NID semester 1 documentation ,Graphic design

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Graphic Design | Sem doc

PRABAL GAUTAM | GRAPHIC DESIGN SEMESTER DOCUMENT

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Semester 1 Jury Document Submitted by Prabal Deep Gautam S200119 M. Des Graphic Design 20 National Institute of Design Ahmedabad

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Graphic Design | Sem Doc

ACKNOWLEDGMENT Throughout the first semester of NID I have received a great deal of support and assistance.

As on the first day had a feeling of nostalgia when I started making those shaky line on a A3 without ruler and it made me realize that I have been so addicted to the digital format that I have lost the practice with manual drawing process, as the week goes by, I started to grab a hold on the pencil and my strokes, and with the guidance of the faculty of this course I discovered my different side and gained the new perspective toward seeing things and achieved more precise observation skills . I would first like to thank the institute for giving me the chance to learn and grow into my dream work.

I’m extremely grateful to our discipline faculty Dr. Tridha Gajjar, Mr. Tarun Deep Girdher, Mr. Jagadish Kumar, Dr. Nanki Nath and Mr. Kaushik Chakraborty for having faith in me and guiding me throughout.

In addition, I would like to thank my parents for their wise counsel, sympathetic ear and financial support I needed. You are always there for me.

Finally, there are my friends and batchmates who were of great support in deliberating over our problems and findings, as well as providing happy distraction to rest my mind outside of my research.

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CONTENTS 1

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INRODUCTION TO DESIGN

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FUNDAMENTALS OF VISUAL DESIGN

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DESIGN PROCESS

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SCIENCE AND LIBERAL ARTS - 1

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page 16

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PRODUCTION PROCESS - 1

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page 46

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TYPOGRAPHY

IMAGE MAKING

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IT’S A WRAP

page 94

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INTRODUCTION TO DESIGN Objective To introduce ‘design’ and provide the students an opportunity to understand the historical perspectives, contemporary thoughts and the trends in design from a broader perspective.

Also, sensitize and orient them towards ‘design thinking’ and ‘design as a profession’.

Graphic Design | Sem Doc

Duration 1 Week Course Structure Theory Credits 002 Anchor Faculty Aarti Srivastava Balaji Rangarajan

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INTRODUCTION TO DESIGN Relevance of Course

Graduate level education in most streams in India predominantly has been linear, structured and theoretical in nature. Design and creative thinking process is less emphasized as the subject of matter in many of the schools and colleges. Introduction to the realm of ‘design thinking’ and its role in professional practice, and society at large is very relevant as a primer to the students as they step into design programmes.

List of Speakers

Sep 14, 2020 Amit Gulati | founder- Incubis Consultants Pravinsinh Solanki | Faculty Furniture and Interior Design Sep 15, 2020 Suresh Eriyat | founder-Studio Eeksaurus Dhiman Sengupta | Discipline Lead Animation Film Design Sep 16, 2020 Surdhir Sharma | Founder -INDI design Swagata S Naidu | Discipline Lead Ceramic & Glass Design Sep 17, 2020 Sonam Tashi Gyaltsen | Founder -Echostream Tridha Gajjar | Discipline Lead Graphic Design Swasti Singh Ghai | Discipline Lead Textile Design Sep 18, 2020 Anurag Rana | Leela Design studio Ranjit Konkar | Discipline Lead Product Design Shrinkhala Aren | Discipline Film and Video Design

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Learning about Design

The questions that are there in every mind , What is design?, What does a Design do?, Why do we need designers?,all these were answered during the first week of this semester through the life experiences of the guest lecturers and disciplines leads , and the answer is to help the society grow not only aesthetically but functionally, to give a different point of view to the user and help the user in their daily life while in their schedule, one of the lecturer said this “ the best design is that goes unnoticed” I was confuse after listening to this but soon after expiation goes like the design which is so good that user didn’t have to think about it and it just amalgamate to his/her daily life like it is a part of his body is consider the design of the user .

“BE LIKE A BEE” .a designer must be like a hardworking bee that is always buzzing and creating a buzz i.e. always adding to the design and being productive all together , the main learning of this is that never settle ,always keep pushing and buzzing your brain , keep thinking and keep creating design to help the society to flourish .

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Assignment - 1 Based on your own understanding and the experience/ insights that you gathered from the course (through the guest lectures, discussions, audio visuals), articulate and represent your ‘thoughts on Design’, visually as a poster (handmade or digital, as you wish).

