National Institute of Fashion Technology Mumbai Department of Fashion Communication 2009-2013
Design Inputs for Graduation Show and Convocation Ceremony (2013) of NIFT, Mumbai
Omkar Khadamkar M/FC/09/13
Internal Mentor Susmita Das Pal
CERTIFICATE This is to certify that Mr. Omkar Khadamkar of Fashion Communication Dept. of NIFT Mumbai has successfully completed his Graduation Project with Mr. Sunil Pereira, Event Organiser on ‘Design inputs for Graduation Show and convocation Ceremony (2013) of NIFT, Mumbai’ towards partial fulfillment of the requirement for granting Bachelor of Design (Fashion Communication).
Project Mentor’s Name and Signature
Department CC Name and Signature
Jury Member’s Name and Signature
Preface It is relief to present to you this book explaining my graduation project – ‘Design inputs for NIFT Graduation Show and Convocation Ceremony 2013’. The title cranes to investigate what all was involved to complete my graduation project. I invite your inquisitive minds to read my perspective on my own project. I have taken the best possible care to include each of the tasks I performed in during the period of project. I hope you will be able to get the desired outcome from this book. I expect, it will also play a vital role while producing the design outcomes of similar kinds of upcoming events. Happy Reading.
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Acknowledgement I am grateful to the creator and my parents who manifested the energy which made me think of an unusual idea of the project. I am grateful to the Director of NIFT â€“ Ms Nilima Rani Singh who bared green signal for project. This section of document deserves the golden names of multitasking personalities who have contributed their appreciable energy in completion of this project. â€“ Mr Sunil Pereira, Ms Susmita Das Pal, Ms Rupa Aggarwal, Mr Nitin Kulkarni, Mr Vinesh Tapre and Ms Sushma Saitwal who executed respective roles of client and guide in the best possible ways. I am grateful to have Mr Sunil Pereira in place of my industry mentor. His cool, calm but organised behaviour raised the curve of my project. Ms Susmita Das pal being my academic mentor was a great relief, because of her helpful suggestions I successfully transformed this book towards desired stage. I also thank the faculties and the students who were involved in my sampling survey, their answers shared an anticipated part of the design process. Ultimately my special thanks to the NIFT family and associated vendors who performed their respective roles in the production. I feel blessed to work on a project like this.
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Index 1. Defining the brief............7
1) 2) 3) 4) 5)
1) Brief.................................................................................68 2) Design Directions...................................................69 3) Value...............................................................................71 4) Refinement.................................................................72
How did it all begin?.................................8 Events in context.........................................9 Understanding the client.......................17 The event â€“ Graduation show..............19 The complete event brief.......................21
2. Research..........................22 1) 2) 3) 4)
Primary Research........................................23 Secondary research...................................26 Target Audience............................................31 Unique proposition....................................33
3. Taking a guess!.................34
8. Exhibition..............................73 1) Brief..................................................................................74 2) Ideation..........................................................................75 3) Design directions.....................................................76 4) Overcoming hurdles...............................................79 5) Finalizing.......................................................................81
4. Identifying my role..........39
1) Analyze and manage the inputs.....................83 2) Go leftfield...................................................................83 3) Be disciplined............................................................83 4) Document....................................................................84 5) Set aside some time for play...........................85 6) Ask for more time if the budget is less......85 7) Finally, itâ€™s all about how I directed my energy!............................................................................85
1) Budget................................................................35 2) Sponsors...........................................................35 3) Sponsorship Proposal..............................36 4) Venue..................................................................37 5) Space and Communication...................37
1) Brief.....................................................................41 2) Ideation.............................................................42 3) The Concept of Heptagonal Sun.......45 4) Value...................................................................49 5) Presenting........................................................51 6) Refinement......................................................52
6. Brochure..........................55 1) Brief.....................................................................56 2) Ideation.............................................................57 3) Presenting.......................................................60 4) Selecting the template............................64 5) Refinement......................................................66
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1. Defining the brief A brief contains a specific goal that is to be met by the design but it may also be couched in terms that have varying interpretations. This was the first stage of the design process of my graduation project. The design brief presents all requirements of the client. The brief was included everything that will allow me to initiate the design process. It was further reworked so that my practical abilities could meet client’s requirements. 1. How did it all begin? 2. Events in context – Theory and practice A. Evolution of Event Management B. Defining an event C. Phases of the event D. Creative Brief E. The Venue F. Budgeting G. Sponsorship H. Promotion in Events
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3. Understanding the Client A. National Institute of Fashion Technology (NIFT) B. NIFT Mumbai C. Nature of NIFT Mumbai (Visuals and Adjectives) 4. The event – Graduation show A. The Concept B. Graduation Show 2012
5. The complete event brief
How did it all begin? There were following three ways in front of me before starting this unusual journey. I was unable to choose one of them. As all of them seemed interesting.
1. Event management of graduation show 2013 2. Making a graphic novel 3. Designing a flash based mobile application After consulting with faculty, I finalized to proceed on the first way - Event Management of Graduation Show 2013. Though initially I presented a very long list of all activities, later I concentrated on few of them. Then this project became, ‘Design inputs for NIFT Graduation Show and Convocation Ceremony 2013’. The best part of this idea was its uniqueness and golden opportunity to handle one of the great events of NIFT. At that time, I was unknown about the fruitful lessons this journey was about to teach me. I committed to offer the promising rise in the quality of design. The next step was to find out the problems faced by client during managing the past event. Then the initial brief was prepared and presented to Smt. Nilima Rani Sigh, Director, NIFT Mumbai.
“I have preferred to explain you the theory and practice of event management before jumping on the design process. It will make you aware of all the things involved in the industry of events in the same way it made me. This part of my project has also influenced my research and ideation stage.”
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2A B &
Events in context – Theory and practice A. Evolution of Event Management 1988 – 89, marked the beginning of the organised event management sector - Times of India celebrated their 150 years with several events through the year including ‘Timeless Art’ and the Yves Saint Laurent fashion show. These functions were organised as a complete in-house annual activity to promote their in-house products, namely newspapers and magazines. These functions for the first time were termed as an ‘event’ because very rarely had any such function been organised on such a large scale Since then entertainment and infotainment programmes have been termed
‘events’. Gradually events have emerged as a steady surge in popularity, thereby giving birth to the event management industry. Today’s largest and best event management company in India, Cineyug was also born. Today, the business has evolved into an exciting amalgamation of marketing, promoting and entertaining through creative skills. Each event is thus a unique blend of its own target audience, logistics, planning, promotional activities, technology and research that is peculiar to it.
