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This is a document which talks about the processes and collaterals, which were involved in my second project. In this project I developed collaterals for NID Admissions 2013-14
Citation preview
Where you get to know about how all of it started and what made me take up the final concept.
Part 1. Introduction Part 2. Brochure Part 3. Web OutputPart 4. Advertisement & PosterPart 5. Insight
Semester Seven
3
Elective two.Information Systems.
1
This record gives comprehensive data
regarding the design process and
development, which took place during the
elective two. The project can be defined
as a branding exercise, where the student
had to build up the new language for the
admission information guide and newspaper
advertisement. One had to communicate the
new language through print media. It was a
live project and
Abstract
2
3
Title: Admissions Information Guide, National Institute of Design 2013-14Guide: Mr. Tarun Deep GirdherMentor: Mr. Immanuel SureshBackground: The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID is recognized by the Dept. of Scientific & Industrial Research (DSIR) under Ministry of Science & Technology, Government of India, as a scientific and industrial design research organization.NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.Besides imparting design education client servicing is an integral part of NID’s activity. Through our Integrated Design Services, we cater to client projects, be it in Design Consultancy, Industry Programmes or Outreach Projects. Through these projects NID gives state of the art design solutions to prospective client’s, which in turn enhances the skill level of both our faculty and students.NID has business partnerships with eminent names in the industry like, Fiat, Autodesk, Whirlpool, Suzuki and Infosys etc. The Admissions Information Guide, a formal document, provides information about the institute and it’s admission procedure, including fees structure, eligibility etc.. It communicates essential data about the disciplines and what NID is about. Objectives: Create a new structure for the information guide, focusing on the Admissions Procedures, which can also serve as a comprehensive document for NID’s philosophy, disciplines, students’ and faculty’s’ achievements. It also has the possibilities of presenting the folio of the institute and prospects.
Research Questions: WHAT IS DESIGN?WHY DESIGN IS IMPORTANT?WHY ONE SHOULD PURSUE DESIGN AS A CAREER?HOW NATIONAL INSTITUTE OF DESIGN CAN HELP A PROSPECT DESIGN STUDENT?
Methodology:• Understanding context & content structuring• A background study of the institute and the philosophy of Design, which the institute would like to share with people.• Identifying the reasons, why people want to join NID or not. • Studying the facts and prospects about the institute, which can be
presented in the guide to give a better idea of the same. • Deciding on a theme, which suits best for the philosophy, to create a visual language.• Filtration of the data.
Design and Layout• Explorations of the structure and information hierarchy• Typographic treatment, visual language and layout• Prototyping and mockups• Pre=press files• Documentation
Deliverables: An information guide, which talks about different streams of design and admission procedure. It also provides vital statistics about the institute and it’s infrastructure.
Elective two proposal
4
5
This record gives comprehensive data
regarding the design process and
development, which took place during the
elective two. The project can be defined
as a branding exercise, where the student
had to build up the new language for the
admission information guide and newspaper
advertisement. One had to communicate the
new language through print media. It was a
live project and
Intro
6
7
The National Institute of Design (NID) is
internationally acclaimed as one of the
foremost multi-disciplinary institutions in
the field of design education and research.
The Business Week, USA has listed NID as one
of the top 25 European & Asian programmes
in the world. The institute functions as an
autonomous body under the department of
Industrial Policy & Promotion, Ministry of
Commerce & Industry, Government of India.
NID is recognized by the Dept. of Scientific
& Industrial Research (DSIR) under Ministry
of Science & Technology, Government of
India, as a scientific and industrial design
research organization. NID has been a
pioneer in industrial design education after
Bauhaus and Ulm in Germany and is known
for its pursuit of design excellence to make
Designed in India, Made for the World a
Client Info
8
reality. NID’s graduates have made a mark in
key sectors of commerce, industry and social
development by taking role of catalysts and
through thought leadership.
