YOUNG DESIGNERS

2012

Published by Research and Publications, NID

National Institute of DesignPaldi, Ahmedabad-380 007 IndiaPHONE +91 79 2662 3692 – 97FAX +91 79 2662 1167emaileducation@nid.eduwww.nid.eduSBN- 978-81-86199-73-2

©2011 NATIONAL INSTITUTE OF DESIGN

All rights reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without permission in writing from the copyright owner. Most of the images featured in this issue of Young Designers were sent by the individual students. Where they were not, they have been scanned from their diplomadocuments.

Project Head and Chief Visualizer Dr Tridha GajjarContent Coordinator Saurabh KumarEditorial support EishaSarkarProject synopsis Meghana Jog, KaveriGopalkrishnan, Saurabh KumarCoordination at three campuses Swasti Singh Ghai, MamtaRao, SaurabhSrivastavaGraphic Design Assistance Deepak MahavarSoftware Development Ankit D MehtaPhotography Dr Deepak John Mathew, Valji SolankiImage editing Dr Tridha Gajjar, Saurabh KumarScanning &Colour Correction Bharat D SutharStudent Liaison T K Rajan, Rosamma Mathew, Jaya Nair, Paresh ShahStudent Data Entry SnehalLeuvaLibrary Support C T Paul Thomas, Madhu N ChavdaProduction Supervision Shirish Shah, Dr Tridha GajjarPrint Production Advice Shirish Shah, Bharat D SutharStudent Index, Sponser Index, General Index Madhu N Chavda, Ankit D MehtaIT Support HimanshuMistry, ChirantanRaval, Upendra PatelSpecial Thanks to PradyumnaVyas, Vijai Singh Katiyar, Dr VijayaDeshmukh, Sidhharth Swaminarayan, LalitaChettiyarPrint Production Shreedhar Printers (P.) LTD., Ahmedabad

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Price: 400 ( Vol: Young Designers 2011 PGDPD )Price: 700 ( All 3 Vols: Young Designers 2011 GDPD + Young Designers 2011 PGDPD+ Educators @ NID )

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Chairman’s message

Salman HaidarChairman

Governing CouncilNID

Director’s Message

PradyumnaVyasDirectorNID

The National Institute of Design (NID) is undoubtedly

the pioneer of design education in India. For the last �fty years, NID

has been instrumental in serving various sectors of the Indian economy

through tangible design interventions that also help to bring about improvements

in those sectors. This is an institute that has nurtured and helped evolve innovative educa-

tional practices. NID is also committed to disseminat-ing design education through contemporary media such

as the internet and ensure stronger social development. The institute aims to foster economic development through design

education and improve the quality of people’s lives.

The �rst decade of this millennium has come to a close. This is the most appropriate time for NID to bring to fruition the goals it has envisaged for the future of design education. Towards this end, the existing curriculum will be reviewed and made more contextual and research-oriented so as to impart sustainable and value-centric design education. Plans are afoot to introduce postgraduate courses in Design Education, Universal Design, and Museum Design. NID is making active and dedicated attempts to infuse a global perspective into design education. For this, it is placing an increased focus on research in various areas of design, encouraging industry participation for sponsored research, and carrying out documentation and ethnographic studies on existing craft traditions. All of this will enrich educational programmes at the institute, apart from propelling Indian design practices on to the global arena in a more promi-nent way.

Indeed, this is a special moment for the NID community;this year marks the conclusion of NID’s Golden Jubilee celebrations. It has been a wonderfully eventful year with the institute hosting a plethora of conferences, seminars, exhibitions, and �lm festivals of national and international stature—all of which are a rightful acknowledgement of NID’s involvement in design education and design thinking in the Indian context.

This edition of Young Designers showcases the work of this year’s graduates, whose diploma projects reveal their unique approaches to design and societal concerns. I am indeed proud of these young designers and am con�dent that they will promote a culture of excellence in all their future endeavours.

I wish them all success.

Chairman’s message

Salman HaidarChairman

Governing CouncilNID

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Design provides a cornucopia of opportunities for a nation’s development. Nowhere is this more relevant than in the Indian context. Design concepts are embedded into the Indian cultural consciousness. It has to be acknowledged that in this era of globalisation, Indian designers have a challenging task ahead. They have to compete with designers from various nationalities. Besides, this would also facilitate a fruitful exchange of ideas and thoughts on a multitude of design traditions.