B. Defining an event An event is an occasion where target audience meet to celebrate or experience an occurrence, designed and organised to communicate and interact with a purpose to achieve an objective. It is a dynamic plan involving a live multimedia package organised with a concept or an idea. It is customised to meet the client’s objectives in terms of client’s reach and suitability. It influences the minds of the target audience, by providing them with an enthralling, interactive, touch-and-fell experience. Events are temporary and not a permanent phase. They have a finite publicised life. The objective of any event is thus to capture the consumer’s attention. Events have inherent features in them that attract audiences such as acquiring one’s basic leisure needs, uniqueness of its ambience and multiplicity of goals desired and the festive spirit besides the touch-and-fell experience. Events have high visibility and greater impact than any other media. Events bring people together for specific purposes – marketing, fund-raising, image changing and
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image building, expand trade, stimulate business and enhance the market economy. They provide a platform and give opportunities to the organisers, stars and artists to showcase their talents and sometimes even bring out civic awareness. Today companies and organisations, be it large and small are actively pursuing events as a marketing tool to avoid the clutter that exists in the market place of traditional media and also want to utilise the huge benefits that events provide. An event can subtly, yet effectively reinforce the brand image of a product or service in the interest of the consumer through an association using prominent celebrities and acknowledged industry leaders. Events offer a sponsor multiple opportunities to extract every possible mileage available in marketing jargon. Events help to address the diverse marketing needs of a company. Events are further exploited via multiple mediums such as audio, video, internet, web casting, etc. Top of mind recall is an inherent trait of an event.
Events in context – Theory and practice C. Phases of the event The activities required for marketing and managing events require certain steps to be followed
These steps are known as the 5C’s of events • Conceptualisation - the creative idea • Costing - calculating the cost of production • Canvassing - for sponsors, customers • Customisation - depending on the brand, budgets • Carrying-out - executing the final event The activities to be carried out before an event are limited. However the pre-event activities overshadow the post event activities. These steps are basically an extension of the 5C’s. Just before the event – a final briefing is done with all those directly involved with the running of the show. Once an event is started one should make sure that all unwanted personnel and client do not interfere with the Show Director in the running of the show, as this is very important in case there are any hiccups during the show.
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Once the event is over, all vendors should dismantle their goods and leave a clean venue. It is the responsibility of the Marketing team to see that all payments come in from the client / sponsors. The final accounts are then drawn up and balance payments made to all vendors and artists as per schedule agreed upon. Finally an event document should be prepared and given to the client for his records.
Events in context – Theory and practice D. Creative Brief Once the marketing team has met with the client and understood why they want to do the event – a creative brief is prepared. The creative brief is a detailed list of input and specific instructions from the client for the event.
The brief should cover some of the following details: • Name of the client / brand / product? • Why are they doing the event? • Who is the TA? • What is the type of event they want? • Venue, no. of invitees, date and time of the event? • If they have done the event before, what was done? • Any specific requirements (celebrities, models, designer, artists, MC, etc.)? • Is there any budget allocated? On receiving the brief from the marketing team, the creative head should ask questions so as to understand the brief. The creative head then sits with the creative team on the brief. Once the creative team has understood the brief they then break-up the event into various components keeping all the points and answers from the brief in mind. The first stage is to pen the thoughts on paper, so as to see the feasibility of what they have in mind. At this stage they may consult the set designers and the production manager for inputs. Market research should also be done at this stage so
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that a unique concept is derived. On formulation of the core concept, the creative team then proceeds to implementing the concept. The next step is to sit with the graphic designers and design all elements of the event – invitations, publicity material, sets, décor, etc. The concept now starts to take shape and gets a life of its own. Once the final concept is ready, the creative team, marketing team and the production manager then have a joint meeting to see that it fits the client’s needs and overall budget.
The presentation to the client can be done in the form of: • Word documents • PowerPoint presentations • Models of set / structure • Designs • Visuals of décor ideas • Visuals of suggested elements (celebrities, models, clothes, MC, artists, etc.) At this stage changes may be made in the core concept depending on the client’s feedback On getting the final nod from the client the creative team then passes on the core concept and its elements to the Project Manager for implementation of the event.
The SUCCESS of any event is based on the CORE CONCEPT.
Events in context – Theory and practice E. The Venue A venue is the site at a desired location with the required audience capacity and with the required availability for a specific time period for the event. The most important factor when selecting a venue is the availability factor – the time that is required not only for the actual event but also for the set-up time and post event activities. The capacity of the venue is another major issue – the number of people attending the event based on the concept has to be met. The rates for the venue also forms a major portion in the costing for an event – thus a venue should only be selected if it meets the requirements of the concept as capacity and infrastructure have an impact on the rate of a venue. Rates of venues vary from season to season.
There are basically 2 types of venues: Indoor venue Outdoor venue The general guidelines should be kept in mind when selecting a venue. In some venues there is a monopoly of decorators and caterers and these costs should be looked into when booking the venue. Contingencies like power failure need to be dealt with and the generators should be properly assessed. Most venues have standard restrictions and these should be understood at the time of booking the venue. The mode and type of payment for the venue would depend on the arrangement that is negotiated.
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Event ProductionPre event production
Once the venue has been selected make sure it meets on-site facilities like drinking water, food, barricading, toilets, cabling, meter rooms, green rooms, housekeeping, gate management, security, general lighting and parking. Depending on the size of the event make sure that the venue is booked accordingly. The venue should be ready in totality at least an evening before the event so as to enable rehearsals, sound check and complete technical rehearsal (also termed as a dry run) on the day of the event. A technical rehearsal is a complete run through of the event with the MC’s, artists, sound and lights. It implies conducting the full show, as per the event flow. However it need not be a dress rehearsal.
On event production
On event production is the phase when the event is actually taking place. Show time job responsibilities are assigned to specific teams or people. A very important team for an event is the backstage management team. This team manages all activities on and around the stage such as front-stage, onstage and off-stage as per the event flow.
2E Some important functions / activities during an event: o Organise for the registration / reception committee, ushers, volunteers and hostesses o Check invitee arrivals, informing VVIP arrivals backstage o Distribution of ID badges o Distribution of the final show flow amongst the show crew, green rooms and SLV console o Assist with green room requirements o Assist with the movements of props on stage o Brief the performers and MC before they go on stage o Hand cue cards to the MC o Handover mementos, trophies, flowers, etc. during the show
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Event flow chart
Based on the performing activities finalised, a minute-to-minute event flow chart is prepared which is to be distributed to the entire organising crew, performing artists green rooms and all important crew before the show. The chart has the following information: run time – duration – act – entry – exit – AV – cue – performing artist – choreographer – sound /music format – lights – special effects – set change – stage movements – props – remarks. A sleek synchronisation of the script along with the activities in the event flow chart is the backstage management team’s core task all through the show.