Business Week has ranked NID in its list of
top design schools in the world. It has been
ranked as the top design institute in India.
NID had been set up looking at the industrial
design education being imparted in Bauhaus
and Ulm in Germany.
The institute currently consists of three
campuses, each hosting separate courses:
•The heritage campus at Paldi, Ahmedabad
•The postgraduate campus at National
Institute of Design, Gandhinagar
established on 19 July 2004 to move the
postgraduate courses from the heritage
campus
•The postgraduate R&D campus at Bangalore
established on 31 March 2006 offering
3 IT Integrated courses (Information
and Interface Design, Design for Digital
Experience and Design for Retail
Experience)
During the early
years of post
independence India,
manifold changes
were taking place
in economic and
social scenario
and in production
processes with the
introduction of new
technologies even
in the remotest
corners of the Indian
sub-continent.
There were at that
time, great thinkers
who realized
that the process
of development
demanded a
closer look at the
future policies and
resources that would
later on determine
the pattern and
pace of growth
envisioned for India
of the future.
The Industrial
Policy Resolution
of 1953 outlined
these concerns and
indicated broad
guidelines. It was
as result of these
activities that the
Government of
India invited the
renowned design
team of Charles
and Ray Eames
to recommend
a programme of
design to serve as
an aid to the newly
established small
industries in India.
9
On the basis of their
ground breaking and
insightful document,
‘The India Report’,
the Government
of India set up the
National Institute
of Design in 1961
as an autonomous
national institution
for research, service
and training
in Industrial
Design and Visual
Communication
with designer and
sculptorDashrath
Patel as its founder
secretary, he held
the post till 1981, and
was awarded the
Padma Shri in the
same year.
The institute offers two kinds of courses:
•Graduate Diploma Programme in Design
(GDPD)
•Post-graduate Diploma Programme in
Design (PGDPD)
The creation of 4 new NID campuses was
suggested as part of the Government’s 2007
National Design Policy. The plan envisages
campuses in 4 new states, namely Andhra
Pradesh, Assam, Haryana andMadhya
Pradesh. The aim is to have the campuses
operational by 2016.
The foundation stone for the Assam campus
in Jorhat was laid by PM Manmohan Singh
in February 2011, while land has also been
earmarked for the Andhra Pradesh campus in
the state capitalHyderabad.
10
11
This project was put
across as a branding
project in the brief
itself. It was not just
a document where
students can get to
know more about
the client, but they
wanted to focus
on the family and
society as well.
We have noticed
it quite a few
times how Design
is perceived as a
binary opposite of
engineering and
medical sciences.
Not just that, there
Design Brief
are many false
notions about
design. People don’t
understand design
as they should, and
my client wanted
to make design look
interesting to even
those who don’t
know about it. It had
to be aspirational
and confident.
National Institute
of Design wanted
everyone to it, the
way it wants them
to be. The basic idea
of the information
guide was very
clear… It should
catch your attention.
It is an informative
document, which
people would like
to refer once or
twice and that is
why it was really
important for it to
catch attention and
make one engrossed
in itself. This project
was not limited to
print media.
12
As a
par
t of m
y de
sign
brie
f, my
clie
nt a
lso a
sked
to w
ork
on q
uest
ions
like
: What is design?
13
What is design?
14
15
Objective The objective for this particular project was
to look at the admission announcement from
a branding point of view. Also to emphasize
on the presence of the client. This project
was not just about the print brochure, but
also about defining a new language for the
upcoming year. The language once created
can be developed in different collaterals
to look like a part of the same family. The
project was about devising a visual language
for the collaterals. A common visual
language would have to be devised for all
the publication material with regards to
admission announcement 2013-14. The visual
language would be based on the theme and
concept that client would choose to carry
forward.
16
The collaterals had to project the philosophy
of the institute, with the evolving nature of
the same. I wanted to work on an expressive
theme, which defines the institute and yet
gives out the feelings of experimentation,
confidence and seriousness. While providing
the user with a exotic tactile experience, it
also had to provide vital information.