The emergence of the creative economy has begun to lay emphasis on originality and in this context; there is a pressing need for designers who possess an acumen for innovative design thinking. During the last �fty years, the National Institute of Design (NID) has developed its own design methodology and design philosophy, and has been a facilitator of each milestone of development in the �eld of design. Currently, we are witnessing an increased sense of awareness about design in India. This awareness is rapidly translating into an escalating demand for design-oriented careers. NID’s vast experience is already there to our good fortune and can be availed of in order to develop and provide a new direction to the creation of appropriate design education programmes and faculty training programmes for design educators.

This year, NID will conclude its Golden Jubilee celebrations that have indubitably reinstated NID’s position as one of the leading design institutions with a superlative design ideology. The institute is committed to spread the power of design across the country and the world at large, in order to ensure an egalitarian dispersion of modern design practices and philoso-phies.

Young Designers 2011 features the impressive work of this year’s graduates. I am extremely proud of their achievements. I would like to extend my congratulations and heartfelt wishes to all the graduates.

CommunicationDesign

Animation Film Design

Exhibition Design

Film and Video Design

Graphic Design

Photography Design

Inter DisciplinaryDesign StUdies

Strategic Design Management

Design for Retail Experience

IT Integrated Design

Design for Digital Experience

Information and Digital Design

Information and Interface Design

New Media Design

Software User and Interface Design

Textile Apparel & Accessory Design

Apparel Design and Merchandising

Lifestyle Accessory Design

Textile Design

Industrial Design

Ceramic and Glass Design

Furniture and Interior Design

Product Design

Toy and Game Design

Transportation and Automobile Design

Students’ IndexSponsers’ IndexGeneral Index

GRAPHIC DESIGN

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 influence design decisions. 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. 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 & communi-

cation systems like signage or way finding. Students, on

successful completion of the programme would have

acquired the competencies to find placements with

leading graphic design agencies working in the

area of branding, publication houses, and

communication design firms. They could

also start their own design studios.

Students’ IndexSponsers’ IndexGeneral Index

Prachi Ramchandra Chaudhari prachi.nnesh@gmail.com

Graphic Design GDPDGuide: Immanuel Suresh Sponsor: Codesign

My diploma project involved the branding and packaging of a new natural produce brand called Nyoli, which is named after a women farmers’ company in Kumaon in Uttarakhand.

Nyoli is an organization that is run by women under the banner of Central Himalayan Rural Action Group (CHIRAG), a rural development organisa-tion, which deals with organically-produced foods from Kumaon. Nyoli provides them with market access, inputs (seeds and other requirements), logistical support, marketing and market information and value addition. Their target markets include supermarkets such as Big Bazaar, More and 6 Ten in metros such as Delhi and Mumbai.

The design process required the understanding and application of Nyoli’s brand values. The identity had to speak for the products. The mes¬sage conveyed the unique and natural attributes of the products. The explora-tions involved playing with the keywords that had been selected to depict Nyoli and its brand values and applied to the packaging as well.

The final deliverables included logo options, basic stationery such as visiting cards, letterheads and envelopes and packaging items such as labels for canned fruits, wrappers for fruit candy.

Through this process, I learnt how an idea translates into brand. I am extremely glad that I was able to channelize my design education towards such a project that gave me an opportunity to work for a brand that works for betterment of the people.

BRANDING FOR NYOLI, A WOMEN FARMERS COMPANY

Keywords:BrandingPackagingWomen EmpowermentKumaon

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Aditi Kar dity.15@gmail.com

Weaving on a Grid

The brief for my project was to create a collection of woven saris, using traditional Jamdani techniques, and a set of stoles, using tasar as the main yarn.

I started with explorations of material size and colour and studying the various techniques I could use to weave a new story out of the tradition-al tale of Jamdani. The identification of efficient and skilled weavers, who would be able to meet the demands of quality and timelines for the international market, was a key task. Various layouts, which were inspired yet traditional, were explored. I spent the latter part of the project in Bhagalpur, Bihar, to closely understand the use of tasar yarn, its variety and properties. With only eight shafts, I had to come up with different weaves, using different techniques such as double-cloth and extra weft and extra warp. Natural colours and shades were used in accordance with the contemporary concepts and layouts for stoles.

My two collections were a Jamdani Collection in Phulia, West Bengal, which had five different concepts and over 20 sari products, and a collection of stoles in Bhagalpur.