Technical rider A technical rider is a list of specific requirements against each activity, mainly the technical specifications in terms of sound, lights, music, equipment, stage set-up and props. Specific arrangements based on the artists’ requirements – travel, accommodation, food, etc. (for outstation events) are also listed on the rider. The rider is presented to the event manager / promoter before one confirms production details and execution of the event.
Events in context – Theory and practice F. Budgeting Though some certain production costs are standardised, one needs to ensure that relevant components involved in the event are not missed out. At the outset one must see that the costing fits the bill both for the promoter / sponsor and the event company. A cost sheet is drawn up after taking all the elements of the show into account and should be as accurate as possible as most clients do not like additions once budgets are passed. Agency commission and tax should also be part of the cost sheet so that the client understands what he is paying for. Once the cost sheet is approved both by the client and the agency then a copy should be handed to the client so that he can process the same for advances that the event agency will require for the event.
Sound and Lights
This structure / platform is set-up to house the sound, light and video console. It is basically a workstation from where all the technicians operate their equipment such as the audio and light mixers, DAT (digital audio tape) player, special effects programmer, video projector, TV director, event co-ordinator (backstage management team) and the director of the show. The director is on a clear and frequent communication with almost all the different functional heads such as sound, lights, sets, TV, etc.
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Licences & Permissions
These are required for every event and no event should be done without them being in place. Depending on the event, magnitude and scale of the event, the licences and permissions that are required will be determined. Normally licences should be applied for at least 20 days before the event, however it is important to check the same with the relevant authorities. If the event has more than one sponsor than the required paperwork is needed to be got from each sponsor before applying for the licences and permissions.
Requirements for shows in India: • Excise Liquor license • Municipal license (when serving food in public) • PWD clearance (for all structures above 15 feet) • Fire brigade license • loud speaker permission • Generator parking permissions (only for Mumbai) • RTO traffic permission • police permission for security • PPL (public performance license – for any kind of recorded music) • Entertainment tax collectors NOC • IPRS (Indian Performers Registration Services – when using live performers) • Work Permit (for international artists / performers) • ECNR (Emigration check not required – when travelling within Asia) • If it is a charity event then the charity commissioners NOC is needed.
Events in context – Theory and practice G. Sponsorship Top Ten Tips for Sponsorship Seekers Tip 1
Sponsorship is not about your need; it’s about achieving the sponsor’s objectives. If you can’t – or are unwilling to – accept this, don’t even try to gain sponsorship. There is no such thing as free money.
Sponsors don’t need to share your passion for your event or organization in order to sponsor you. They just need to be able to see the commercial benefit. Focus on that in any proposal you provide.
Do your very best to gain sponsorship from companies or brands that are a natural fit with your event or organization. They more they look like they are an authentic part of an audience’s experience, the better marketing platform sponsors will have and the less potential they have to detract from your credibility.
Be sure your whole organization understands why sponsorship is important to you and is prepared to treat your sponsors like marketing partners. If your colleagues think sponsorship is just free money or a necessary evil, the sponsors will know and your relationship will be difficult.
Putting logos on things for awareness and exposure is very old school and is no longer a primary goal of sponsorship. Go ahead and offer to put logos wherever you want – just make sure your proposals offer far more substance to sponsors. Exposure is not the cake, it’s not the frosting, it’s simply the cherry on the top.
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Start at least twelve months before an event if you are seeking any kind of substantial sponsorship. It can take some sponsors months to make a decision and they usually need at least six months to get their leverage program together before the event. This is for your benefit, as well as the sponsors’. If you get knocked back, you need to have enough time to source another sponsor.
Keep in mind that you may be working with a very big, very bureaucratic organization. Be sure your proposal can stand on its own without the personal enthusiasm you may put into your first presentation, as it will likely be passed around to a dozen or more people who will all have input into the decision.
It’s better to get a couple of big sponsors than lots of small ones, if at all possible. There is less clutter for them and less sponsor management for you. Small sponsors are just as hard to look after as big ones and can quickly drain your time and energy.
Don’t ever think that once you’ve got the cheque your job is done. If you don’t service sponsors properly, they will never give you another cent and will talk about you unfavorably to their peers. At worst, you will end up in litigation.
Be sure you understand the basics of sponsorship before you try your hand at it. Go to a workshop, read a book or two, and start networking with people in the business. This is a very rewarding field, but one that requires some very specific skills to be successful. If you don’t do it properly, you will not get the money you are looking for, and may well burn bridges for funding in the future.
Events in context â€“ Theory and practice H. Promotion in Events The media campaign for events has 3 stages â€“ Pre-event, During the event and Post-event. Pre-event media involves informing the target audience and advertising in the genuine sense. Press releases and press conferences can also be pre-event activity. Live coverage and reporting of an event is possible on media such as radio, TV and the internet. This increases the reach as well as actual participation in the actual proceedings of the event. Post-event media coverage involves all the reporting of the success to reap the postevent benefits. This is achieved by arranging press conferences, interviews, reviews and the participation in talk shows by the celebrities or core talent involved in the event.
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Benefits A media element may be print medium, radio, TV, outdoor or the internet and in the media industry, these are also known as products. A media element too needs to advertise its presence and reach to create a certain image amongst the various segments of the market. By associating with an event designed for a particular target audience, the media elements get the benefits of the brand association for focussed advertising. Calculation of circulation figures based on response that an event generates is also another reason that media sponsorship is popular.
Negotiating with the media While networking with media for publicity, the event organiser should first understand the objectives that have been set for the event in terms of reach. The frequency of the publicity blitz planned would also be a factor in deciding the media mix. The event organisers usually have to obtain publicity space or time at the prevailing commercial rates. Special offers of reduced rates are frequent phenomena in the media industry during festive seasons or special editions or programmes for particular occasions. When the objectives of the event and those of the media elements match, a mutually beneficial association can be worked out..
3A B &
Understanding the client A. National Institute of Fashion Technology (NIFT) The Institute is a pioneer in envisioning and evolving fashion business education in the country through a network of fifteen professionally managed domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Jodhpur, Kangra, Kannur, Kolkata, Mumbai, New
Delhi, Patna, Raebareli and Shillong. NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The Institute provides a common platform for fashion education, research and training.