Both the parts of the project were equally
important, and had to be dealt in a way that
they complement each other rather than
disturbing the harmony of the language.
I tried to work on the language in such a way
that the user get the essence of the collateral,
rather than forcing it on him. It had to work
parallel with the content, because both
without each other were ineffective. Hence,
this project dealt not just the language but
the representation of the content in such
a way that it’s not hampered and easy for
surface level knowledge in the first glance.
17
18
19
Before starting the
project I wanted to
know what people
think about it and
what they expect
out of it. I talked to
first and second year
students, and tried
to churn my brains
out for the same.
The initial brain
map was almost
destroyed... These
are few things left
from the same, put
together on the same
platform.
20
21
22
23
BackGround
For my background study I studied past
four years’ admission information guide. In
addition I studied two documents as well to
understand the process they followed, and
what kind of changes were required. Out
of those two I studied one very religiously,
which is Geetanjali Srivastava’s diploma
document. Starting from her project proposal
to the the end product, I tried to focus on the
growth of her project and how she followed
a particular path for the journey. On the
other hand, when I was going through her
document, I tried not to get influenced by her
work or words. I tried not to interfere in the
‘idea’ domain, but focus on the process. There
was a requirement of a standard system,
which would enable one to, add value to the
publication through different ways. I would
actually divide my background study in three
major parts.
24
Firstly, the diploma document, where I can
put forward the points I came across in the
document. Second will be the persona study.
And third will be about the study of different
brochures of different colleges, as well as
earlier brochures released by the client.
The key people in this project were,
Executive Director, Activity Chairperson,
Senior Academic Administration, Faculty
Guide, Design Consultant, Corporate
Communications. Few major tasks defined
by Geetanjali Srivastava were, finding out
expectations of the users and what they
want to know. Which parts can be confusing
for them and where can they get pinned?
Another question was, how to re-organize
information. Information becomes easy
to access in accordance to the respective
users. It should be concise, brief and clear.
But according to me the biggest task was
to design something at a national level.
The visual language and image projection
had to represent the same attitude and
values. All the people who would have been
connected to this project were put under the
user profiles. It was just to get an idea about
the target audience and figure out how the
designer can focus on certain parts
25
The broad distribution of the user profiles:
•Already familiar to design as a career
option. Have already been students at NID
or other art/ design colleges; Are familiar
with design since it’s a part of working
environment. Or they are working under
design professionals.
•Are not at all familiar with design as
a career option; conventional outlook;
engineers/doctors; different perceptions
about design; design as a quick money
maker option.
•Teachers (aware/unaware)
•Counsellors
•Education Consultants
•Industry; outreach; placement; project
opportunity.
Aa mentioned earlier, the information had to
be concise and effective.
There was a distribution of keywords, which
were divided in three regions depending on
the function of design.
Design Education: inventive; ingenious; new
clever; innovation; originality.
Design Training: sensitivity; ingenuity;
contemporary; creativity; imagination; skill;
aptitude; resourceful
Design Practice: novel; modern; advancement.
The only drawbacks of this study was that we
can’t really be too sure about who is going
to be audience. One might try to define and
segregate them in different parts but it’s
difficult to just focus on one. Most of the time
people who turned to NID were the ones who
had no idea what it will be about. In this case
it’s always better to define design as a great
career option and focus on the introduction
of it, rather than engaging the reader in
something which one can’t connect with.
While devising a visual language for
the collaterals, Geetanjali focused on
certain aspects. Like, a common visual
language would have to be devised for all
the publication material with regard to
admission’s announcement 2004-05. The
visual language would be based on the
theme and concept hat client would choose
to carry forward.
26
The collaterals should:
Project the philosophy of the institute, and the way the client wants it to be presented.
The theme had to fit the institution both literally and symbolically.
The information had to be precise and not undermined by a layer of the visual language.
