Osho World Newsletter — Design Process Document

DIPLOMA PROJECT Redesigning a Spiritual Magazine: Osho World Sponsor : Guerrilla

Volume : 1 of 2 STUDENT : AKASH RAJ HALANKAR PROGRAMME : Post-Graduate Diploma Programme

GUIDE : TARUN DEEP GIRDHER

2013 COMMUNICATION DESIGN FACULTY (GRAPHIC DESIGN)

National Institute of Design Ahmedabad

The Evaluation Jury recommends AKASH RAJ HALANKAR for the Diploma of the National Institute of Design IN COMMUNICATION DESIGN (GRAPHIC DESIGN)

herewith, for the project titled "REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD" on fulfilling the further requirements by

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

*

In the memory of,

Laxman Navre 1969 — 2013

William Arthur Ward

Be.

AKASH RAJ HALANKAR

Copyright ©2012 — 2013 Student document publication, meant for private circulation only.

All rights reserved .

Post Graduate Diploma Programme in Design, Graphic Design , 2010 - 2013 National Institute of Design, Ahmedabad, India.

No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopy, xerography and videography recording, without written permission from the publisher, Akash Raj Halankar and National Institute of Design.

All photographs in this document are Copyright © 2012 — 2013 by respective people and organizations.

Edited and Designed by NAME

: Akash Raj Halankar

EMAIL

: akashhalankar@gmail.com akashhalankar@ yahoo.com akash_h@nid.edu

WEBSITE

: www.akashhalankar.com

Printed in Ahmedabad, India August 2013

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REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

P R E FA C E

As part of the NID curriculum, all final year students are required to undertake a diploma project which is a full scale design project in the industry. The diploma project is expected to be of four to six months in duration. It provides a platform for an independent and a complete client project wherein the student is expected to generate a professional design assignment with application and implementation capabilities.

The project exposes the student to a real life situation of working in the industry and function under the constraints and limitations of an organization. It involves understanding the strength and infrastructure of the organization, their design sensibilities and providing an appropriate solution within the practical parameters of constraint, time, economic viability and innovation.

A student undertaking the diploma project imbibes a real life experience to gain understanding of the role of a designer, which in practice is not only restricted to just design; but also includes time management, communication skills, efficient handling of practical constraints and pitching one’s design idea to concerned people in the organization.

The Diploma project is an excellent platform to help students realize their strengths and weaknesses before entering the professional world of design.

‘Guerrilla’, a design studio based in New Delhi, sponsored my diploma project which extended for a period of 7 months from February to August 2013.

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AKASH RAJ HALANKAR

All of us sitting over here certainly know that we exist.

But, we do not know how we exist. Within the confines of Earth concepts and language, to exist presupposes birth, that we have been born. And if we have been born we’re certainly going to die. Life offers no guarantees except one— that we will die. Whether or not something happens, one thing is for sure- that we will die. And yet this is the very thing we run away from. The very thing all of us avoid looking at. Why are we so afraid of death?

We know that if I cut off my non-vital parts I would stay alive.

And cutting off the vital parts doesn’t mean that I cease to exist. We just proved it by fundamentally stating that since I was alive even before I had this body it is safe to assume that just because this body is not there I would still be alive. It just means that my body is not animated anymore. The body has ceased to function, the plug has been pulled out. Not that I have ceased to exist. So how do I exist without the body? And what is that all of us are plugged into? But we’ll come to that.

To say, “I am going to die” requires a basic, fundamental understanding of who I am, while I am living. Tomorrow I will die but while I am living, do I know who is living? Who is breathing?

Who is thinking? I say, “l am angry.” I say, “I am happy.” I say, “I am sad.” Who is saying this? Who says “I like this”, “I don’t like this”? Am I all of these feelings? Or none of them?

Doesn’t it stand to reason that if my feelings keep changing, how can I define myself through them? If something that could change so fast could define me, then if my body had to be changeable, then how would I know who I am? Forget about defining, I would not be able to recognize myself.

If I had to die what does it mean exactly? If I die with my eyes open, just a second before I could see through my eyes, a second later there is no sight being registered. My eyes are open yet nothing is being seen. My ears are still where they were, yet nothing is being heard. My heart, my lungs, my hands, my legs- they are all there, yet nothing moves. So what exactly happened? Did something leave?

Did someone or something pull the plug? Was there a plug?

Can I say that I am my awareness that was registering all my experiences of life, all the mechanisms of my organs?

But then I lose awareness when I sleep. Yet in my sleep I exist. And in my sleep I do not know that I exist. So it again stands to reason that my awareness is not me.

Right now all of us have a single body that doesn’t keep changing like our emotions every few moments and that is how we recognize ourselves. So am I the body? But what if I had to cut off my legs? And then my hands? Would I still be me? You would say, “Yes”. Because even though some parts of the body are not there, yet I am alive. And then if I had to go on and cut every part of my body— would I still be me?

One can argue that I would cease to live. But am I an “I” only if I am living in a body? Do I cease to exist if I am not in a body? But then “I” was created as a single master cell before this body developed. And that single cell went on to become this body. So am I the body? And if I was alive even before I entered the womb then obviously I am not just this body.

Isn’t it obvious? Then—WHO AM I?

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And what about my thoughts, my mind? The mind, the so-called foundation of all that civilization is. All the knowledge that we posses, all the achievements that we, as a civilization, have achieved. Thoughts change faster than feelings and the body.

Most would say that I am the MIND. But what is the mind?

Is it not just memory? Is it not just acquired information floating around? And how did we acquire it in the first place? Without memory being a reference point? But since that is not the point of this presentation, we will not go down that lane right now.

All of us at birth did not have an iota of the information that we posses today. The so called knowledge parading as understanding. And if it is knowledge— it is only acquired information— not one that comes from the source of the being, in which we are all plugged in together. Most of us believe that we are our achievements or failures, a result of our knowledge, whatever its limitations maybe.

Similarly, because my emotions keep changing and there is a constant “l” feeling those emotions, it stands to reason that I am not my emotions. I do not need to elaborate anymore here because the logic that I used for the body is applicable here as well. So if I am not my body and if I am not my emotions— WHO AM I?

I hope I am able to make sense. See— the simple logic is that if something keeps changing and I am able to recognize it only because of memory— what would happen if I had to lose my memory? Would I then be able to get up every morning and still recognize that I am me? Because that’s just memory. And memory is only the stored photocopy of all the thoughts that I have ever thought. All the feelings that I have ever felt. And all the actions that I have ever done. And memory is also lost at times and yet the person still exists. So then, again— WHO AM I?

If you notice closely it is the appearance of the body that has actually changed and not the emotions. Because anger was anger 5 million year ago & even 5 minutes ago. And the cells that formed the body have remained the same.

So, fundamentally, even the body has not changed. But the appearance of the body has changed. So, WHO AM I?

I understand that this doesn’t seem like normal talk. So, let’s come back to the normal world for a few moments, where if someone had to ask me, “Who are you?” I would say, “I am a man/woman. I’m Me.” “ME, who?”— is what I would ask myself, if somebody else hadn’t asked that first. And then to answer this question I would reply, “I am ABC (Name) XXZ (Surname)

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

or whatever my name is.” As if my name or gender explains everything. Does my gender define me? Does it then mean that men don’t feel or think or act? But since men and women do the same things internally and it’s just that their bodies are different, it again stands to reason that my gender does not define me. And since there is a surname after my name, then I have to rely on my ancestors to define who I am. Those who do not exist anymore. How can the dead define the living ... when even the living cannot define the living? Or then I could say, “I am Me— the one who works at so—and—so company.” But then, I may not be here tomorrow and will that still define me? I may have been to the best schools, I may be an expert in my field and I may have a degree and various accolades to define me. If I give up that work or am unable to for some reason carry on with that specific activity, will I lose my identity? Does that define me? So what do I say?

That I am so—and—so’s sister/brother? So-and-so’s wife/ husband? Do my relationships define me? And these don’t because they are all changeable and impermanent.

Also, if I had to lose my memory, I will not be able to remember any of these. So then, WHO AM I? Am I the soul? But then I start thinking about the soul when someone dies. I never think about it in relation to my soul whilst I am alive. Have you ever noticed that in any of the civilizations, past and present, around the world there are no rituals paying homage to a soul that is in a body that moves. While it is in a body we don’t pay any respect to it. We don’t ask for its guidance, for its advice. But the moment someone dies, we conjure up so many ceremonies around it. Why? Is the same soul not worthy of respect when it resides in a body that moves? And if we question its existence after it leaves, then WHO AM I while I am alive?

The GITA explains that Bheeshma Pitahmah is the EGO- the “I”, who at the later stage of the war was defeated by Arjun.

The Gita goes onto explain that it is Arjun who is the symbol of awareness in us guided by the Lord, Shri Krishna. Only Arjun, with Krishna guiding him and aided by Shikhandi, can defeat Bheeshma. Shikhandi who is the original symbol of the Ying & Yang, male and female fused into one. And then Bheeshma chooses to die and Arjun lives on. So, does it not stand to reason that the awareness which is within a living entity is also part of the I, but both of them do NOT make up the I. As we proved earlier with the sleep analogy. The Gita refers to the Lord Shri Krishna as perpetual, self-generating energy, alive in a human form. Is He the “I” that I am looking for?

Are Bheeshma, Arjun, Karan, Yudhishtir, Draupadi, Duryodhan all part of the “I” that I am talking about? Could these be my ego, my awareness, my truth, my creative energy, my anger, respectively. Are these characters from a story or are they my reality now? The reality that I am experiencing right now. But then these characters supposedly lived 5000 years ago. So am I living right now? Or am I experiencing reality from 5000 years ago? Or 5 zillion years ago? We know that light travels at approximately 1,86,000 miles per second and the Sun’s light reaches us approximately 8 minutes after it has left the Sun. So are we experiencing reality 8 minutes late?

And that is just the Sun’s light. Overall, light and images from all the stars take light years to reach us. Are we living here and now? Really? The reality that I experience right now is actually of the past. So how do I define myself in the present? What is the present? So, then Who am I? So, even time & space cannot define me. The space that exists between you & me now, where, if both you & I had to start dissecting our bodies going deep down from the skin to the next layer, to the muscles, to the bones, to the cells, to the atoms within the cells to the very nucleus of our system, it stands to reason that in the end we will come to empty space within us and

between us. So, if you are an empty space and I am an empty space & there’s empty space between us— then pray tell me who am I— if not you? And even if we cannot answer this question— the fact is, we exist. So then, where are we plugged in? How do we exist? Where do we get our power from? It stands to reason that wherever that we derive our power from, that source must be generating its OWN power. Is this the Lord that all the religions of the world refer to.

Are you and I, both and all of us, this same Lord, taking varied shapes and myriad forms? Is it the same I playing through all of us? Is that why Ancient India called it The Ram Leela? Leela meaning a play? God’s play?

The same Lord Krishna, the same Allah, the same Jesus, the same Guru, the same God? Forgetting all the concepts of Planet Earth, including the Gita and the entire teachings of Jesus and St. John, it would still be illogical to assume that, if we are plugged into something- that something would be plugged into something else- because that would just go on to infinitum. So, is this self-generating thing the original “I”? In which all identities, definitions, bodies, thoughts, feelings, movements, places, things, all matter & so—called anti—matter, all living & so called dead things rise & dissolve in periodic cycles. Just the way we breathe in and breathe out and even that’s a periodic cycle. Which must come to an end, so “Who am I, really?”

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ACKNOWLEDGEMENTS

I would like to thank Hanif Kureshi, for all his guidance, contribution and support. He taught me things that I would have never learnt elsewhere.

Thanks to Swami Atul Anand, Ma Prem Naina, Prem Sakshi and all the people at Osho World Foundation who work tirelessly to spread their master’s vision.

A special thanks to my guide Tarun Deep Girdher, who has been like a guiding light not only in this project, but in my life itself.

I extend my gratitude towards Lalita chettiyar, for all the uncredited behind the scene work.

My sincere thanks to M.P. Printers and their cooperation throughout the project.

I am grateful to Rutva, Akshat, Romit, Sukanya, Denny, Avinash, Erato, Karan and Deepak for making the office a place I can always call home.

I would also like to thank Sandeep Aryan who tirelessly worked with me on tedious deadlines.

My sincere thanks to Mira and Yorick for all the motivation and encouraging me to push my limits.

Thank you Anuj, Vikas and Rakesh for all the love, food and parties.

My journey at NID would not be fulfilling without the constant motivation and feedback from Abhisek, Abhishek, Anish, Arushi, Deeksha, Dhwani, Divyangana, Gargee, Haninder, Isha, Jasleen, Jyoti, Kanak, Khyati, Kopal, Krishna, Lalith, Maria, Matthew, Mihir, Mrinalini, Naveen, Nimisha, Ninaad, Parashar, Poshika, Pragun, Prashant, Raghuvir, Rahul, Rohit, Sanchit, Sandeep, Siddharth, Siddhartha, Sudeepti, Sujata, Vallery, Vanessa, Varun and all my friends and batch mates at NID who inspired me in work and life equally.

Thank you Sunil, Swaroopa and Siddhant Nanodkar for all their support and making me a part of their family.

My sincere thanks to Deepak Dhingra, Rayomand Patell and Avinash Gharde who opened the world of Osho to me.

I am grateful to Sarang Kulkarni to instigate the love of typography in me and make me letter conscious.

Thank you Soumyadip, Akshan, Nikunj, Mihir, Palash, Ganesh, Praveen for all the aquarium sessions and trying to discover our own path to enlightenment.

Lastly, Thank you to my dear family, Dadu, Mumma, Didi and Sanjana for always being there when I needed them the most.

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05 PREFACE 08 ACKNOWLEDGMENTS

CONTENTS Volume 1 of 2

SECTION ONE : INTRODUCTION

SECTION TWO : RESEARCH

14 15 16 18 19 20 21

24 32 44 45

SYNOPSIS WHY THIS PROJECT? NID SPONSOR CLIENT BRIEF TIME LINE

DESIGN AUDIT MAGAZINE DESIGN CASE STUDIES PLANNING

SECTION THREE : DESIGN 48 66 77 78 94

MAST HEAD GRID FLATPLAN TYPOGRAPHY COVER

SECTION FOUR: PRODUCTION 100 VISUAL LANGUAGE 108 PAPER 110 STYLESHEET 132 PRODUCTION & PRINT 134 FINAL PRODUCT

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144 REFLECTIONS 146 REFERENCES

Volume 2 of 2 Osho World — July 2013

SECTION

ONE

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INTRODUCTION

AKASH RAJ HALANKAR

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SYNOPSIS Osho was an Indian Mystic, a guru and a spiritual teacher, who became famous for his cathartic meditation techniques and talks, delivered to people around the world between 1970 to 1990.

Osho World Newsletter is a compilation of these discourses that guide the reader through the questions of life, by making them aware and help them explore their own being. This newsletter is published in Hindi and in English with a distribution of 40,000 copies per month.

The brief was to redesign the magazine to reflect Osho’s charisma and his conscious approach towards life, as the previous design did not truly reflect the essence of the content.

At Guerrilla, a design firm at Hauz Khas village, New Delhi, we worked on the visual language and content to take it to the next level. This design is an attempt to explore the same silence of his talks and create a mental experience for the reader.

Conscious use of hierarchy in typography and new ways of accessing online content by the help of QR codes was introduced in the magazine.

This magazine is an attempt to break away from the stereotype of a spiritual magazine in India.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

WHY THIS PROJECT?

I was introduced to Osho discourses and Literature, when I was working on my Final year communication design campaign in my under-graduation on ‘Osho International Meditation Resort’. My journey through his words, exposed me to his ideologies and his approach towards life and made me question my own being. I continue reading his discourses even today as spiritual literature always excites me.

While working on my final classroom project at NID, I was on a lookout for anything interesting that I could work on as a Diploma project. It took me a long time to decide on the kind of project I would do, since it would determine what I would be working on for the next six months. All the projects offered were either user–interface design or research based projects, which I was not too keen on, as I wanted to explore more in print production and explore typography as a subject extensively.

I was introduced to Hanif Kureshi, when he had come to give a talk on Typography Day 2011 at NID. Later when I met Hanif Kureshi for my classroom

project in Delhi, I discussed the guidelines of the NID diploma project and he offered me projects in User interface design for a website and Publication design for a magazine in his new upcoming firm HKHQ (later name Guerrilla). When he mentioned Osho world Newsletter, I was suddenly taken down the memory lane. I immediately though of taking it up, since the subject would be challenging and I could explore endless possibilities as the content would be metaphorical. Also, this project demanded intensive typographical explorations, since the content was also to be designed in devanagri.