B. NIFT Mumbai NIFT Mumbai was established in 1995 to cater the garment industry in the commercial capital of India. With the objective of proactively catalyzing the growth of Fashion Business. NIFT- Mumbai has always remained true to its vision, growth and fashion business. With a multi-disciplinary approach for a more agile industry response. NIFT- Mumbai has included its professional education industry inputs in Design, Management and Technology in varying proportions. A common platform for interaction with industry and craft sector has been created as an intense and dynamic part of Curriculum at NIFT-Mumbai. NIFT students have successfully completed their various â€˜study abroadâ€™ programs at foreign fashion schools of acclaimed repute. This initiative by NIFT has given wider perspectives to our students who have then gone a step further and returned to the respective foreign universities for advanced studies. Craft Cluster initiative at NIFT Mumbai has built in collaborative partnerships in a mutually learning mode with various handloom and handicraft clusters in Maharashtra. NIFT has also integrated cluster activity with student curriculum and exposure to rural crafts for all programs in a project mode as a model of rural development has given a holistic approach to combing crafts and design in India. This activity has integrated the value Indian Crafts across design, management and technology programs.
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NIFT Faculty members are highly trained professionals from leading reputed fashion and design institutes, who bring to the classrooms wide exposure and years of hands on industry experience. During the course at NIFT Mumbai, the students undertake areas of research which are in tandem with the industry through which newer ideas and solutions for the modern fashion world are created. NIFT Mumbai has always enjoyed a close association with the apparel industry and through time has enhanced its responsiveness with collaborations like internships, projects, placements, etc. Continuing Education at NIFT Mumbai has further increased technical support to industries, trade bodies and educational institutes.
Degree courses offered at NIFT Mumbai cover all aspects of Fashion BusinessB.Des. (4 years undergraduate program) Departments of Fashion Design (FD), Knitwear Design (KD), Textile Design (TD), Fashion Communication (FC) B.F.Tech. (4 years undergraduate program) Fashion Technology (Apparel Production) M.Des. (2 years postgraduate program in Design Space) M.F.M. (2 years postgraduate program in Fashion Management)
Understanding the client C. Nature of NIFT Mumbai
Ambitious Focused Multi-disciplinary Dynamic Highly-trained Wide Thinking Craft Lover Collaborative Optimistic Expanding
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A. The Concept Graduation Show is the annual event of NIFT. The event harmonies all graduating students of NIFT to display their graduation projects and design collections. Generally, it takes place in the month of May.
The event can be divided into three major formats of displaysI. Seminars – Presentations by graduating students of the departments of Fashion Technology, Design Space and Fashion Management. II. Exhibition – Panel and 3D displays by graduating students of the department of Fashion Communication and Textile Design. III. Fashion show – Shows by graduation students of the departments of Fashion Design and Knitwear Design. The prize distribution ceremony is also a vital part of the event which is scheduled after the Fashion Show.
The sole objective of the event is to focus on the brilliant works done by the students to gain more appreciation from audience. Which ultimately leads to consolidation of the desired professional image of the NIFT graduates. The event is conducted by utilizing a specific amount of budget. Each centre of NIFT has been allotted a budget of two lac per department. NIFT Mumbai meets the excessive expenses by creating marketing opportunities for sponsors. Generally the director forms a committees and allots specific tasks of the event.
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Following is the list of tasks appointed to these teams. These committees work simultaneously to push the project towards successful completion. Administration and coordination – This is a core committee. The members look after the flow of communication through rest of the committees and select best possible ways of implementation according to availability of budget. To create a sponsorship proposal, to approach the sponsor, compensate their demands and meet the agreed terms in sponsorship proposal are also major tasks of the members of the core committee. Venue and Décor – To select the venue which meets all the requirements and to look after the exhibition and space design are the duties performed by this committee. Brochure and Invitation – This committee looks after the print and digital communication of the event. Compilation of all the information received from all graduation students is one of the tasks performed by them. Fashion Show – This team coordinates with the sponsors and choreographer to meet the output of the students of FD and KD departments.
Guests of the event include following groups of people• Honorable chief guests • Designers • Industry mentors • Parents • NIFT Alumni • Fund raisers and Sponsors • Students, faculty and staff
B. Graduation Show 2012 It was held at Hotel Lalit in Mumbai. The event was inaugurated by Ms. Nilima Rani Singh, Director - NIFT, Mumbai. The day was commenced with displays and presentations on various projects of the students of the departments of FC and D. Space encompassing areas such as visual merchandising, set designs, art direction, event management, exhibition and displays designs, Graphic Design, Fashion Journalism, Styling, and Photography. The day ended with the Fashion Design and Knitwear Design students showcasing their respective collections. The collections of both departments were drawn from variety of ideas and out of the box themes. Some of the exciting themes the students have worked on are Khiraj-a-Jannat, Hypnotic Daze, Saudade, Dusky adieu, Dream Catchers, Raised by the Streets, Time starts now and many more. Also the students were honored with a range of awards sponsored by Globus, AMFI (Association of Manmade Fibre of India), NOAH Fashions, Usha International, Sheetal India etc. by eminent dignitaries. The event was the culmination of four years of practical learning and intertwining the knowledge and skill to mark on the fashion scene.
Renowned models like Alesia Raut, Parvathy Omanakuttan, Shriya Kishore, Aanchal Kumar, Natasha Suri, Hrishant Goswami, Gaurava Arora and many more dazzled the ramp dressed in student ensembles.
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The evening was a glamour packed affair with an eclectic mix of celebrities and prominent fashion designers from the industry like Narendra Kumar Ahmed, Archana Kochhar, Actor Gaurav Chopra, Actress Amrita Raichand and news speaker and casting director Dolly Thakore.
The complete event brief A. Client
– National Institute of Fashion Technology, Mumbai.
B. Target Audience
• Honorable chief guests • Designers • Industry mentors • Parents of graduating students • NIFT Alumni • Fund raisers and Sponsors • Students, faculty and staff
-To focus on the brilliant works done by the students -To gain more appreciation from audience. -To set the desired professional image of the NIFT graduates in the minds of TA.