27
The collaterals should:
Project the philosophy of the institute, and the way the client wants it to be presented.
The theme had to fit the institution both literally and symbolically.
The information had to be precise and not undermined by a layer of the visual language.
28
I had a really vague idea of the target
audience when I started working on this
project. It was difficult to narrow it down to
any particular age group. India is a country
where we still talk about family values
and society. It denotes that when we talk
about communication, we can’t limit it
to one person. To communicate a piece of
information we need to inform everyone.
Tell as many people as possible, so that the
right people get to know about it somehow. It
might sound corny, but the more the merrier.
But it was not easy to learn.
Initially I had to go through a more lengthy
process to understand my target audience.
And just for record I would like to mention
that it is really essential to understand
Set of stories to get an idea for the target
audience.
29
your target audience, as it can make you
understand your design. It helps you to decide
what kind of language you would like to work
on and what can be your limitations.
I started working on this part by comparing
scenarios. I tried to juxtapose different people
and their situations altogether. I studied what
kind of situations are responsible for one’s
judgement, and what kind of point of views
the family members have. I thought about
teachers and counsellors as well. But all of it
was not enough. Just to have an idea I worked
on two significant case studies, which aided
with a deeper understanding.
30
I had a really vague idea of the target
audience when I started working on this
project. It was difficult to narrow it down to
any particular age group. India is a country
where we still talk about family values
and society. It denotes that when we talk
about communication, we can’t limit it
to one person. To communicate a piece of
information we need to inform everyone.
Tell as many people as possible, so that the
right people get to know about it somehow. It
might sound corny, but the more the merrier.
But it was not easy to learn.
Initially I had to go through a more lengthy
process to understand my target audience.
And just for record I would like to mention
that it is really essential to understand
Set of stories to get an idea for the target
audience.
31
your target audience, as it can make you
understand your design. It helps you to decide
what kind of language you would like to work
on and what can be your limitations.
I started working on this part by comparing
scenarios. I tried to juxtapose different people
and their situations altogether. I studied what
kind of situations are responsible for one’s
judgement, and what kind of point of views
the family members have. I thought about
teachers and counsellors as well. But all of it
was not enough. Just to have an idea I worked
on two significant case studies, which aided
with a deeper understanding.
32
33
This prospectus was provided to us for the
batch 2009-2010. I have gone through this
one over 100 times, but never analysed it.
I had no knowledge of rhythym, harmony,
typography when I saw it. But after
analysing it I can say that there could have
been more levels of hierarchy. One thing
was for sure, this publication had put
forward pictures of the given discipline and
made them look interesting. It followed a
really simple language, and the cover was
quite impressive for aspirants.
34
35
This also followed the simplicity, with
an interesting language of lines. This
publication was treated beautifully with
silver colour, giving it a serene and chic
look. Silver didn’t force a feeling on the
reader, but did stand out and looked special.
Typographically it had the same outcome as
the earlier one.
36
37
This prospectus had this very interesting
use of circles. It was not revolutionary but
very subtle. I believe there could have been
more treatments, but circles do have a
limitations. No wonder how beautiful and
interesting they look, they can be used in a
number of ways... And one needs to go out of
the way to understand and reflect that.
38
39
This was the latest I was provided with, it
was interesting for sure. There were pros
and cons for this one also. Regardless, this
one was quite inspiring because of it’s
typography and categorisation of content,
which was handled beautifully. The page
size was different, it felt different after
holding it and it obviously gave a really
sharp navigation through information.
40
41
DesignProcess
This part would be difficult to segregate
in different parts as one lead to the other.
Everything was part of a process, hence had
a strong connection with each other. Each
concept grew together, think about one and
suddenly get an idea for the other one. That
is how I started to work on it. I tried to focus
on the richness and attention grabbing factor
of the language. I wanted the language to
be loud enough to attract anyone’s attention
and make sure that people don’t miss out
details. I wanted the language to interest
anyone and everyone. The use of colors and
type was in a need of something new and
unpredictable. I wanted to give a different
look to NID and the campaign itself. I tried
to think of the students coming in and how I
can get their attention.