THOUGHTS AND PROCESS Design is something that is for the people to use easily or to be read and understood easily, best example of design ,i have seen is in clubs and pubs washroom symbols, its so basic need at public place and how to distinguish the different washrooms from other while using literally the minimum visual information that directly indicate the designated room of the one , but that is not the case as i have seen many complicated symbols too for which user have to think twice to get it right, as there are many distinguished symbols that if used solo will make no sense even though they are together people get hard to get it , which inspired my poster about what is design for me, so i used different kind of visual I have seen around, all though every and each symbol is recognizable with the context of other but when used solo they would not give the direct indication of the information hence designers have came up with a simple design used world wide to distinguish the rooms, hence the word i mention clearly state what design is according to my understanding. i.e. abstract, straight forward, understandable, relatable, expressive, standout and more importantly contextual.

My motto of design is “ keep it simple and straight forward”.

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Assignment - 2 Select any object /product/ manufactured artefact, which you associate with, which you think is well made. The chosen object should be of an Indian origin and made in India.

Choose an object from your surroundings, (not from the internet sources) an object with cultural significance and an object which has longer history of existence.

STORY IN STONES 14

Either it was making chutney or grinding of masalas I have always remember my mother cursing the electronic mixer, and after that she asks me to bring one heavy stone from the store and then she start working on that saying, “this stone has been in our family from four generation and has never disappointed in its service�.

SILL-BATTA that is what she called that stone, sill was the big flat stone with a rough texture that was imprinted by hammering it and batta was another small stone in triangular shape. The sill batta still plays an important role in household with multiple functions.

Graphic Design | Sem Doc

As I sat by mother who was making chutney on the sill and I start seeing the magic of hard masala started turning into paste and all the smell of grinded masala entered my mind a thought came across my mind who designed the sill-batta? Was it designed at all? Finding about singular designer for this device is not possible as it is a result of need of our ancestors and passage of time through different culture all along India ,which resulted in, the batta , how snugly it fits into the hands and the pocked and dotted surface of the sill and how well it uses friction to grind finely, it seems to me it must have been designed, but not as with elaborated engineering drawing but the thought depending on the personal or regiVonal preferences, hence oblong shaped batta that I sfound in south becomes triangular in north India. And sill shape and texture also changes depending on the local stone available in the region.

Comparing sill-batta with modern mixer, it is far more progressive, sustainable and energy efficient besides the physical energy required which is a vigorous exercise for arms. The stone may require high-energy resources in quarrying but further shaping is primarily by hand tools wielded by skilled stoneworkers, and causes practically no pollution.

The sill-batta in my house is from four generation and will be there for generations to come.

Special thanks to my Mother and Grandmother.

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FUNDAMENTALS OF VISUAL DESIGN Objective To sensitise and orient students towards visual skills through observation, experience, perception and representation.

To sensitise and orient students towards visual meaning through understanding of form, color, content and context.

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Duration 6 Week Course Structure Studio Credits 12 Course Faculty DRAWING MODULE Kaushik Chakraborty Suman Chowdhury Dr. Ritesh Kumar COLOUR MODULE Priyanka Baliyan Prajlad Gopakumar Dr. Ritesh Kumar COMPOSITION MODULE Jagdeesh Kumar Dr.Tridha Gajjar Dr. Ritesh Kumar

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DRAWING MODULE Relevance of Course

To sensitise and orient students towards visual skills through observation, experience, perception and representation.

To sensitise and orient students towards visual meaning through understanding of form, color, content and context.

List of Exercises

01 02 03 04 05 06 07

DRAW SCENE FROM SURROUNDING Exersice was to compose a scenario with a human figure and an object (any object) interacting in a space using pencil only.

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Draw from observation Freehand Lines , Curves and Spirals Perspective Drawing - One point & Two point Nature Drawing Human Anatomy -Live model sketching Everyday Activity Drawing on theme

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DRAW OBJECT FROM OBSERVATION 1.LINE DRAWING

2.TONAL DRAWING

3.MARKER -LEFT HAND

4.TONAL DRAWING - LEFT HAND

5.SINGLE LINE DRAWING

6.SINGLE LINE DRAWING

7. BLIND LINE DRAWING

8.BLIND TONAL DRAWING

9.BLIND LINE DRAWING

10.A. LINE DRAWING -LEFT HAND

10.B.LINE DRAWING - RIGHT HAND

11.ERASER DRAWING

12.NEGATIVE SPACE

13.SKEWED DRAWING 14.CROSS CONTOUR DRAWING

15.DRAWING BY MEMORY

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PERSPECTIVE DRAWING

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It is a freehand drawing exercise. so no ruler or similar type of tools should be used.

Objective: Understand and apply the basic principles of perspective drawing and capture relatively complex two point views from live observation.

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NATURE DRAWING

Representation of observation with details and way to visual document. Learning to SEE the wholeness of the subject in its entirely and representing the same, as well as capturing its unique essence/character. Reflection of the understanding of light, shadow, and texture in the observed subject in a natural environment. Structural understanding of a complex subject.

