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A student-run art and design magazine. Srishti School of Art, Design & Technology Bangalore, India
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art and design
Invisible Design | Abhishek Chaudhary | Studio Eksaat | Ritwik Sauntra | Ajay Koli A Tale of Two Museums | Asavari Kumar | Vintage Obsession | 7 Steps to Pricing
INSIDE
Why put another magazine out on dem stands?Because we said so.
Joking.
The point of this entire exercise was so that Srishti School of Art, Design & Technology could finally have a magazine that was a student effort from start to end. We wanted to bust common misconceptions surrounding the role designers play and throw light on how design is everywhere and not something alien and elite. We have therefore tried to integrate as many fields of design as we could and have included a feature that intensively covers how design seeps into the everyday objects you use — from the humble toothbrush to your favourite chair to your entire home.
Being quite young ourselves, we automatically gravitated towards young and upcoming artists and designers who were just starting out. We even had the established ones introspect on their journey from college to present day.
So here’s to you, our reader, whether you may be a design student, a design professional or just someone who picked this up on a whim, we hope there is not a single dull moment while reading this magazine which has been put together after many servings of cup noodles and ideating in a pink house in the middle of nowhere.
Need we go on?
TEAMSPEAK
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Cont
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CONTENTS
A whole range of alternative work from artists and designers who are all looking to do something unique.
Here’s your quick guide to surviving in the big bad design world.
We give you both sides of the coin as we interview amateurs and professionals on their art and design experiences.
Putting together different perspectives on different themes.
Studio Lila 18Join us as we explore this studio’s work in its attempt to marry architecture and textile design.
Ritwik Sauntra 34 Photography, the likes of which you’ve never seen before.
Why Placements Will Help You (And Us!) 16 All the reasons to root for placements.
The Perfect Day at Work 17 What’s an ideal day at work for a design professional? How different is it for a student?
We Almost Always Know One Of These 22Every client type you can think of, all in one place. Dude, Where’s My Money? 32A young freelancer’s guide to pricing.
Nachiappan Ramanathan 12Take the path less trodden with Nachi, a young, off-beat artist and designer.
Studio Eksaat 58 Join us as we talk to the couple behind Studio Eksaat, a graphic design studio based in Delhi.
Minimalism Is Not For The Lazy 6 Is minimalism so popular because it looks easy?
The Good, The Bad And The Really Bad 40Pandrang Row gives you a 360 degree view of advertising today.
The Comic Con Express 64Explore the good and the bad of Comic Con, Bangalore.
Talk BoxFeatured
OpinionDesigner v/s World
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Flint - Contents
Zoom into a range of different fields and get a sense of what they’re all about – from UI design to native tattoo art.
Invisible DesignWe cover a topic of design relevance that applies to all – designers and non-designers alike. Take a closer look at your mundane daily routine and discover the immense role design plays in your life. 26
Showcasing the work of a select few students – artists, designers and even an engineer!
A Tale Of Two Museums 46Alison Byrnes contrasts two radically different museums in Bangalore.
Interaction Design 54Sharath Chandra Ram maps the journey of interaction design for us.
Vintage Obsession 56Smrithi Rao tells us about her fixation with all things vintage.
Rabri Tattoo Art 62Nupur Panemanglor takes you through her project on Rabri tattoo art.
Ajay Koli 8An engineer turned photographer
Athreya Zerfas 24 A product design student
Abhishek Chaudhary 42 An illustrator
Svabhu Kohli 48An illustrator
Asavari Kumar 50An illustrator and animator
Sneak Peek+
Command +
Focus
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When a new designer opens his eyes to the big bad world, he is immediately swept up by the novelty of fancy downloadable fonts, the intricacy of embellishments and the daintiness of those blasted floral borders. Little does he know that after a few years of trudging through all that pretty rubble, he will be struggling to come up for air. Good, clean, minimalist air.
Almost every 21st century designer goes through a minimalist phase. A fair number of them choose to stay there for good. But does its appeal also lie in the fact that it’s just easier to do less than more? The Oxford Dictionary defines minimalism as “a deliberate lack of decoration or adornment in style or design”. Quite like editing, don’t you think? And anyone at all who has done even the slightest amount of editing knows exactly how hard it is to chop his beloved work up into pieces and get rid of 90% of it.
But many designers would face the grave danger of turning minimalism into an excuse rather than a style. After all, it is just so irresistibly easy to do the bare minimum and call yourself a minimalist. Minimalism is your safety net – you can’t go wrong when you’re doing so little. Slap a title right in the centre of a nice white page, use a classic like Helvetica and hey, you’re a minimalist! But in truth, being simple, as they always say, is the hardest thing to do. If you find minimalism easy, you’re probably doing it wrong.
MINIMALISM IS NOT FOR THE LAZY
Is minimalism so popular
because it looks easy?
Noma Bar
Opi
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Opinion
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Simplicity requires a knack of understanding spaces, but also understanding negative spaces. It demands keen perception to know exactly what arrangement of elements will produce the most impact. It’s not about how wrong or right a Helvetica title might look in the centre of a white page – it’s about being able to analyse whether there’s a more impactful way of doing it. Would it look better if the page was a rectangle instead of a square? Would the text look better in a corner instead of the centre? The honesty of minimalism lies, not in the final design, but in the amount of time and thought one has invested in eliminating every other option before arriving at the final one. Well, either that or you have to be born a minimalist prodigy who just knows how to do it cleverly on his first attempt.
RUCHIKA NAMBIARIn-house writer
Perhaps it’s more difficult to cheat when it comes to fields like product design where one is working with tangible objects and all you need to do is chop off all the extras until you’re left with a purely functional object. Or space design, where too much empty space becomes glaringly obvious and it isn’t difficult to know when you need to put a rug in the room or a painting on the wall. Working with tangible quantities like area and cost effectiveness and optimum material usage might make it easier to go about minimalism the right way. But no matter what the field, can we ever really draw a line between how much is too much and how little is too little?
Minimalism, however, provides a great way of separating great design from ‘Meh-it’ll-do-for-now’ design. And it creates such an obvious distinction that even a layman could tell really clever design from mediocre design. It brings every element out into the spotlight for scrutiny and every single aspect needs to be perfect right down to its last pixel (or atom, for all you product designers). At the end of it all, minimalism is quite like life itself – you can get away with it easily enough, but the rewards are far greater when you don’t cheat.