I had never worked on a full fledged publication design project before which had such short timelines and budget constraints. This was an opportunity to explore an unconventional style of magazine design, visual metaphors and expressing the silences of Osho’s words. This project offered me ample opportunities to be a part of structuring the content, planning a magazine design, expressing simplicity through minimalistic typography and the adrenaline rush of working on short deadlines.

Osho International Meditation Resort Final Year Communication Design Campaign at Sir J. J. Institute of Applied Art, 2009–2010

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REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

NID 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 is recognised by the Dept. of Scientific & Industrial Research (DSIR) under Ministry of Science & Technology, Government of India, as a scientific and industrial design research organisation.

NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make Designed in India, Made for the World a reality. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.

(Excerpt from www.nid.edu) (Image Courtesy: NID archives)

PG campus Gandhinagar is currently an extension campus of the parent institute, National Institute of Design in Ahmedabad, is situated in the city of Gandhinagar, in Gujarat. As part of expansion plan, National Institute of Design (NID) has started building a new postgraduate campus at Gandhinagar, the capital of Gujarat State.

NID’s R&D Campus at Bangalore was set up as a joint initiative of and funding from the Department of Industrial Policy and Promotion (DIPP), Ministry of Commerce and Industry and the Ministry of Information Technology, Government of India and was inaugurated in March 2006. R&D Campus commenced two research intensive PG Programmes namely Design for Retail Experience and Design for Digital Experience, from the academic year 2007- 2008.

BEING A STUDENT OF THE POST GRADUATE DIPLOMA IN DESIGN, I EXPERIENCED THAT A LOT OF LEARNING HAPPENS BY SELF MOTIVATION, GREAT INSPIRATION AND CONSTANTLY STRIVING HARD TO ACHIEVE THE BEST. IT IS THIS ENERGY IN THE ENVIRONMENT, TRANSFERRED TO US

BY VARIOUS MEANS THAT ACTS AS THE HARBINGER OF EXCELLENCE.

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GUERRILLA THE SPONSOR

Guerrilla is an independent design studio based in New Delhi, headed by Hanif Kureshi, a graduate from M.S.U. Baroda and a former Sr. Creative at W+K Delhi.

Guerrilla handles projects at all levels and sizes and is well known for typography based projects. Guerrilla is also a part of the Hand-painted type project.

The studio is based in Hauz Khas village with a splendid view of the lake. The studio space is shared by Quicksand and Now Delhi, two very noted titles in the Delhi underground art scene. The studio is frequently visited by a mix of musicians, chefs, lawyers and artists who collaborate in art and sound projects.

Having completed my classroom project on Handpainted type – Gujarati, I approached Hanif for a project, where he offered me a diploma internship in his upcoming firm (HKHQ) now named as Guerrilla.

THE TEAM (left to right) Akash Raj Halankar– Art Director Hanif Kureshi– Design Director Sandeep Aryan– Design Intern

(Image courtesy : Akshat Nauriyal)

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

OSHO WORLD THE CLIENT

Osho World Foundation is based in Malviya Nagar, New Delhi, which contributes in spreading Osho’s meditation techniques and vision, mainly throughout North India.

It was formed by late Swami Om Prakash Saraswati who was sent by Osho to set up a meditation centre in New Delhi. Osho Dham, a meditation commune on the outskirts of New Delhi is a part of this organisation, which has the capacity to accommodate 150 disciples, who can take part in 3 day or 3 weeks meditation camps and groups.

Now succeeded by Swami Atul Anand, the foundation publishes OSHO WORLD NEWSLETTER, where he holds the position of Executive Editor of the English issue. The Osho world newsletter team consists of Ma Prem Naina, our main contact and the content coordinator and Swami Chaitanya Keerti as the Editor.

(Image courtesy : www.oshoworld.com)

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BRIEF Osho World Newsletter talks about Osho’s unique philosophy of accepting life’s challenges, while getting yourself tuned with life’s pace, by following active meditation techniques. His discourses talk about ‘Being yourself rather than being someone else’ and that realizing this, would help one face the fears of life while on a path to rediscover themselves.

GRAPHIC DESIGN DIPLOMA

Project Proposal akash raj halankar | pgdpg graphic design 2010 | national institute of design +91 98190 00170 | akashhalankar@gmail.com | S1001104

title

Redesigning of ‘Osho world’ magazine (Editorial Design) in English and Hindi versions.

background / context

Osho World Magazine talks about Osho’s unique philosophy of accepting life’s challenges, while getting yourself tuned with life’s pace, by following active meditation techniques. His discourses talk about “Being yourself rather than being someone else” and that realizing this, would help one face the fears of life while on a path to rediscover themselves.

Osho World Magazines are dedicated to Osho, his life, his discourses, meditation techniques devised by him, news about sannyasins, information of meditation camps, editorial, articles related to Osho’s work.

This magazine is a monthly magazine, having a circulation of 40,000 copies. The redesigned editorial is expected to be released in July.

target audience

» Followers of Osho » People who are interested in spirtuality and meditation

methodology

» Understanding the scenario, the product details and exploring the dimensions of the publication » Researching similar type of existing publication and analysing the competition » Analysing the content and structure of the publication » Visual Design explorations about the typography, visual language & the grid » Finalizing the style sheet templates » Resolving the Hindi version of the magazine » Recontextualizing the magazine to reassure its current user base of its quality and content and simultaneously revamping the overall feel of the magazine to make it more contemprory to attract a wider audience. » Documentation

akash raj halankar // pgdpg (graphic design)

2010

// national institute of design

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Osho World Newsletters are dedicated to Osho, his life, his discourses, meditation techniques devised by him, news about sannayasins and information of meditation camps in that month.

This Newsletter is published in English and also in Hindi, which gives it a considerably wide target audience. This newsletter is published monthly, having a circulation of 40,000 copies.

The Osho world organisation, approached Guerrilla with the sole purpose of revamping the magazine.

The magazine design had been outdated and was in a dire need of a new visual identity. The previous magazine looked cluttered and disorganised which did not reflect anything about Osho. The magazine had an overall visual bombardment of mediocre type selections, uninteresting visuals and looked visually like any other spiritual

magazine on the news stand. This failed to do justice to Osho’s persona and character.

The new magazine was to be launched during the month of July, during Gurupurnima, the auspicious day for Osho followers. This magazine would set the tone for the future issues and make the magazine more user friendly.

REDESIGN OSHO WORLD NEWSLETTER IN ENGLISH AND IN HINDI, TO BE LAUNCHED FROM THE MONTH OF JULY 2013.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

TIME LINE

PHASE ONE

26

19

12

05

AUG

29

22

15

08

01

JUL

24

17

10

03

JUN

27

20

13

06

MAY

29

22

15

08

01

APR

25

18

11

04

MAR

25

18

FEB

THE ACTUAL AND THE PROPOSED

Research + Analysis + Size explorations + Paper Selection + Mast Head

21 PHASE TWO

Masthead (hindi) + Type selection + Grid + Content + Layout Explorations

PHASE THREE

Page format + Structure + Page numbers + Visual language

PHASE FOUR

Content Analysis + Design + Execution

DOCUMENTATION

Actual Timeline

Proposed timeline

Intensity of work (hrs) 10

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SECTION

TWO

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A N A LY S I S

AKASH RAJ HALANKAR

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DESIGN AUDIT The first step in research was to do a design audit of the existing publication in detail, which helped in analysing the current structure of the magazine— typography, colours and layout, and the flow of content.

Since Osho World is a content—emphasised publication, it was very important to understand the content. This helped in structuring the content and penning down a visual style.

Every issue since January 2011 was analysed in detail.

The content of the English newsletter is different from Hindi newsletter, since the target audience is different. But even so, they follow a similar structure.

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COVER STORY / अामुख

कथा

The main theme of the month is featured in this section. The Visual Language of the newsletter is inspired from the cover story.

The designer uses specific elements from the theme which highlights the chapter in the book.

Often full–page images of Osho are used. The

typographic treatment of the blurb is flexible and usually changes according to the article.

There is a definite 3–column layout to fit as much text as possible. Due to this, the visuals dont get much importance. The background of

each page has an image or a printable texture, representing the cover story. The body text is set in a serif font at 11 pt and the Headline typeface changes according to the content.

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ं ु LEAD STORY / मुख्य िबद The Lead story comprises of an exclusive topic for each issue. There can be more than one topic if need be. The content is an extract of Osho discourses, sometimes even having a question, answered by Osho.

A three column grid is used in this section, to best fit the text. The fonts used in the headline vary according to the designer's discretion. The blurbs range from being one column to two columns. Like the cover story, this section is also set in 11pt with a

serif typeface. These articles do not follow any order and might come in between other sections too.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

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BEYOND BREAKING NEWS /

िवशेष अाकषर्ण

This section is carefully chosen by the editor-in-chief.

This section focuses more on day–to–day topics and recent events. They follow a similar format to the lead story.

Having a three–column grid, this section is heavily content–based too, although in some cases, images and people are given more importance. Visually, the "beyond breaking news" section, looks the same like the lead story or the cover story.

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MYSTIC OF THE MONTH / रहस्यदशीर् सदगु ् रु Mystic of the Month are Osho talks on prominent people who have made their mark in history by their ideologies in the fields of spirituality, philosophy, religion, humanitarian services, science and so on.

This section is limited to one person per issue having atleast one image of the mystic that Osho is talking about in this section. This section too has a three column grid, with a tinted image in the background.

This is a recent section introduced in the newsletter and is named Rare Beings from the upcoming July 2013 issue.

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CONTENTS The contents page of the magazine has random pull–out images, set in a template. The images do not have any page number information. The credits are placed on this spread, along with a small feature of the previous month's issue.

The first letter of each section in the English version has a different typographic treatment. The page numbers are highlighted and given prominence.

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COLUMNS / िनयिमत

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स्तं भ

This section comprises of 5 subsections.

The subsections are common in all the newsletters.

Book of Secrets : An extract from the book of secrets, explaining the benefits of meditation. A product shot of the book is always used at the starting of the chapter, followed by a blurb.

Tarot Card Reading : This section is written by Ma Ritambara, who writes detailed analysis for each star sign. The dates, lucky numbers and colours are also stated in an abrupt manner.

Osho Meditation Camps : All the meditation camps, important events, book launches, gatherings, etc. are listed in this section. The section does not follow any specific classification and the information is listed according to the dates.

Laughing Buddha (Jokes) : This is a bonus feature of every issue, where 4 to 6 jokes are featured. These jokes are a part of Osho discourses. This section is always on the last page. Low quality graphics of smiley and joyous visuals are used in this section.

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After going through each and every issue since the past year, we noticed patterns in the content.

The content is set in different tones. This meant that there was a possibility of using multiple grids while designing the newsletter. If the tone of the content would be expressed in design, then the content would have more meaning.

There were 5 notable tones in the newsletter: Articles as questions A question asked to OSHO and the answer would be an extract from one of his discourses.

The question would be asked right after the headline of the article. This tone was seen more in cover story and lead story.

Discourse extract A topic would be introduced, followed by an extract from an OSHO discourse. The topic might be very literal or even metaphorical. This tone was seen more in lead story and beyond breaking news.

Articles by followers Articles written on the life of OSHO or experiences with OSHO by his followers (Sannayasins).

Extras This are the Articles printed under the Columns section, they include extracts from the BOOK OF SECRETS or HIDDEN MYSTERIES. Advertisements Advertisements are placed as breathers in the publication. Every newsletter has around 6 advertisements of which the inside and the back cover definitely have advertisements. These advertisements are either of OSHO DHAM or of specific Osho meditation programs. In the last few months, advertisements of real-estate and meditation devices have also been included.

Apart from this, the magazine has blurbs in each article and also the online information about the discourse. The people at Osho world foundation are constantly trying to get more online traffic through this information.

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MAGAZINE DESIGN

Magazines are among the most scrutinized of media. According to “Mr. Magazine,” Dr. Samir Husni, whose annual Samir Husni’s Guide to New Consumer Magazines tracks the rise and fall of start up titles, 864 magazines started up in 1999, and nearly 50 percent of those failed by the end of that year. The ones who make it, have a hard row to hoe—they face an uphill battle with advertisers, constant demand for image alterations to meet a still-undefined audience, and muttered criticism from the trade and mainstream press.

Many magazine designers realize they need to harness the winds of change and bring them down to a more practical level. Mainstream audiences, no matter how smart or open-minded still expected and appreciated underlying order to their chaos. They desired magazines that spoke to them, not above them.

Ultimately, successful designers turned back to an easy set of guidelines that have long been a loose standard for magazine publishing, a mantra

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

preached to students in journalism graphics programs. They are the four F’s of magazine design. t '03."5 Design choices that span every issue and define a magazine’s overall look and feel determine the format. These include the logo, cover lines, size of the magazine, department headers, and folios. t '03.6-" The formula sums the magazine’s approach to editorial content. Feature type and length, departments in the front and back of the book, photographic style, and illustrations, all contribute to the formula. t '3".& The frame is the standard for outer page margins and gutters. Some magazines use the same margin width through the magazine; others vary the width, using tall top margins for features to set them apart. The rule for using margins establishes consistency from issue to issue. t '6/$5*0/ The function is, quite simply, what a magazine is trying to achieve and the message it’s trying to send. A magazine like

Real Simple, an elegant primer on how to live life elegantly, has a completely different function than Entertainment weekly, which jolts readers with its head–spinning, ever–changing news about the entertainment industry.

The four Fs establish an overall look and feel for the magazine. But here's where the magazine designer faces the true test. Every story in every issue must live up to the brand. Design’s role is equal to that of editorial content in communicating the voice, mood, and concept of each article. At the same time, it must reinforce the identity of the magazine as a whole.

The only way designers can balance these overwhelming tasks successfully is by understanding the magazine’s purpose of being. Function, inarguably, is the most important of the four F’s, The factor that drives the rest of the F decisions.

It is the creed to which designers must refer everyday for decisions as small as font choice and as large as cover or department design.

Paying close attention to function helps designers steer their creative impulses away from ars gratis artis toward a calculated, purposeful technique that communicates a given message to receptive audiences.

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CASE STUDIES

TIMES AUGUST 2008

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04)0 5*.&4 The OSHOTIMES is a monthly magazine, inspired by the Indian mystic Osho.

In contrast to the usual journalism based on sensation and catastrophes, the OSHOTIMES has chosen another direction–towards more liveliness and enjoyment.

Misunderstanding Relating

Questions Lovers Ask Wellness

Breath: The Natural Way to Start OSHO International Foundation

The subject matters are mostly meditation, creativity, individual paths and new forms of communal life.

The choicest and central part of the magazine are comprehensive excerpts from Osho’s discourses.

This magazine is published by the Osho Multimedia & Resorts Pvt Ltd.

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PERIODICITY : Monthly

CONTENT STRUCTURE : Cover Story, Regular columns

LANGUAGE : ENGLISH PRICE : Rs. 30

CONTENT TREATMENT FRONT COVER : Blown–up image relating to the issue’s theme.

SIZE (H X W) : 20cm x 26cm : Horizontal mast head with type hierarchy in the mast head where ‘OSHO’ is highlighted. Content is force–justified to the columns and pull–outs are highlighted separately in stark colours. Interviews have commentaries added on the opening spreads. Articles are mainly Osho discourses and the content revolves around his teachings and philosophies.

MAST HEAD

PAGES : 88+ ADS : 10–12 including subscription BINDING : Center-stapled

IMAGE TREATMENT : All images are taken at Osho international meditation resort in Pune, Koregaon park. Each image is well photographed with importance given to simple compsitions with balanced colours. Some images are photographed within a full studio setup, based on the content.

Imagery depicting nature's serenity and bliss is played across the content. Some pages highlight Osho. None of Osho's images are from his youth, except during certain articles of his past. Images are placed according to the grid with no overlaps. There is a stark white space between the images and the text through out the magazine.

GRID : 4 column grid with wide gutters

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:&4 04)0 Yes Osho magazine is an English and Hindi monthly magazine, it contains insights on contemporary issues– simple meditation techniques for everyday life, health and lifestyle tips for complete wellness and News of Osho meditation events across India.

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PERIODICITY : Monthly LANGUAGE : ENGLISH AND HINDI

CONTENT TREATMENT FRONT COVER : Mandatory image of Osho on the Hindi masthead. Relevant images from the features are used as cover images.

PRICE : Rs. 65 English / Rs. 30 Hindi BACK COVER

: Full page advertisements.

SIZE (H X W) : 20cm x 26cm PAGES : 88+ ADS : In house advertisements of meditation camps across Delhi and other attractions.

BINDING : center-stapled

IMAGE TREATMENT : Some metaphorical and some literal representation of the text. Images are often colour corrected for drama. Additional graphics also used. Low resolution images are also used in certain issues.

GRID : 3 and 4 column

CONTENT : Articles are extracts from Osho discourses. Some articles are written by sannyasins on Osho and their experiences with the master.

