE This poster draws directly from the overdramatic scenarios in regional films. There is always a womans honour to be avenged, a righteous hero that in the climax will show frightful anger surrounded by burning cars, buildings etc. The wording on the poster says â&#x20AC;&#x153;story of angry manâ&#x20AC;? - a reference to the broken english that invariably appears on posters for such films.

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BUSINESS DESIGN This course made me take a more total view of design. In my head I desiged a group of cafĂŠs, but I had to make them a viable business. I had to pre-empt what people want, and design with that in mind while still staying true to my concept. It made me push boundaries, draw from the marketing and managements skills learnt during the B.Com (before Srishti), and meld them all together to form a proposition that someone would put their money on.

slides from my presentation of the business plan.

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BUSINESS DESIGN Shown here are some of the collaterals that emerged from placing the cafes in the chosen

magazine ads

tasting invites.

market segment and creating thereby a visual language and feel that would enhance the brand promise.

above: seal /label for the cafĂŠâ&#x20AC;&#x2122;s. left: photograph of the packaging for 1707 London

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INTERACTION DESIGN For this course I designed the user interface of an oven drawing from my own experience of using one.

The user interface of the oven.

09:15

While designing the interface, I tried to maximise non-verbal cues to facilitate easier use of the oven. The aim was to make an easy to use and aesthetic interface devoid of clutter.

Farenheit Celsius 0

0 5

55 482

122

TEMPERATURE 392

250

200

TIMER

100

212 35

150 302 ON

BAKE

ROAST

rotate spit

oven light

Spit roasting chicken in an oven.

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INTERACTION DESIGN The knobs (ie; Temperature, Timer, Bake, Roast light and spit bar buttons) and the details of each are shown in the image.

temperature

with segments like a

TIMER

Bake & Roast

The timer knob is designed

clock face so as to enable

BAKE

people who dont know 40

20 35

the language to instantly

recognise its purpose.

ROAST

the bake and roast knobs control the way the oven is heated depending on what the

Farenheit Celsius 0

482

122

250

uses colour to emphasise the amount of heat generated,

TEMPERATURE 392

200

the temperature knob

100

212

150 302

the knob does not have deatiled markings as the temperature appears on the display screen as the knob is turned. The user can also switch between celsius and farenheit by pressing the knob like a button.

ie; the hottest temp (250˚C) is

both knobs are similar in function, albeit for different purposes. If the user want to bake for eg. he/she must turn the bake knob to “on” in this setting she sets the time and temperature herself. She may also choose a preset (by turning the knob further) such as ‘bake me a cake’ which contains the preset values (temp & time) normally used to bake cakes.

user is cooking. .

Icons

Light & Spit bar

denoted by bright red and the lesser temperature by yellow. This colour coding helps visually identify without having to read whats written.

oven light

rotate spit

both the above are single purpose buttons, that. are pressed to start and stop the function.

the above are icons that appear on the display when the light is on, the timer is set and the spit bar is rotating (in order of icons above.)

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INTERACTION DESIGN Shown here is a step by step of how to set the oven to bake and to roast.

09:15

Setting the oven to bake: when the oven is idling, it displays the time of the day in large numbers on the screen.

Farenheit Celsius 0

482

250

TEMPERATURE 392

200

TIMER

100

the first step is to turn the

55 122

212 35

302 ON

BAKE

set the temperature to the required amount.

150

bake knob on, then to

ROAST

rotate spit

oven light

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INTERACTION DESIGN

As soon as the bake knob

160Ë&#x161; C

is turned on, the words bake for me appear, in this setting the user must set

320Ë&#x161; F

the timer and the temprature. The knob is used to access the

09:15 00:00:00 BAKE FOR ME!

whichever knob is being

Farenheit Celsius 0

0 122

TEMP ERATU RE 392

250

200

TIMER

100

adjusted that value appears

55 482

presets inbuilt in the oven.

at the top of the screen in large type.