D. Design Solutions
• Finalizing the budget • Collecting Sponsorship • Venue • Media and PR Management • Print and digital Communication • Invitation and hospitality • Deciding honorary guests, artists and faces of the event • Décor and space design • Choreography • Sound, Light and Video management • Event Analysis
E. Project Time Scale
I. Pre-event tasks – -Budget Finalization -Confirmation from Sponsors – Pitching - Followup - Agreement -Finalizing the venue -Finalizing the event flow -Deciding and inviting the honorary faces for the event -Press- conference and inviting media -Dispatching print and digital invites
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-Compilation of brochure date and printing -Finalizing the choreographer and models -Designing Décor and space and SLV console tasks -Rehearsal and delegating the tasks to ushers II. During-event tasks – -Maintaining the Schedule and flow of the event -Hospitality and Guests management -Capturing and recording III. Post-event tasks – -Event Documentation and analysis
2. Research Once a brief was defined and agreed the research stage began, where I investigated the subject matter of the brief in order to accumulate relevant information that will be used to inform design decisions. This information provided different ways of identifying, determining and dissecting the attitudes and behaviors of target audience. It also helped to provide understanding of the design approach considered by competing institutes. Obtaining a clear understanding of the target audience fed information into the ideation stage. This was then used to generate ideas for design directions. The research stage ultimately outlined the unique proposition of the event. 1. Primary Research 2. Secondary research 3. Target Audience 4. Unique proposition
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The primary source of research was the feedback generated during the survey of the TA of Graduation Show 2012. Sampling survey* was conducted to gather information. A set of questions was asked to a TA sample. Following are the names of the people who were selected to be a part of sample with the role they performed during the Graduation Show 2012-
Names Type of audience group Roles in Graduation Show 2012 Mr. Nitin Kulkarni Faculty Member of the brochure team Mr. Nitin Rangdal Faculty Decoration Committee Mr. Vinesh Tapre Faculty Decoration Committee Mr. Shripati Bhat Faculty Logistic and security Committee Ms. Shweta Faculty Member of the backstage team, Audience Mr. Mohd. Jav ed Faculty Core Committee Mr. Tanmay Faculty Audience Mr. Rajiv Kumar Guest Printer Mr. Dhanraj Survase Faculty Exhibition and front stage management Mr. Sachin Kumar Staff Audience Ms. Monika Aggarwal Faculty Member of the invitation card and choreography team Ms. Aboli Faculty B.F.Tech Seminar Coordinator Ms. Ranjini - Ms. Disha Gupta Faculty Member of the invitation card team Ms. Sonali Saldanha Faculty Mementos Committee Prof. Jomichan S. P- Faculty Invitation and Reception Committe Ms. Sharmila Dua Faculty Member of the Core-coordination team Mr. Apoorv Gupta Student Member of the brochure team Ms. Eipsita Tikoo Student Audience Ms. Aastha Seth Student Audience
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What worked and what did not work? (Representation of primary research findings)
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Primary Research Quotes
“The exhibition and displays were not given enough space and attention.” Ms. Disha Gupta, Asst. Prof., Dept. of P.G. Design Space.
“Department differentiation was missing.” - Monika Aggarwal. Asst. Prof., Center Coordinator, Dept. of Fashion Design.
“Sponsors should see potential clients and customers in audiences.” – Mr. Rajiv Kumar, Asst. Prof., Dept. of Knitwear Design.
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Secondary research is the information obtained and derived from secondary sources such as the event brochure and invitation card of the Graduation Show 2012. The blog posts and reports in newspapers about Graduation Show 2012. The promotional and documentary videos of Graduation shows of other institutes. These provided the demographic and historic performance of such events. It also provided a clear view of how the TA is structured. The sources of the secondary research are mentioned in the bibliography section of this documentation.
Graduation Show 2012 Cost Breakdown (on record)Name Activities Amount (Rs.) Mystique promotions Pvt. Ltd. Event management and production (Stage and backdrop, Printing, technical, Miscellaneous, Forum evening conference, Permissions, Royalty.) 7,68,542.00 Mr. Hugo Dâ€™souza Master of Ceremony 25,000.00 You me & we Pvt. Ltd. PR 72,000.00 Hotel The Lalit Venue 15,72,922.00 NCN Creatives Photo and video shoot 24,200.00 Stationery stores Stationery 17,657.00 FD jury visit hospitality 40,850.00 Travel and Transportation 13,769.00 Models 4,97,800.00 Backstage 27,000.00 Makeup and hairs 75,000.00 Lunch while rehearsals 22,000.00 Ironing 7,000.00 Anchla Sachdev Choreography 2,52,810.00 Jokers Pvt. Ltd. Invitation Printing 32,000.00 Total 34,58,550.00 Texzone Pvt. Ltd. Brochure Printing (Sponsored) 3,50,000.00
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Secondary Research Media Universe-Publications
General Dailies and suppliments Regional Midday (if paid) Maharashtra Times Bombay Times (if paid) Navbharat Times HT Café Aajchi Navi Mumbai DNA After Hrs Asian Age Websites Afternoon Stylekandy.com Screen Fashionfad.in Free Press Journal Miss Malini Vashi Times Explosivefashionfeista
List of sponsors (on record)-
Sponsors Amount (Rs.) Alok Industries Ltd. 2,52,810.00 ONGC 2,00,000.00 Jacksons International 1,00,000.00 TVS Motor Co. 75,000.00 M/S Biazo Clothing Mfg. Co. Pvt. 30,000.00 M/s Vira Enterprises 15,000.00 M/s Sheetal Clothing Pvt. Ltd. 10,000.00 M/S Unity Infraprojects Pvt. Ltd. 15000.00 M/S HP Fashions 10,000.00 M/s Iqbal tours and travels 20,000.00 Axis Bank Ltd. 15000.00 Yes Bank Ltd. 20,000.00 Suditi Industries 20,000.00 Malwa Industries 20,000.00 M/s Addon Retail Pvt. Ltd. 21,000.00 M/S RV Design Couture Pvt. Ltd. 15,000.00 Manmade Fibre Industry of India 25,000.00 Total 8,63,810.00
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TV Channels (If Celebs present) Zoom NDTV Good Times CNIBN Aaj Tak ZEE ETC New 24 Sahara Samay
Event brochure of Graduation Show 2012 (Secondary findings) Cover - 300 GSM Art paper with lamination Inner pages - 90 GSM Glossy Litho paper Type of printing - 4 colors, offset printing. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta. Design Support – Shobhit Kumar Faculty Coordination – Nitin Kulkarni, Patricia Sumod and Nitin Rangdal. Editing – Ms. Susmita Das Pal, Dr. Reena Agarwal, Mr. Muvilvannan and Ms. Garima Srivastava Proof Checking – Prof. Sharmila Dua, Dr. Ajit Khare and Ms. Kundalata Mishra
Event invitation card of Graduation Show 2012 (Secondary findings) 300 GSM Art paper with lamination Envelop Size - A5 Dinner coupon size - 2” X 2” Type of printing- 4 colors, offset printing. Printed by Jokers Pvt. Ltd. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.
Event brochure of Graduation Show 2012 (Secondary findings) Cover - 300 GSM Art paper with lamination Inner pages - 90 GSM Glossy Litho paper Type of printing - 4 colors, offset printing. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta. Design Support – Shobhit Kumar Faculty Coordination – Nitin Kulkarni, Patricia Sumod and Nitin Rangdal. Editing – Ms. Susmita Das Pal, Dr. Reena Agarwal, Mr. Muvilvannan and Ms. Garima Srivastava Proof Checking – Prof. Sharmila Dua, Dr. Ajit Khare and Ms. Kundalata Mishra
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Event invitation card of Graduation Show 2012 (Secondary findings) 300 GSM Art paper with lamination Envelop Size - A5 Dinner coupon size - 2” X 2” Type of printing- 4 colors, Digital printing. Printed by Jokers Pvt. Ltd. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.