The visual language of the book depends on the feature story.

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After analysing the Osho publications, it was also necessary to analyse other notable magazines to get a broader perspective.

The overall mood of the magazine needs to be studied to understand how the magazine is targeted to the audience, both content wise and visually.

After going through Indian spiritual magazines, it was also considered to look up design and lifestyle magazines, in order to understand their narrative and the pace of the content. An analysis of the visual style, image treatment, content treatment was done, to further understand the take of a designer towards a full fledged publication.

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Magazines like Life Positive and Akhand jyoti were considered as they too have a niche audience, with low production costs and mass scale distribution.

On the other hand, magazines like Motherland, Slanted, Readers Digest were considered for their overall design and content structure.

It is very important to look at other types of magazines so as not to have a mental block while designing. This makes the design diversify, thus enhancing the outcome of the project.

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AKHAND JYOTI Akhand Jyoti is All World Gayatri Pariwar’s principal magazine since 1934 in India & abroad. It is the source of spreading the divine light of Pandit Shriram Sharma Acharya’s (Gurudev’s) thoughts. Akhand Jyoti is a single colour magazine, with minimal visuals and importance given to the content.

It is a monthly released publication and apart from English, it is published in more than 7 languages.

FREQUENCY — Monthly SIZE — 7.75”x 10.75” PRICE — Rs. 15 BINDING — Perfect binding PAPER — Newsprint NO. OF PAGES — Approx. 50

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MOTHERLAND Published by Wieden+Kennedy Delhi, Motherland is the first Indian magazine to discard stereotypical ‘general interest’ issues and instead provide an in-depth perspective on trends, issues and ideas emanating from contemporary Indian subculture.

Each issue follows a unique theme around which editorial and visual content is organized. The magazine was first released to be a small format magazine which is now restructured to be large format, following the same visual language.

FREQUENCY — Bi Monthly SIZE — 9”x 14” PRICE — Rs. 100 BINDING — Perfect binding PAPER — Art matte NO. OF PAGES — Approx. 130

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INSIDE OUTSIDE lNSIDE OUTSIDE is India’s first, and foremost monthly magazine on interior design and architecture. Over the years, the magazine has grown to be the Bible for the community of Indian architects and the professional interior designer. Columns and features on art, craft, new products, furniture, textiles and accessories are available, along with reviews on books, exhibitions & seminars and a kaleidoscope of trends, provides valuable information on what’s going on in the design field and marketplace.

FREQUENCY — Monthly SIZE — 8”x 10.5” PRICE — Rs. 50 BINDING — Section binding PAPER — Newsprint (glossy) NO. OF PAGES — Approx. 200

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OUTLOOK Outlook started in 1995 as an independent weekly general interest English News magazine. It features contents from politics, sports, cinema, and stories of broad interests. Also published in Hindi, this magazine has very loud typography with intense visuals and articles. The magazine has an authoritarian look.

FREQUENCY — Weekly SIZE — 7.75”x 10.75” PRICE — Rs. 15 BINDING — Centre pinned PAPER — Imported NO. OF PAGES — Approx. 74

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READER’S DIGEST Reader’s Digest has been the world’s biggestselling magazine for nearly nine decades. It is also India’s largest-selling magazine in English.

Beneath the fun and excitement of its pages, the Digest is, above all else, a serious magazine that never loses sight of the fact that, each day, all of us confront a tough, challenging world.

It is also published in Braille, digital, audio, and a version in large type called Reader’s Digest Large Print. The magazine is compact, with its pages roughly half the size of most American magazines'.

FREQUENCY — Weekly SIZE — 5.5”x 7.5” PRICE — Rs. 15 BINDING — Perfect binding PAPER — Imported NO. OF PAGES — Approx. 200

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Image review, changes and general tonal changes in the magazine

NO

DESIGN FIRM

EDITOR

CONTENT

EDITOR

CORDINATOR

IN CHIEF

NO

NO Revision of Text, Body copy and general alteration of content to sync with the design

Feedback, major changes, Review of alterations in the magazine

PRINTER

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PLANNING

Magazine design requires thorough planning and trusted teamwork. The team starts content generation 3 months prior to the release date.

The theme of the magazine (cover story) is decided first and the editors start gathering content. The advertisements and the regular features are the last to come, which is only a week before printing.

It is expected that the time duration taken to design the magazine is a dedicated 20 days before it goes for production. The Hindi issue is expected to be released a day before the English, since it has more readership. So, it is mandatory that the two issues be designed simultaneously. This helps maintain the overall visual language of both the issues, thus creating a harmony in the design.

There are many rounds before which the design is sent for production. The first stage is seeing that the content fits the 86 page mark (10 pages are consciously left for advertisements, excess content and possible page breakers). The text is placed in the file allowing boxes to be placed, indicating possible images, graphics or simple typography play. Then each article is isolated and designed according to the number of pages it requires. The first draft is sent to the editor-in-chief, who in turn checks the pace and language of the magazine.

After undergoing the changes, the design then goes for proof checking and colour correction.

After a final round of presentation to the chief, the newsletter is sent to the printer for pre-press.

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SECTION

THREE DESIGN

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MAST HEAD Magazines are basically consumer goods, and like any consumer goods, they are brands and like any other brand, they need a logo– a magazine mast head. A mast head’s role is to be recognizable. In the sea of magazines on the news stands, the logo should stand out.

When designing a mast head, several things should be taken into concideration. The mast head should capture the publications character, attitude, it should fit the intended readership. It should be also be versatile, so that it can be used in other occasions, like marketing materials.

Although the mast head, if not readable, should be recognizable, and that’s why it should be different in type from the rest of the cover.

The content and style of the magazine should be considered as its acts as guide because when the masthead harmonizes with the overall visual language, it makes it more recognizable and memorable.

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OSHO WORLD NEWSLETTER The Osho World Newsletter has a horizontal mast head, where ‘OSHO’ is emphasized. Typefaces are combined to create contrast. The mast heads of both English and Hindi versions do not follow the same visual language. While the English typeface is more structured, the Devanagari typeface seems organic. Also, the Devanagri version is bolder and gaudier than the English version.

There are many typefaces used in the mast head with variations and their colour is set according to the design. The English mast head is set in serif and geometrical sans-serif, where as the Hindi has a more script based approach.

EXISTING MAST HEAD

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YES OSHO The Yes Osho magazine also emphasises OSHO in its mast head. Bold type usage and contrast is maintained in the same type family. The Hindi version has a picture of Osho placed next to the text, which changes in each issue.

The colour of the mast head also changes according to the design decisions of the issue.

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TIMES AUGUST 2008

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OSHO TIMES OSHO TIMES has a very elegant mast head.

This magazine also has emphasis on OSHO and has a very clear typographical hierarchy. There is minimal content on the masthead which radiates clear free space. The masthead is set in a geometrical sans serif, which sets the tone for the magazine.

MOTHERLAND Motherland’s masthead has an elegant script type.

The colour of the mast head changes according to the design requirements. The globe at the end of the type makes this design unique and gives the mast head a distinct identity. This masthead compliments the bold visual language used in the magazine .

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Reader’s Digest The mast head in Reader's is often overlapped by the main cover visual, only to reveal a part of the mast head. The mast head still retains its readability and legibility. A small special feature unit also accompanies the mast head sometimes.

Foam Foam is an international photography magazine published quarterly around a unique theme.

The letter-form ‘a’ is cleverly cut, to give the mast head and the type a distinct identity. The interesting thing about this mast head is that it is towards the left and is placed in a variable form along with the rest of the necessary text of the cover. Being a photography magazine, major emphasis is given on the cover image.

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MINDMAPPING Mind-mapping and brainstorming are essential elements when it comes to designing. It is necessary to pen down keywords to discover a design direction.

After reading blogs, articles, books and hearing Osho’s discourses, a rigorous mind mapping exercise was carried out, to pull out key words.

These keywords would help in researching the visual language that would be needed to design the publication and at the same time, establish a character that would be needed for the magazine. The design direction of the magazine would be based on these keywords.

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E X P L O R AT I O N S OPTION ONE A sound from within traverses far, but echoes, reminding one of one’s actions. These actions are a reverberation of one’s soul and metamorphose from being a whole to being a trace.

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The logo designed (in both the scripts) gives one’s soul a form. Osho cathartic meditations involve extreme expressions, from dancing in rapid movements to just sitting and rejoicing. It is also based on the Tao philosophy of Yin and Yang, wherein the two are opposites on a continuum of energy or matter, but need to be balanced to maintain the equipoise of nature. ‘From a whole to a trace’.

KEYWORDS Bold, Spiritual, Psychedelic, Yin Yang, Zen

2

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OPTION TWO You. You are a tiny being in the universe, but your actions change the cosmos. A dot too, changes into lines and shapes and transforms the space.

The logo imitates the dots and shapes that fill and change the empty circular space. Emphasis on ‘O’ (the dot) is maintained in this exploration and a clear negative space is etched in the letter-forms with the help of lines, to give them character.

The outer circular form is placed to define a space without dimensions. ‘Actions transform spaces’.

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KEYWORDS 4 Space, Simple, Form, Negative space

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OPTION THREE When the mind is stimulated, the body acts, when the spirit is inspired, the ‘being’ matters. Osho cathartic meditations are based on experiencing music, art and the environment and when such triggers stimulate one’s spirit, one is content with one’s being.

This logo is a visually stimulating approach, where the type encompasses the optical illusion. This is an attempt to make the readers feel one with their souls as the optical illusion takes one into a journey that kindles the spirit of being. ‘Stimulate significance of being’.

7 KEYWORDS Psychedelic, Bold, Illusion

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OPTION FOUR We grow. We grow all throughout our being.

But do we grow till we traverse on the riveted path? Growth ensues as soon as we drift away, into the unknown. When we move on to the divergent, we discover the reason for our being.

This logo is developed with this principle of growth. The vertical negative space (line) within the three letters render the riveted path one follows and the solid forms around it signify life set around it. One of the letters has a diagonal negative space (line) that illustrates the path that is unknown. ‘Growing on the divergent’.

KEYWORDS Basic Shapes, Growth, Spaces, Diverse

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OPTION FOUR Within us there is a center. Meditation brings out that what surrounds the center.

It brings out various dimensions from within us with a strong pivot, liberating us.

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This logo developed through this approach is based on the psychedelic concept of optical impressions.

The typeface is simplified using basic shapes that signify a simple being. Gradients in the letterforms aid the expression of the center within us, the liveliness of meditation techniques, and the mysticism of the content. ‘Dimensions of the being’.

KEYWORDS Optical illusion, Infinity, Basic Shapes

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OPTION FIVE Be. The sense of being arises from what is around us. The space. Unless there is space around us our existence is imperceptible. The Osho cathartic meditation defines our being in actuality. We are a solid form in the ‘enormous empty expanse’.

WORLD

The logo was developed using a simplistic approach. The letters are simple forms with spaces within and around them. The clean strokes of the font mark a clear area and hence aids in soothing the viewer visually. The layout of the text is such that the horizontal stroke divides the expanse in two, making it easier for any modifications to either part. The logo is simple, pure and aesthetically balances the space. ‘Be’.

KEYWORDS Elegant, Balance, Clear, Simple

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OPTION SIX The Osho Meditation techniques succour a being from the state of incertitude to a state of pure serene emptiness. It helps you to usher your uncertainties and transforms your inner self.

This option for the logo focuses on the stages at which this meditation is practiced. The mood in which this meditation takes place is expressed in this approach, from utter confusion to the serenity of emptiness. This is a very expressive approach and has the possibility of being expressed with special printing processes. ‘Serenity of emptiness’.

KEYWORDS Philosophy, Meditation, Feeling, Essence

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OPTION SEVEN The soul moves. Every expression from within moves the soul and releases it like a vibration. The quivering in turn moves the being in a placid elegant motion.

The logo enhances the motion of the being. The lines move in a graceful pattern and enhance the vibrations released during the Osho meditation.

The entire composition plays with the varying intensity of vibrations. ‘Soulful vibrations’.

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KEYWORDS Bold, Dynamic, Resonance, Vibration

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FINAL MAST HEAD To ensure maximum impact, it is very important that the mast head gets its due importance.

Most of the magazines on a regular magazine stand are horizontal and are accompanied by heavy text. There is hardly any breathing space.

This approach, being vertical, ensures the space that is much needed in a magazine.

The word OSHO has a very peculiar character. The two ‘O’s bind the word making it seem symmetrical.

The spacing between the letter-forms creates a visual flow, that captures the attention of the audience.

This masthead when placed on a white background enhances the design, makes it visually calm & serene.

SET IN GILLSANS 10 PT SMALL CAPS, THIS IS TO BE OMITTED IN THE FUTURE SET IN GILL SANS 10PT

SET IN GILL SANS 10PT

COVER IMAGE FOR THE ISSUE

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The devnagari alteration is adapted from the English version. This creates a harmony in the two versions, which was not seen earlier. The letterforms were derived from gill sans and conscious spacing was given between them, to ensure the visual flow as seen in he English version.

SET IN ADOBE DEVANAGARI 10PT

SET IN GILL SANS 10PT

COVER IMAGE FOR THE ISSUE

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DHAM

R A J YO G A M E D I TAT I O N CENTRE

ONLINE

GALLERIA

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The main idea behind choosing this identity was its versatility in its application on the sister concern ventures like Osho Dham, Osho Rajyoga meditation centre, Osho online and Osho Galleria, keeping the visual language same.

Osho remains constant in all of the brands and only the bottom part of the logo unit changes.

This creates a strong visual language for the entire brand. It was proposed to change the entire branding of the Osho World Foundation in the later phase of the project, to further establish a brand image in the market.

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COLOUR The colour plays a very important part in establishing the visual identity of a design.

The idea behind black for the masthead was to further highlight the contrast created by the interaction of black and white in the letterforms.

An exception was made for the July issue, since Osho followers celebrate Gurupurnima which falls in the month of July. A special gold color was introduced for this issue, gold being the representation of Osho amongst his followers. Also, one more colour was required to create visual hierarchy. Since this was a Gurupurnima issue, it was important to establish the Master—Disciple relationship. As gold symbolizes Osho, the master, maroon is regarded as the colour of the sannyasins. Maroon robes are meant to be used by Osho followers during meditation and interaction within any Osho organization.

WORLD

C 0 M 0 Y 0 K 100

WORLD

C M Y K

34 29 45 11

C M Y K

65

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GRID

A grid is a series of intersecting lines that divide the page vertically and horizontally. Its purpose is to provide a consistent modular framework to each page. It ensures a degree of visual continuity for the reader and in helping the designer decide where to place the things, it simplifies the design process.

In a magazine where easy reading is of paramount importance, column widths are chosen to achieve an optimum word count per line — conventionally considered to be between 8 to 10 words — and partly to utilize the space in an economically efficient and visually coherent way. The line length affects the way in which we read. A narrow measure is generally associated with newspapers, where short texts are often read at greater speeds. For longer, continuous texts, a wider measure is easier on the eye, as demonstrated in design of books or journals.

Once a grid is established, the columns of text and images can vary in width or length, taking up multiple grid units, as long as they stay within the confines of the unit borders. This allows the designer to be flexible while maintaining order.

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E X P L O R AT I O N S

D DROP ROP ALL EFFORTS TO STILL IT AND JUST REMAIN PASSIVE LOOKING AT WHATEVER IS GOING ON

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You have said a lot lately about inner silence and emptiness. After two years as your disciple, much of the time, particularly during the meditations during the ashram, my mind seems more than ever to be out of control and working like a computer gone mad. I try to be a witnessto the whole absurdity, but the monster goes on and on!