(in this case the temperature)

212 35

150 302 ON

BAK E

ROAST

rotate spit

oven light

this button is pressed to turn on the oven light

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INTERACTION DESIGN

once the timer is set and the oven door is closed, the time remaining is displayed in large type and an alarm symbol appears at the bottom of the screen, this will ring to alert the user after the baking time is over.

00:40:00 160˚ C 09:17 320˚ F BAKE FOR ME! Farenheit Celsius 0

0 5

55 122

TEMP ERATU RE 392

250

200

ER TIM

482

100

212 35

150 302 ON

BAK E

ROAST

rotate spit

oven light

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INTERACTION DESIGN

09:15

Setting the oven to roast: the first step is to turn the roast knob on, then to set the temperature to the required amount or choose a preset.

Farenheit Celsius 0

0 5

55 482

122

TEMPERATURE 392

250

200

TIMER

100

212 35

150 302 ON

BAKE

ROAST

rotate spit

oven light

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INTERACTION DESIGN

setting the temperature,

200˚ C

and turning on the oven light.

392˚ F

09:16 00:00:00 ROASTMYMEAT Farenheit Celsius 0

0 5

55 122

392

250

RE ATU PER TEM

482

200

TIMER

100

212 35

150 302 ON

BAKE

ROA ST

rotate spit

oven light

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INTERACTION DESIGN

After the temperature and

01:40:00

timer have been set, the rotate spit button is pressed, a symbol of the same appears at the bottom

200˚ C 09:17 392˚ F ROASTMYMEAT Farenheit Celsius 0

0 5

55 122

392

200

ER TIM

250

RE ATU PER TEM

482

of the display area.

100

212 35

150 302 ON

BAKE

ROA ST

rotate spit

oven light

this button is pressed to start the spit bar rotating

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"I have to fit the face to the given space."

NEWSLETTER TEAM

"The best thing is when people come and join us from the streets." (Top)D.Tagnos gestural graffiti,(L)Dtagno’s Signature,(Far Left) Hendrik answers questions,(Above)a public bus by Shilo, (R)Peter at work,(Below Right)A bus by Ria Rajan,(Below Left)Bus art by Van Laak.

PETER STROHMANN HENNDRIK ECB BEIKIRCH SHILO SHIV SULEMAN GEORGE MATHEN

FEATURING "In Germany, I prefer to call myself a vandal. Here - I'm just an artist."

6th cross Malleswaram

"The interesting part of traveling is taking inspiration from the spot you're painting in."

Snapshots of work for Urban Avantgarde,on the streets of malleswaram and public buses in Bangalore,India.

Artistic dialogue between India and Germany

INTRODUCTION From 11th to 26th February, the streets of Malleswaram - and some other venues in Bangalore are hosting Urban Avant-Garde, a project that locates art practice in public spaces. Walking down the mains and crosses of Malleswaram one can chance upon an abstract spiral across the boundary wall of the playground, a two-storeyed portrait on the side of a rundown house or graffiti signatures on brick and cement surfaces. These, and a series of performances, workshops and lectures together form an artistic dialogue that is very much urban, local and contemporary.

“the people who spray the buses - they’re hidden artists.”

“People are squares but it's ok to be a colourful square.”

SHILO SHIV SULEMAN

PETER STROHMANN Advanced Vandal

Illustrator

Spray painting coloured squares across a marbled wall off the dusty Malleswaram railway platform, Peter Strohmann, a key figure in contemporary graffiti - prefers to call himself a vandal when he's in Germany. In India, he's simply an artist. How has your approach changed over the years? In the beginning - you're in the game. Have to do more, do better do bigger do faster than the others. Now I don't care about the others anymore. It's my own game. How is it different in India? Over here is really different. People are friendly. It is easy to be a vandal in Germany, not everyone is friendly. Here... I can't destroy. People are friends. Do you prefer to be a vandal or an artist? I prefer to be free.