Ana Linares
Opinion
Apparel Packaging
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Sneak Peek AJAY KOLI
Snea
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Ajay Koli is a conceptual photographer pursuing a B.Tech in Chemical Engineering at IIT-Bombay. His passion for photography had him looking out for other people with a creative bent of mind, which eventually led him to form The Green Hearts with Sankalp Agarwal and Siddharth Mate. www.ajaykoli.tumblr.com
Come Paint, I’m a War
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Sneak Peek
A Tree Like This
Shine Ajay
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Snea
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I went to the lake again
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Sneak Peek
Coming Back To Me
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Nachiappan RamanathanTake the path less trodden with Nachi, a young, off-beat artist and designer.
Talk Box
Talk
Box
Interviewed by KAVYA BAGGA
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What have you been upto these days?Chilling [laughs.] I’m learning the classical flute in Shantiniketan right now.
When did you decide you didn’t want to work under anyone and go off on your own tangent?When I finished college, I met many people during the graduation exhibition. I met some big companies, some of them who wanted me to work for them too. But it didn’t feel right to me. I wasn’t looking for money; I just wanted to do my own thing.
What have you been doing over the last 2 years?I worked with Jackson [Porretta] and Chokka, making tree houses and other basic structures. I also worked on a few interactive sculptures and some musical instruments.
What do you see yourself doing to earn a living?I am earning a living. The tree houses I built paid me quite decently. Recently, I completed a project for Puma where we had to make an installation using waste material. I actually have lots of projects coming up. The kind of work I’m doing lets me earn as well as do what I like. And I can take a break whenever I want. Like I’m doing right now. I just got back from the Arunachal Pradesh music festivals!
Is there a project you’re waiting to lay your hands on?I have some family land in Coorg. I want to build a house and studio space for myself there, where I can sculpt, research, make sound sculptures and work with readily available materials. I also want to set up a studio and cottages for people who can come there and work. Of course, it’s a long term plan which will come along when I have the resources.
Your biggest inspiration.Theo Jansen.
What are your greatest learnings?My journey has been a part of my learning process. I have learnt a lot in the last two years. Much more than what I learnt in my four years of college! [Laughs.] I guess I was never interested. I consider everything a part of my education.
What’s your favourite piece of work?Difficult to say. I work only when I really enjoy it. I only pick work that excites me. If I had to choose one, it would be the physical interactive sound installation – I would like to head in that direction.
What’s the one work ethic that you religiously follow?Nothing in particular. I like to work with a lot of space. For the Puma sculpture with waste material, we worked with a waste cycle. We collected all the materials, met welders, and all the rest, but there just wasn’t enough space in those workshops. So the ideal situation was to find our own space (an uncle’s farm). We bought a welding machine and did it all ourselves and seeked technical help when needed. Nobody told us what to do; we did it all at our own pace and learned along the way.
Can you describe yourself to us?Uhh... I’m still figuring things out. I’m definitely not qualified to be a product designer. I think if someone wanted to hire me, it’d be for my creative ability. I wouldn’t want to put myself in a bracket.
What would you like to say to our future designers?Oh my goodness. I don’t think I’m at any level to give words of wisdom. But I would say do what you enjoy terribly.. Aaaah... Can’t think of anything right now, but when I think of something, I’ll definitely let you know. Dream a little in the day is also something I’d ideally like to tell everyone.
Dream a little in the day is something I’d ideally like to tell everyone.
Talk Box
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This is a sculpture made at the ‘Sun Burn Festival’ in Goa. The idea was to use the waste plastic bottles accumulated during the festival and create an interactive sculpture. The structure was made with fencing mesh and the bottles were inserted in the mesh and painted. The creature also glows at night. 5-10 people can enter the structure and there is seating made of old tyres and sand inside.
Talk
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This is a sculpture where one can enter and play various sounds and make music.
Talk Box
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Designer v/s World
WHY PLACEMENTs WILL HELP YOUREASONS5
(AND US!)
There is nothing new and unusual about unemployment or issues surrounding internships in the creative world. We know work experience plays a key role for most of us, and hey, it’s our first experience in the real world and your work insights are hugely valuable!
We could use some field knowledge to be successful designers some day. We don’t want to end up being those obnoxious people who blow their own horns and give out large doses of irrelevant knowledge and self marketing tips to the world.
We know that a lot of establishments offer unpaid placements with the best interests, which are definitely beneficial in numerous ways. However, there are a large number of mediocre designers looking for just this kind of opportunity. Placements will help you separate the bad from the good, and the good from the great.
We know that you know that the demand for jobs is high. There’s a lot of brilliant work, brilliant layouts and brilliant portfolios out there. But until we meet or talk, you’ll never know what extra values we could add that might take your studio places.
Many a time, there’s a concern about hiring the ‘right’ kind of person who fits the bill. You’re either waiting for him/her to knock on your door or hoping you’ll hear of him soon through someone you know or just go through your old mail to find a portfolio that you received months ago. Know that there is a young, capable and highly talented workforce that is desperate and awaiting an opportunity to hear from established people like you.
Des
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SHREIYAA MAEDIRATTAIn-house writer
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UNEMPLOYMENT
IT’S A GAMBLE.
FINDING MR. RIGHT
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Designer vs. W
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The PERFECT DAY AT WORK
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STUDIO LILA
Lila was established in late 2011 by architect Shruti Narayan who specialized in energy efficiency and sustainability. The studio is her attempt to translate these very same standards into textile and fashion design. Set up as a design lab based in NewDelhi with a vision to be experimental, the studio uses the simplest of ingredientsto create series of designs that are both minimalistic in appearance as well rich incraftsmanship. Drawing inspiration from contemporary Indian design aesthetics, thebrand is an effort to tame and simplify India’s rich visual culture.