T

he nation commodic tem aria ex et pra quamus autempos vitatus veristiur aut fugitisci cor aut aut qui iducipsamus endit odiscit, torepud icatiam ipsandit eturem es andam ut rem. Niatio qui omniet unt, qui omnim quunt rerum res amusandem et, imagnim initento quo inis volori rerchitia consequo estibus, voluptae es enit erspient litecus res quo omnimol uptate peliatur aut utem il inum si comnia dollitia ea sit ommoditatem comnis si necus vendeli tatquas dolupta similique quundio ipsam non pratio. Vidusanda nobit eatem laccus ut ant pe conse dolor mo volorecuptis acernam fuga. Iqui cus doluptati ute

natio commodic tem aria ex et pra quamus autempos vitatus veristiur aut fugitisci cor aut aut qui iducipsamus endit odiscit, torepud icatiam ipsandit eturem es andam ut rem. Niatio qui omniet unt, qui omnim quunt rerum res amusandem et, imagnim initento quo inis volori rerchitia consequo estibus, voluptae es enit erspient litecus res quo omnimol uptate peliatur aut utem il inum si comnia dollitia ea sit ommoditatem comnis si necus vendeli tatquas dolupta similique quundio ipsam non pratio. Vidusanda nobit eatem laccus ut ant pe conse dolor mo volorecuptis acernam fuga. Iqui cus doluptati ute omnitibusam, es nest quo inctur rem cum non necume velis que lab ipsant, corecum ulloreicil esequi dita aut eos evero quidiam eos dolesto minvendita as sitium evelessequi net modis eum rem rem idio core idest del ilit voluptaerem quis venim dolestrum faciis et perum

Muridem ad condemurei consupp liistium nes hor haciae a inum in non duconve trionsules orterobse is, quo hocterferei iu sati in prae ortus ad contius verit.Mantisul hocus reor publicavere, que noc, cae consi coena, Catque nonterbit, des vidieni hiculto nitifex senem, quium sulisum iaet; horum fac teatiliquo habem sum etissit, nihilium actus videm constro bsenatudam nuliste denductus videferum sendam diem publia Serestra vid ignos eger aucta, adductum ius aridelustem sentus cure furorte ssimili issidie auce eo, qua inatam dicaestrobse plibeffre, verisse, consuppliam ina, esse, C. Emus ves, mo ingultod fuemulv iverficis hos libenit, or utem molute, nihi, nirmactus, conos porum vemum ad reortuam viverum iae host publicaetrae inatus, queremod dint iaIribus? Opicepero ca quam suli silius? Opienam ia quid revica Si ste Witnessing is not conuntiaedio Cat, an effort. When you se cupioctem sulvis, are inconcer`ned untrae derternicae the witness arises. fachum aut L. Lerum, uterum Be indifferent to the potiam autemne mind; in the climate consuloc, nuntilius of indifference the straven tebera, witness arises. utea consum pero videffrei inum que tere erobsed erfica; horum adhum mordius. O ter audea publibus red peribem in Etrae nosussentem serum uroximu rehemus ius Maes, cur liusa erumum occi tum inequi publium opondam peris.

Ifeconfir quemperor quis, et ausa rem, Ti. Emulius re egituam perfex niae nis retrid interorae tam quon se it, unihiliquam, inam prae autusque peridiis ingulis et vatrimilica re mor hostiume nimacie caterfent? Dec vidio,

OSHO WORLD

| JULY 2013

MYSTIC OF THE MONTH

THINKER

CARL GUSTAV JUNG 窶｢

T

o imitate is to go against yourself. To imitate simply means you are denying yourself and you are imposing somebody else upon you. Love

67 _21 a Christ is one of the most beautiful happenings.

methodology of science prevents it from accepting giving you any character to cultivate. I am simply

story to you. And I am grateful that you are listening to it.

Snap your fingers, Slap your face and Wake up CH.17

acausal.

Read or listen to full discourse on

is one of the greatest contributions of Carl Gustav

It suddenly happened to a scientist. A scientist a

www.oshoworld.com 12

Very minimal type expression is used in this exploration.

The spread is utilised thoroughly with an image placed right in the middle. The body text is wraped according to the image and blurbs. The faint ochre colour compliments the maroon窶電ominated image.

This exploration highlights the mystic of the month. The image is desaturated, since it is not a image of Osho. The title of the article is decorated with an elegant line and a flourish. The drop cap has a marker with a thin diagonal line which highlights the start of the article further. Colour scheme of gold and black is maintained to make the spread royal.

AKASH RAJ HALANKAR

art

FEBRUARY 2013

COMMUNICATING WITH NATURE

vellent volut imperat inctiuntus rempore sus aciaes ab ium fugia cum ut hiliquo di torenim quia dolo et arum eiur solores totatae estis dolorerro molorendi ommoluptatem auditis estibus, ut ma et, que nusam ut eum re, assit, serum et ex el inim quamenimi, estet etur? Liquam, qui simaior as adisciatem fuga.Net, consectur mostestia quasimu sapedion natque pro doluuga.Net, consectur mostestia quasimu sapedion natque pro dolupture laborpo rehenda volorat vella volumenis ipiet porehen iendioriam et aperiassita vella estore qui autatet, incipsapiet volupta sum reius, idi adis nestis ressit verum ex evel ilita porum sequiam, conet eum ea et aperio etur acerum exces ut et id mil estiorenim que volorionet ommo ipsapel igenda dolorempor sum fugiam facepedi inus velene deri utae quosam, nullecat volore, comnis doloremos sapide volupis vendica tinctur, niasim erum experiorit exerae cor —OSHO

Beloved Osho, Ga Neque prem idictor eperfer orest, audion rem quod moluptam digenditatem quia nesto id que post occabor ehenis ma nobisque volene ne ea etusdaerchit la ?

V

xPe natio commodic tem aria ex et pra quamus autempos vitatus veristiur aut fugitisci cor aut aut qui iducipsamus endit odiscit, torepud icatiam ipsandit eturem es andam ut rem. Niatio qui omniet unt, qui omnim quunt rerum res amusandem et, imagnim initento quo inis volori Objective Art is possible only when somebody has attained a higher plane of being; it is created by those who have reached the peak. They can see both the peak and the valley. They can see the height of humanity, the beauty of humanity and the sickness and the ugliness of humanity too.

20

rerchitia consequo estibus, Pa sit doles et laborpo rumquis expero volo in nihil eat.Ihillaudit laborep erferum, sant, arume pedit por apid quibusam quam quis veliqui beaquis nem. At voluptam quas renis dem unt untibus dolorio. Faccume resci blaccus aperiorecto con cum quo ipiduntibus eum sim

quibus autenihitem es conem quiaes verum, solor as sequam num rectios aperia sit dic teniminvenis est, nonet por autNumustem obus, que num con renatisquo moent.

Vivilissi faciemo vest quem ommoeret inum etordit? Bonferf eculem untra, es host vivenam.

Valabes? Cesimilicae tu ia nortemus fina, sertien atorisqua escienterica pote que cenatiorei prox noculut ponvoctus renatiamquit aperferio ve, dest? Go esilis.t aus. Et; hos hostore a quamdit, qua res es Catum etrione niurni sulvilnes vividiente no.

Ad iam. culin ret ortesidem omnem inte tarescrum inatus nique noris, tussit prio, nos catquemorus, quit; ina, dicaetrio, senternMoluptiorepe repraeces eati doluptas diaspictur, qui

OSHO WORLD_ COVER STORY

Bold blurbs, masked text and utilisation of the spread with a blown up image were explored. This was accompanied by coloured blocks to balance the space. This exploration was too bold for OSHO and the elegance in the design was missing.

21

Snap your fingers, Slap your face & Wake up

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

DROP all efforts

TO STILL IT and

*

just remain

PASSIVE

AT

WHATEVER IS GOING ON

33_

You have said a lot lately about inner silence and emptiness. After two years as your disciple, much of the time, particularly during the meditations during the ashram, my mind seems more than ever to be out of control and working like a computer gone mad. I try to be a witnessto the whole absurdity, but the monster goes on and on!

Neque sitatem solorit estor repudam explam, que digenis intus, to et estiis velliquam harcilit et, ne dem nestinvere de nisquo molorem volore nisci quam untiae ne vendi dolorupta consedis doluptatur re mo ist es exped quasin core acesedi sinvent iorrum quo et etur rem eum aut accus volorestotam

_34

Neque sitatem solorit estor repudam explam, que digenis intus, to et estiis velliquam harcilit et, ne dem nestinvere de nisquo molorem volore nisci quam untiae ne vendi dolorupta consedis doluptatur re mo ist es exped quasin core acesedi sinvent iorrum quo et etur rem eum aut accus volorestotam iducitatur? Solumenis dolorep ersperum quibust, veliquia dessit hicit volorem repro invenim autempo rporion sequibus exernata consequasit, il inimiliquia volupta suntus quatist invendemquid explab ipient ma Abusunum alin viverei pese, que Ure hosupiondum iam ta, perfec orebatumttt

CH.17 Read or listen to full discourse on www.oshoworld.com COVER STORY

OSHO WORLD

FEBRUARY 2013

The typography and treatment of text is experimented upon in this exploration. Expressive typography in the headlines sets this exploration apart.

Only one typeface is used to express everything in the magazine, which will create a unique visual style.

Witnessing is not an effort.

When you are inconcerned the witness arises.

Be indifferent to the mind; in the climate of indifference the witness arises. — OSHO

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

COVER STORY

DROP ALL EFFORTS TO STILL IT AND JUST REMAIN PASSIVE LOOKING AT WHATEVER IS GOING ON

You have said a lot lately about inner silence and emptiness. After two years as your disciple, much of the time, particularly during the meditations during the ashram, my mind seems more than ever to be out of control and working like a computer gone mad. I try to be a witnessto the whole absurdity, but the monster goes on and on!

Aligenimpore apere nobisci pissiti ssitiore resto officiusame omnihil id maxim dolorit ut occusdam, tor sim sundiore sam sequam vel id ere, quis essi tem ea quos num nimustion et dolorup taest, nonem et eatio.

Neque sitatem solorit estor repudam explam, que digenis intus, to et estiis velliquam harcilit et, ne dem nestinvere de nisquo molorem volore nisci quam untiae ne vendi dolorupta consedis doluptatur re mo ist es exped quasin core acesedi sinvent iorrum quo et etur rem eum aut accus volorestotam iducitatur? Solumenis dolorep ersperum quibust, veliquia dessit hicit volorem repro invenim autempo rporion sequibus exernata consequasit, il inimiliquia volupta suntus quatist invendemquid explab ipient ma

corupta temodiXimin cus estiur sitium faccae. Tur aut omnis aritatur aut ut plaut alit assimiliquis porehenim incid que nonsed magnat ullandigeni ipictus, od quatureicia volupta turestis am ex etur, quia vendi officius.

Estota pere vero ilitem alisquis et faccuptas as illabore nonsero quibust, que sapicil lendemp orporro et audae as etur? Quistru mquiatem et asit dolupic illaut minciis de ventio.

Ita quias con pori optur adio voluptatiis estemolorem lam untum rem in pernam que volorempores ducillo restius aperiatem cor sitis qui quam sae nati ipsantu sandenimped moluptae perum venis non nest, ipsant reperchit plicae es netur accupienda evelecto tem esent ad et vel illentur sapelenture velitis

quatist invendemquid explab ipient ma corupta temodiXimin cus estiur sitium faccae. Tur aut omnis aritatur aut ut plaut alit assimiliquis porehenim incid que nonsed magnat ullandigeni ipictus, od quatureicia volupta turestis am ex etur, quia vendi officius.

Estota pere vero ilitem alisquis et faccuptas as illabore nonsero quibust, que sapicil lendemp orporro et audae as etur? Quistru mquiatem et asit dolupic illaut minciis de ventio. Ita quias con pori optur adio voluptatiis estemolorem lam untum rem in pernam que volorempores ducillo restius aperiatem cor sitis qui quam sae nati ipsantu sandenimped moluptae perum venis non nest, ipsant reperchit plicae es netur accupienda evelecto tem esent ad et vel illentur sapelenture velitis truntem voluptat.

Snap your fingers, Slap your face and Wake up

35_

tttNeque sitatem solorit estor repudam explam, que digenis intus, to et estiis velliquam harcilit et, ne dem nestinvere de nisquo molorem volore nisci quam untiae ne vendi dolorupta consedis doluptatur re mo ist es exped quasin core acesedi sinvent iorrum quo et etur rem eum aut accus volorestotam iducitatur? Solumenis dolorep ersperum quibust, veliquia dessit hicit volorem repro invenim autempo rporion sequibus exernata consequasit, il inimiliquia volupta suntus quatist invendemquid explab ipient ma Abusunum alin viverei pese, que Ure hosupiondum iam ta, perfec orebatum is bon Italin sidet vatque credo, Catid facta quius, Catum opublius, ut vide egitatimus, norumus re temursu legerfex mandinem, nostra, con re ca vis, quite cupie horae tabefac omne aucteris poenter terfectum omnocch ilinatis.st invendemquid explab ipient ma Abusunum alin viverei pese, que Ure hosupiondum iam ta, perfec orebatum is bon Italin sidet vatque credo, Catid facta quius, Catum opublius, ut vide egitatimus, norumus re temursu legerfex mandinem,

*

Snap your fingers, Slap your face and Wake up CH.17 Listen to the entire discourse on www.oshoworld.com

quibust, veliquia dessit hicit volorem repro invenim autempo rporion sequibus exernata consequasit, il inimiliquia volupta suntus quatist invendemquid explab ipient ma Abusunum alin viverei pese, que suntus quatist invendemquid

Ure hosupiondum iam ta, perfec orebatum is bon Italin sidet vatque credo, Catid facta quius, Catum opublius, ut vide egitatimus, norumus re temursu legerfex mandinem, nostra, con re ca vis, quite cupie horae tabefac omne aucteris poenter terfectum omnocch ilinatis.

CH.17

COVER STORY

In this exploration, sketched images were used to set a visual language to the magazine. Thin lines and bold strokes were used to compliment the sketch. This exploration would be hard to recreate in every issue for articles as the time frame of production is low.

Neque sitatem solorit estor repudam explam, que digenis intus, to et estiis velliquam harcilit et, ne dem nestinvere de nisquo molorem volore nisci quam untiae ne vendi dolorupta consedis doluptatur re mo ist es exped quasin core acesedi sinvent iorrum quo et etur rem eum aut accus volorestotam iducitatur? Solumenis dolorep ersperum

OSHO WORLD

FEBRUARY 2013

Metaphorical but minimalistic visuals were used in this exploration. The visual elements interact with the black and white imagery image to form a whole new meaning.

Importance of white space is expressed in this exploration.

69 _36

AKASH RAJ HALANKAR

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

DESIGN EVOLUTION

OSHO WORLD

| JULY 2013

OSHO WORLD | July 2013

COVER STORY

COVER STORY

IN THE PRESENCE OF THE MASTER

JUST BE E M P T Y

ॐॐॐॐॐ ॐॐॐॐॐ ॐॐॐॐॐ ॐॐॐॐॐ ॐॐॐॐॐ

GRACE OF THE GURU

O

nce upon a time an angel was going back to heaven after

01_

_02

the angel was just entering into

Once upon a time an angel was going

powerful that he could see the foliage

errand for which he had been sent to the earth. It was a dark night, no moon in the skies, not even stars. The earth was enveloped by dark clouds.

But the moment the angel was just entering into those dark clouds, he saw a miracle happening just beneath him. He saw a forest full of light.

He was puzzled. He had been to this part many times, he was wellacquainted with the earth. He had never seen such a thing before. And the light was no ordinary light. It had the quality of bliss, blessing in it.

and the small lake just by the side of the grove. He became intrigued.

He descended back to the earth.

Osho in Pune

Just seeing that light, the angel felt more blissful than he had ever felt before, trot even in the company of the gods, not even in heaven had he seen such a luminous phenomenon. not only that; more surprises were

STAGE ONE

The light was arising out of a small mango grove and was spreading all over the forest. And it was so

STAGE TWO

As he was descending he was surprised even more. There was a soundless sound permeating the whole atmosphere -- the soundless sound that is known in the East as PRANAVA, OMKAR -- as if the whole forest was chanting ‘Om’.

It was such a benediction. And not only that; more surprises were waiting for him. The moment he descended near the grove, he felt a fragrance absolutely unknown, unheard-of, even in heaven. This was nothing earthly. It was not even heavenly. It was beyond.

He entered the grove. He could not there? Another surprise: a man was

7

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

O S H O

COVER STORY

WORLD J U LY 2 0 1 3

Once upon a time an angel was going errand for which he had been sent to the earth. It was a dark night, no IN THE PRESENCE OF THE MASTER JUST BE EMPTY

earth was enveloped by dark clouds.

But the moment the angel was just entering into those dark clouds, he saw a miracle happening just beneath him. He saw a forest full of light.

He was puzzled. He had been to this part many times, he was wellacquainted with the earth. He had never seen such a thing before. And the light was no ordinary light. It had the quality of bliss, blessing in it.

Just seeing that light, the angel felt more blissful than he had ever felt before, trot even in the company of the gods, not even in heaven had he seen such a luminous phenomenon.

and the small lake just by the side of the grove.

He became intrigued.

He descended back to the earth.

As he was descending he was

5

soundless sound permeating the whole atmosphere -- the soundless sound that is known in the East as PRANAVA, OMKAR -- as if the whole forest was chanting ‘Om’.

It was such a benediction. And not only that; more surprises were descended near the grove, he felt a fragrance absolutely unknown, was nothing earthly. It was not even heavenly. It was beyond.

He entered the grove. He could not

mango grove and was spreading all over the forest. And it was so powerful that he could see the foliage

STAGE THREE

there? Another surprise: a man was just sitting there under an ancient

FINAL

AKASH RAJ HALANKAR

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

A prominent margin runs across the magazine which creates a white space. White space is defined by balancing the spread with visual motifs and text blocks.