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HUMAN ANATOMY SKETCHING Objective: (i)To improve your understanding of complex human form in a simplified step by step process. (ii)Understanding construction of human figures in simple geometrical shapes and forms. (iii)Learning to see the landmarks in a figure while drawing live: line of action, shoulder lines, location of torso, pelvis etc.

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PROCESS Observe in live and study and then construct/represent human posture in three break-downsStep 1. Capture the basic posture in simplified skeleton/ mannequin form with stick figure, gesture lines and line of action. Mark the landmarks: shoulder line, location of torso and pelvis, line of action (LoA).

Step 2. Construct and represent the same figure in simplified three dimensional form/volume using geometrical formscylindrical, cubical form etc Step 3. Based on the above 2 representations develop and draw the final contoured version : show the volume and basic contour of the figure. Basic hints of muscles can be shown.

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EVERYDAY ACTIVITY

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Objectives: 1. Using drawing as a tool for visual communication.

2. Representation of observation and way to visual document.

3. Recording information of human activity through drawing.

4. Application of the learning throughout the drawing course.

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DRAWING ON THEME Objectives: (i)To explore drawing as a tool for non-verbal communication to represent a concept/theme/idea.

Theme: Point of View

The following illustrations try to portray the distinctions of an unbalanced mind, through ink. They are an attempt to capture the turmoil of the ‘crazy’ ones.

It is very common to be ignorant of the fact that most people who surround us experience some kind of psychological stress.

It brings me to sketch the top four common disorders that patients themselves refrain from addressing. But it keeps them in a paranoia. A major section of our society considers these disorders as a common cold or flu, far away from being rational and empathetic towards the aberrational patients.

If you are apprehensive when you look at these illustrations, they have done their job. The sketches will be potent if either you are one of them or at least you understand and empathize with them.

The third category is yet to align with the ‘Point of View’.

More compassion and understanding have to be there for those who survive each day with their mental health. After experiencing these illustrations, hopefully, you will see these disorders with their point of view.

As they say “Fighting our own demons is the longest and most difficult battles we have to go through”. Such is the case with every single human being irrespective of the order of mind.

“Nothing is more important than empathy for another human being’s suffering.

Nothing, not career, not wealth, not intelligence, certainly not status.

We have to feel for one another if we are going to survive with dignity.”

-Audrey Hepburn

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COLOUR MODULE List of Exercises

GREYSCALE Exercise was to Use poster paints and create a grayscale starting with pure white to pure black in 13 steps. Make sure the change is smooth and no ‘jumps’ occur.

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01 02 03 04 05 06 07 08

Grayscale A. Chroma B. Monochrome C. Tonal Value Colour Wheel Color Interaction Bezold Effect Character and Colour Poster on Films (Set 01, 4 Films) Colour, time & Cinema

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A. CHROMA B. MONOCROME C. TONAL VALUE

Exercise was ,From the given artwork each student will select a primary colour and create the following in 6x4� formats: 2a) Chroma selection 2b) Monochrome (which covers tints and shades- using only white & black) 2c) Tonal value (gray + primary colour)

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COLOUR WHEEL Exercise is to Paint a colour wheel. 12 steps. Mix poster colours and create a colour wheel using the three pigment primary colours to create secondaries and tertiaries. Colour application must be flat.

TERMS

Primary, Secondary and Tertiary Colors the primary colors are red, yellow and blue.

The three secondary colors (green, orange and purple) are created by mixing two primary colors.

Another six tertiary colors are created by mixing primary and secondary colors.

Tints, Shades, and Tones These terms are often used incorrectly, although they describe fairly simple color concepts. If a color is made lighter by adding white, the result is called a tint. If black is added, the darker version is called a shade. And if gray is added, the result is a different tone.

Complementary color scheme Colors that are opposite each other on the color wheel are considered to be complementary colors ,example: red and green Analogous color scheme Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs.

Split-Complementary color scheme The split-complementary color scheme is a variation of the complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement

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AN AL OG OU S

M PRI

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PRIMA RY

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NDARY CO SE 33

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COLOUR INTERACTION Exercise is to Change the color of gray without mixing any hue in it.

Develop a composition consisting of gray and a single hue or multiple hues so that the gray appears to be influenced by the surrounding hues and creates the perception of a color rather than that of neutral gray.

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BEZOLD EFFECT Exercise is to explore the concept of Bezold effect: Create three identical composition and render each in three colors, except that the third color in the first composition is black, the third color in the second one is white, and the third color in the third composition is a different hue,

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CHARACTER AND COLOUR In this exercise we were paired with a fellow mate and we were required to know each other and after that make an abstract using poster colour of the character and the personalities of fellow batch mate .