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This section defines the character profile on the basis of primary and secondary researchTarget groups-
• Honorable chief guests • Industry mentors • Parents of graduating students • NIFT Alumni • Fund raisers and Sponsors • Students • Faculty • Staff
Digital Medias consumed by them-
Social networking sites- Facebook, Twitter, YouTube Online shopping- Fashion and you, Book my show, Flipkart, Jabong, Make my trip Smart phones apps – Whatsapp, Blackberry Messengers, M-Indicator, QR code reader.
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Their Aspirations for the Graduation Show 2013
Target audience dreamShow sould be as good as Lakme Fashion Week, What about the huge auditorium like this to accommodate crowd, Call Anurag Kashyap or Karan Johar, It shouldnt be just a fashion figure but a great communication designer as well.. We should feel the ‘íntelect’ and ‘glamour’ in the air!
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The following Venn diagram sets the target of ideation through the all outcomes derived from the research.
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3. Taking a guess! 1.
Space and Communication- Print and Digital
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Considering some percentage of increase in the budget of Graduation Show 2012 and keeping the quality of this yearâ€™s event, following estimates were made-
Sets + Venue Constructs + Technical = 28,00,000 Choreography and models = 12,00,000 Media and PR = 4,00,000 Print and Digital Communication = 4,00,000 Approx. total = 48,00,000
Sponsors The outcome of research and character profile of TA helped me to suggest following sponsorsExcluding the sponsors of Graduation Show 2012LOREAL LAKME Oreo Vodafone Airtel Mumbai Mirror Axis
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Union Bank Amway Lifestyle Globus Bombay High Bombay Dyeing SEASONS furnishing
Raymond Levis PVR entertainments Inox / Big cinemas Fashion and you.com Flipkart.com / Jabong .com Tanishq / Reliance jewelers
The basic structure of sponsorship proposal was made on following headings-
• Event title • Event Description • About NIFT, Mumbai • NIFT Mumbai Graduation Show 2012 • Audiences • Benefits to sponsors • Sponsors slab • Concept visuals of their exposure on stage, and other possibilities for marketing • Our current sponsors • Our previous sponsors • Contact
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As per the requirement of space, period of the year and budget constrain following venues were suggested.-
The Lalit Hotel Renaissance NCPA Grand Hyatt Mahalaxmi Racecourse
Space and Communication- Print and Digital Innovative Ideas were doodled during the survey and secondary research to overcome the problems faced during the Graduation Show 2012. Having a general idea of the Medias consumed by TA. Following ideas were referred
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Space and Communication
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4. Identifying my role The brief contained all design solutions needed by the client. It involved many people it was not a one-man’s job. I reworked on the brief and selected few of the tasks which are achievable by me. I chose to work on the activities I was interested in. Considering the timescale and my abilities, I identified my role in the complete event brief and developed new specific briefs for each tasks. These briefs were focused and they talked only about the tasks I committed to deliver. Those tasks would finally implement following design solutions-
Exhibition and space
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5. Identity 1. Brief 2. Ideation
A. Theme of thinking B. Inspiration and references
3. The Concept of Heptagonal sun 4. Value 5. Presenting 6. Refinement
A. Appropriation B. Shape Modification C Paper and type of printing
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Before starting the design process a specific design brief was developed to design the new identity for Graduation Show 2013 for use on all the external communications of the event. Aim: • To produce a new corporate identity that reflects the unique proposal of NIFT Mumbai Graduation Show 2013. • To create an identity that can stimulate the TA to experience the core concept behind the event. • To differentiate the event from other events of similar concepts and TA. Usage: The identity will be used on all external communications including brochure and invitation cards, soft copy of the invitation cards, backdrop and standees. Target Audience: As mentioned in the defining brief section (page -20 ) Nature of the client and the event: As mentioned in the defining brief section (page -17 )
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During the ideation stage, I drew on the research gathered. This information was used to create ideas with which I tried to tackle the design brief. A. Theme of thinkingI chose to harness three factors – Convergence, Divergence and Transformation. And took forward the unique proposition of the event. These factors were original as if they drew a unique theme of thinking in my mind, which seemed specially made for the identity of the event. Convergence Here, I have visualized NIFT Mumbai as convergence of all seven departments. As NIFT Mumbai gathers all the processes carried inside the fashion industry under one umbrella. Divergence While the thought of divergence sets the reader’s mind in opposite flow of the convergence as it focuses on all the separate departments with their unique existence. As if the seven heads are peeking out of the umbrella. Transformation The identity should be perceived as an evolved version of the identity of 2012. Which will link and create a qualitative impact on viewer’s mind.
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Inspiration and references
While going through these already existing logos in the market, one can notice the fresh typographical element. The confident size of the event tile, simple and short graphic, theme based color schemes are prominent features.
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Inspiration and references
The next step was to investigate the fresh typography which can be ideated and utilized in the logo, I found some great references to create an edge in the market through typefaces. THe first image showcases the 18 versions of the ĂŠxoâ€™typeface.
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The concept of Heptagonal Sun After exploring the themes of thinking and references, the major challenge was to break the clutter with a sense of evolution. The fresh typography and an element unfolding the event-proposition was the first way out.
As I developed the refined collection of visuals directed my thoughts towards one concept –‘Heptagonal sun’.
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The concept of Heptagonal Sun
The initial exploration began with only use of typography, the graphic impact was added in later concepts like; rising sun, encircled sun. Small food of thoughts at each stage moulded the concept into more visually appealing form.
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The concept of Heptagonal Sun
Initially I produced this self-written copy for the concept, and arranged in better typography.