As a design philosophy, Lila celebrates solid colors and develops textures and patterns through a play of these colours. The results are vibrant tones draped in bold silhouettes, giving not only a laid back vibe but also a sense of quiet sophistication. The designs heavily draw inspiration from Narayan’s background in architecture. This influence is evident in the manipulation of folds, collars and pleats to create straight, simple and bold structures. Consciously using pure Indian fabrics to connect to our rich cultural heritage, the studio also uses them in an attempt to create a link to the seasons.
Architect Shruti Narayan attempts to
bring together the vastly different fields
of architecture and textile design.
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Featured
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Lila is housed in a restored old haveli in Delhi’s fashion hub urban village Shahpurjat, deliberately using an old structure to create an ambience that celebrates our built environment. A walk through the studio will have you instantly grasping Lila’s ideology of connecting to our context. The understanding is that all manifestations of design need to be sensitive towards our present and historical context and draw directly from it.
The studio uses only pure and natural materials that are locally sourced and fabricated. The intention behind this is not only to be local but also to understand that local fabrics have evolved over the years in a place with an understanding of its climate – and using such fabrics to make clothes will automatically make them climate-sensitive designs. In addition, Lila uses yarn-dyed fabrics that don’t bleed while washing and are thereby easy to maintain, allowing an extension of the lifecycle of the product. The underlying intent is to reduce the carbon footprint of the clothes.
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STUDIO LILAShahpur Jat, New [email protected]
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Featured
The influence of architecture is evident in the manipulation of folds, collars and pleats in order to create straight, simple and bold structures.
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Designer vs. W
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Snea
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ATHREYA ZERFASSneak Peek
Haptics for the blind — A screen using readily available technology, with pixels that riseup and offer tactile information at the fingertips of someone who is visually challenged.
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Sneak Peek
Athreya Zerfas is a product design student at Srishti School of Art, Design and Technology, Bangalore. His featured projects all aim at creating efficient, integrated and cost-effective [email protected]
A tupperware bowl in which vegetables can be washed and served, all in one go
A plastic one-piece nutcracker with no moveable parts (inspired by the lotus)
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Focus
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Focus
Artists and designers around the globe constantly attempt to
define where art ends and design begins. To the layman, art and
design is a very separate elitist field that does not even remotely
intersect with his everyday life... Which is where we step in.
So let this be an ode to all the unsung designers who have designed everything from your soap dispenser to your favourite chair. Have you ever really thought about why you prefer some chairs to some others? Why you picked a certain print over another? Behind every single seemingly ordinary step you take every day, there are designers who have worked tirelessly to let you make the choices you might not consciously give much thought to, a little simpler.
From the day we started hunting food to the day we launched our story into the cosmos, we have constantly designed the world around us. We have helped design clothes to conquer impossible terrains, we have designed automobiles, houses, education and monetary systems, to make our world a little better than we found it. The story of design is the story of the human race.
So where do you start with a term that embodies so many different things around us? Let’s get back down to the basics and discuss items you wouldn’t normally spend too much time thinking about.
Invisible Design
Focus
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THE MATTRESSWhat is the key to a good day? SLEEP. If you’re lucky and not overworked design students like us, then you would ideally spend half your day on your mattress. Design may sound like a cool word today, but mankind has been designing for donkey’s years. He simply had no choice. Life wasn’t always this comfortable; people designed it to be that way. Take your mattress for example, something that’s been evolving for eons.
It is said that the expression “sleep tight” dates back to the 16th and 17th century when mattresses were placed over ropes that required regular tightening. A typical mattress today consists of anywhere between 250-1000 springs, which when put together, require nearly 2000 feet of steel wire. With the existence of air beds and water beds today catering to a variety of needs, the mattress has definitely undergone a serious revamp.
THE TOOTHBRUSHDesign is nothing but resourcefulness. When you stick a piece of folded paper under the leg of your wobbly table, you’re designing too. The modern toothbrush was also invented in a similar way.
In 1780 in England, William Addis invented the modern toothbrush in prison. It is said that he was simply bored and quite tired of the unsanitary amenities available in prison. Saving an animal bone left over after mealtime, he drilled tiny holes into it and passed tufts of bristles through them. (The bristles, he obtained from a prison guard.) Funnily enough, after he was released, he got enormously rich by mass-producing these very same toothbrushes.
Tooth brushes today come with various added features like a tongue cleaner or even ones with criss-cross bristles that increase efficiency. If it hadn’t been for designers who made the humble toothbrush what it is today, you would’ve pretty much had to wear dentures at 20. Hallelujah.
PEOPLE STUDY DESIGN BECAUSE THEY’RE NOT SMART ENOUGH FOR ANYTHING ELSE.
Not true. Design is all about functionality and effectiveness. And if that isn’t enough, designers also make things look good. It’s a constant balancing act between what works well and what looks good. So really, designers do double the work!
DESIGN MYTH
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FocusFocus
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THE RAZORDesign is about making the world a better, safer, happier place. It keeps you from cutting yourself – quite literally, in the case of the shaving razor.
Men have been shaving since time immemorial. In fact, in ancient Egypt, it was considered unsophisticated to have facial hair. But right up until the late 1800s, men owned straight razors that looked quite like foldable pocket-knives. Needless to say, it required a certain amount of skill to use such a device without injuring oneself. In the latter half of the 19th century, the razor evolved such that the blade was now perpendicular to the handle, making it much easier and safer to use. This model soon gave root to the disposable razors we know of today. With women jumping on the shaving bandwagon, it has become even more important for razors to be safe instruments to maintain our majestical, feminine selves. Fact.
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FASHION DESIGN IS THE ONLY TYPE OF DESIGN ON THE PLANET.
Nearly every designer, at some point in his life, has had to clarify that he isn’t pursuing fashion design. Everything in the world needs design, not just clothes.
DESIGN MYTH
THE EARBUDThe design process is organic and in constant motion – we observe and learn, we improvise and solve common everyday problems in the constant attempt to make everyday life simpler and more convenient.
In 1923, Leo Gerstenzang noticed his wife sticking a wad of cotton to the end of a toothpick and stuffing them in their baby’s ears to clean them. Mildly horrified at the proximity of that poorly concealed sharp toothpick to his baby’s eardrums, Gerstenzang decided to invent what we know today as cotton swabs or Q-tips. But back then, he’d called them ‘Baby Gays’.