Personality : the person i was paired with was very calm and welcoming ,and it was easy to just open up to her as we talked with the passing of time ,got to know other interest in literature and stories also the compassion for the stranger and the warmth of the fire that is there to help other.

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POSTER ON FILMS

we were introduced to 4 different film in which the colours were used to depict the storyline the four movies were , Raise The Red Lantern, Apocalypse Now, DJ’s Blue, KK’s Blue ,each of them emphasize the usage of colour.

Blue 1993 is a film by the British artist and filmmaker Derek Jarman which features a single static shot of the colour blue with a voiceover and musical soundtrack. The voiceover, written by Jarman, consists of a diaristic and poetic text documenting his AIDS-related illness and impending death at a time that he had become partially blind, his vision often interrupted by blue light.

The Chinese film “Raise the Red Lantern” (1991), is about sexual enslavement. In this film, the protagonist enters a closed system from which there is no escape, and life is ruled by long-established customs. a 19-year-old college student drops out of school after her father dies; when her stepmother is unwilling to support her, she agrees to become the concubine of a rich man--his “Fourth Mistress.” All four concubines live in a house they are not allowed to leave.

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COMPOSITION MODULE List of Exercises

01 02 03 04 05 06

Topic covered

Elements of Design A dot. The smallest most elementary unit, not a circle.

A line. A dot gone for a walk, can have direction.

A shape. The contours or outlines which encompass space.

A form. A shape in 3 dimensional space.

Movement with dots Rhythm with lines Developing Emphasis with a single shape Developing Emphasis with 2 shapes Developing Emphasis with 2 shapes and one colour Composition in 7 frames

Principles of Design Emphasis | Where the movement of the eye rests.

Rhythm | The seeming flow of elements.

Pattern | Structured or unstructured repetition.

Motion | When elements come together to be dynamic.

Harmony | The relationship between the elements.

Unity | The sense of wholeness made by the elements.

Contrast | The difference between attributes of two elements.

Gestalt Principles similarity continuation closure proximity figure+ground

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MOVEMENT WITH DOTS using dots of the same size, by applying black ink on a white background, create a sense of motion.

Exlporations

final work

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RYTHEMIC MOVEMENT WITH LINES Create a composition using Line as an element and depict Rhythmic Movement .

01 to create a composition using lines of size 1/3 of your composition frame and of same weight.

02 to create a composition using lines of any size and of 2mm, 4mm and 6mm thickness

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EXPLORATIONS

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CREATING EMPHASIS 01 Developing Emphasis with a single shape 06 Developing Emphasis with 2 shapes 03 Developing Emphasis with 2 shapes and one colour

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7 FRAMES

Visualise a composition in seven frames with theme CHANGE/ GROWTH Theme : Mothers’s Effort

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DESIGN PROCESS Objective To introduce students to the ontology and structure of Design Thinking, Understanding different stages in the design process-- perception and articulation of a problem, and generating meaningful solutions through investigation, analysis and synthesis.

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Duration 2 Week Course Structure Theory Credits 004 Anchor Faculty Vijai Singh Katiyar Sonali Upadhyaya Anupam Jain Santanu Majumdar Group members Prabal Deep Gautam Swaraj Suhas Tawalare Kishan Chand K C Panini T M Shruti Subhash Kadam Taru Jain Nilesha Ashok Giri Arun Joji

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DESIGN PROCESS

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Relevance of course

Design has long been evolved from an ambiguous creative response to problem-solving. It has come to be a structured process that can be learnt, explained, and analysed. Design Process is a mix of intuitive, iterative and deliberate actions.

Design has its unique ways of thinking, reasoning and doing which can be researched.

This course gives an overview of the design thinking and protocols in the process of design. The understanding is essential to appreciate the tools and methods used in ‘design thinking’ and ‘design doing’, and apply them in meaningful ways to the processes of problem-solving and innovation.

Irrespective of the discipline of specialization, aspiring designers need to get well conversant with various steps and methods, their relevance and application.

Course Contents

01 Design Thinking and Problem Solving 02 Evolution of design process: structure, stages and protocols 03 Morphology of the problem-solving process 04 Design Problems and Problem Statement 05 Approaching User and Market Research 06 Iterative analysis, synthesis and evaluation 07 Ideation techniques for identifying problems and generating meaningful solutions 08 Problem solving through system-thinking in design 09 Case studies

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TEA MAKING PROCESS Select the activity of tea making in your kitchen at home.

Observe and perform the activity at least 5 times.

Observe and Break the activity in several micro patterns (stages/tasks).

Capture the process in 11 or more unique steps.

