Agniraj: graphic design folio '12

GRAPHIC DESIGN PORTFOLIOAGNIRAJ CHATTERJI

Hello!This is Agniraj, studying graphic design at the MIT Institute of Design, Pune. I hail from Calcutta, a city full of immense visual chaos, which howerver excites my innner being!

The power of visual communication has intrigued me ever since I was a child and this interest grew so much so that I chose to venture beyond the conven-tional to become one, who talk visually, act visually and think visually.Pursuing graphic design as an under-graduate learner for three years now, I opine that one can conveniently push the extent of learning design, beyond classroom into the real world. I wish to do so, soon.

TYPOGRAPHY. LETTER DESIGN.01.

TYPOGRAPHY. LOGOTYPE.02.

TYPOGRAPHY. LOGO + TYPE.An exercise to design a logotype for the film Jaws (1974).The explorations made were inspired by the physical form of sharks.

03.

SYMBOL DESIGN.

H E A V Y

‘HEAVY’04.

SYMBOL DESIGN. Symbol for the word Heavy. The word was looked at as an adjective which was further broken down into its physical and non-physical resemblances to derive a holistic symbol that would reflect the physical property of an object as being heavy.

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objects having quality of heavinessanimals having

quality of heaviness feeling of heaviness

heavyh e a v y

feeling

‘heaviness’‘not light’

‘getting pulled down’

‘mass’‘weight’

‘enormity’

quality

heavy heart

heavy head

SINK

SYMBOL DESIGN.

heavylight

The symbol extended into applications like generating icons that goes on plastic carry bags denoting the kind of items that it can hold, based on their weight.06.

WAY-FINDING SYSTEM. RAJIV GANDHI ZOOLOGICAL PARK, PUNE.07.

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WAY-FINDING SYSTEM. A project aimed at improving the overall experience of visiting the Pune zoo through education and entertainment. The project emphasized the need of minimising the amount of wayfinding signages in order to reduce visual chaos.

The entire experience was enhanced through use of environ-mental graphics and converting the existing architecture into wayfinding devices.

Depicting the habitat of animals through visuals made the information precise. This came to rescue of the visitors who are unable to read and write.

The length of the information panel was utilised as a height meter to denote the average height of the animal. This in-creased the interaction level of the viewer.

The vertical panels containing the silhouettes trig-gered the initial means of way-finding that directs the crowd. The visitor is further guided by a green strip painted on the road with circular patches on it at intervals to inform them of the presence of an animal in the enclosure ahead.

Silhouettes are suggestive of the ani-mals to be found. The texture on the animal was left incomplete to trigger curiosity.

Learning is an important component of the experience. To consummate the in-volvement, the essential facts about the animals were spelt out through various visuals and icons. This helped to over-come the language barrier and the time spent on viewing the panels increased.

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PUBLICATION DESIGN. MAGAZINE.10.

A P E R T U R E

Philippe Halsman Inside Out by Mark Sanders

Surrealism in Light by Robert Cooper

Exposure by David Gauto

F E B R U A R Y 2 0 1 1

11. MAGAZINE.Designing an edition of the Aperture magazine.The edition featured the work of the renowned surreal photographer Philippe Halsman.

PUBLICATION DESIGN.

12. PUBLICATION DESIGN. FOLDER.A concept tri-fold brochure for the Crossword Bookstore, introducing a new experience in book reading coupled with flavoured coffee.

13. VISUAL SCRIPT. STORY BOARD.

14. VISUAL SCRIPT. Story: The Great Fall (story & script by Agniraj)Story Board for an animated film sequence. This is a story of an unhappy yet greedy wood-cutter who learns a good lesson as nature punishes him for his foolish deeds.

PHOTOGRAPHY.15.

Taj. a photo-assignment, to view the Taj Mahal afresh.Seeing the Taj is importantly a lifetime experience. Taj is truly a relic of love, an architectural masterpiece and of all a extraor-dinary piece of human craftmanship at its best, that continues to enchant thousands of visitors across the globe, everyday.

PHOTOGRAPHY. Before Night Falls: a brief photo-document of those men who work in various construction sites at the eeriest hours of the day to live a life far away from their homes and families to construct luxury spaces for those who live in plenty.

16.

PHOTOGRAPHY. Posters for promotion of tourism in different cities across India.The idea was to photograph these popular cities a little unusually show-casing the obvious landmarks but from a newcomer’s point of view.

THE RED FORTAgra, a living legend of the Mughal empire.

MARINE DRIVEMumbai, the city of dreams and temptations.

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ILLUSTRATIONS. PEN & INK.21. This character evolved as an attempt to portray the subtle humour that undermines the urban Indian society. There are still many of those who cannot stop cherishing the gifts of their colonial past nor can they shed their own spiritual customaries. This character is one of them.

ILLUSTRATIONS. PEN & INK.22.

The peculiarities that follow this middle aged Indian man, who nobody cares to know about, often is a piece of ridicule.The character alone steps beyond the mundane world to explore, yet remains insignificant.Alike himself he needs no name.

ILLUSTRATIONS. PEN & INK.23.

An attempt to dramatise the whole idea of making commercial Indian films.Bollywood happens to be one of the most widely discussed and biggest film in-dustries of the world, continues to gen-erate a large number of films every year with similar enthusiasm that had been its hallmark a century back.Shooting sets are often a comic scene to look at. These characters preserve the true essence of film-making. The illus-tration is an outcome of sheer imagina-tion.

CURRICULUM VITAE.

EDUCATIONStudied at M.P. Birla F.H.S. School, Kolkata.Passed Secondary School Certificate (CISCE) 2007.Passed Higher Secondary School Certificate (CISCE) 2009. Currently an under-graduate student of graphic design at MIT Institute of Design, Pune. INTERESTSTyography, symbol design, identity design and print & publi-cation design are my core interests. I extensively indulge myself in photography in all its forms and do aspire to make it a part of my professional career. Films excite me as I believe, the knowledge of films can prove to make graphic design more powerful than ever. SKILLS.Hands are my basic tools of representation & articulation. An urge to communicate visually makes my sketching skills quintessential. I’m at ease with pencil and pen and comfort-able with watercolours and other painting media.Amongst softwares, I’m good at Adobe Photoshop, Illustrator, Flash, After Effects and Premier Pro.

ACHIEVEMENTS.Secured the first position at the inter-school Bournvita Quiz Contest, in 2005. Have won various prizes in inter-school drawing and painting competitions. Won prizes and have been recognized at intra-college photography contests.Served as an office-bearer at the M.P. Birla F.H.S. School for the year 2008. INVOLVEMENT.Being at confluence with design for over three years now, have organised and documented various interaction ses-sions with various renowned design professionals at an open student forum named Freechai at the MIT Institute of Design since 2010.Remained a senior student member of the SPIC MACAY Kol-kata Chapter till 2009.Reading is a regular activity that keeps alive the spirit of learning. Besides academic requirement, I practise photography as a hobby. Love music and travelling.

AGNIRAJ CHATTERJIborn June 14, 1991

CONTACT.

agnirajchatterji@gmail.com +91 95526 52173 MAEER’s MIT Institute of Design, Rajbaug, Loni Kalbhor, Pune 412201. AGNIRAJ CHATTERJI