Shilo Shiv Suleman, 'illustrator, animator and visual artist,' feels that street art is most special as a community activity. She talks about her experiences painting on the streets of Bangalore, as she spray paints passengers across the side of a KSRTC bus. What is the best part of being a street artist? I don't really care about getting my work out there - my work is already out there - doesn't matter what it looks like in the end. The most special thing is when people come and join us from the streets. Is it easy for people to walk up and join you? You realize how afraid people are of actually painting a wall. It's a good thing for people to say - we'll just paint the wall red and see.

GEORGE MATHEN

Drummer/ Graphic novelist

HENDRIK ECB BEIKIRCH Artist

“It's still about the laughter, the soul you put into it.” 'Who is it?' A passerby asks Hendrik, known for his large monochromatic portraits, as he's standing in front of the two-storeyed face he's painting on a wall off Sampige Road, a rundown wall seemingly steeped in history. 'No one in particular,' he says. What do you feel about art meant for a public space? It's different from work in a white cube setup. People will look at your art from a short distance. In a public space passers by will see only large scale work. You have to use a different language. You have only a few seconds to convey your art to a passer by.

“Graffiti - if it didn’t evolve it needn’t evolve” George Mathen, 'artist by day and drummer by night,' feels that graffiti has directly entered the commercial world in India as a "young, adventurous, edgy" look, without first passing through any illicit expressive phase on the Indian streets. The lack of literature in graffiti here - is that a loss? Nobody knows about the graffiti scene in India there is no scene. Why is the voice not there? We face this in many issues here. Our public is very preoccupied with earning a living. But graffiti is about subliminal messages and speaking out...?

EVENTS 21 February 2012 | Tuesday | 3.30pm – 5pm ATTITUDES OF ACTING OUT – public workshop Venue : C.K.P. 23 February 2012 | Thursday | 6:30pm – 8pm CONTEMPORARY GRAFFITI, MURALISM AND PUBLIC ART – lecture Venue: National Gallery of Modern Art 24 Feb 2012 | Friday | 6pm – 8pm “BANG BANG” – PERFORMANCE GRAFFITI – Samir Akika's urban dance experience & panel discussion Venue: Attakalari Studios (Wilson Garden) 25 February 2012 | Saturday | 10am – 6pm URBAN AVANTGARDE ON THE STREETS OF MALLESWARAM – all day events in combination with Malleswaram Mela. See yourmap.in/m-moves25 Venue: On the Streets of Malleswaram 5.30pm WORKING AT THE WALLS – final workshop happening Venue: 18th Cross Bus Depot 6pm BUS STAND BANG BANG – Samir Akika's live energetic urban dance experience on the streets of Malleswaram Venue: BTMC Malleswaram Bus Stand 26 February 2012 | Sunday 11am-1pm GRAFFITI OUTSIDE IN – film screening Venue: National Gallery of Modern Art Http://urbanavantgarde.wordpress.com Urban Avantgarde is presented by Jaaga Creative Common Ground, curators Robert Kaltenhäuser and Lene ter Haar in cooperation with the Goethe-Institut/Max Mueller Bhavan Bangalore under the banner of Germany and India 2011- 2012: Infinite Opportunities, Attakkalari and collaborating with the renowned choreographer Samir Akika (Unusual Symptoms).

It's always a kind of vandalism, which is why it's so cool with big brands now. It's become a cult.

6th CROSS

SAMPIGE ROAD

Do your experiences differ, painting in different countries?

MARGOSA ROAD

Yes - but mainly it's because of streets - street life is street life. Streets are the same. The interesting part of traveling is taking inspiration from the spot you're painting in. Taking the surfaces as big as they come.

9th CROSS RAILWAY STATION

PLAYGROUND

CROSS 5th

What happens when an idea like graffiti is introduced, in its German avatar, into the context of the Indian street? What dialogues occur between these art practices and the street culture of India, already packed with colour, form and crowds, with languages and subcultures of its own?