Sketch the patterns (stages/ tasks) observed in the activity in a sequential order.

Evaluate within each stage in terms of ‘What Works’ and ‘What Doesn’t’ for the goal of the activity.

Listing observations and insights on significance, challenges, issues and opportunities offered by each identified pattern in the process.

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PROBLEMS Design Process Design process is not a linear process, it involves visiting and revisiting the various stages of the process over until you find the optimum solution.

Peeling ginger difficult because of uneven surface

use of unclean mortar spoils the taste

smashing a small piece of ginger damages the platform

cream and tea powder blocks the sieve

cutting milk packet without spilling

wastage of gas due to the mixing technique

cream and tea powder blocks the sieve

misplaced things when multiple people are using the kitchen

forming of the sugar lumps

Milk rising while not paying attention

lemon and ginger if stored together splits the milk

convergent & divergent thinking The approach to solving design problems, is first a divergent one, (that exploring as many systems, subsytems, stakeholders and understanding them and then a convergent one (narrowing down the brief, constraints, demands and needs of the project/client).

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OPPORTUNITIES

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THE KITCHEN STORY

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Study the kitchen in your home as a system individually from perspective of Stakeholders, Activity, Space, and Situation.

Identify its subsystems e.g. storage system, cooking system, cleanliness & hygiene system, waste management system, finance & procurement & preservation system, finance & budgeting, energy management, meal planning & nutrition, kitchen work responsibility distribution, and so on.

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COOKING SUBSYSTEM

The group members meet online, exchange notes and select ANY ONE of the subsystem for its detailed study by the all members of the group.

Study the selected subsystem comprehensively in terms of features, attributes and utility. Carry out the data analysis through sketches, drawings and keywords.

Preparation cleaning Cooking

Waste Disposal

Washing

Meal

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SOLUTIONS PROBLEM STATEMENT An Urban middle-class joint family needs a way to cook with efficient space provision in case of multiple user in kitchen and the resolution should add a managerial value. we have to comeup with the following 3 solution a). Easy to implement b). Innovative, and c). Futuristic.

EASY TO IMPLEMENT SOLUTION Pull out Modular Stove The stoves can be easily pulled out towards the user so as multiple user can use it at the same time without feeling congested.

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INNOVATIVE SOLUTION

FUTURISTIC SOLUTION

Smart Culinary Plates

Flexi Stove

A heating ceramic plate having the same mechanism as a induction cook top but which could be operated with a controller. It draws power from the magnetic strip. Also due to lighter weight the plates could be stuck to a magnetic wall panel to ensure space provision when not in use.

The stoves can be easily pulled out towards the user so as multiple user can use it at the same time without feeling congested.

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SCIENCE AND LIBERAL ARTS - 1 Objective The broad objectives of the course are: • To provide students with theoretical tools of understanding art and culture • To give a brief survey of aesthetic theories and principles by which any product is judged in a given epistemic field.

• To examine and explore the link between art, design and aesthetics • To engage the students to think in abstract terms, to convert abstract perceptions to concrete representations, • To try and articulate (in speech and writing) their perception of the aesthetic.

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Duration 1 Week Course Structure Theory Credits 002 Anchor Faculty Dr. Deepak Kannal

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SLA - 1 Comparrative Aesthectic

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Relevance of course

This course explores the subject of Aesthetics in both the Indian and Western traditions, focusing particularly on the Indian tradition. In exploring the subject of aesthetics in the Indian and Western traditions, it has art as its central axis.

Course Contents

The fulcrum of the course is art, beauty and philosophy. The module begins by raising questions such as what is art? What is design? What is beauty? What is good art? What is not? The notion of value in art and so on. In the Western tradition, we cover concepts like ‘realism’ (Plato), ‘empiricism’ (Aristotle) and ‘sublimity’ (Longinus), and undertake a brief journey through various other theories leading to the postmodern age. The questions of power and politics play a crucial role in the study of art and culture and the module will seek to familiarize students with such theories. We also look at theories of aesthetic perception in Classical India. For this, we will take recourse to the Rasa theory as espoused by Bharatamuni (Natyasastra). In the process, we try to explore the concept of bhavas, the process of generation of rasa, the essence of dramaturgy and poesie, etc.

1: Basic discussion on the term, “aesthetics”; The notion of beauty; The term aesthetics—in India, different senses in the West; Aesthetics and arts; aesthetics and philosophy—the aesthetic paradox; Central questions of aesthetics: on art, the aesthetic object, the notion of good art, the usefulness of art, art and morality etc.