The baseline grid is a major feature a designer should consider, since it has the power to solely influence the perception of the content. It makes it easy for the designer to structure the content.

The six column grids are used more frequently than the five columns grid, since it accommodates more text. Often the text in the six column grid fits in two columns. The grids are based also according to the content. The cover story is designed on the 5 column grid, where only 4 columns are used for the text. This creates a breathing space around the text, which enables the user to really experience the white space since the cover story is the main theme of the newsletter. The grids are often interchanged according to the content, except in the cover story and lead story section.

Along with understanding the importance of a grid, it is important to keep in mind that the grid, like any other instrument in the design process is not absolute. One should be able to use it with flexibility and when necessary, should modify even if it means completely abandoning it for a more appropriate and efficient solution.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

40 cm

54 pt

54 pt 72 pt

54 pt

54 pt

GRID A NO. OF COLUMNS

5 columns TEXT WIDTH

129.6 pt MARGINS

INNER - 72 pt OUTER - 54 pt TOP - 54 pt BOTTOM - 54 pt

26 cm

BASELINE GRID

14 pt GUTTER

15.5 pt

72 pt

54 pt

54 pt

54 pt

73

AKASH RAJ HALANKAR

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

40 cm

54 pt

54 pt 72 pt

54 pt

54 pt

GRID B NO. OF COLUMNS

6 columns TEXT WIDTH

114.3 pt MARGINS

INNER - 72 pt OUTER - 54 pt TOP - 54 pt BOTTOM - 54 pt

26 cm

BASELINE GRID

14 pt GUTTER

15.5 pt

72 pt

54 pt

54 pt

54 pt

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

40 cm

54 pt

54 pt 72 pt

54 pt

54 pt

GRID C NO. OF COLUMNS

6 columns TEXT WIDTH

114.3 pt MARGINS

INNER - 72 pt OUTER - 54 pt TOP - 54 pt BOTTOM - 54 pt

26 cm

BASELINE GRID

12 pt GUTTER

15.5 pt

72 pt

54 pt

54 pt

54 pt

75

AKASH RAJ HALANKAR

AD

C

FC

COVER STORY

10

COVER STORY

2

13

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LEAD STORY

14

35

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LEAD STORY

31

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RARE BEINGS

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53

201 0 , N I D

COVER STORY

19

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BEYOND

51

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LEAD STORY

RARE BEINGS

39

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AD

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47

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LEAD STORY

27

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–

COVER STORY

COVER STORY

16

LEAD STORY

AD

46

5

COVER STORY

15

PGDPD GRAPHIC DESIGN

COVER STORY

4

LEAD STORY

LEAD STORY

35

3

COVER STORY

LEAD STORY

23

34

1

12

COVER STORY

CONTENT

COVER STORY

11

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COLUMNS

—

45

BEYOND

55

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REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

BEYOND

58

BEYOND

59

60

61

COLUMNS

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BEYOND

62

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BEYOND

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BEYOND

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77 COLUMNS

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FLAT PLAN COLUMNS

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AD

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IB

BC

The Flat plan is a diagram showing each page as a numbered thumbnail. Facing pages are shown in pairs as spreads. It is used to work out and map the running order, content and essential structural and production information of the magazine.

Sections are allotted definite pages and a rough placement is done. This helps in estimating how the magazine would flow. Around ten pages are preconsidered for future advertisement.

AKASH RAJ HALANKAR

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

TYPOGRAPHY

Typography is an essential component of a magazine's visual identity. From eye catching headlines, using bold and distinctive display fonts, to the subtle changes in the tone denoted via the text typography, magazines utilize every type of typographic detail and design.

A magazine's typography is instrumental in evoking the appropriate atmosphere. Typographic decision making is not determined by aesthetic considerations alone. In magazine design, the text has to be legible at small sizes and economic with space, so any text font is chosen as much for its fit as for the personality it gives the text.

Osho World is a high-end, intelligent and a content driven publication, and as such seeks to project an elegant, modern and calm tone; a persona that needs to be reflected in its typographic decisions. Also, since this time, it was decided that the content would be more qualitative then mere quantity, it would be a new leap in their design. The column width, word count, article length, legibility on paper and print quality were the factors considered before taking typographic decisions.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

C O M B I N I N G T Y P E FA C E S Combining typefaces is challenging and fun, but it takes practice. Successful combinations are partly a matter of good taste, which can be tough to develop.

It’s the interplay between fonts that gives them energy. The more distant the moods in a typographic palette, the friskier the design will be. When combining typefaces, there are a couple of important principles one needs to keep in mind, namely contrast and mood. Effectively combining typefaces is a skill best learned through practice, and in some cases trial-and-error.

79

CONTRAST

WEIGHT

STYLE

Contrast is one of the most important concepts to understand when it comes to combining typefaces. Without proper contrast, typefaces tend to clash, creating a random, scattered look to one's design. Contrast is the amount of difference between two typefaces. Typefaces that are too similar tend to clash.

The weight of a typeface plays a huge role in its appearance. We often think of weight in terms of ‘light’, ‘regular’, ‘medium’, ‘bold’, etc.

But different typefaces have varying weights to begin with. Combining typefaces based largely on weight is a fairly straight-forward way of creating typographic contrast.

The style of a typeface has a huge impact on how it’s received. Generally, when working with styles, one is going to be either using regular or italic styles.

AKASH RAJ HALANKAR

—

PGDPD GRAPHIC DESIGN

–

201 0 , N I D

SCALE

CLASSIFICATION

STRUCTURE

The scale of typefaces, or their size relative to one another, is another important factor in combining typefaces. The hierarchy of different elements within the design is greatly influenced by the scale of the typefaces used. As a general rule, the hierarchy should start with H1 heading being the largest, and the meta information or captions should be the smallest. One needs to balance the differences in scale with differences in weight and style, too, so that one doesn’t have too much variation in size between the largest and smallest fonts.

Combining typefaces within the same classification is sometimes possible, but there are some extra considerations. It is important to find typefaces that are different enough that they’re immediately recognizable as different typefaces, while also using typefaces that have similar moods, structures, and other factors that tie them together.

The structure of a typeface plays a huge role in how it works with other typefaces. One either needs to choose typefaces that have very similar structures, or very different structures. Letter-forms that are only a bit similar tend to clash. Typefaces that are very different in other ways can be unified by their similar structures, though the reverse rarely works as well.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

81

COLOUR AND TEXTURE

EXTREME CONTRAST

MOOD

When visual contrast or unity in disparate typefaces is required, the use of color and texture can do wonders. For example, when one needs to add contrast among typefaces that are nearly identical (or within a single type family), changing the color of some elements instantly adds interest. Adding texture has the same effect.

Extreme contrast can be a great option if one is working with display or script typefaces. In these instances, it can be difficult to find typefaces with good contrast that aren’t too dissimilar. So rather than trying to do that, completely different typefaces work well.

The mood of the typefaces is vital to the way they work together. Mood can be anything from formal to casual, fun to serious, modern to classic, or anything in between. This is where a lot of people run into trouble with combining typefaces. Selecting typefaces that not only have similar (or complementary) moods, but also have moods to match the project being designed is crucial.

(Extract from : http://www.noupe.com/design/a-crash-course-in-typography-principles-for-combining-typefaces.html)

AKASH RAJ HALANKAR

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T Y P E FA C E S C O N S I D E R E D

BASKERVILLE // 11pt // 14pt L

WARNOCK // 11pt // 14pt L

JOANNA MT STD // 10pt // 14pt L

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa.

Sed eleifend nonummy diam. Praesent mauris ante, elementum et, bibendum at, posuere sit

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam.

Praesent mauris ante, elementum et, bibendum

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MINION // 12pt // 14.4pt L

WARNOCK // 11pt // 14pt L

MRS EAVES // 12pt // 14.4pt L

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Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et,

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Praesent mauris ante, elementum et, bibendum

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Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et,

ADOBE JENSON PRO // 12pt // 14.4pt L

ADOBE CASLON PRO // 12pt // 14.4pt L

JOANNA MT STD // 10pt // 14pt L

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Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et,

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et, bibendum at, posuere sit amet, nibh. Duis tincidunt

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

P22 JONSTON UNDERGROUND // 11pt // 14pt L

OPTIMA // 11pt // 14pt L

GILL SANS // 11pt // 14pt L

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Praesent mauris ante, elementum et, bibendum

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Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et,

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Praesent mauris ante, elementum et, bibendum

83 AVENIR // 11pt // 14pt L

SCALA SANS // 11pt // 14.4pt L

GOTHAM LIGHT // 10pt // 13pt L

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Praesent mauris ante, elementum et, bibendum

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam.

Praesent mauris ante, elementum et, bibendum

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi.

Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam. Praesent mauris ante, elementum et,

PT SANS // 11pt // 14pt L

AGENDA LIGHT // 11pt // 14pt L

ITC LEGACY SANS // 11pt // 14pt L

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Praesent mauris ante, elementum et, bibendum

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam.

Praesent mauris ante, elementum et, bibendum at,

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Nam cursus. Morbi ut mi. Nullam enim leo, egestas id, condimentum at, laoreet mattis, massa. Sed eleifend nonummy diam.

Praesent mauris ante, elementum et, bibendum

AKASH RAJ HALANKAR

After much consideration and going through our resources, it was concluded that there would be more than two typefaces for OSho world.

The first typeface would be used to highlight Osho’s voice. This typeface should have a very defined character and would be elegant enough to compliment Osho’s voice. This typeface would set a calm peaceful tone and should also be legible on the desired paper without fill ins.

The second typeface would represent all other information in the magazine. From Headlines to captions, this typeface would define the magazine and would compliment the first type face.

The third Typeface would be used for tertiary information. This would only be used for special chapters.

Its said that the creator of typography was a German man named Johanas Gutenberg. Before Gutenberg came along and revolutionized the world of communication, books needed to be scribed by hand by monks, which was very time consuming and expensive. So, Gutenberg invented the first ever typeface called Blackletter, which had thick vertical lines and thin horizontal connectors and is based on the writings of monks. It looked great in writing, but looked very dense when it was printed. So, a new revolution in typography occurred in the 15th century when a French man named Nicolas Jenson came out with the very first Humanist typeface called Jenson.

This typeface was inspired from stone carved letterforms on buildings in 15th century Italy. The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark Gothic scripts like textura, but on the

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lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first Roman types. Humanist typefaces have a sloping cross bar on the lower-case “e”, a relatively small x-height, a low contrast between “thick” and “thin” strokes and dark colour (not a reference to colour in the traditional sense, but the overall lightness or darkness of the page). To get a better impression of a page’s colour look at it through halfclosed eyes.

Osho world uses 3 such humanist type faces: a serif called Adobe Jenson pro, and two sans serifs — Gill Sans and Scala Sans.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

ADOBE JENSON PRO

– LIGHT

ADOBE JENSON PRO

– LIGHT ITALICS

Will Major Douglas be exp ADOBE JENSON PRO

– REGULAR

ADOBE JENSON PRO– ITALIC

ADOBE JENSON PRO

– SEMI BOLD

Cozy sphinx waves quart ADOBE JENSON PRO

– SEMI BOLD ITALIC

Sixty zippers were quickly ADOBE JENSON PRO

– BOLD

Gen. Schwarzkopf ’s job ADOBE JENSON PRO

– BOLD ITALIC

ADOBE JENSON PRO Adobe Jenson is an old style serif typeface drawn for Adobe Systems by type designer Robert Slimbach.

The typeface captures the essence of Nicolas Jenson’s Roman and Ludovico Degli Arrighi’s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface family best suited for Osho’s voice (discourses), which constitutes most part of the magazine. So it was decided to use Adobe Jenson Pro for the Body text, wherever there is a Osho discourse.

(Buy the font from : http://www.adobe.com/)

85

AKASH RAJ HALANKAR

GILL SANS

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– LIGHT

Dumpy Kibitzer jingle as GILL SANS

– LIGHT ITALICS

GILL SANS

– REGULAR

GILL SANS

– ITALIC

GILL SANS

– BOLD

GILL SANS

– BOLD ITALIC

GILL SANS

– BLACK

Forsaking monastic tradi Big July Earthquakes confo John Quincy Adams g Jelly-like above the high fabled reader with

GILL SANS

Gill sans is a typeface designed by Eric Gill for the Monotype Corporation. This typeface follows principles established by Edward Johnston. It was the first sans serif of its kind to be broadly distributed.

The typeface is renowned for its inconsistencies between weights, as they were not mechanically produced from a single design (opposed to others like Helvetica). Gill’s lettering is based on classic Roman proportions, which give the sans-serif a less mechanical feel than its geometric contemporaries.

The typeface was considered for headline use in the magazine and also for the body text of other articles, which were not a part of Osho’s discourses.

A very clear and a direct form of typography was used throughout the publication. The headlines are expressed only in Gill Sans, with size alterations as per the design decision for the issue. In some cases, words are a little more expressive and playful, sticking to the typeface family.

(Buy the font from Linotype http://www.linotype.com/)

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

SCALA SANS

– LIGHT

Was there a quoram of SCALA SANS

– LIGHT ITALICS

My expensive quartz wat SCALA SANS

– REGULAR

Prized waxy jonquils ch SCALA SANS

– ITALIC

My grandfather picks up SCALA SANS

– BOLD

Sixty zippers were quick SCALA SANS

– BOLD ITALIC

The quick brown fox jum

SCALA SANS

Dutch type designer Martin Majoor created this sans serif— Scala sans between 1993 and 2003.

The family has 10 weights, ranging from Light to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text, way finding and signage as well as web and screen design.

(Buy the font from Martin Majoor Type Design http://www.fontshop.com/)

87

AKASH RAJ HALANKAR

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When we considered Devanagari typography, the classification of typefaces according to Latin standards cannot be considered, since Devanagari typography is still developing. During research, I went across numerous websites, type journals and typography blogs, only to find that the Devanagari script is no where at a level of Latin scripts. Most of the typefaces either have an incomplete glyph set or are not aesthetically sound.

After much consideration, we finalized two type faces, Skolar Devanagari and Adobe Devanagari.

Both these typefaces are up-to-date with the latest Unicode set.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

T Y P E FA C E S C O N S I D E R E D

KRUTIDEV010 // 11pt // 14pt L

KRUTIDEV020 // 11pt // 14pt L

KRUTIDEV030 // 11pt // 14pt L

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA 89

KRUTIDEV040 // 12pt // 15pt L

KRUTIDEV050 // 12pt // 15pt L

KRUTIDEV160 // 12pt // 15pt L

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k&&D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

SKOLAR DEVANAGARI // 9.5 pt // 14pt L

KRUTIDEV460 // 9pt // 12pt L

ADOBE DEVANAGARI // 11pt // 14pt L

साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती।

lk/kd gks] rks {k.k Hkj dh nsj ugha yxrhA lk/kd gh u gks] rks izR;fHkKk dk dksbZ mik; ughaA I;klk gks] rks ikuh fey x;k D;k bls fdlh vkSj ls iwNus tkuk iM+sxk\ I;kl gh izR;fHkKk cu tk,xhA daB dh r`fIr gh izek.k gks tk,xhA

साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती।

AKASH RAJ HALANKAR

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SKOLAR DEVANAGARI

Skolar Devanagari is a collaboration between David Brezina and Vaibhav Singh. This typeface was used to express the voice of Osho in the Hindi version similar to Adobe Jenson Pro in the English Newsletter, since it was one of the only few Devanagari fonts which had a well defined character to suit Osho’s voice. Primarily intended as a robust, energetic text typeface, Skolar Devanagari addresses the needs of serious typography. This 4-weight family furnishes the designer with the hallmark versatility of the family in display sizes. Skolar’s elegant curves and profound harmony in the weights, make it a very versatile typeface.

Skolar Devanagari was used at a lower point size than Adobe Jenson Pro for the body text. Where Adobe Jenson Pro was set at 11.5 pt size, Skolar Devanagari was set in 9.5 pt to maintain the grey value formed by the letter-forms.

(Buy the font from Rosetta Type Foundry http://www.rosettatype.com/)

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

ADOVE DEVANAGARI

साधक हो

उपाय तो क्ष्ाण भर की देर नही लगती। साधक ही न हो

साधक ही न हो, तो प्र्ात्यिभज्ञा का

Adobe Devanagari typefaces were commissioned from Tiro Typeworks and collaboratively designed

by Tim Holloway, Fiona Ross and John Hudson, beginning in 2005, and were officially released in 2010. Adobe Devanagari is designed to be highly readable in a range of situations including quite small sizes in spreadsheets and in continuous text setting, as well as at display sizes, where the full character of the typeface reveals itself. This typeface when used in bold, makes a loud assertive impression, best suited for headlines and other stand alone texts.

Adobe Devanagari was the substitute for Gill Sans.