This experience has taught me the importance of the design process, decision-making and punctuality. The project strengthened my belief that regional language cannot be a barrier to communicating designs and helped me understand trends in export houses and their way of functioning.

Sponsor: Eco-Tasar, New Delhi

Guide: V Sakthivel Textile Design

GDPD

Keywords: Transformation/Metamorphosis, Movement, Nature, Rigidity

My diploma project involved the branding and packaging of a new natural produce brand called Nyoli, which is named after a women farmers’ company in Kumaon in Uttarakhand.

Nyoli is an organization that is run by women under the banner of Central Himalayan Rural Action Group (CHIRAG), a rural development organisa-tion, which deals with organically-produced foods from Kumaon. Nyoli provides them with market access, inputs (seeds and other requirements), logistical support, marketing and market information and value addition. Their target markets include supermarkets such as Big Bazaar, More and 6 Ten in metros such as Delhi and Mumbai.

The design process required the understanding and application of Nyoli’s brand values. The identity had to speak for the products. The mes¬sage conveyed the unique and natural attributes of the products. The explora-tions involved playing with the keywords that had been selected to depict Nyoli and its brand values and applied to the packaging as well.

The final deliverables included logo options, basic stationery such as visiting cards, letterheads and envelopes and packaging items such as labels for canned fruits, wrappers for fruit candy.

Through this process, I learnt how an idea translates into brand. I am extremely glad that I was able to channelize my design education towards such a project that gave me an opportunity to work for a brand that works for betterment of the people.

Prachi Ramchandra Chaudhari prachi.nnesh@gmail.com

Graphic Design GDPDGuide: Immanuel Suresh Sponsor: Codesign

My diploma project involved the branding and packaging of a new natural produce brand called Nyoli, which is named after a women farmers’ company in Kumaon in Uttarakhand.

Nyoli is an organization that is run by women under the banner of Central Himalayan Rural Action Group (CHIRAG), a rural development organisation, which deals with organically-produced foods from Kumaon. Nyoli provides them with market access, inputs (seeds and other requirements), logistical support, marketing and market information and value addition. Their target markets include super-markets such as Big Bazaar, More and 6 Ten in metros such as Delhi and Mumbai.

The design process required the understanding and application of Nyoli’s brand values. The identity

Ornamental Accessories for Women

Keywords:BrandingPackagingWomen EmpowermentKumaon

1

had to speak for the products. The mes¬sage conveyed the unique and natural attributes of the products. The explorations involved playing with the keywords that had been selected to depict Nyoli and its brand values and applied to the packaging as well. The final deliverables included logo options, basic stationery such as visiting cards, letterheads and envelopes and packaging items such as labels for canned fruits, wrappers for fruit candy.

Through this process, I learnt how an idea trans-lates into brand. I am extremely glad that I was able to channelize my design education towards such a project that gave me an opportunity to work for a brand that works for betterment of the people.

The brief for my project was to create a collection of woven saris, using traditional Jamdani techniques, and a set of stoles, using tasar as the main yarn.

I started with explorations of material size and colour and studying the various techniques I could use to weave a new story out of the tradition-al tale of Jamdani. The identification of efficient and skilled weavers, who would be able to meet the demands of quality and timelines for the international market, was a key task. Various layouts, which were inspired yet traditional, were explored. I spent the latter part of the project in Bhagalpur, Bihar, to closely understand the use of tasar yarn, its variety and properties. With only eight shafts, I had to come up with different weaves, using different techniques such as double-cloth and extra weft and extra warp. Natural colours and shades were used in accordance with the contemporary concepts and layouts for stoles.

My two collections were a Jamdani Collection in Phulia, West Bengal, which had five different concepts and over 20 sari products, and a collection of stoles in Bhagalpur.

This experience has taught me the importance of the design process, decision-making and punctuality. The project strengthened my belief that regional language cannot be a barrier to communicating designs and helped me understand trends in export houses and their way of functioning.

The most innovative designers

consciously reject the standard

option box and cultivate an

appetite for thinking wrong.