2: Discussion on Western philosophy and aesthetics 3: Discussion on modernist and post modernist aesthetics 4: Discussion on India; Rasa-bhava theory and Natyashastra 5: Discussion on Indian aesthetics continues through examples

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MOVIE REVIEW Exercise was to write a review of the movie “GhareBaire (1984) by Satyajit Ray� in reference to the course content.

Watching the movie I felt the performance was placed somewhere between realism and romanticism. Dialogues and its rhetorics played an important role in building a major chunk of both the story and the characters. The character of Bimala, played by Swatilekha Chatterjee, had a curve to it - she had a sense of revelation as the movie progressed with respect to the different ideologies she faced through the two men, Sandip and Nikhilesh. In context to the supporting aspects of the abhinaya, I found the set design to be quite impactful in the process of narration more than the movement of the camera.

Sthyayibhava can be monotonous indeed. In the process of trying to put everything in place, the story, character, emotions, historical context etc. somewhere various parts were slightly prolonged.

Language, I felt, plays an important role in the experience of an onlooker. Here, Ray has used Bengali as the language of communication and the way it is experienced by me as a Bengali is slightly, if not completely, different from how someone, who does not know the language, would experience it.

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PAINTING ON IDIOM

PAINTING

Exercise is to select any locally used idiom of any language ,and by not using any direct illustration we have to depict the meaning of that idiom.

IDIOM : एक दूसरे पर जान छिड़कना /लंगोटिया यार

PAINTING ON SONG RAGA Exercise is to select any painting that depict the perticular raga of the following songs.

1. Ketaki gulab juhi ( Manna dey, Bhimsen Joshi) 2. A) instrumental flute version of ‘albela sajan ayo’ by Hariprsad chaurasia, Panalal Bhoj 2. B) Rashid khan, Albela sajan ayo 3. Buimsen Joshi (Asavari Raga) 4. Mehdi hassan- Phool hi Phool 5. Ashwini bhide ..song on Bansuri and krishna

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Song :- Ketaki gulab juhi Raga:- Basant Raag Basant is a Raag for Spring (Basant) season.

Time of day:- Anytime during spring Song :- Bhilaskhani Todi Khayal Raga:- Todi Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, sur­rounded by deer.

Time of day:- Late morning

Song :- Mehdi hassan- Phool hi Phool Raga :- Kedar Kedar raga is named after Lord Shiva, the raga is placed on a high pedestal in the realms of Indian classical music Time of day:- mostly in rainy season

Song :- Buimsen Josh Raga:- Asvari It belongs to the Asavari thaat and is performed in the morning hours Time of day:- Morning

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TYPOGRAPHY

Objective The broad objectives of the course are: • Understanding & Practicing the Fundamentals: • To give Understanding & Practicing the core: Print & Typography • Understanding & Practicing the Advanced Schools of Thought:

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Duration 3 Week Course Structure Studio Credits 006 Anchor Faculty Dr. Nanki Nath

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TYPOGRAPHY

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Relevance of course

The syllabus will make students to undergo an in-depth study and applied/ practice-based learning about the roman letterforms; their anatomical, characteristics and their visual manifestations. We’ll also briefly touch upon the anatomy and letter constructions of Devanagari (as part of in-class activity).

Design assignments and in-class activities will inculcate all understanding about letterforms, typestyles and classification, proportions and hierarchy; typesetting; basics of letter design as hands-on in-class activities, in-class assignments with deadlines and group activities: Typo Quizzes

List of Exercises

01 02 03 04 05

Topic Covered

What is typography Understanding the basics of typography, it’s relevance in design, it’s attributes and what it imparts to a body of text. history of typography The origin of typography. Blackletter to Old Style to Transitional to Modern. With introduction of sans serifs, italics, and slab serif typefaces.

Parts of a typeface The anatomy of a typeface and the different parts of a typeface, from the shoulder, to the ascender, descenders, counters, crossbars Type setting content Layouting typefaces, understanding type pairing, type setting paragraphs and poems, using leading , kerning, paragraph spacing and indents.

Drawing & Inking Letterforms Setting a better kerning Typeface Pairings Typesetting paragraph Grid Typography Timeline

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ANATOMY OF TYPEFACE

Understanding the fundamentals of the typeface , how to recognize and differentiate the typeface, practicing inking the 26 characters of any chosen type face and practice and observe the anatomy of the character on different scale ,we started by drawing character on A4 sheet then A3 moving to half imperial newsprint at last full imperial newsprint.

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PROCESS

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Tracing out the selected words and marking out the problems i.e ba kerning in W and A and Ma and R.

Tracing out the negative space to observe the spaces and connecting points among letter to understand the existing kerning.

Connecting point in word markets were deliberately done hence to avoid the overlapping of a and r they gave extra space than needed

Hence shifting the W in warnings and character set of Ma in markets to right will solve the issue of bad kerning.