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The concept of Heptagonal Sun Some of the samples explaining the copy and the story around the concept were checked, The copy needed to be presize and deep enough to communicate and spread the energy. The name of Aristotle and his quotes were suggested by the client. To see the list of quotes prepared refer Appendix-I page-86
Incorporation of the heptagonal sun as a lamp in the decore. Initially, it was decided by the client to freeze the construction area of the NIFT(infront of the last entrance) as a venue for the event. Basic visual concepts for the decor and ramps were developed, these can be refered in the Appendix-II section of this document. page no.- 87
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The concept was further brainstormed to add value and to strengthen its roots. Mythological reference for the sun concretes the perspective and stabilizes the theme. The Sun God in the Life of Ancient Egypt Religion Sometimes the Sun God was worshiped as the supreme deity Ra or Re. The bright father who fertilized Mother Earth with rays of penetrating heat and light; sometimes it was a divine calf, born anew at every dawn, sailing the sky slowly in a celestial boat, and descending into the west, at evening, like an old man tottering to his grave.Or the sun god was the god Horus. Taking the graceful form of a falcon, flying majestically across the heavens day after day as if in supervision of his realm, and becoming one of the recurrent symbols of Egyptian religion and royalty. Surya is the chief of the Navagraha, Indian “Classical planets” and important elements of Hindu astrology. He is often depicted riding a chariot harnessed by seven horses or one horse with seven heads,  which represent the seven colors of the rainbow or the seven chakras. He also presides over Sunday. Surya is regarded as the Supreme Deity by Saura sect, which is now a very small following. Smartas worship him as one of the five primary forms of God. “Helios” is just the Greek word for sun. He was also worshipped as a god by the Greek, especially in Rhodes. He is connected with horses and chariots and sometimes with cattle. He is usually called the son of the Titans Hyperion and Theia or Euryphaesssa. Prominent children ascribed to him are Phaeton, King Aeetes of Colchis, and Circe. In Roman tradition, Helios was simply translated by the Latin word “Sol” meaning “Sun”. But this Sol was also sometimes called Phoebus
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4 Surya as the Sun is worshipped at dawn by most Hindus and has many temples dedicated to him across India. He also enjoys worship as a part of the Navagraha. He is especially worshipped in the Hindu festivals of Ratha Saptami, Makar Sankranti, Chhath and Samba Dashami.
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Before I worked on more concepts, this concept was presented to client. And luckily the first and the only concept was set to be taken forward. The client approved it and suggested few refinements. During the same time I also presented a story around it to boost the media in the fashion environment, which failed the approval. Moreover a good decision was made to keep everything short and simple in every possible way. Following are some of the slides from the presentation.
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Refinement A. Appropriation
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B. Shape Modification
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C. Paper and type of Printing
Leather textued creame color paper with a gold foil stamp of logo was selected for general usage, Above are the samples of paper and printing variations of the same logo.
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6. Brochure 1. Brief 2. Ideation A. Inspiration and references B. Design Directions
3. Presenting 4. Selecting the template and gathering information 5. Refinement
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Aim: To produce a new brochure that engages the A to read and re-read the information about the graduation projects and design collections. To create a new brochure that resonates and improves the potential image of the client. To design a brochure that unfolds the selected theme of identity To create a durable brochure which will be presented by target audiences can be referred whenever needed. To develop a platform of industry exposure for graduating students through this brochure. Money involved: 300.00 to 400.00/brochure Target audience: As mentioned in the complete event brief (page-20).
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A. Inspiration and references During this stage macro elements like typography, page layouts and dimensions and look of the book were worked on. Simultaneously, many inspirations and references were noticed to trigger the fresh concepts.
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2A The deeper I went to seek references and inspiration, the more innovative uses of elements of a book I noticed. Some of them were actually ideated for implementation.
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B. Design Directions Considering the nature of client, TA and brief, few fonts were dragged and categorized into design directions. I refused my urge to use fonts like Garamond, Gill sans, Times, Myriad and Futura to maintain the fresh appeal of the brochure.
a. Little booklets b.Overcoming the last problem c. Penstand and newspaper d. Calendar
The combination of san and san serif has a long tradition to influence the reader, the same combination was picked through these typefaces to update the traditional look of brochure.
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3 These are few of the innerpages layout. Initially only dummy text was added. These ideas were clubbed together to form a new hierarchy of information. The idea of the breaking monotonous text through a statement in contrasting Didot typeface was appreciated.
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3 This page displays the layout options for departments of Fashion Communicaion, Master in Design, Bachelor in Fashion Technology and Master in Fashion Management as the students have categories of visuals to add unlike the students of departments of Fashion and Knitwear Design, who showcase the full garment.
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3 These options are for the pages introducing each department. They seperate information pages of students from one department to another.
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Options for initial pages of the brochure - NIFT information, messages from Director and Director General, etc.
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Selecting the template and gathering info. Out of the ideated design directions conventional direction which talked about overcoming the problems faced by the last yearâ€™s brochure was selected. It actually suited the budget. I pushed forward the direction and presented several dummies of inner pages, including messages of Director and Director General, introduction of departments, introduction of the institute, and different templates for the studentsâ€™ pages. In the first meeting of presentation, few ideas were clubbed to form more appealing outcomes and the selected new ones undergone the process of refinement.
Two seperate layouts were produced to meet the need of textile design students who work in both fields; Garmet production as well as home -furnishing. 64 Graduation Project Omkar Khadamkar
Selecting the template and gathering info.
A screen shot to present how did we proceed forward to collect the brochure information individually from the students of departments of fashion technology, fashion communication, design space and fashion management. To see the screenshots of mails forwarded to the students of other departments refer the Appendix-III section page no. 88
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The decided limitations of words and images were not received in the desired way from each student, so each page was customized again according to the provided information.
The color differentiation to define each department from the edge ease the user experience. VIsualization of the final brochure.
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7. Invitation 1. Brief 2.Design Directions 3. Value 4. Presenting 5. Refinement
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Aim: To create an invitation which speaks the best aspect of event and creates a curiosity in the minds of audience. To produce an Invitation which may have short life but longer recall value. Money involved: 40.00/invitation card Target audience: As mentioned in the complete event brief (page - 20) .
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During initial ideation, I experimented with materials like OHP sheet to enhance the look of envelop. It was rejected by client due to eco-friendly constrain. Some different styles of folds and cuts were part of the next presentation.
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3 Refernces of pearl papers, lazer cut techniques were triggers to add value in design , but later the budget limited the client to choose these value added directions.
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This was how invitation card looked at the final stage of refining. 72 Graduation Project Omkar Khadamkar
8. Exhibition 1. Brief 2. Ideation 3. Design directions 4. Presenting 5. Overcoming hurdles 6. Finalizing
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Aim: To utilize the space managing clientâ€™s and venue limitations in the best possible way of focusing the works. To maintain the elements of theme while dividing and beautifying the space and avoid distractive noise in communication. To keep in mind the Medias consumed by target group and implementing the secondary findings as experiencing the space is touch and feel experience. Target audience: As mentioned in the complete event brief. Photographs of Space
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2 During the first stage after defining the brief of exhibition design, I went through many triggers. I t helped me get a general sence of fixtures and displays, including the ergonomics.
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This was one of the first design direction ideated. It hangs the display boards from the metal frame. To focus on the works on boards, I suggested to use translucent acrylic sheet for the studentâ€™s information.