Adobe Devanagari has very interesting negative spaces, which give the typeface a character of its own. This typeface is used as the secondary typeface of the publication.

(Buy the font from Adobe http://www.adobe.com/)

91

AKASH RAJ HALANKAR

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DEVANAGARI TYPING One of the major issues we faced when designing in Devanagari was the issues we faced with the client regarding the character keyboard.

Hindi Keyboard can be of three types: REMINGTON HINDI KEYBOARD : A standard Hindi typing keyboard (Remington keyboard) layout with the Hindi font Devlys and Kruti Dev. Remington Hindi keyboard is used in government typing examination such as Informatics Assistant in Rajasthan, Data Entry Operator NRHM in MP state.

INSCRIPT HINDI KEYBOARD : Inscript keyboard is the new keyboard designed for Indian Language Typing this format supports up to 12 Indian language typing. It’s not a popular keyboard for Hindi typing and also more difficult to learn Hindi typing.

PHONETIC HINDI KEYBOARD : Phonetic based keyboard layout for Hindi typing. Phonetic means “Type as you Speak”, all Hindi transliteration software works on Phonetic Keyboard, If one does not know Hindi Typing then it is best to type with the phonetic keyboard layout.

The typists at Osho world were typing using the Remington style, a standard Hindi typing keyboard layout with the Hindi font Devlys and Kruti Dev. After many mail conversations with David Brezina, the people at Osho world were able to integrate Skolar Devanagri and Adobe Devanagari to this keyboard.

But the problem didn’t stop there. When a text file is imported in InDesign, all the glyphs of the conjunct characters would get replaced by substitutes. This meant that there would be one more gruesome step in correcting the copy of the newsletter again.

This problem was solved, when I stumbled upon an InDesign script called Indic Preferences.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

INDIC PREFERENCES InDesign CS6 has the ability to create documents using indic text. Adobe World-Ready Composer (WRC) provides correct word shaping for many of the non-Western scripts, such as Devanagari. Adobe World-Ready composers in the International English version of InDesign, support several Indian languages including Hindi, Marathi, Gujarati, Tamil, Punjabi, Bengali, Telugu, Oriya, Malayalam, and Kannada.

Adobe World-Ready Composer Enable the Adobe World-Ready Composer through a paragraph style (Paragraph Style >Justification > Composer) or using the Paragraph panel menu.

InDesign CS6 also provides a script that you can InDesign CS6 also provides a script that you can use to set Indic preferences. This script does the

InDesign CS6 also provides a script that one can use to set Indic preferences. This script does the following: t 4FUT "EPCF 8PSME 3FBEZ DPNQPTFS BT UIF default composer. t 4QFDJmFT VTJOH "EPCF 8PSME 3FBEZ $PNQPTFS GPS [No Paragraph Style]. This enables you to import content into InDesign. t 4FUT UIF GPOU MPDLJOH QSFGFSFODFT 5IJT NFBOT UZQJOH in Indic script in a font that doesn’t support Indic will switch to one that does. t *G ZPV USZ UP DIBOHF UFYU UIBU IBT *OEJD UP B GPOU UIBU doesn’t support those glyphs, it brings up a warning. t *O BEEJUJPO JU BMTP DIBOHFT UIF EFGBVMU QBHF TJ[F and snap zone.

93 Set Indic preferences Set Indic preferences to work on indic scripts, and correctly import content into InDesign. t $IPPTF 8JOEPX 6UJMJUJFT 4DSJQUT t %PVCMF DMJDL JOEJD1SFGFSFODFT KT t 0QFO B OFX EPDVNFOU PS SFTUBSU *O%FTJHO To dump indic preferences, simply revert to the default preferences. t 0O 8JOEPXT QSFTT 4IJGU $USM "MU BOE UIFO TUBSU InDesign CS6 t 0O .BD 04 QSFTT 4IJGU $PNNBOE "MU BOE UIFO start InDesign CS6

(Extract from : http://blogs.adobe.com/vikrant/2012/05/ indesign-cs6-indic-support-and-preferences/)

AKASH RAJ HALANKAR

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COVER

Designing a magazine cover has its own challenges.

It is important for a magazine to be consistent in design, not only from one page to another, but also from one edition to the next one. The basic idea is that you have to keep the same layout and styles throughout and this will make the readers come back for more. The cover can be the element of a magazine that takes the most time to design, because it is also the most important one. If the readers don’t like it, they are less likely to buy the edition. In a magazine cover design, factors such as bad colour selection, low or high contrast, issue of space for the titles due to the amount of letters or bad image selection have to be considered.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

I 50

O S H O

W O R L D NEWSLETTER JUlY 2013

newsletter

JULY 2013

I 50

O S H O

O S H O W O R L D

W O R L D JULY 2013 I 50

newsletter

GURUPURNIM A SPECIAL

95

GU RU P U R N I M A S P E C I A L

In this exploration, a full spread image of Osho was used.

The mast head was explored in a different way here, just to see the possibilities. Black predominated the cover, which was quite the opposite in the inner pages.

During this exploration, the July issue cover image was decided.

Since master and disciple was the theme, this picture was finalized as it reflects Osho’s charisma of being an enlightened master. This strong image invokes the persona of Osho.

Gurupurnima Special

White Space was given top priority in this exploration. The layout is structured with definite type heirarchy. Only the theme of the magazine was expressed and not the titles of some articles.

AKASH RAJ HALANKAR

JULY 2013

I 50

O S H O newsletter

W O R L D

Guru Purnima Special

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The client had created an identity by using an Osho image in each and every issue of Osho World published so far. The cover designed for Osho World is designed keeping in mind the basic client requirement of using an image which is placed right in the centre without any effects, overlaps or photo manipulation to keep it simple and straight. This also creates a distinct identity amongst other magazines, which use special photo manipulation process and flashy typography.

The information to be provided to the reader needs to be decided. If it is done properly, then the titles always stand out and the most important information is easy to find. Looking at the previous cover having no definite type hierarchy, Gill sans is used on the cover which gives it a clear, simplistic and a serene feel. To be always used in black, except for special issues, the masthead is placed in the top centre to achieve maximum exposure amongst other magazines, since Osho World has a vertical type arrangement compared to its previous design.

Osho’s image is placed in the centre to keep it simple, along with a definite heirarchy of type to deliver the message across in an instant.

The typography would be set in black only, except the mast head for special issues.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

QR CODE

97

QR code (abbreviated from Quick Response Code) is the trademark for a type of matrix barcode, which records virtually any type of data.

Originally designed for industrial uses, QR codes have become common in consumer advertising. Typically, a smartphone is used as a QR-code scanner, displaying the code and converting it to some useful form.

Most of the content of the magazine are Osho’s discourses which are available online.

QR codes were introduced at the end of each article, which direct the reader to the free online audio discourse of the same chapter.

SECTION

FOUR PRODUCTION

AKASH RAJ HALANKAR

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VISUAL LANGUAGE

Osho World being a lifestyle–based magazine can be described as a 'microzine'–vibrant, iconoclastic, stylish, and innovative with good production values and minimal or standardized advertising. Its language should demonstrate the information’s 'energetic side' in which the publication is as 'persistently punctual as a contemporaneous cultural ‘motor.’

The aim was to exploit the strengths of print, creating portable and collectible objects by utilizing beautiful materials and striking graphics. The visual language was set to forge a contemporary design out of historical influences by provocative use of type, photo montage, and organised layouts to draw the audience into a new visual experience.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

A strong visual imagery was needed to compliment the white space achieved by layout. The visual library at Osho World Foundation was out of date and did not have quality visuals. In order to build up a visual language, direct or metaphorical images of brief extracts from the page were introduced. This helped in experiencing the content as the audience would get an idea about the page, just by looking at the visuals.

Downloaded from Shutterstock.com, these images focus more on white space and serene imagery. It was a challenging task to go through the content again and again to bring out the right meaning and then supplement it with the right imagery.

Since Osho has spoken on all topics, a need of diverse but harmonious imagery was of the first priority. Downloading twenty five images per day, this image bank was constantly kept up to date. The client was later provided with 750 quality visuals for the future issues to come.

While choosing the visuals, the considerations were: t 5IF XIJUF TQBDF BSPVOE UIF WJTVBM t 3FMBUJPO PG UIF WJTVBM XJUI 0TIP QIJMPTPQIJFT t (FOFSJD UFYUVSFT BOE XBUFSDPMPVS TUSPLFT t (FOFSJD JNBHFSZ PG EJGGFSFOU nPXFST birds, clouds and zen forms t (FOFSBM IBSNPOJ[BUJPO PG BMM WJTVBMT JO respect to the quality, lighting and the tone

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The theme of the July month issue was decided to be the relationship of Master and Disciple, since Osho’s birthday is celebrated on Gurupurnima which falls in the month of July.

Certain design decisions were based on the theme of the issue, while certain decision were generic for the rest of the issues to follow.

MASTER AND DISCIPLE The relevance of the master-disciple relationship is seen when the visual language is considered. The colour of the Master as seen earlier is symbolized to be gold and the colour of the Disciple is symbolized maroon, because sannyasins wore maroon robes in most meditation practices, as it represents energy.

As the magazine is read from left to right, all the blurbs on the left page are gold in colour, where as all the blurbs on the right hand side page are maroon. This transition represents the journey of teaching from the master to the disciple.

In all there were four types of blurbs used in the publication, which change according to the section. The cover-story has blurbs on the body text columns with profound binding lines, the lead story has blurbs on the outer most columns which are not meant to be occupied by the body text and the beyond breaking news section has blurbs in between the body-text, set in small caps. The lead story being the section hand pick by the editor-inchief, does not retain the master disciple transition.

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A different style for blurbs is used in the Rare Being section. It has knock out text on maroon bands. This was a design decision based on the fact that the rare being section was fully set in a single maroon colour and was considered to be printed in one colour offset.

THE SILENCE IN HIS TALKS The current magazine was given to a few readers and the feedback was that the visual appeal of the design was disturbing. After studying the layout and content, it was observed that the style of typography was the deterrent.

The talks delivered by Osho have a distinct quality — the pauses in his narration. This signature style of narration enhances the perception of his message and hence, Osho World, being a literary representation of his talks, should give the reader a similar experience. Once the audio content was provided by the client, the content for the magazine was restructured to form distinct paragraphs according to his narration. A line space was left in between each paragraph, which symbolizes the silence in his talk. This helped the reader to relish

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

QR CODE UNIT A unit of the QR code was designed for each chapter. This was placed at the end of each article, which represented the end of that chapter. The arrangement of the design unit, depends on the column width at the end and also the general white space in the spread.

This unit is designed, keeping in mind only the essential details needed for that chapter.

The copy was restructured to give out the message in the simplest possible way.

O S H O

LEAD STORY

WORLD J U LY 2 0 1 3

FRIENDSHIP

FRIENDSHIP IS A RELATIONSHIP, FRIENDLINESS IS A STATE OF YOUR BEING. YOU ARE SIMPLY FRIENDLY; TO WHOM, THAT IS NOT THE POINT. IF YOU ARE STANDING BY THE SIDE OF A TREE YOU ARE FRIENDLY TO THE TREE, OR IF YOU ARE SITTING ON THE ROCK, YOU ARE FRIENDLY TO THE ROCK.

Watch animals having sexual intercourse and one thing you are bound to observe; it is impossible not to observe it, it is so emphatically there: they don’t seem to be joyous. They seem to be in a hurry and their faces look sad, as if they are being forced by some unknown energy into certain acts in which they are not interested. Hence animals have their sexual seasons when their biology takes a grip on them, forces them to do something which they are not really interested in at all. They have to do it almost like slaves. And once they are finished with their sexual intercourse they move away from each other – not even a thank-you! They don’t look at each other.

Scientists say love has grown in man for the simple reason that man is the only animal in the world who makes sexual intercourse face-to-face. You have to say something, you have to smile, you have to say goodbye, you have to say so long. Otherwise it will look so awkward to finish suddenly and escape! Because you are facing each other you have to be somewhat polite, cultured, polished. You have to behave in a certain manner; you can’t be rude.

Animals do not face each other while making love so they don’t encounter, they don’t look into each other’s eyes. It is a simple biological process and they are almost forced by their biology, by their hormones, to go through it.

They go through it, they are dragged through it like slaves.

And the same you; only the sugarcoating is different.

Friendship is a higher phenomenon. It is pure love; it has nothing to do with your biology. Love – ordinary love – can be explained through biology, but friendship cannot be explained. It is a mystery. Friendship is like fragrance; love is gross, because of its sexuality, because of its origins. It is slightly heavy. It functions under the law of gravitation: it keeps on falling downwards, it has no wings.

Friendship has wings. It is nonbiological; it makes you really human, it helps you to transcend your animality.

Buddha praises friendship, friendliness, very highly. He has even chosen that when he comes back again his name will be Maitreya -- the friend.

He must have loved the word very much. I don’t think he will come again or that anybody ever comes again. God never makes the same mistake again, remember! Once is more than enough, twice will be too much. But he must have loved the word so much that he says, “Next time, if I am at all going to come, my name is going to be Maitreya – the friend.” The word contains his whole philosophy.

He says: To have friends...is sweet Why is it sweet? – because with friends your relationship is not physiological, it is not even psychological; it is a spiritual communion. With friends you can sit in silence. When you are with your lover you can’t sit in silence; silence seems awkward.

The woman will think, “Why are you silent? Are you angry or something?” And if she is silent you will think something is wrong – she is sulking. Why is she so silent? Silence becomes heavy, a burden; it has to be removed.

So people keep talking, whether it is needed or not.

They go on talking about anything.

THE DHAMMAPADA: The Way of the Buddha

Volume 9 Chapter – 7

Full Discourse on www.oshoworld.com

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O S H O

BEYOND BREAKING NEWS

WORLD J U LY 2 0 1 3

MEDITATION he is seeing things, movement. If the eyes are static, not moving, and the lids show no movement of the eyes inside, that means dreams have stopped. No sophisticated instruments are needed. But now we have sophisticated instruments which make a graph when the person is dreaming, when the person is not dreaming – just like a cardiogram.

DREAMLESS SLEEP

Do you know... it has been a strange discovery of modern psychology.... For centuries we had thought that dreams are useless, just a disturbance at night. To have a dreamless sleep has been thought a healthy goal. Yoga for ten thousand years has been teaching that dreamless sleep is the most beautiful experience; but what we have found recently goes just against this whole theory. You can drop your dreamless moments of sleep without any harm to you, but you cannot drop your dreams.

IF YOU SLEEP EIGHT HOURS , THEN ALMOST TWO HOURS YOU HAVE TWO HOURS

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IN FRAGMENTS , IN TOTAL

SLEEP WITHOUT DREAMS , AND

SIX HOURS SLEEP WITH DREAMS . IT HAS BEEN EXPERIMENTED WITH , NOW WE KNOW .

There are instruments which indicate whether the person is dreaming or not dreaming. Even without instruments, if you watch his lids, eyelids, you can immediately know. If his eyes move inside the lids, he is dreaming – because

They disturbed a few sleepers when they were dreaming; they would disturb them immediately, they would wake them up. They would allow them only those two hours of non-dreaming. In the morning they would be utterly exhausted, luster, with no desire to live even. This was strange, because all the old yoga in India, in Tibet, in China – different schools and different people not connected with each other at all – they have always said, “If you can have two hours of dreamless sleep, that is enough nourishment, enough to rejuvenate you.” It has not been found true. But if you disturb those two hours when they are not dreaming, and allow them those six hours of dreaming, in the morning they wake up so fresh, so young, so rejuvenated, so full of life and energy and so eager to live.

When for the first time it was discovered, it was a shock. Dreams are absolutely necessary for these people – for what reason? They have not been able to find the reason.

They will never be able to find it because that reason can be found only through deep meditation, there is no other way to find it. By psychological experiments they will not be able to find out what is the reason.

BUT THROUGH MEDITATION SOMETHING HAPPENS WHICH IS DREAMLESS , SLEEPLESS . BOTH ARE NOT THERE ;

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THE CIRCLE AND THE LINE The word OSHO, if considered just as a word has a very interesting visual form. The word is close to a mirror image and is well balanced due to the alphabet ‘O’. This alphabet when set in Gill Sans is a perfect circle. A circle symbolizes the eternal cycle. Everything starts and ends in a circle. It was decided to use this as a part of the visual language through out. Any images of notable people or important events are placed in the circular form.

Images in the beyond breaking news section and regular columns are dominated by this circle. This gives the magazine an interesting visual appeal.

NEITHER THE DREAM NO THE SLEEP IS THERE . YOU ARE FULLY AWAKE .

The body is fast asleep in a deep rest but your consciousness is absolutely cloudless. There is no sleep. Inside like a flame you are alert, awake, watching -- that there is nothing to watch! The body is asleep and there is nothing to watch. But the watcher is.