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FINAL

SETTING THE BETTER KERNING Exercise is to Select an 8-characters word with visible issues of badly kerned letter-paces. This 1 word can be selected from an everyday newspaper/ a simple magazine in your home. This word should be in black in the publication and also should be executed and inked finally in black in your final artworks

Selected words

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TYPEFACE PAIRING

1) Selecting any simple product packaging (FMCG product/ equivalent) at our home. Open the package neatly out - and in the open size format: analyze the existing typeface pairings for different texts on that package.

2) Analyzing the kind of pairing compliments created for headings, subheads, body texts, etc. (EXCEPT THE LOGO of the product - the product logo text and form are not to be redesigned for pairings).

3) Extracting the visual pairing issues and the scope that can be revamped. Try out different type pairing combinations - through similarity approach and the contrast approach of creating compliments.

Product package : lenskart box Product target group : Age group between 15 to 40 year old mainly

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PROCESS

1 Tracing out the dimensions of the box and the different positioning of the images and text to find out the correct point size of the text and the alignment of the text to the image.

2 Observing the visual incorrect alignment and issues.

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Typeface pairing is in corect use and the use of type wieght is creating a correct hierarchy to move the eyes of user. but the orientation is upside down one can notice while opening.

Correct type size ,leading and kerning of the text.

But wieght hierarchy is forcing to read the bold text first and the supporting text afterword which is against the rule of reading i.e. up to down.

Also use of different typeface can be explored. visual weight is creating very odd pasir and focus and distracting the user from the correct messege, immproper leading.

Use of weight to show separation of words in hashtag.

Bad kerning is creating different separation beside the given weight. immproper leading.

Immproper kerning and uneven negative space.

Slab Serif

Rajdhani (sans serif ) Designed by Indian Type

WHY? Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. The squared and condensed appearance may be interpreted as technical or even futuristic.

Foundry.

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EXPLORATIONS

Font (up to down) : Code bold 12pt & Zilla slab 12pt Code bold 10pt & Zilla slab 10pt Zilla slab 12pt & Code bold 9pt

Font (up to down) : Roboto slab medium 12pt & tomatoes regular 16 pt tomatoes regular 18pt & Roboto slab 9pt

Techniques

Techniques

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: Complimentary styles with different weight styles

: Contrasting styles with different weight styles

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FINAL

Knockout style brings out the word of focus without over flashing and disturbing the reading pattern i.e. up to down , witch the help of knockout there was no need of changing the typeface nor to change the weight and yet maintaining the products image of precision and accuracy . which the handwriting type face wouldn’t have given

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TYPESETTING PARAGRAPH GRIDS

ACTIVITY A: Visual Hierarchy with Manuscript/Block Grid & Typography ACTIVITY B: Visual Hierarchy with Modular Grids & Typography

Grid Manuscript Grid in 6 x 6 coloum row grid Margins 1.25 mm from all sides Text The text is set in 10 pt Gill Sans, while the pullquote is set in 10 pt Gill Sans Italic with leading of 13.5 pt Drop Cap 36pt French Script MT

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Create a modular typographic grid: A typographic grid organises text and images across the pages of a document.

A grid can consist of a single column framed by margins, or it may have multiple columns. When you design a grid, you typically begin with vertical divisions (columns), and then add horizontal divisions.

Grid 2 coloum Grid in 8 x 8 coloum row grid Margins 1.25 mm from all sides Text The body text is set in 10 pt Gill Sans, while the pullquote is set in 8 pt Gill Sans Italic with leading of 13.5 pt Title first row 18 pt Gill Sans, secnd row 24 pt Gill Sans Drop Cap 36 pt French Script MT

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TYPOGRAPHY TIMELINE Exercise is to infographic design in A3 size sheet of all the major event occur in typography history till 2015

The layout is set in 20 x 20 coloum to row grid with 5mm gutter space .

Decade year text is 36 pt Open Sans bold Follow up year text is 18 pt Open Sans bold Main event body text is 8pt Open Sans Alternate event text is 6 pt Open Sans TYPOGRAPHY is in 144 pt Code Bold regular

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Decade Year

Alternate Events

Follow up year and main event

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PRODUCTION PROCESS - 1 Objective To expose the students of graphic design to the basic fundamentals of printing technology.