Urban Avantgarde is presented by Jaaga, curators Robert Kaltenhäuser and Lene ter Haar in cooperation with the Goethe-Institut/Max Mueller Bhavan Bangalore under the banner of Germany and India 2011- 2012: Infinite Opportunities, Attakkalari and collaborating with the renowned choreographer Samir Akika (Unusual Symptoms).

PARTNERS

This newsletter features interviews with the artists Peter Strohmann, Hendrik Beikirch, Shilo Shiv Suleman and George Mathen.

ECB Hendrik Beikirch CULTURAL PARTNERS Jaaga | Goethe-Institut/Max Mueller Bhavan Germany and India 2011-2012: Infinite Opportunities| Zinnober | NGMA – National Gallery of Modern Art | DreamCities CityDreams | Unusual Symptoms | Attakalari | Peak Publishing | Publikat GOVT. PARTNERS Directorate of Urban Land Transport | Bangalore Metropolitan Transport Corp. | Bruhat Bengaluru Mahanagarike Palike | Bangalore Development Authorities | South West Railways PARTNERING EDUCATIONAL INSTITUTIONS Bangalore University I C.K.P. I Srishti VENUE PARTNERS Counter Culture | M.E.W.S, Malleswaram SOUND & MUSIC ORGANISERS Abhijeet Tambe | Dr. Indira Chowdhary | Geetha & Gopal Navale PUBLIC WALL PAINTING ORGANISERS/CURATORS Robert Kaltenhaeuser | Gabor Doleviczenyi | Lene ter Haar | Archana Prasad | Praveen Basaviah VISUAL ARTS WORKSHOPS & PRESENTATION ORGANISERS Suresh Kumar G LOOK OUT WORKSHOPS & PRESENTATIONS Lene ter Haar I Suresh Kumar G

Urban avant garde

ARTISTS

CREDITS

by the Urban avant garde team. A 1000 copies of this were printed and handed out the newsletter. up with content, photographs, design and form of Rajasee, Aman and I worked collaboratively to come a newsletter for them.

IN 11th MA

NE AY LI RAILW

effort by German and Indian artists - and produced the urban avant garde project - a collaborative As a part of this project, we worked with curators of URBAN AVANT GARDE

INTERSECTIONS WITH GALLERY PRACTICES

INTERSECTIONS WITH GALLERY PRACTICES SRISHTI GALLERY As a culmination of all our research, interaction and interviews with galleries, artists and curators we decided to hold a show that showcased a proposal for the srishti gallery.

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INTERSECTIONS WITH GALLERY PRACTICES GALLERY NEWSLETTER Rajasee, Madhurya, Maja and I working together created the galleryâ&#x20AC;&#x2122;s first newsletter, talking about the show and details from the proposal for the gallery. The visual language was taken from the show itself and the post-its that were a feature of almost all the exhibits .

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INTERSECTIONS WITH GALLERY PRACTICES THE GALLERY BOOK As our final project Rajasee, Madhurya and I made the Gallery book. This book is a compilation of everything weâ&#x20AC;&#x2122;ve learnt and discussed in this project. Consequently it covers display, art, markets, galleries and exhibitions. It gave us a sense of closure (to the course) to be able to put all the learning and documentation down into a coherent format for future reference.

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INTERSECTIONS WITH GALLERY PRACTICES The Gallery book - comprises of 5 sections each bound as an individual book. Shown here are spreads from the books.

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ART TO MANY (ATOM) The Art To Many project was a very different experience. Creating toys with locally available waste material was great fun. The other part of it - which was teaching the children at the village schools in villupuram district was entirely something else!

BRACELET

A simple object that can be made by various age-groups to engage in an interactive play, that explores & uses the body to make sound. You can use this as an ice-breaker excerise while you prepare for the next exercise. This engages the kids & letâ&#x20AC;&#x2122;s them discover the system of beats & sounds that they can make through the simple use of their bodies.