42
It was really
important to stand
out. In today’s era
when there are
so many design
institutes coming
up, the client had
to make sure that
they put across
that they the best.
Client needed more
exposure with a
peculiar language,
which could attract
people and talk
about old values,
while depicting
the priority of the
institute.
If we have to divide
them roughly,
then we can put
them under three
parts, where three
concepts were
explored majorly.
Each one of them
were related, but
in an unusual way.
I tried to work on
something which
is simple yet
interesting. I was
craving to work on a
concept I didn’t work
on. I didn’t want to
look for something
revolutionary,
instead I wanted to
go with something
I haven’t worked
on. As some people
say, there is nothing
original in this
world.
43
44
45
46
47
These are few
image treatment
explorations. We
decided on few
typefaces, and then
I was trying to
figure out a suitable
treatment, which
would not only
enhance the look
of publicaiton but
will look interesting
individually also.
I tried playing with
contrast and figure
out interesting
compositions with
the help of type and
pentool. They looked
interesting, but I
didn’t find them
promising enough.
48
49
Concepts Following the three
major divisions of
concepts.
50
In this concept, I
tried to play with
transparency of
images. I wanted the
feel of excitement
to take charge and
make the user
excited about each
spread. It was all
about creating
suspense. Everything
was based on a
grid, but had a
surprise element.
The composition
would have changed
according to the
image. This concept
was actually inspired
from puzzles, where
you what is there but
still you don’t have
a complete image
of the same. In this
concept I could have
enjoyed hide and
seek with images.
This concept gave
me the liberty to
emphasis in such
a way that I could
change the pattern
of the picture itself.
But this concept
was dependent
on images The
drawback of this
concept was that
if we could not
gather good images,
this wouldn’t have
look interesting.
It was not just
about making
simple pictures
look interesting, it
could have changed
meanings with
the compositions.
But having a
language completely
dependent on
images didn’t seem
like a good idea.
51
52
This one was
actually born out
of the first concept
but was more
in detail. In this
each campus had
a shape made out
of blocks and that
governed the layout
of each campus and
individual spreads.
It also gave a feel
of a puzzle. This
concept was inspired
from different
thought processes
of people applying
for admissions every
year. It was a play
of composition,
yet again, with
images. It had the
same drawbacks
initially, that’s why I
worked on different
shapes to identify
different campuses.
Images looked
like tiny pieces
coming together
to form a bigger
picture. I wanted
to make the work
look interesting
and tempting
enough to look at.
I wanted to break
the accustomed
alignment and
placement of the
images. The work
was the most
important thing,
hence needed to be
treated differently.
The ‘but’ in this
concept was that, it
was too simple. If
I was playing with
the images so much
I didn’t want to
play with the text
drastically. I wanted
to keep the text
subtle. The problem
would have occurred
while treating
pages without
images, which
were quite a few of
them. Introducing
a another approach
for the later spreads,
for admission
information, did
not seem like a
good idea. I wanted
it to be a different
document, but not
something which
cannot have the
same language.
53
54
The fundamental importance of creating a visual
vocabulary through drawing, the development of
aesthetic judgment, values of form, proportion,
image and word have become an integral part of
learning graphic design at NID.During their period of study, students in graphic
design are encouraged to work on a variety of
projects, majoring in the selected sub-domain of
graphic design. The areas covered include
typography & type design, publication design,
image making, illustration, photography,
packaging, print design, corporate identity,
branding and information & communication
systems like signage or way �nding. Students, on
successful completion of the programme would
have acquired the competencies to �nd
placements with leading graphic design agencies
working in the area of branding, publication
houses, and communication design �rms. They
could also start their own design studios.