THE BALLPOINT PENDesign is invention. It isn’t a choice, it’s a necessity. Especially if you’re living in the prehistoric times. When prehistoric man saw a boulder rolling down a hill, it gave him the idea of the wheel. While it might seem like we have everything we need today and the only purpose of design is to make things look pretty, there are still a wealth of ideas that remain unexplored. And there always will be.
Speaking of boulders and rolling, it’s not too far-fetched to wonder whether the ballpoint pen too was thought of in a similar manner. While it went through many design failures in the beginning, the first patent for it was issued in 1988 to a leather tanner who was looking for a way besides fountain pens to write on leather. The pen he created had a small steel ball that rotated, held in place by a socket. Ball pens today are quite similar, with a tiny rotating ball controlling the flow of ink through the internal chamber.
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FocusFocus
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Finally, here’s something you don’t need to be told. Websites, magazines and spaces need to be designed. There are entire professions dedicated to them. You already know all of that. But do you really know how much really goes into design?
Many people get away with calling themselves designers simply by making things look good. Take a website or magazine for example. There’s a great deal of thought that goes into exactly how you navigate through a page, what you read first and what catches your eye the most. Buildings and rooms are designed such that you can navigate through them comfortably. All design is practiced keeping human behaviour and psychology in mind so that one can deliver the best, most comfortable experience. So comfortable, that you don’t even need to think about it.
Who then are these designers? Are they the master race that carved the path for humanity? No. Every one of us makes design choices through almost every moment of our lives. It is this collective desire that is interpreted by a few and turned into newer, more accessible and elegant solutions. And with that, we hope you will see and interpret the world around you and, if not appreciate, be aware of the hidden persuasive power of the designer and the designed.
KOYAL CHENGAPPA & RUCHIKA NAMBIARIn-house writers
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TO PRICING FOR YOUNG FREELANCERSrules7
DUDE, WHERE'S MY MONEY?
Be true to yourself and be confident of your abilities. Don’t let guilt get the better of you while quoting a price. If you know you’re good at designing logos, don’t hesitate to quote as much as a professional would.
TIP: Keep building a strong network of other established freelancers, so that you can stay up to date with the going market prices for different kinds of services.
The maddening business of pricing has always been the bane of our existence for
us newbie freelancers. If only a guide to pricing were to fall from the heavens,
life would be a lot easier. But until fate decides to smile upon us and make that
possible, we have taken it upon ourselves to gather a few pointers from different
freelancers to make things go just a little bit smoother for you.
Don’t get overconfident about skills you don’t have! If you know you aren’t great at web design, quote a cheaper price for it. Always maintain full disclosure with your client so that he knows if his designer is lacking in a cer-tain area. At this age, your client is really giving you room to make mistakes.
“As a student, I did many jobs for free (out of good will) or even on a barter system. I branded my friends salon, and instead she gave me free haircuts and the like. My gynac and I also reached the same understanding.” – Kruti Saraiya, Graphic Designer.
Raise your prices. As a student freelancer, while it’s alright to quote low at first, don’t let that go on too long. Once you’ve built up a decent client list, it’s alright to raise your prices up a notch. You don’t want to get stuck quoting lower than you deserve even five years later.
TIP: It might be a good idea to raise your prices after you’ve made significant leaps in your career and education. If an old client comes back to you asking why he has to pay 10K for a logo he got for 5K before, you should be able to show what progress you’ve made that justifies the rise in prices. This could be justified through either a longer client list, or an updated portfolio, or an internship that you recently completed.
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Designer v/s World
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Don’t do it for peanuts! Always make sure you get something in return, even if it is free haircuts or referrals to other clients. Don’t settle for a price so low that your work loses its value. And don’t be afraid to tell your client that!
“Design is not bargainable. When you complete a job for a price that’s less than you deserve, you undermine the importance of your own work. What’s more, you’ll get stamped as being a low-cost designer when you get referrals.” – Kavya Singh, Student Freelancer
Be considerate towards your client’s background while quoting. Start-up companies and the like can’t afford a very expensive logo, but they’re usually the ones that give you the most freedom and are looking for quality work.
“When you quote lower to smaller companies out of goodwill, if you do a really good job for them, they’ll keep coming back to you. And you never know, they’ll even start paying you more when they become rich and famous.” – Kavya Bagga, Student Freelancer
Make your client understand what it really means to be a designer. Explain to them the process of a design job and let them see the time and effort that goes into not only execution, but ideation as well. This is when thumbnails and iterations will help!
Don’t be gullible! While the hope is that most clients are nice and well-meaning, it’s always better to be safe than sorry. Have all your discussions and price negotiations down in writing. Even if it’s in the form of an email, it is good enough, so don’t delete those emails until after you’re paid. Better still, have all the details down on a signed agreement form.
“I usually break my payment up into three instalments – 30% advance, 30% after the iteration stage, and the remaining at the completion of the assignment. It ensures that my client doesn’t run away with my ideas.” – Ruchika Nambiar, Student Freelancer
And with that, let’s just hope that your next client meeting goes a little bit smoother than the last time. But don’t stop praying for that guide to fall from the heavens!
Designer vs. W
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RUCHIKA NAMBIARIn-house writer
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Featured
RITWIK SAUNTRA
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35Meeting point of Zanskaar and Indus river near Leh, Ladakh.
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While Ritwik Sauntra studies film at Srishti School of Art, Design and Technology,
photography is also a great passion of his. He enjoys travel photography and a
major part of his work focuses on capturing breathtaking landscapes.
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www.ritwiksauntra.com
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Night sky at Pangong lake, Leh, Ladakh.
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Gurudongmar lake, Sikkim.
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A monk performing early morning prayers at Pangong lake. Featured
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Every generation of advertising guys thinks the next generation is all rubbish. This is axiomatic. However, advertising, like everything else, is subject to Sturgeon’s Law, which declares, “90% of everything is crap.” I was sitting in front of my television yesterday, watching a Hindi program and here’s a list of the TV commercials I saw. And what I thought they showed about the future of Indian advertising.