MOBILE

Using larger plastic bottles to create hanging mobiles that could even be made into windchimes. An activity for 10+ age group involving basic techniques of measuring & making geometric shapes. It also enables kids to choose via form & colour their mobile parts. Each child builds it in their own distinctive & individual way such that no two mobiles look the same. You will need :Bell

You will need :-

The prepping of the materials ad organising the children into groups and getting them all to

Washer

Nut

Flower

Puncher

Plastic Rings (1.5l bottle) Blade Nut

Bells

Washer

Button Sun Dial

Elastic Thread

Thread

individually make their own toys was an

Scissor

enormous task made light by their infective excitement and enthusiasm. Shown here are extracts from the step-by-step guidebook we made for teachers untrained in art to refer to when teaching a class how to make the

SPLICE

A tactile toy made by using a recylced plastic bottle cut into a spiral to create a loop bounce. A cheap easy-to-make play object for kids of all ages.

FLUTE

A simple form of an exercise for younger ages. Using plastic straws to create a whistle. This quick to make object is a hit with all kids once theyâ&#x20AC;&#x2122;ve figured out how to use it.

You will need :You will need :-

toys we came up with.

Plastic bottle (500ml)

Washer

Plastic Straw

Button Bell

Puncher

Thread

Blade Scissor

Scissor

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

ART TO MANY (ATOM) We then made a toolkit for the teachers to carry the art material to class in, this was based on the

teachers toolkit

requirements of the projects that all three grups in class taught the children. the student bag we created was bright and fun, and had compartments for the children to slide their supplies into.

student bag

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PAPER STRUCTURE As The final project for this course Rajasee, Ragini and I created a prop for a play - a bed that would transform into a cocoon and allow the actor to escape unseen. We used techniques from the book binding course (the bed opens like a book) and folding techniques from the paper structure course. Shown here is a stop motion video of ragini demonstrating how the prop is used.

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PAPER STRUCTURE - BOOK BINDING I make books all the time now. Being very interested in print design this course was a good starting point, it took me making books for longer after the course to realise its potential and apply it to printed matter. It also helped me understand paper choice and thickness (gsm) which has helped greatly in printed projects.

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HAWA BAN HARDE The brief was to package and thereby position Hawa Ban Harde a laxative tablet available in regional markets in the mainstream urban market. One day when Lord Indra was drinking nectar in heaven, a drop fell to the earth & grew into the harde plant, much sought after by the powerful kingdoms of yore for its tremendous healing powers. Hawaban harde brings you this divine remedy in a bottle.

My solution was to sell itâ&#x20AC;&#x2122;s mythological roots with contemporary typography and visual language adding a layer of play with the interactive label. I tried various illustration styles and placements. Adding and removing elements to create

CONTAINS: HARDE, AMCHUR, SALT, BLACK SALT, AMLA, BLACK PEPPER, SAUTH, PIPPAL, SAJJICHAR, SANKH BHASMA, AJWAIN, DHANIYA.

visual balance and make it easy to follow once it

TREATS: GAS, STOMACH ACHES, LOSS OF APPETITE, HEART BURN & IMPROVES BOWEL MOVEMENT.

peel off !

was on the bottle.

DOSAGE: TWO PILLS OR AS PRESCRIBED BY YOUR PHYSICIAN

AYURVEDIC MEDICINE 100g M.R.P: 38 RS.

MANUFACTURER: HAWABAN HARDE DEPOT. 26, LAXMIBAI NAGAR, FORT INDUSTRIAL ESTATE, INDORE :452 006 MADHYA PRADESH (MP), INDIA CONSUMER CARE NUMBER : 0761-2419011V

a remedy from the heavens.

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HAWA BAN HARDE Photographs of the finished pack. The top label was laser cut to create a window to the illustration beneath.

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HUGGIES This slip in card and how to use illustration for Huggies was done at my internship with DY Works, Bombay. My proficiency with the software came in handy while creating the illustration (my first proper vector illustration). The challenge with these illustrations were that they were also going to be printed on the huggies pack itself which is plastic and thereby printing was restricted to pure CMYK values

HUGGIES

Get rewarded for choosing the superior diaper for your baby. Get Loyalty points with every purchase. Redeem points for a range of Huggies Baby Goodies*.