— Marty Neumeier

Student Index

AbhayVyasNEXT GENERATION SMART ECO WASHER52

Abhilash JoseThree Boons of a Politician18

AbhimanyuGhimirayANANT19

AbhishekMaithulConstituting Growth Strategies for Hansiba, a SEWA Initiative120

AditiDhamijaConcept Store Design for F-Studio106

AdityaSomwayChildren's Furniture in Wood152

Ahona GuptaThe Sore Thumb: a short Fiction Film32

AishwaryaDasareConcept Store Design for Arrow Woman107

Ajay BogaSpeciality store for Studio ABD153

AkashShekharDesigning user experience of a web shopping application53

AkhilaMathurScope of Dynamic Behaviors in User Interfaces54

AkshayKoranneNew Identity for FASTRACK Concept Store Design108

Alpa JainFurniture @ Food Courts154

Ambrish GaurLinen Fiesta – Bedding Collection for Exports214

AmitAmbekarSpace inside Space: Kiosk for mall atrium155

Amit DasParityakto (Deserted)20

AmrapaliSatpudkeRedefining Mobility: Appropri-ate wheelchair for Physically Challenged Children164

Angeline IrudhayarajGAMES.EBAY.COM70

AnimeshShrivastavaElectra-Electric Vetrctc for adults with188

AnindaBiswasRe-designing the Website and Brochure for ‘Control Plus’40

Anish ThomasFaddish Laundry Collection a Menswear Denim Range for 'Flying Machine'198

Anjali MalikCostume Accessories140

AnkitVyasIndiglow165

Ankita PatelKapas Organic Cotton Project: From Soil to Self199

Annapurna BanerjeeILLUMINATUS86

AnujAgrawalLiving Demonstrations (Brand activation and Experience)109

AnujaDhulekarTerracotta Culinary141

Anuradha ReddyActivity kit analysis using Instructional Design87

ArnobSenguptaGame-based Learning Project for ICICI Bank178

Arun GaneshImproving the Online Bus Ticket Booking Experience in India71

ArunPrakashMeeninaKathe (Tale of a Fish)21

Arvind KumarNew Range of Tiles Surfaces for Kitchen and Bathroom142

Ashish KumarLanguage and Literacy Learning Kit179

AshishSanwalDining Furniture for the Export Market156

Ashok KumarUniversal Design for Public Toilet143

Austin DavisGameveda180

Avantika KumarOrnamental Accessories for Women208

AyswaryaSankaranarayananOruPaattu, OruKadhai (A Story and A Song)22

AyushSrivastavaICT Interventions in Indian Agriculture: An Ethnographic Study55

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gc

BalajiWaghmareFestival Ad Campaign and Brand Guideline for Tanishq-Jewellery41

Brajendra PandaPolice Health: A systemic intervention to improve health of police personnel166

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Charanyha SSingle Occupancy Room Furniture157

Charuta BhattRangoli 2011, CMF/P for Home Appliance209

ChinmayHulyalkarYahoo! Mime: A New Way to Communicate56

Charanyha SSingle Occupancy Room Furniture157

Charuta BhattRangoli 2011, CMF/P for Home Appliance209

ChinmayHulyalkarYahoo! Mime: A New Way to Communicate56

d

eElizabeth JosephEclectic Inspiration215

fFatemaJaliwalaNarendra Kumar for Deben-hams201

Garima NarayanThe Marketing Hive112

GatiNarvekarImproving Roman Script for Transliteration of Indian Languages42Gaurang GuptaDesigning App Development Paradigm for Office 36574

GirishWaghRFID based Library Manage-ment System Devices167

GopalkrishnaPaiDesign of a 4-door REVA NXR190

GunveenKaurSigns and stops of the times: Design of Signage pylon and bus shelters for Essar, Vadinar168

hGarima NarayanThe Marketing Hive112

GatiNarvekarImproving Roman Script for Transliteration of Indian Languages42Gaurang GuptaDesigning App Development Paradigm for Office 36574

GirishWaghRFID based Library Manage-ment System Devices167

GopalkrishnaPaiDesign of a 4-door REVA NXR190

GunveenKaurSigns and stops of the times: Design of Signage pylon and bus shelters for Essar, Vadinar168

iIshwariVakhariyaBig Track: Software Applica-tion for Execs on Handheld device88

YOUNG DESIGNERS

2012

Young Designers, an annual publication, o�ers glimpse into the outcome of the �nal diploma projects undertaken by graduating students of NID. These projects re�ect upon sectors as diverse as: crafts, education, environmental concerns, entertainment industry, healthcare, heritage and culture, public amenities, social concerns, the stock market, and retail. This publication highlights how design students are able to apply their understanding of design and practical experience gained at NID to the real life situations of the professional world. The synopsis of the design projects presented here in this publication unfolds the professional values and the user-centered design service propagated by the National Institute of Design. Undergraduate & postgraduate students convocating this year are featured herein the two volumes.