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The innovative use of clay pots to hold the panels attached on the wooden rod, grabbed clientâ€™s attention and this idea took shape to form final concepts.
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This was the most basic, but expensive concept. - to display the work on 3â€™ X 6â€™ sunboards.
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This stand was suggested by the client after noticing the pot concept. There were 20 stands available with the client. The first hurdle of less stands but more students was overcame by this idea. The angular display gave enough space for the viewers to observe the work comfortably from enough breathing space. 79 Graduation Project Omkar Khadamkar
If we would have taken the earlier concept of angular displays, the wire used for the lights arragement could have cluttered the gound, as the regulations strictly limit damaging the carpet. This concept was derived so that the lights can be placed near by the wall, avoiding the clutter. 80 Graduation Project Omkar Khadamkar
The reason behind ideating a concept like this was the passage has one fire-exit limiting the earlier zig-zag concept. As if in case fire catches the venue, people will find difficult to escape from the earlier arrangement. 81 Graduation Project Omkar Khadamkar
9. Learning 1. Analyze and manage the inputs 2. Go leftfield 3. Document 4. Be disciplined 5. Set aside some time for play 6. Ask for more time if the budget is less 7. Finally, itâ€™s all about how I directed my energy!
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1. Analyze and manage the inputs
Officially receive the confirmed information from the client before deciding the layout. It was foolish to produce a layout before the content was properly finalized. During design process of invitation, I produces some options using the initial information which was not finalized properly by the client, due to this variable information the entire design was reworked thrice because of the frequent changes in the input.
2. Go leftfield â€˜To work on the event of the NIFT itself as my Graduation Projectâ€™ was the original and unusual idea. Realizing this fact boosted my enthusiasm during unfavorable situations faced with client and during the design process. Faculty and staff happily motivated me to push this unusual concept towards completion. My contribution relieved the half of their workload. So, going left field and resisting the urge of playing it safe has really stolen the march.
3. Ask for more time if the budget is less. This lesson was learnt while designing the exhibition, the only reason to keep client satisfied the enough time spent on managing the clientâ€™s resources and budget with the existing ideas.
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It also enhanced my quality of looking at my own project through the eyes of third person and illuminated the mistakes in the project. Project documentation increases the impact of learning from the project. Which will surely play important role in the future projects. Following concepts were referred while documenting this projectI. KISS Keep it short and simple, is a modern acronym but it employs the same tenets as Ockham’s razor, which has been around for several hundred years. The idea is to pare back a design to its essential elements, something that requires the clear understanding of the message that has to be communicated and the audience is to be directed towards. II. Focus Select the key message or elements as the focus for design. A company may have many products or projects but the design should focus on the most important ones. Information about other aspects of the company can be provided via other communications such as printed materials, brochures or the web page. III. Ockham’s razor Ockham’s razor is a principle attributed to the fourteenth-century English logician and Franciscan friar, William of Ockham, and it forms the basis of methodological reductionism. The principle states that elements that are not really needed should be pared back to produce something simpler and in doing so, the risk of introducing inconsistencies, ambiguities and redundancies will be reduced. Ockham’s razor is also referred to as the principal of parsimony or law of economy.
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IV. Python philosophy Derived from ideas presented by Tim Peters in The Zen of Python, these tends include: beautiful is better than ugly; simple is better than complex; sparse is better than dense; readability counts; practicality beats purity; and refuse the temptation to guess. V. White space Some believe that white space allows key design elements to breathe and be easily seen. It also helps the viewer to focus attention on them, giving them greater impact. VI. Text minimization This tenet suggests that text should be kept to minimum, with sentences pared back to short, sharp phrases that have a meaningful impact. VII. Graphic Impact According to many designers, graphics should create visual impact that grabs the attention and reinforces text communication. However, graphics that go overboard and are too large, complicated or numerous are distracting. VIII. Scale Designers need to think about scale, an easily forgotten aspect when designing on screen. Design proofing needs to include an actual scale proof for small- or large scale items such as stamps or posters to ensure that text and graphics are sufficient scale to be comfortably read.
5. Be disciplined
Completing each step in design process sequentially and fully can possibly be the smartest way to use time efficiently. Ensuring that nothing is left out, kept job moving towards completion.
6. Set aside some time for play. Setting aside a time without being directed towards any specific project stimulated and updated my creativity which helped to be always at the leading edge. It was just getting information from the world around; such as looking at photos, attending exhibitions, plays, art shows, visiting a mall or flickering through magazines and books.
7. Finally, it’s all about how I directed my energy! The vital and unique learning which is derived from the copy of project itself, the thought of Aristotle – “The energy of mind is the essence of life.”
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There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique. Martha Graham Passion is energy. Feel the power that comes from focusing on what excites you. Oprah Winfrey The energy of the mind is the essence of life. Aristotle Creativity is the natural order of life. Life is energy: pure creative energy. Julia Cameron You will recognize your own path when you come upon it, because you will suddenly have all the energy and imagination you will ever need. Jerry Gillies See where your own energy wants to go, not where you think it should go. Do something because it feels right, not because it makes sense. Follow the spiritual impulse. Mary Hayes-Grieco To change, you must face the dragon of your appetites with another dragon: the life-energy of the soul. Rumi
These three options for the metal badges were produced for volunteers of the convocation ceremony, the reason behind preferring the metal badge was to connect with youths in the familiar way so that they will preserve the badge.
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Initially it was decided the event will take place at the first floor of the NIFT campus construction site; this visual was developed from the above photograph to present an idea of space modification. 88 Graduation Project Omkar Khadamkar
Books, documents and presentations-
Introduction to Event management academic presentations - by Sunil Pereira. Invitation card and brochure of NIFT Mumbai Graduation Show 2012 Official documentation file of NIFT Mumbai Graduation Show 2012 Top Ten Tips for Sponsorship Seekers - by Kim Skildum-Reid Basic Design 08 ‘Design Thinking’ – by Gavin Ambrose and Paul Harris Confessions of typoholic - XOXdesign
Websites and blogs-
www.nift.ac.in practicalsponsorshipideas.com www.designacademy.nl www.ncpamumbai.com/ www.thelalit.com www.marriott.com www.brainyquote.com www.royaltulip-navimumbai.com www.rwitc.com flavorwire.com joshuarousen.com australianinfront.com.au 10and5.com cargocollective.com johannabasford.com ljmu.ac.uk fontsquirrel.com thegraphicmac.com designmodo.com love-egypt.com fanpop.com blog.thefolderstore.com
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http://www.youtube.com/watch?v=PobDpVqny3I http://www.youtube.com/watch?v=zRe1NHYudjI www.book-as-art.info
The book explains all stages involved in completing the project in great detail.