Baby Goodies

and the one pantone blue used otherwise. It was a good to learn the process of simplifying the baby down to the minimum line and yet make it look realistic, as the size of the illustration on pack was rather small and too much detail would get lost.

HUGGIES

Get rewarded for choosing the superior diaper for your baby. Get Loyalty points with every purchase. Redeem points for a range of Huggies Baby Goodies*.

Baby Goodies

learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY

GRASSROUTES Grassroutes is an organisation that takes people on holidays to rural Indian villages. I worked on this project while interning at DY Works, Bombay. I however, did not stay to see the

An Identity for Grassroutes

The grass routes firefly

completion of the project. Shown here is the identity I created using the firefly as the symbol of grassroutes - as one of their star attractions was the firefly nesting season and

grass routes

fireflies are not common in cities.

ad ro

Grass routes

ps tri

e hang al c oci s for

Grass routes

grass routes represented as the wandering firefly, that light up the village sky in the evenings. it is also an almost magical creature, that isnt seen too often in the cities, thereby delivering a promise of things to be experienced in the villages of rural india.

Grass routes

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GRASSROUTES Since they dealt with rural India - I transalated that to come up with the concept of â&#x20AC;&#x2DC;barefoot in Indiaâ&#x20AC;&#x2122; and created a logo of a foot print with the indian subcontinent in the negative space. To create this logo I used a technique called the morphological matrix that I learn of at the agency.

grassroutes

The Foot - grass routes learning milestones Explorations & experimentation process & product interconnections technology labs & projects reAL WORLD INTERFACE SOCIAL RESPONSIBILITY grassroutes

grassroutes

URUMI This identity was created for Nikita Shyam, for her online/retail brand Urumi, selling mostly (tamil) kistch products. Urumi refers to the urumi melam or drum, which she wanted visually represented in the logo to avoid confusion with the similar sounding word for whip in malayalam. Having done the typography and letterform course helped in acheiveing the final look of the logo.

logo

urumi

packaging

label for clothes.

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SHAKTI NATURALS Shakti naturals is a grassroots company working with essential oils and fragrances. This logo is inspired by the jasmine bud (jasmne being a prominent essential oil) with an ‘S’ highlighted within the flower for the company’s name.

logo in use on the website

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ILLUSTRATION I accidentally happened upon illustration, These two shown here titled mary arrives and many poppins are a result of the illustrations I did for my motion graphics assignment to make an animation.

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ILLUSTRATION These illustrations are a result of a class by Matt lee on using the same illustration to create an entirely new (and humorous) picture. The bottom two show srishti faculty Manasee Jog and Kruti Saraiya.

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ILLUSTRATION These illustrations are from a cookbook for Oh! Calcutta, that I am working on for Random House India.

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DIMENSIONAL MATRIX

1. repertoire of art and design skills and techniques. 2. art and design processes as iterative and evolving 3. context â&#x20AC;&#x201C; the physical, social, economic and cultural 4. culturally diverse resources and approaches in a coherent and integral manner. 5. art and design is sites of ethical, social and civic responsibility and activity. 6. digital and other technologies are integral 7. reading and research are integral 8. analysis, problem-solving and reflection are integral 9. variety of development needs and social goals. 10. inter-disciplinary and trans-disciplinary approaches are possible

DIMENSIONAL MATRIX

1 GALLERY PRACTICES HAWA BAN HARDE TYPOGRAPHY PSHM BUSINESS DESIGN VISUAL CULTURE INTERACTION DESIGN ATOM INTERNSHIP GRAD IDENTITY

Aa Aa Aa TO BE DISCERNING.

REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY

TO BE PATIENT.

REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY

IS TO DESIGN.

REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY - ALAGU CHOCKALINGAM - REFLECTIVE VISUAL ESSAY - REFLECTIVE VISUAL ESSAY