Samsung Champ Deluxe – predictable to the last microsecond. Boy lures a bunch of his ‘pals’ under an arch for a photograph and his real pals drench them and he takes a photograph. Wow! Totally original, a real creative idea. Sorry guys. Just sarcasm. It was not even a decent demo. Just an ordinary ho-hum snooze of a TV commercial.
And if Samsung was bad, next came horrid. A commercial for a Limca Contest. And now comes the oh-so-very-predictable idea. The first resort of every hack copywriter in the country. Wow! I’ve nailed it boss! Let’s use a Celebrity (yes, with a capital ‘C’). Let’s use Karishma Kapoor! Let’s go boys and girls, I’ve always wanted to meet that hot broad.
This was followed by Nerolac and... ta-daaah! Yet another brilliant idea! What are we going to do? Let’s use... hushed breath... drum roll... a... yes... let’s do it... use... a... celebrity. But just to change things a bit, let’s make it a hot guy instead of a hot broad. So... here comes... Shahrukh Khan.
The next was a predictable, scare-‘em-silly and get sales advertisement. Saffola – Predictable and unlikely to convince anybody.
The next showed a man riding a scooter and looking into his rear-view mirror and
seeing a Scorpio, then another Mahindra SUV and yet another. Each time, he turns around to see nothing behind him. The ad was for Mahindra Scooters and suggested that Mahindra is behind all its products. Good stuff. Interesting, unlikely and intriguing. Gillette was the usual predictable P&G rubbish.
Then came Aliva and... sorry boss, I’ve got an idea... not just a Celebrity! One celebrity in a Double Role (whooo!). And to make it really sexy let’s put her into her only really sexy role. Let me lay on you... the sexy, the talented, the amazing... Vidya Balan!
Oh boy! And if that wasn’t enough, we had Garnier Light Fairness Moisturizer starring Priyanka Chopra on an off-day. Evidently, the film’s director was overly impressed by her star power and didn’t tell her, “Priyanka darling, they’re paying you money, try to behave like you mean it – not as if you came in for two hours, faked the whole thing and ran away.”
And another predictable and boring ad for Colgate Sensitive Pro-relief – man in a white coat, whom we are expected to believe is a doctor (way too perfect and way too pretty and way too fake). Okay, let me stop there.
Then we’re back to all those practical demonstrations of how Indian advertising has basically latched on to Japanese ideas, which are, “Demonstration! Celebrity! Image!” and we have Choc On – with (Surprise! Surprise!) yet another celebrity, the fair and lovely but oh-so-very-bland Katrina Kaif.
The next was a prototypical “client wants” commercial for Kisna Diamond Jewelry. “Client wants to show gifting!” “Yes boss!” “Client wants to show a wedding!” “Yes boss!” “Client wants to
THE GOOD, THE BAD AND THE REALLY BAD
Industry expert
Pandrang Row’s take
on advertising today
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THE GOOD, THE BAD AND THE REALLY BAD
show a relationship between father and daughter!” “Yes boss!” “And of course, client wants to show lots of diamonds!” “Yes boss!”
And yet another P&G classic for Head and Shoulders. Yes sir! A person in a white coat throwing off technical-sounding balderdash to convince you. But this time, just to make things different, let’s make the doctor a pretty blonde.
Now came the ancient American art-form; slice-of-life. It began with an advertisement for Badshah – very fake looking family, incredibly badly acted. There’s a nice word to describe that: obnoxious.
Okay, so what’s the point? The point is that nothing much has changed in the last thirty years. For every ten commercials, there will be one good one. (Sturgeon’s Law Rules!) And that’s going to be true of the future as well. Not that there aren’t any good commercials – the Ultrabook commercials, the Airtel commercials (some of them – the ones with the wooden-faced Teutonic driversare pitiful enough to make you cry) are examples, but there are a plethora of truly pathetic commercials out there. As there always were and always will be.
You may ask, what about other media? And my answer is, well, what about it? I don’t remember the last time I saw a decent press advertisement. Or a decent hoarding. Or a decent poster. Every copywriter and art director is concentrating on only one thing. TV commercials. Which is cool. That’s where fame (and a Cannes Award) lies. What about the future? I think the proliferation of media will continue. We will see more and more specialist channels and there will be a requirement for specialist agencies and specialist creative people.
There will also be the need for longer commercials, because the cost of media on specialist channels will be lower.Press is not going to be left behind, but I think agencies are going to have to get back to understanding and using press effectively. I also believe that good writing and good design are going to get more and more important – the net is fundamentally based on words and design. The moving picture actually has a very small role to play here – especially when it comes to advertising. Of course, the internet will play a bigger role, but I don’t think that will affect the quality (or lack of it) of commercials and advertising.
In short, to quote the French, “Plus ça change, plus c’est la meme chose.” As a business, advertising will have to change the way it works from concentrating on media to concentrating on ideas. But that’s something all the truly great agencies have always done, so again, “Plus ça change, plus c’est la meme chose.”
As the great Bill Bernbach said, “All of us who professionally use the mass media are the shapers of society. We can vulgarize that society. We can brutalize it. Or we can help lift it onto a higher level.”
True yesterday. True today. True tomorrow.
PANDRANG ROWGuest WriterFaculty at Srishti School ofArt, Design & Technology
Advertising, like everything else, is subject to Sturgeon’s Law, which states,“90% of everything is crap.”
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ABHISHEK CHAUDHARY
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Abhishek Chaudhary is an artist and designer working for 4:Design Delhi after having passed out of IDC, IIT. The work featured here attempts to transform Indian art and traditional styles into something more appealing to a contemporary Indian audience.www.linesmancreation.blogspot.com
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The Visvesvaraya Science and Industrial Museum is always abuzz. If judging from the number of visitors (and, in current modes of thinking about museums, number of visitors IS the rubric for success), it is the most successful museum in Bangalore. Not only are the visitors numerous, but they are also varied. One could not simply characterize them as “school children,” or “families,” or “roving packs of young men.” They are all of the above, and more, as well as encompassing a range of socio-economic circumstances.
The average Bangalorean appears to be comfortable in the Visvesvaraya – not only the upper and upper-middle classes. Further, visitors are at ease in the space, and feel comfortable engaging in behaviors not always associated with museums – running, shouting, laughing.