The ultimate aim is to stimulate the
development of independent critical judgment,
sound research skills, the ability to think
creatively and practice design as a professional.
The last decade or so has witnessed a near total
transformation in the way a graphic designer
works. The expansion and application of the
electronic media has made graphic reproduction
technologies more accessible to the designer.
Paradoxically, traditional skills have become
more necessary than before. Quality and
creative solutions contextual to the user’s needs
are still a basic human input.
A graphic design student, in addition to a
thorough grounding in design abilities and
theoretical issues, undertakes the study of the
cultural and historical context in which designers
need to function, as well as of the social and
ethical factors that in�uence design decisions.
graphic. design. gdpd. pgdpd. ahmedabad.
ELIGIBILITY CRITERIA PGDPD Degree in any
discipline, OR Diploma in Design (under 10+2+4yr)
ELIGIBILITY CRITERIA FOR GDPD as per details
provided for common GDPD
Indian Animation industry is now opening up to original ideas to mark its own identity in the global animation map.
animation. film. design. gdpd. pgdpd. ahmedabad campus
ELIGIBILITY CRITERIA PGDPD Degree in any discipline, OR Diploma in Design (under 10+2+4yr)
ELIGIBILITY CRITERIA FOR GDPD as per details provided for common GDPD
For this there is an ever-increasing demand for trained human resources and thinking minds as animators, content creators and mentors. Animation programme at NID, since its inception has always nurtured and mentored uniqueness both in the global and the local context.
The objective of this programme is to enable students to �nd solutions to complex problems in various �elds of communication design using animation �lm making as a creative medium.
Initial part of the 1st semester, students get introduced to basic design skills and topics for broader understanding of subject and context of design education before they get introduced to knowledge areas pertaining to animation design in particular, as well as communication in its social and cultural contexts. In the later semesters, students are exposed to a workshop and project mode of learning where they experiment with various mediums ( e.g. 2D,3D,Clay,Mixed Media, Pixilation, Experimental, Graphic Narratives etc) to tell animation stories of many kinds. In addition, for students’ experiential learning,
cross-disciplinary campus life, NID Film Club, Action Analysis, Field Visits, Case Study and other interactive sessions always give a value added experience. After the initial inputs and dynamic curriculum, students’ projects eventually result in a unique and original product, which also brings various international and national awards and recognition from time to time.
The department also exposes students with Chitrakatha- a biennial student international animation festival where many national and international experts of animation world come, share and interact about their work with the students.
Graduates of this programme �nd rewarding careers as animators, character designers, story-board artists as well as creative directors, producers, consultants and designers in many organizations such as Channel [V], MTV, Nickelodeon, Cartoon Network, Tata Interactive, Infosys, Cognizant to name a few and also as individual designpreneur or as faculty/designers at various design schools in India, including their alma mater (NID), and abroad.
55
The fundamental importance of creating a visual
vocabulary through drawing, the development of
aesthetic judgment, values of form, proportion,
image and word have become an integral part of
learning graphic design at NID.During their period of study, students in graphic
design are encouraged to work on a variety of
projects, majoring in the selected sub-domain of
graphic design. The areas covered include
typography & type design, publication design,
image making, illustration, photography,
packaging, print design, corporate identity,
branding and information & communication
systems like signage or way �nding. Students, on
successful completion of the programme would
have acquired the competencies to �nd
placements with leading graphic design agencies
working in the area of branding, publication
houses, and communication design �rms. They
could also start their own design studios.
The ultimate aim is to stimulate the
development of independent critical judgment,
sound research skills, the ability to think
creatively and practice design as a professional.
The last decade or so has witnessed a near total
transformation in the way a graphic designer
works. The expansion and application of the
electronic media has made graphic reproduction
technologies more accessible to the designer.
Paradoxically, traditional skills have become
more necessary than before. Quality and
creative solutions contextual to the user’s needs
are still a basic human input.