The entire process from the finalisation of the design to the artwork to the pre-press, nature of printing and post printing stages shall be dealt with. We would also be probing into other related but critical issues such as kinds of paper, job specifi cations, costing, etc. The idea is to understand how your graphic design is going to be eventually reproduced in numbers, so that you

Graphic Design | Sem Doc

Duration 1 Week Course Structure Theory Credits 002 Anchor Faculty Tarun Deep Girdher Course Faculty Bharath Suthar Yogesh Patil

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Production Process - 1

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Relevance of course

Production processes are the major and most extensively used print mediums of communication. Although we have entered the digital age, print is still alive and important to understand. Graphic designer should have knowledge of printing processes, pre-press color separation, press, paper, file preparation and post-press operations. what graphic designer do Graphic designer create visual concept, by hand or using computer software, to communicate ideas that inspire, inform or creative consumers. They develop the overall layout and production design for advertisements, brouchers, magazines and corporate reports.

Course Content

• introduction • printing processes, their typical features, applications, advantages and limitations • introduction to major printing technology (platen, flatbed, cylinder and rotary, perfecting presses) • different types of originals, refl ection & transmission (line, halftone & colour), size & quality of original,(line, halftone & colour) • what is halftone? why halftone? density, densitometer, screening, halftone screen ruling, dot size, shape & angle • color - basic color theory, additive - subtractive colors, additional spot colors, process colors & hexachrome ptg.

• color separation, screening technology, screen angles, moire pattern, color correction.

• reproduction method of single color, duotone, four color and multi-color conversion.

• desktop publishing • types of paper, weight and sizes

Graphic Design | Sem Doc

PRINTING TECHNOLOGIES

Non-Impact Printing (Masterless)

Conventional Printing (with Master)

Screen

Letterpress

Lithography

Gravure

Electro photography

Flexography

Offset

Magneto graphy

Ink Jet

Photography Thermo graphy

Inography

Dry Offset Continuous

Drop on Demand

Sublimation

Ink (Liquid)

Powder toner

Liquid toner

Magnetic toner

Liquid ink

Hot- melt ink

Transfer

Color donor ribbon/ foil

Color Sensi layer

Sheet or Web (Substate)

Original

Prepress

Press

Postpress

Printed product

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IMAGE MAKING Objective This course provides basis of visual image and text fundamentals to achieve appropriate visual perception.

Students will learn to apply their understanding of image and text in individual manner as well as a combined manner for creating visual meaning and appropriated intended visual perceptions.

Students apply their knowledge of typographic and visual forms to projects that encourage the introduction of word and image with visual hierarchies.

The iterative process will be highly encouraged to achieve desired visual solutions. Visual organisations and production issues along with project management are stressed.

Graphic Design | Sem Doc

Duration 2 Week Course Structure Studio Credits 002 Anchor Faculty Dr. Tridha Gajjar

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IMAGE MAKING Relevance of course

This course is one of the core fundamental courses for Graphic Design discipline as this course provides the basis of visual meaning making process.

The course was structured to give the students an introduction to images, and how to create them, graphic simplification of images, the semantics and semiotics of the image, and the associations people might form when looking at that image were key objectives to learn.

List of Exercises

01 Same script letter integration 02 Different script letter integration

SAME SCRIPT LETTER INTEGRATION

Exercise is to integrate the Intials of our name of any family member name in lati script.

Initials :

P

rabal

G

autam

Concept :

ENCLOSED

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BOND

Graphic Design | Sem Doc

This course is one of the core fundamental courses for Graphic Design discipline as this course provides the basis of visual meaning making process.

The course was structured to give the students an introduction to images, and how to create them, graphic simplification of images, the semantics and semiotics of the image, and the associations people might form when looking at that image were key objectives to learn.

Intial Selection

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EXPLORATIONS

Second selection after studying the form digitally, Integration of San serif giving the edge and enclosed final form and further exploration is done to get the concept of bond.

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creating different options using the previous integration to give the form which represent bonding.

Lower “G” is making the form heavy hence increment of white space is needed.

Lower “G” is hardly recognizable in this link ,so decreasing the height of arm will work.

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DIFFERENT SCRIPT LETTER INTEGRATION

Exercise is to integrate the Intials of our name of any family member name in lati script.

Latin Initials :

P

rabal

Devnagari Initials :

प

EXPLORATIONS

The reason behind taking letter “P” of Latin and “G” of devanagari is to show the more inclination of the family toward the mother tongue i.e. Hindi, where as mine is more toward the English.

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पृबल गौतम

G

autam

ग

autam

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EXPLORATIONS

upper stroke of “ग” is needed so that first character is not read as lowercase “d”

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it’s a wrap

Following is the illustration of my batch as a gift to them, because we were not able to click a group photo in campus due to the pandemic ,following the small comic strip that show what might it look when we will be or might have been on campus.

Graphic Design | Sem Doc

Now I have seen the TIP OF THE ICEBERG, a lot of learning and lessons goes into my knowledge which is going to help me to build up my career as a graphic designer ,and now I am ready to learn form THE SECOND WAVE.

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