Not far away is the relatively new, beautifully situated National Gallery of Modern Art. It is empty, or at least, close enough. The handful that is present shuffles about, hushed and sedate. Its buildings are lovely, its grounds serene, and its exhibits are professionally presented. Why is there such a huge difference in appeal?
Temple tops, political hoardings, vegetable carts, pujas, footpath hawkers, chaotic-yet-orderly traffic, seas of brightly patterned salwar suits, flower markets, rangoli decorations, wrought-iron gates – these are the elements that make up the visual
landscape of South Asia. It is an area of the world well known for its visual exuberance. Any given visual field just tends to have a lot of “stuff” in it. The “rules of good design,” however, were developed in places with very different visual landscapes (such as glass-and-concrete structures covered in snow). Modernism promised to clear away all of the visual clutter and crusaded on a decidedly anti-ornament platform. And, Modernism still remains the gold standard of international “good design.”
Education is a form of indoctrination. Design education, obtainable by an elite demographic, trains designers to adopt and favor the “clean,” minimal aesthetic of Modernism. And, elite visitors, accustomed to the visual aestheticpreferred by elite institutions appreciate a Modernist visual landscape.
Most museums do things the way they do them because other museums do things that way. This is how most decisions in life are made – we simply don’t have time to test, or innovate, for every decision. Somewhere far away in the 20th century, art museums came up with this concept of the “white cube” wherein art could be viewed in an atmosphere with minimal visual distractions so that the art itself could be contemplated upon (possibly to achieve a sort of transcendence). Nevermind that most art has been created for ritual use or for a place where it can be lived with, such as in a home or institution, where it could never expect to have a wall and unobstructed view all to itself. Even in museums, in times past paintings were hung “salon
Alison Byrnes, an artist with experience in the field of museums and
galleries, contrasts two radically different museums in Bangalore and
weighs their pros and cons.
A TALE OF TWO MUSEUMS
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style” with pieces displayed from floor to ceiling. Not all art was created for the purpose of being contemplated upon. Naturally, the people who espoused the ideal of the white cube were not ordinary members of the public, but elite thinkers in the arts.
Now all art museums seem to be stuck with this legacy of the minimalist, Modernist way of exhibiting art, though it may have no resonance with its audience. The bare, unornamented Modernist mode is in direct conflict with the visuality that characterizes South Asia. However, in order to be in a position to make decisions about museums, one is de facto a member of the elite who have been indoctrinated that Modernism is the superior mode for displaying art, creating an infinite feedback loop of museum professionals disconnected from their public.
The Visvesvaraya is characterized by its visually exuberant displays, which are colorful and busy. The NGMA uses the spare approach to its visuals typical of museums of its genre. Of course, the visual mode of the Visvesvaraya and NGMA is only one difference of many between the two. The former is also more interactive, and the subject matter and missions of the two diverge greatly. The architectural styles of the two institutions undoubtedly have a great bearing on their relative approachability as well. At the same time, there is a place for quiet, contemplative public spaces, so rambunctious behaviour is not the only indicator that a museum is successful.
Cultural relevance is what’s at hand here. A museum, funded by the public as an offering to the public, has a fiduciary duty to serve the public, and “public” means as many different kinds of people as possible. One factor, of many variables that attract or repel a public, is the visual landscape proffered by a museum with respect to the cultural preferences of its public.
ALISON BYRNESGuest WriterFaculty at Srishti School of Art, Design and Technology
All art museums seem to be stuck with the minimalist, Modernist way of exhibiting art, though it may have no resonance with its audience.
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SVABHU KOHLI
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Svabhu Kohli is an illustrator studying Film and Visual Communication at Srishti School of Art, Design & Technology, Bangalore.www.svabhu.blogspot.in
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Asavari Kumar is an animation filmmaker, chronic daydreamer and lover of strange things. She loves creating weird characters and sees them as an extension of herself. She is currently in her second year at the California institute of the Arts, pursuing an MFA in Experimental Animation.www.cargocollective.com/sugarcoated
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Sharath Chandra Ram, Fellow at the
Centre for Internet and Society, maps
the journey of interaction design.
INTERACTION DESIGNThe History Of An Uncertain Future
Fundamental inspirations in digital information practices sprouted from the hypothetical electromechanical device ‘Memex’ proposed by renowned scientist, Vannevar Bush, in his 1945 essay titled “As We May Think”. The Memex (Memory + Index) concept entailed a system where a user could add associative trails to notes, books, communication and audio-visual experiences involving both himself and others. The memex in Bush’s view was to create trails of links in temporal sequences of subjective experiences of a person, accessible to him (and others) at anytime. -- a sort of augmented and extended memory. So fantastic and unfeasible was this ambitious proposal of his, that his name has entered the dictionary as a verb used to describe something unreasonably fantastic—as in, ‘to vannevar about something’!
His idea had an immediate bearing and influence on the conception of the World Wide Web as well as the concept of hyperlink, which maps a single word in a document to other associative content. Douglas Engelbart inspired by Bush’s essay, invented an interface that aided the very metaphor of pinpointed navigation through hyperlinks—the X-Y Indicator – later came to be known to the world as the Computer Mouse.
Not much has changed in the ways in which humans have interacted at the interface level over the last few decades --The WIMP paradigm (Windows, Icons, Menus and Pointers) has been here to stay. The X-Y indicator, previously mapping motions on a 2 dimensional track pad onto the screen, has simply been infused onto touch screens. While this may have eased the process of visual design automation, could our interaction be more natural, expressive, immersive and creative? Our experience in the real world is multi sensory and so is the way we communicate with others using our body, hands, visual cues and sound. Is there a way by which our interaction with people
in the virtual world could closely mimic our real world behavior? The answer to the above questions came around the same time that the mouse was invented -- Myron Kreuger’s Videoplace, (unarguably the finest and first immersive virtual reality), created way back in the 1970s, combined two cultural forces -- the television (a purveyor of passive experience) and computer (symbol of forbidding technology) to create an expressive medium for communicating playfulness and active participation. He argues that, “computer art which ignores responsiveness is using the computer only for visual design automation, rather than as a basis for a new medium.” Kreuger used image processing and gestural interaction as early as in the 70s to interact with virtual objects in the digital world. While today, such techniques are gaining much commercial interest with gestural devices like the Microsoft Kinect ,,it seems Kreuger’s work had remained in the closet due to commercialization of XY mouse and touch devices. In fact the adage of user centric design, really only catered to enticing a users to information that the interface wants to disseminate rather than let the user engage with the interface in a natural flow.