You can only watch the watcher. You can only observe the observer. You can only be aware of your awareness.

But there is no sleep, no dream. And in the morning you are as fresh as it is possible to be. So the psychologists will not be able, they have not yet been able and will never be able to know, unless they start moving

A distinct line is used through out the design, which binds the entire magazine together. This line is carried right from the cover page till the end. This design decision was based on the Osho World mast head. This line compliments the element of circle of the visual language used in the magazine.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

O S H O

ONE COLOUR PAGES A design becomes interesting, if there is some uniqueness to the magazine. With the white space omnipresent, it was thought of to break the harmony here to create a slight change in the perception. The pages in the Rare Beings section are colour corrected to be duo-toned to maroon. This design decision was based on the fact that the rare being section was the only section having one article. This decision would set the section apart from others. The blurbs and the overall visual language was also set in maroon.

RARE BEINGS

WORLD J U LY 2 0 1 3

again, and repeatedly they would come to the same rhythm. Then he tried to find out: “What is happening? – something strange.

They are disconnected!”

Then he observed more minutely and he came to conclude: “The vibration of the one clock, which is more powerful, the bigger clock, goes through the wall – just the vibration – and keeps the other clock in tune. It is a subtle rhythm. Nothing is visible.”

That was the beginning of a new phenomenon... then many more things happened. By THE TIME CARL GUSTAV JUNG STARTED WORKING ON HOW THINGS HAPPEN IN CONSCIOUSNESS, HE CAME TO CONCLUDE THAT THE VIBE OF ONE HEART, IF IT IS POWERFUL ENOUGH, CAN CHANGE THE RHYTHM OF ANOTHER HEART -- JUST LIKE THE BIGGER CLOCK WAS CHANGING THE SMALLER CLOCK. The vibe is invisible. There is not yet any way to measure it, but it is there. It is not tangible, but it functions. It is not causal.

That’s what happens in Satsang – in communion with a Master. If you are with Christ, he is a tremendous power – he is God! He is a window to God. God is flowing through him. If you come close to him – and that’s what disciplehood is all about: to come close to a Master, to come close to a window from whom God is flowing – his power, his vibe, will set the rhythm of your heart. It is acausal, one of those mysterious intangibles, but it has been happening down the ages.

Have you watched it? Two lovers, if they are really lovers, and deep in intimacy, slowly start looking alike – that is synchronicity. You can see it: real lovers, slowly slowly start looking like brother and sister. Something in them starts becoming synchronised, they start having the same rhythm.

The mother and the child have the same rhythm; hence, now it is a known fact, and even scientifically proved, that if a child is killed thousands of miles away from the mother, something in the heart of the mother feels the pain. She may not be able to understand it, what is happening; she may not be able

to explain it. She may not know anything about what is happening to her child, but if something is happening to the child and the child is thousands of miles away – that doesn’t make any difference – the mother’s heart immediately starts feeling it. Something is broken in her heart too.

Just the other day a sannyasin wrote to me that his mother died a few days ago – just now he has received the telegram. And he is puzzled, because the day she died he was in such agony, with no physical problem, with no psychological problem, but in such agony, such terrible agony, as he has never seen before.

This is synchronicity. The mother and child have lived together for nine months, the child lives in the mother’s womb; his heart beats in rhythm with the mother’s heart, his blood pulsates in rhythm with the mother’s blood – he is not separate at all! He is one with the mother. And that oneness persists.

When two lovers become really intimate, when they don’t have any secrets from each other, when they are really open to each other,

when they are not afraid of each other and not hiding anything from each other... that is intimacy. When they can say each and everything without any fear that the other will be offended or hurt.... If the lover thinks the other will be offended, then the intimacy is not yet enough. Then it is a kind of arrangement which can be broken by anything. But when two lovers start feeling that there is nothing to hide and everything can be said, and the trust has come to such a depth, where even if you don’t say it the other is going to know, then they start becoming one. Then they start becoming more like brother and sister.

Many people become puzzled... just a few nights ago, a couple came to me and the husband was really puzzled. He said, “What is happening to us? We are no more husband and wife – all sex has disappeared, but still we feel a deep intimacy.” And I told them, “Something immensely valuable is happening. You are becoming brother and sister. Your love is taking on a new dimension,

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ADVERTISEMENTS Osho World has roughly around 12 advertisements every issue. Most of the advertisements are of the sister concern ventures of the Osho world Foundation. They include advertisements of Osho Dham, Osho Online and Osho Rajyoga meditation centre. These are full page advertisements which needed much importance in the magazine.

There are also some half page advertisements of Osho meditation camps and meditation products. Lastly there are numerous quarter page advertisements which only highlight the different meditation camps conducted in Osho Dham.

Almost all of these advertisements are designed in house by the Osho world foundation except some corporate advertisements which follow a specific norm. However, these advertisements fail to impress the audience due to poor art direction and chaotic use of typography.

The advertisements were redesigned and restructured to make them harmonious to the visual language. This helps the audience connect with the advertisements better as they get a visual feel of the magazine with them.

EXISTING ADVERTISEMENTS

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O S H O BOOK STORE

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VENUE Oshodham: Osho Dhyan Mandir 44, Jhatikra Road, Pandwala Khurd; Near Najafgarh, New Delhi – 110043 011 – 25319026, 25319027, 9717490340

BOOKS & AUDI OS Osho World Galleria BG - 09, Ansal Plaza, Khelgaon Marg; New Delhi – 110049 011 – 26261616, 17

BOOKING & INFORMATION Osho Rajyoga Dhyan Kendra C-5/44, Safdurjung Development Area; New Delhi – 110016 011 – 26862898 , 26964533

www.oshoworld.com ALL MEDITATION CAMPS AT OSHODHAM ARE INAUGURATED PREVIOUS EVENING AT 6:30 PM PRIOR TO ALLOTED DATES. MAROON AND WHITE ROBES ARE REQUIRED FOR ALL MEDITATION CAMPS AT OSHODHAM.

RNI NO.: DEL ENG/2004/1216

All the half page advertisements were restructured to be placed on a spread. This helped in saving pages and also, this spread in itself promoted Osho Dham and was treated as a full spread advertisement.

AKASH RAJ HALANKAR

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PA P E R Choosing the right paper for a magazine can be tricky. Paper speaks about the function of the product, it’s feeling and quality. Therefore it’s a crucial part of the overall experience of the magazine. It is advisable to think about the choice of paper before starting work on a computer, not only to get the feel of the magazine right but also because of printing issues and costs. The production and design can be optimized according to the paper choice.

To choose between the function and quality of a paper isn’t easy. Sometimes the desired paper costs significantly more than the production budget.

Choosing a paper that’s cheap, but still good for a product, can be tricky. It’s therefore recommended to go through a few issues right at the beginning of a project : t 5IF MPOHFWJUZ BOE UIF EVSBCJMJUZ PG UIF QSPEVDU t 5IF DPOUFOU BOE UIF EFTJHO PG UIF NBHB[JOF t 5IF QSPQPSUJPOT PG WJTVBM UP UFYU t 6OEFSTUBOEJOH UIF UBSHFU BVEJFODF BOE designing according to their taste

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

The decision to use either coated or uncoated paper is probably the one choice that will affect the overall feel of the magazine. Coated papers have china clay or other kinds of coating applied to one or both sides. It comes in a variety of smoothness, like matte, semi-matte or silk, and gloss.

All of the above except matte coated papers are usually best for printing photographs and other kind of visuals, because the ink in the printer doesn’t get absorbed by the paper fibres but stays at the top. This gives brighter colors and the paper a glossy finish.

The uncoated paper, which has a rough, natural feel to it, is preferred for productions that include lots of text. With this paper, the printer ink gets inside the top layer of the paper and sinks into the fibres beneath. Glossy coated paper reflects light more than uncoated paper does. This can sometimes make it harder to read longer texts.

A paper’s opacity describes the amount of light which is transmitted through it. This determines how much printing will be seen through the reverse side of a sheet. Complete opacity is 100% which means that

no light can pass through, while a lower percentage lets more light through. Opacity is important to have in mind when printing booklets, as a sheet with good opacity will prevent ”show through text” when printing on both sides. A paper’s opacity can increase or decrease depending on the use of different fillers, but also by its weight, whiteness or coating.

Osho World Newsletter used two kinds of paper —

COVER PAPER : 130 GSM ART PAPER INSIDE PAGES : 70 GSM COATED PAPER This meant that the magazine would be thin and would not conflict with the centre staple binding. But this also meant that the paper would be see through, which disturbed the visual language as elements of the next spread were seen on the previous spread.

The previous paper used inside the magazine was a coated paper, which reflected a lot of light. This made it harder for the reader to read the text when sitting under a light source. If held a little diagonally, the newsletter would immediately loose its readability because of the light, which made

it mandatory for the reader to read it in specific light conditions. When there are such restrictions, the reader cannot fully relish the content.

After analysing papers of magazines like motherland, foam, caravan, etc. a good quality paper, which would fit the budget was required.

Motherland uses a very high quality art paper which highlights the text as well as brings out the colours in the photographs. This paper was around 5 times costlier than the original paper.

Considering the cost and printing constraints, it was decided to keep the cover paper same, as its lamination assured a good shelf life. However, the inside paper was changed to an uncoated substitute. This hugely helped in tackling the reflection issue and there was no change in the cost. This uncoated paper was also of 100 gsm which kept the size of the magazine intact.

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STYLE SHEET C OV E R The image on the cover would change every issue according to the theme. Keeping the type hierarchy similar, it is the decision of the designer to use the best possible image for the cover. The cover image can only be a portrait image of Osho.

ALIGNMENT

t -FGU GPS EBUF MJOF t $FOUSF GPS GFBUVSFT GRID

6 column grid Images where Osho is photographed without his cap, cannot be used. The designer has to keep a keen eye on the grandeur of the photo, to make a lasting impression.

TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS GPS CPEZ UFYU t (JMM 4BOT 3FHVMBS GPS DBQUJPOT BOE )FBEJOHT

IMAGE SPECIFICATIONS

All images resized and colour corrected to at least 300dpi for print. No image less than 300 dpi to be used, to protect the quality of the cover. Low resolution images to be avoided at all cost, unless re-sampled to the desired size and resolution.

TYPE SIZE

t %BUF MJOF TFU BU QU t 'FBUVSFT TFU BU QPJOUT LEADING

16pt for features MAST HEAD FEATURES DATE LINE VISUALS

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CONTENT The content page was reorganized to be differentiated into sections. The cover story and lead story being the important sections were placed together. Visuals of inside pages were placed in circles, to give a glimpse of the visuals inside the magazine.

Columns section was given low priority in type hierarchy as this section is a regular section in the magazine.

LEADING

14pt for body text 14pt for captions 14 pt for blurbs ALIGNMENT

t $FOUSF GPS DPOUFOU UFYU t -FGU GPS DSFEJUT GRID

6 column grid TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS #PME GPS DSFEJUT t (JMM 4BOT 3FHVMBS #PME -JHIU GPS DBQUJPOT and content text

COLUMN WIDTH

136.5 pt IMAGE SPECIFICATIONS

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11 pt with underline. t #MVSCT TFU BU QU

All images resized and colour corrected to atleast 300dpi for print. The visuals in this section would only be placed inside a circular form with the decision of the designer.

CIRCLE SPECIFICATIONS

HEADLINE

VISUALS

5 cm (D)

CONTENT TEXT

CREDITS

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C OV E R STO RY The cover story being the main theme of the magazine is given much importance layout— wise. Only the inner four columns are used for this grid, which creates a conscious white margin that makes the layout look serene.

TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS GPS CPEZ UFYU t (JMM 4BOT 3FHVMBS #PME -JHIU GPS DBQUJPOT and headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT is the decision of the designer.

ALIGNMENT

t -FGU GPS CPEZ UFYU t $FOUSF GPS CMVSCT GRID

5 column grid where only the four inner most columns are used for body text.

COLUMN WIDTH TWO COLUMN

— 166.7 p t

DISTANCE FROM TOP MARGIN

— 128 p t (exception can be made in

case of headline or visual only)

TYPE SIZE

IMAGE SPECIFICATIONS

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU t )FBEMJOFT TFU CZ UIF EFDJTJPO PG UIF EFTJHOFS t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11 pt with underline. t #MVSCT TFU BU QU

All images resized and colour corrected to at least 300dpi for print. The visuals would be placed in the outer four columns leaving the inner-most column always empty. Other supporting visuals and masking the body text depends on the design decisions.

LEADING

14pt for body text 14pt for captions 14 pt for blurbs

HEADLINE

PAGE ESSENTIALS

BODY TEXT

VISUALS

BLURB

PAGE NUMBER

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L E A D STO RY The six column grid is used in this section to accommodate more text. Although the section is different, it follows the same visual language as the cover story section.

ALIGNMENT

t -FGU GPS CPEZ UFYU t $FOUSF PS MFGU GPS CMVSCT (according to column width) GRID

TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS GPS CPEZ UFYU t (JMM 4BOT 3FHVMBS #PME -JHIU GPS DBQUJPOT and Headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT is the decision of the designer.

6 column grid.

The columns are alternately used from one column width to two column width according to the pages.

Blurbs also to be placed according to the column width.

COLUMN WIDTH

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QPJOUT t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11 pt with underline. t #MVSCT TFU BU QU LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

— 288.7 pt TWO COLUMN — 212.6 pt ONE COLUMN

DISTANCE FROM TOP MARGIN

— 128 pt (exception can be made in

case of headline or visual only) IMAGE SPECIFICATIONS

All images resized and colour corrected to at least 300dpi for print. The visuals would be placed in the outer four columns leaving the inner-most column always empty. Other supporting visuals and masking the body text depends on the design decisions.

HEADLINE

PAGE ESSENTIALS

BODY TEXT

VISUALS

BLURB

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B E YO N D B R E A K I N G N E W S ALIGNMENT

Beyond breaking news is a series of articles picked by the editor-in-chief himself. This section is designed to be very experimental. All the articles in this section start with a circular visual. This section has emphasis on the body text in comparison to the imagery.

TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS GPS CPEZ UFYU t (JMM 4BOT 3FHVMBS #PME -JHIU GPS DBQUJPOT and Headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT is the decision of the designer.

t -FGU GPS CPEZ UFYU t -FGU GPS CMVSCT (according to column width) GRID

6 column grid & 5 column grid The columns are alternately used from one column width to two column width according to the pages.

Blurbs also to be placed according to the column width.

COLUMN WIDTH

(5 COLUMN GRID) — 349.6 pt (6COLUMN GRID)— 212.6 pt DISTANCE FROM TOP MARGIN — 128 pt (exception can be made in ONE COLUMN

TWO COLUMN

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QPJOUT t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11pt with underline. t #MVSCT TFU BU QU LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

case of headline or visual only) IMAGE SPECIFICATIONS

All images resized and colour corrected to atleast 300dpi for print. The visuals in this section would only be placed inside a circular form with the decision of the designer. The body text can be warped to the circular forms, if need be.

HEADLINE

CAPTIONS

BODY TEXT

VISUALS

BLURB

PAGE NUMBER

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RARE BEINGS Rare Beings is a section containing only one article. The idea was to create an interesting visual style in the magazine. The entire section is designed using just maroon, to break away from the monotony of the white space, so as to introduce the energetic side in the publication.

TYPEFACES USED

t "EPCF +FOTPO 1SP 3FHVMBS GPS CPEZ UFYU t (JMM 4BOT 3FHVMBS #PME -JHIU GPS DBQUJPOT BOE Headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT JT UIF decision of the designer.

ALIGNMENT

t -FGU GPS CPEZ UFYU t -FGU GPS CMVSCT (according to column width) GRID

6 column grid The columns are alternately used from one column width to two column width according to the pages.

Blurbs also to be placed according to the column width.

COLUMN WIDTH ONE COLUMN

— 349.6 pt — 167 pt

TYPE SIZE

TWO COLUMN

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QPJOUT t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11pt with underline. t #MVSCT TFU BU QU

DISTANCE FROM TOP MARGIN

LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

— 128 pt

IMAGE SPECIFICATIONS

All images resized and duo-toned to at least 300dpi for print. The colour of the images are manipulated, to match the colour of the body text. The visuals would be placed in the outer four columns leaving the innermost column always empty. Other supporting visuals and masking the body text depends on the design decisions.

HEADLINE

CAPTIONS

BODY TEXT

VISUALS

BLURB

PAGE NUMBER

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OSHO MEDITATION CAMP

A D V E R T I S E M E N T PA G E

SEP

In order to reduce the clutter caused by the quarter page advertisements, this page was introduced in the magazine. All the advertisements are redesigned to fit the visual language. Since all the quarter page advertisements are about various meditations conducted at Osho Dham, this page acts like a full spread advertisement of Osho Dham.