A graphic design student, in addition to a
thorough grounding in design abilities and
theoretical issues, undertakes the study of the
cultural and historical context in which designers
need to function, as well as of the social and
ethical factors that in�uence design decisions.
graphic. design. gdpd. pgdpd. ahmedabad.
ELIGIBILITY CRITERIA PGDPD Degree in any
discipline, OR Diploma in Design (under 10+2+4yr)
ELIGIBILITY CRITERIA FOR GDPD as per details
provided for common GDPD
This language was based on my initial hand
drawn explorations. In this I used type as a
tool. This concept was all about playing with
type and creating interesting compositions
based on the information and the kind
of attention it needs. It had very strong
hierarchy levels, which made the spreads
interesting and gave it a loud and confident
Indian Animation industry is now opening up to original ideas to mark its own identity in the global animation map.
animation. film. design. gdpd. pgdpd. ahmedabad campus
ELIGIBILITY CRITERIA PGDPD Degree in any discipline, OR Diploma in Design (under 10+2+4yr)
ELIGIBILITY CRITERIA FOR GDPD as per details provided for common GDPD
For this there is an ever-increasing demand for trained human resources and thinking minds as animators, content creators and mentors. Animation programme at NID, since its inception has always nurtured and mentored uniqueness both in the global and the local context.
The objective of this programme is to enable students to �nd solutions to complex problems in various �elds of communication design using animation �lm making as a creative medium.
Initial part of the 1st semester, students get introduced to basic design skills and topics for broader understanding of subject and context of design education before they get introduced to knowledge areas pertaining to animation design in particular, as well as communication in its social and cultural contexts. In the later semesters, students are exposed to a workshop and project mode of learning where they experiment with various mediums ( e.g. 2D,3D,Clay,Mixed Media, Pixilation, Experimental, Graphic Narratives etc) to tell animation stories of many kinds. In addition, for students’ experiential learning,
cross-disciplinary campus life, NID Film Club, Action Analysis, Field Visits, Case Study and other interactive sessions always give a value added experience. After the initial inputs and dynamic curriculum, students’ projects eventually result in a unique and original product, which also brings various international and national awards and recognition from time to time.
The department also exposes students with Chitrakatha- a biennial student international animation festival where many national and international experts of animation world come, share and interact about their work with the students.
Graduates of this programme �nd rewarding careers as animators, character designers, story-board artists as well as creative directors, producers, consultants and designers in many organizations such as Channel [V], MTV, Nickelodeon, Cartoon Network, Tata Interactive, Infosys, Cognizant to name a few and also as individual designpreneur or as faculty/designers at various design schools in India, including their alma mater (NID), and abroad.
look. This language was fresh and screaming
for attention, which the client was in need
of. This language was not just interesting
for students, and served for information
for elders. With this concept one could
explore layouts and treat pages differently
as everything was dependent on text.
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While I was trying to focus on the treatment
I tried to work on few sizes and paper
specifications as well. We finally decieded on:
Closed size: 8.5” x 11.5”
Open size: 17” x 11.5”
Pages: 64 + 2 gate folds
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This was one of the most important stage
in the design process, as it helped me
decide the number of pages I wanted for
the publication. It’s called pagiantion, and
helps in planning out a publication . This
is one of the first paginations, as I eneded
up editing them on a smaller scale.
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Methodology We decided to go with the loud language
as it served our purpose exactly the way we
wanted. The hierarchy levels created by the
type helped us play around with the layout
and drive attention to major information.
Through this concept we could focus on
the information, which is necessary. We
could make important things impossible to
be missed out by a person who is flipping
through the brochure or surfing the website.
In this concept, we created a flow for the
user. We tried to take the liberty of playing
with users’ journey through the information
guide.
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Part 1. Introduction Part 2. Brochure Part 3. Web OutputPart 4. Advertisement & PosterPart 5. Insight
Project Documentation.Elective two.
© Nidhi Singh RathoreGDPD 2009