If one recalls the seemingly futuristic gestural interface that Tom Cruise uses in the film ‘Minority Report’ -- be assured, it’s already here! The entire working set of the film was developed by Jaron Lanier, pioneer in virtual reality systems who headed the National Tele Immersion Initiative.
We are on the brink of a paradigm shift in our process of Access to Knowledge that is redefining concepts in user centric design. The linear way in which search results of Google are displayed on a browser across 200 pages will change this decade as the GUI will transform into 4 Dimensional Space along time, with relevant search results being clustered onto a connected graph node structure and distanced based on relevance. This calls for a more natural interface that depends not on the traditional keyboard-mouse interaction , but the use of intelligent interfaces such as eye-tracking, gaze, gesture and speech to sift through this database which presents itself in totality, along with multimodal feedback to the user.
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If one recalls the seemingly futuristic gestural interface that Tom Cruise uses in the film ‘Minority Report’ -- be assured, it’s already here!
On one hand, while one would like to see the price of natural interfaces being made affordable to the commoner, on the other it requires unlearning the traditional means of information interaction that we have been made quite comfortably accustomed to. This niche already exists thanks to media artists, hackers and academics who over the last 30 years who have released creative open source tools.
Until then, of course, self appointed UX-Pandits, Design Consultancies, Advertising Agencies and Architecture Firms will continue to tailor existing free solutions into proprietary services with an exorbitant price tag and fancy names such as Augmented Reality to WOW their clients into the rigmarole of consumerism.
SHARATH CHANDRA RAMGuest WriterFaculty at Srishti School of Art, Design & Technology
ENIAC (Electronic Numerical Integrator And Computer) was the first electronic general-purpose computer.
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VINTAGE OBSESSIONPopular fashion blogger, Smrithi
Rao, tells us about her fixation
with all things vintage.
Living in a different era has always fascinated me – call it the golden age fallacy or term it nostalgia. So it was only normal that this extended to my style as well. Dressing for me is neither an art nor is it a skill. It is a sense and an expression, albeit an expensive one. This fueled my love affair for vintage.
Enter college and almost every one of us can agree we go through a clothing crisis. It’s synonymous with limited cash influx. This, however, does not limit our expansive ideas of who we want to be and the personality we want to portray. Standing out as an individual was the sole emphasis. I turned to vintage clothing for support as it is mostly one of its kind. Vintage clothing in India is mostly defined as hand-me-downs; it is inexpensive and this was my only attraction back then. Not all of them were in mint condition. This called for some improvisation, as beggar-chic was not my favorite kind of chicness. Daunting as it was, it taught me a whole lot about styling. Bringing out character in an outfit was part of it.
Styling vintage clothing is therapeutic. It is as if modernism has met the glorious past. Stories from different eras can be weaved. You can channel a different tale every time. Every time I stumble upon a keeper, it is followed by a mandatory swooning session. It is as if the outfit is shrouded in mystery.
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Styling vintage clothing is therapeutic. It is as if modernism has met the glorious past.
The 90’s happens to be my favorite fashion period. The padded shoulders which are now called power shoulders. Crazy colors juxtaposed with geometric prints. High waist jeans, that taper around the ankles. Round framed glasses. Balloon skirts, cropped tops. Jeans, overalls, printed and plaid trousers. Big roomy pockets placed haphazardly. Suspenders and brogues when it comes to accessories. These are some of my favorite styles from the era. The trick while styling vintage clothing is not to overdo it. The idea is to embrace the era and not make it look like we are stuck in one. Wear one piece of vintage, mix it with some contemporary pieces and you’re good to make a statement.
Local flea markets are the best places to find one. Though wearing seconds or hand-me-downs need not be the alpha and omega when it comes to wearing vintage. If you love vintage but for the love of them don’t know where to buy or go looking for it, then the easy way out would be to incorporate cuts, styles and looks from the past and your trusted local tailor will be your best bet.
SMRITHI RAOGuest Writerwww.vintage-obsession.com
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Join us as we talk to
Samira Gupta and
Dhritiman Deb Pillai,
the couple behind Studio
Eksaat, a graphic design
studio based in Delhi.
Studio Eksaat
What brought about the idea of Studio Eksaat?We are both from different fields - interiors and graphics. The problem in the design sector according to us is that there are very few designs that add and integrate value and functionality. We personally feel that a lot of design is forced onto the client even if it’s not needed. Ethically and morally this was a huge problem we faced. So we decided to start our own studio which was in line with our ideas and thoughts.
What are your work principles?We don’t believe in making money on grand ideas, especially if the work can be done on half the budget. If it’s not needed, we don’t do it. There is no point in wasting our time and the client’s money. It’s almost like we bring the team to you for what you need and not what we think you need.
What brought about the name?There are two ways of looking at it. One is our studio address is 17, which is ‘ek saat’ in hindi. And the second is because we work in collaboration with each other.
What are your biggest learnings in terms of managing a self run studio?The managerial part of running a studio is not something that creative people are good at. We are a two-member team and we look after everything from the design to the finances and accounts. Managing all of these side by side is the biggest challenge and something we’re still working on. We personally believe that no one can achieve ‘perfection’, but nevertheless, we seem to manage fine.
Do you plan to expand in the future?In terms of space, we are very happy with our little studio. It gives us the positive energy we need. But in terms of working with people, we already collaborate with people on different projects. Perhaps, as 5-year plan, we might want to give expanding some thought.
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Your first experience with a client.It was not very different from working through a studio. We both handled separate departments in our previous studios. But yes, the difference is in terms of the decision making and choices. You can decide how to deal with the client and where you draw the line. You can lay your cards out on the table and have a one-on-one interaction. The final call is taken by us, and not the boss. The hierarchy is cut off and you’re in direct contact with the client. In short, you’re the boss!