IMAGE SPECIFICATION

TYPEFACES USED

The circular units were specially made into templates and delivered to the client. This helped the client to establish the same visuals language for advertisements for the issues to follow.

t (JMM 4BOT 3FHVMBS #PME -JHIU

TYPE SIZE

20 24

All images resized and colour corrected to at least 300dpi for print. The visuals in this section would only be placed inside a circular form. Appropriate imagery for the desired meditation camp to be placed inside the circular form with a small white transparent circle in the middle.

m a yo g s h u k l a

t $BQUJPOT TFU BU QU t %BUF TFU BU QU t .POUI TFU BU QU t *OTUSVDUPS OBNF TFU BU QU ALIGNMENT

t $FOUSF GRID

6 column grid

LOGO ADDRESS LINE VISUALS

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12pt

10 pt 24 pt 11 pt

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M E D I TAT I O N C A M P S The information in the previous issues was arranged according to the date only. The information about the state and the venue was not structured, which made the information confusing. The content was analysed, restructured and redesigned for the audience. All the meditation camps were arranged state—wise and then date wise. This would help the user pin point the state first and then the meditation camp.

COLUMN WIDTH

142.583 pt

ICONS USED

Osho meditation camps

TYPEFACES USED

t (JMM 4BOT #PME GPS )FBEJOH PG TUBUFT t 4DBMB TBOT -JHIU GPS CPEZ UFYU Meditation camps abroad TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QPJOUT

Book Exhibitions

LEADING

10 pt for body text 10 pt for captions

Daily meditation camps

ALIGNMENT

HEADLINE

t -FGU GPS CPEZ UFYU

BODY TEXT

GRID

6 column grid

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TA R O T The Tarot card section is the most text heavy spread in the magazine. This section contains tarot forecast for the month written by Ma Prem Ritambhara. Small tarot symbols are used in the beginning of each month to enhance the design.

SUNSIGN ICONS

ARIES

LIBRA

TAURUS

SCORPIO

GEMINI

SAGITTARIUS

TYPE SIZE

CANCER

CAPRICON

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU "MM DBQT

LEO

AQUARIUS

VIRGO

PISCES

TYPEFACES USED

t (JMM 4BOT 3FHVMBS #PME -JHIU *UBMJD

LEADING

11 pt for body text 11 pt for captions ALIGNMENT

t -FGU GPS CPEZ UFYU t -FGU GPS CMVSCT (according to column width) GRID

HEADLINE

6 column grid

BODY TEXT VISUALS

COLUMN WIDTH

136.5 pt

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The Hindi version of the magazine as discussed earlier is based on the English version. The target audience of the Hindi version is different because of the language, but the structure of the publication is still the same.

The visual language was kept the same. However, there were conscious design decisions taken to balance the layout. Type decision involved in choosing a point size similar to Adobe Jenson pro which is used at 11.5 pt. If this was balanced, then the major part of the layout's visual appeal would be balanced.

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साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती। साधक ही न हो, तो प्र्ात्यिभज्ञा का कोई उपाय नही। साधक हो, तो क्ष्ाण भर की देर नही लगती। SKOLAR DEVANAGARI 9.5 pt // 14pt L

When Skolar Devnagari was used at 9.5 pts in the publication, it provided a grey value, equivalent to that of Adobe Jenson pro.

THE HINDI VERSION IS IDENTICAL TO THE ENGLISH VERSION IN

ADOBE JENSON PRO

TERMS OF SECTIONS. THE STYLE SHEET ON THE PAGES TO FOLLOW,

12pt // 14.4pt L

JUST EXPLAINS THE DIFFERENCE OF THE VISUAL LANGUAGE. FOR REST OF THE ARTICLES, REFER TO THE ENGLISH STYLESHEET

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

рдЕрдореБрдЦ рдХрдерд╛ рдЕрдореБрдЦ рдХрдерд╛

being the Devanagari counter part of the cover story of the English version, follows the same structure. The entire theme of the magazine is based on this section and so maximum weightage of clear white space is achieved by using only the inner four columns of the grid for body text.

TYPEFACES USED

t 4LPMBS %FWBOBHBSJ 3FHVMBS GPS CPEZ UFYU CMVSCT t "EPCF %FWBOBHBSJ 3FHVMBS #PME -JHIU GPS captions and Headings t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT JT the decision of the designer.

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU t )FBEMJOFT TFU CZ UIF EFDJTJPO PG UIF EFTJHOFS t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11pt with underline. t #MVSCT TFU BU QU LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

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मुख्य िबदं ु मुख्य िबदं ु was treated differently as compared to

the English lead story section. Since the articles lengths and the overall content of this section in the Hindi issue is comparatively low, it was treated like the Rare Beings section of the English issue.

TYPEFACES USED

t 4LPMBS %FWBOBHBSJ 3FHVMBS GPS CPEZ UFYU t "EPCF %FWBOBHBSJ 3FHVMBS #PME -JHIU GPS captions and Headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT JT the decision of the designer.

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU t )FBEMJOFT TFU CZ UIF EFDJTJPO PG UIF EFTJHOFS t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11 pt with underline. t #MVSCT TFU BU QU LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

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िवशेष अाकषर्ण िवशेष अाकषर्ण was treated like the Beyond Breaking

News section to create balance in the magazine.

More emphasis is given to the body text.

TYPEFACES USED

t 4LPMBS %FWBOBHBSJ 3FHVMBS GPS CPEZ UFYU t "EPCF %FWBOBHBSJ 3FHVMBS #PME -JHIU GPS captions and Headings and blurbs t 5IF USFBUNFOU PG UZQFGBDF GPS UJUMFT PG BSUJDMFT JT the decision of the designer.

TYPE SIZE

t #PEZ UFYU TFU BU QU t $BQUJPOT TFU BU QU t )FBEMJOFT TFU CZ UIF EFDJTJPO PG UIF EFTJHOFS t 5IF mSTU MFUUFS PG FBDI BSUJDMF UP CF TFU JO bold 11pt with underline. t #MVSCT TFU BU QU LEADING

14 pt for body text 14 pt for captions 14 pt for blurbs

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PRODUCTION & PRINT

Once the design is done on the computer, there are some issues that need to be taken care of. Before delivering the final version to the printer, every small detail starting from alignment to overlapping text and image boxes, color matching, spacing, breaks and more need to be checked. The printer usually gives headaches because on paper it never looks like like it does on the screen. Colors will be different (even the CMYK ones sometimes), images may be moved, text might be too small and so on.

The printer can help to determine the amount of overlap needed and can also give the output specifications to assure that the high-resolution images are compatible with the system.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

The complete task of making the file print-ready is called art-working. The complete file is checked and rechecked to ensure that the print is of the optimum quality with respect to the on-screen design. Attention to detail is the key factor here, which determines how well the print would be.

IM AG E RESA M P L ING The images should ideally be at 300 dpi at required size, but some times, few images fall short of this benchmark. In such cases re-sampling needs to be done for better image quality. An image can maximum go down till 200dpi at actual size.

I M AG ES Images are a very important part of this job and have to be given special attention.

IMAGE TOUCH UPS — Some images are required to be cleaned up of certain unwanted elements and cropped at times. Some touch-ups also include perspective and distortion correction.

TYP E CORRECTION Correcting type is a major part of file artwork.

Before printing, the type is checked.

It is made sure that the file has no other fonts other than the ones used in the magazine.

— As some images used in the magazine were provided by the client, it was necessary to colour correct it, in order to be harmonious to the other images.

COLOUR BALANCE

I M AG E CO LOU R COR R ECTI ON Images are taken in RGB mode, due to which, when they are converted into CMYK for print purposes, there is a certain loss of colour brightness.

After caliberating the monitor (display), the colours need to be corrected in such cases.

The following details were checked t 1BSBHSBQI PO TJOHMF MJOF DPNQPTFS t 5ZQFGBDF BOE JUT QPJOU TJ[F t %PVCMF TQBDF FSSPST t 4QFMMJOH NJTUBLFT t 3BHHFE FEHFT As it destroys the visual aesthetics of form, it is absolutely essential to avoid widows and orphans JO UIF CPEZ UFYU DPMVNOT "EPCF *O%FTJHO T CBMBODF SBHHFE MJOF PQUJPO JG VTFE DPOTDJPVTMZ NBLFT JU easy to overcome the ragged lines issue in text.

V ECTO RS t $IFDL GPS BOZ VOOFDFTTBSZ swatch of colour in the file. t $IFDL UIJDLOFTT PG BMM TUSPLFT t $IFDL GPS VOOFDFTTBSZ PVUMJOFT or filled bound boxes t "MM WFDUPST NVTU CF JO $.:, NPEF t 5IF mMF NVTU TIPX OP FSSPST 0ODF UIF *O%FTJHO mMF JT SFBEZ JU JT QBDLBHFE XJUI BMM the updated links and sent with a high resolution pdf for printing. It is necessary to specify the cut marks and bleed marks before sending the file. Ideally the cut marks should be 0.5pt so as to ensure that they are printed and the bleed should be at a distance of 3mm from the design.

The magazine was printed in four colour offset with a special addition of a fifth colour, gold, only for the masthead. The entire production and post production UJMM UIF CJOEJOH XBT IBOEMFE CZ . 1 QSJOUFST JO /PJEB These printers are responsible for printing many magazines and journals for the same type of target audience that Osho World targets.

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FINAL PRODUCT O S H O W O R L D — J U LY 2 0 1 3

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DETAIL OF COVER STORY

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DETAIL OF BEYOND BREAKING NEWS

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DETAIL OF BLURBS

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IMPORTANT ELEMENTS

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COVER DETAILS

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REFLECTIONS

I remember the first week of NID, where I asked a then unknown senior sitting in the graphic design studio about sheets of paper stuck to his softboard. With an inconspicuous smile and a very awkward stare as if I had asked him the secret of life, he replied that he was working for his diploma project. He looked frustrated, tired and unsatisfied as he was late in submitting his project and would not be able to convocate with his batch. Since that day, I had set a goal that my diploma project would be something that would be interesting and at the same time have a definite time period and most importantly something that I would love to dedicate a minimum of 6 months of my life.

Three years later, when we all had almost finished our ever pending projects, there was a new rush of placement week for our batch.

I felt that there was a different vibe amongst people attending the placements. Students were trying to showcase their best work in front of the company representatives invited by the institute. ‘The top salary is the best work’ was the unsaid rule of placement week. Students from all disciplines started going for dozens of interviews, mostly to get a good package and prove their worth amongst the competing students. The applications were sent and interviews given for the pay package, irrespective of the type of work that would follow. So if there there was a ‘good pay’ (anything above 20k) students were ready to do cross disciplinary work.

I was in this rat race myself, trying to reach the top, get a better package, irrespective of the type of work offered for the diploma.

Various offers from notable companies, with a good stable corporate job and the possibility of getting absorbed in that company once the diploma was over, were luring. I had been offered a range of projects to choose from, but they were neither interesting nor appealing.

They were either intense, research based projects, where one would not have a tangible product, or simply extensions of existing brand collaterals. My thoughts were unsure as I was on a crossroad, do I choose a job on the basis of ‘the package’ or do I choose a project that I would enjoy doing regardless of the package.

I firmly believe that a design (academic) project calls out to you. None of the projects offered to me for sometime had that connect. Even if the pay was good, the project would either be in an unfamiliar surrounding or the people hiring would be harsh and sometimes unnecessarily egoistic.

I kept prolonging my confirmation replies to the agencies and feared that I was taking a risk of waiting for the right project to come along.

Some uneasy and unsure time passed and I met Hanif in New Delhi, where he offered me a project and asked me if I would take this up as my diploma. This, this particular project called out to me. There was a connection that

resonated within me and the uncertainty of my mind disappeared. Within a week I accepted it.

But there was a minor drawback to this. Hanif was just setting up his new firm and deep in my mind knew that the pay would not be great as the others. But other than that, this would give me a chance to understand how a company is set up and understand the workings of a start-up. Someday even I would have a company of my own and there would be no other better way to learn the tricks of the trade other than getting hands on experience.

Office started at 10 am and in the first month, I struggled to get accustomed to the so called office schedule. But Guerrilla was different. There was absolute freedom. I worked just the way I used to work at NID. No hassles, no baggage. Hanif would often try to push me to my limits. He expect more out of me and made me explore numerous collaterals till I didn’t achieve a certain level of professionalism in my work. This helped me understand how a senior maintains the quality of work in his firm and not be governed by emotions.

Apart from this project, I handled numerous projects at Guerrilla, where I was responsible right from concept development to post production.

This made me understand how to manage time and optimise output. Procrastination was out of the question as there would sometimes be no time even to eat food, due to short deadlines.

REDESIGNING A SPIRITUAL MAGAZINE: OSHO WORLD

Till the time I became comfortable with the new work environment, the Osho World project picked up pace. With projects running parallel, I knew I had a considerable amount of research, but no substantial outcome towards setting up the visual language. After hours of work put into understanding the content to come up with the best possible outcome, we were stuck at the identity phase over a month. I had to run a long hurdle before I could break away from my mental block. I would always contemplate whether I had made the right decision to take up this diploma project as I could not see it lead anywhere.

Three months passed by and the work load was relaxed as we had finished most of the other projects and now we had dedicated time to approach Osho World with a fresh new perspective. Client meetings were the most interesting phase as we would get insights from sannyasins how they saw their master and would often explain us some concepts that were unclear to us. My guide Tarun Deep Girdher had also made a short trip to New Delhi, where I had my first guide visit, which tied up a lot of loose ends in the project.

Finally the project stared getting shape when it reached the layout phase. This was my moment to excel. Hanif by now was more of a friend than a boss. It is very important to have a mentor when you are just starting off into the industry.

Hanif was my mentor. He would always tutor me into design philosophies and his way of approaching a problem. I learnt that design first should be for yourself and then the world, only then would you truly love to work for it.

I learnt how to think big even for little things.

The project picked up pace in the last month, but at the same time, Hanif had to leave town for some days for some important work. This was my moment, when I had to deal with the clients, and work every day and night to meet deadlines.

This was the adrenalin rush that I was longing.

We used to coordinate each day with the progress and come up with design solutions to convince the client to understand our outlandish approach towards the project. This project was delivered to the client with an excellent feedback which made the target audience actually experience the wisdom of Osho. The project was also nominated at the Kyoorius Designyatra 2013 in the category of Design for Editorial and which featured in the Kyoorius Design Awards publication.

Looking at a bigger picture, I realised the role of a Graphic designer in a design studio, I had experienced a very unique work culture and taken intermittent dosage of professionalism and scolding to shape myself to be a better part of the organization. I realised that there were so many students around the world who work with several companies on internships,

and many others will come and go, but I had to set a benchmark which would make Guerrilla miss me and I hope I succeeded.

This project, did not only strengthened my portfolio, but made me realize that I had made a right choice. The risk I had taken to join a startup had given me its fruits and made me realize my true potential. It made me realise of an ability that sets me aside from the rest, which is that I can decode metaphorical information and make it easier for the common man to understand it. Also I realize that I perform the best when I am under pressure as I love the adrenaline rush of deadlines.

Looking back, I think I will definitely cherish all the memories at Guerrilla and all the teachings I got from Hanif Kureshi and Tarun Deep Girdher and will always keep my doors open waiting for an opportunity to work on projects with them again.

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Roberts, Lucienne, and Rebecca Wright.

Design Diaries: Creative Process in Graphic Design. London: Laurence King, 2010. Print.

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“Startet DenLaser.” Slanted. N.p., n.d. Web. 23 Aug. 2013.

“DT Blog Web Design Tips, Tutorials & More!” DT Blog RSS. 10 Sept. 2013 <http://www.dreamtemplate.com/blog/web-designtips/10-really-useful-tips-for-designing-a-magazine/>.

“Free fonts download for Windows and Mac FontPalace.com.” Free fonts download for Windows and Mac - FontPalace.com. 10 Sept. 2013 <http://www.fontpalace.com/>.

“History of typography: Humanist | I love typography, the typography and fonts blog.”

I Love Typography RSS. 10 Sept. 2013 <http://ilovetypography.com/2007/11/06/ type-terminology-humanist-2/>.

“Humanist serifs.” Typekit. 10 Sept. 2013 <https://typekit.com/lists/humanistserifs?utm_source=typekit-blog>.

“Kids. Snob Magazine supplement.” On Editorial Design Served. 10 Sept. 2013 <http://www.editorialdesignserved.co/gallery/ Kids-Snob-Magazine-supplement/1901237>.

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10 Sept. 2013 <http://desktoppub.about. com/od/magazines/Magazines.htm>.

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“What is the Difference Between a Newsletter and a Magazine?” About.com Desktop Publishing. 10 Sept. 2013 <http://desktoppub.about.com/od/ newsletters/f/magnews.htm>.

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