As a college student, where did you see yourself in the future?I [Samira] was freelancing all through college. And even then, I faced the same issues with my clients and with the ideologies of other design professionals. I always knew I wanted to run my own business and have a place of my own.
Why make things quirky? Do you feel your work reflects the two of you in it?Pretty much, yes. We all want to own beautiful things. So why not make them functional and quirky at the same time.
What sets you apart from the other upcoming or existing studios?We believe that the Indian market is selling a western concept of India to us. And it’s everywhere! A lot of the time, we need things that somebody would make keeping our culture and country in mind. What works for the West doesn’t necessarily work for our country. We figured that most of the beautiful products in the market are not very functional and too expensive. On the other hand, the functional products aren’t very appealing. So we try to bridge this gap and make cost effective, useful and good looking products that you would like to own.
Tell us some more about your products.Useful, fun , quirky , functional and most importantly easy on the pocket.
So who is the boss among the two of you?We divide the work quite equally, and we have our own little system figured out. I’m [Samira] slightly better at some things and he’s [Dhritiman] better at the rest.
Any new upcoming projects? Or something you’re really looking forward to working on?We’ve been thinking of coming up with The Upcycling Project. It’s something the two of us are really interested in. More people should start reusing things that they already own instead of mindlessly buying new ones.
A quote I read somewhere really made me [Samira] think about the way we use the things we own. It says — “If people grow their own food, make their own furniture and get their own water; they would think twice before throwing away the things they own.”Our project will require people to send their old stuff to us and we revamp it and give it back to them at an affordable cost. It almost amounts to one-tenth of how much they would spend buying a new piece of furniture.
Talk Boxwww.studioeksaat.com
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Playing card coasters
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Magnet board
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When Marco Polo journeyed to India in the mid 1200s, he recorded having observed various plant and animal motifs dotted on the skin of the native Indian women. These traditional tattoos, having spanned over centuries, can be found even today in urbanized areas, usually on migrants from semi-urban and rural areas. But the largest indigenous tattoo cultures exist in the tribal communities that occupy regions such as Kutch, Rajasthan, Madhya Pradesh, Maharashtra, Karnataka, Nagaland and Mizoram etc. Known by different names in different parts of India; these markings also usually differ in terms of the imagery, arrangement and semiotics from one region to another. However, there exists a common underlying theme of religious, cultural and environmental values in these various tattoo cultures.
Textile Design Student, Nupur
Panemanglor, takes you through
her project on Rabri tattoos.
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One particularly striking tattoo culture of India can be seen in the Kutch district of Northwest Gujarat. Kutch is essentially a dry desert region, which extends into the vast salt marsh of the Rann of Kutch that meets the Arabian Sea in the West. The pastoral Rabari community makes up a large part of the Kutchi population. The women of this nomadic tribe have vast tattoos all over their bodies, starting from their face and neck to their arms, hands, legs and feet. These tattoos, known locally as ‘trajuva’, are normally comprised of a number of small, symbolic motifs that are arranged in rows to create larger body markings. These picturesque tattooed women, along with their piercings and traditional attire, are what sparked my interest in this particular traditional tattoo culture.
And I went deeper into the project, I found that there is minimal information about the Rabari tattoos on the Internet and in public libraries; the only real existing research can be found in obscure government texts and restricted university papers. I found this both alarming as well as exciting, realizing that here in front of me lay an opportunity to explore, study and document a primitive art practice that will inevitably fade away into the urban phenomenon, like so many other lost traditions.
Through my project, I aim to illuminate and document this beautiful art form through a series of portraits of Rabari women I encountered during my visit to Kutch, along with a small visual book containing a compilation of my research, personal reflections and an index of the several symbols that are traditionally used in trajuva.
NUPUR PANEMANGLORGuest WriterStudent at Srishti School ofArt, Design and Technology
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THE COMIC CON EXPRESS
There were people milling around and the smell of new comic books combined with the sweat and excited confusion of a couple hundred Bangaloreans assailed one’s nostrils. A closer look revealed some feeble attempts at trying to dress like a character with some interesting homemade statement pieces. Comic Con Bangalore was an event that impressed a lot of the city dwellers with most people’s statuses reading something along the lines of ‘Comic Con Bangalore was EPIC’. The stalls were all decked up with vibrant visuals just fighting for your attention and at first glance, there seemed to be a plethora of styles. Closer inspection revealed an interesting smattering of comics, but that was again balanced with pieces that weren’t very strong. Some classic illustrators were placed alongside extremely overdone stereotypes and music posters. The order of the stalls was a little random but that could have easily been the intention.
We attempt to understand what this
fad really means to the average Indian.
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From the times of Jataka Tales and Amar Chitra Katha, mythology has always been an intrinsically Indian muse, which seems to have spilled over into graphic novels too. While some people scrunched up their nose at this, the couple of comics on display that had such influences didn’t seem so bad. The main Comic Con stall had very clichéd contemporary Indian illustrated products that seemed to be selling like hotcakes. The only extremely memorable character, which happened to become the unofficial mascot with his face comically stamped on all the entry bands, was Wolver-Anna.
The intent of Comic Con India is highly debatable because while it is great that India has jumped on the Comic Con bandwagon and created a forum for the true scattered fans of these niche interests to interact, the question of cashing in on the general public’s need to belong to a hip subculture also arises. The idea of the event not having an entry fee was an interesting move because it opened up its doors to people from all walks of life, which resulted in an intriguing mixed lot.
It was interesting to see Bangalore’s interpretation of an event that up until recently, we had all only heard mentioned with avid enthusiasm on The Big Bang Theory. After an initial look at the stalls, the energy of the entire event starts to grow on you, unless you are met with a sight that is as strange as the one I encountered. Walking towards me, waving, happened to be two characters that I would never have associated with an event like Comic Con. We 90’s kids love to hate on one of them while the other has been recently ripped apart in popular memes. Ladies and gentlemen, presenting — Dora the Explorer and Ninja-trust me only the first part of the name oozes cool-Hattori.
Enough said?Enough said.
KOYAL CHENGAPPAIn-house writer
While it is great that India has jumped on the Comic Con bandwagon, the question of cashing in on the general public’s need to belong to a hip subculture also arises.
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Flint Magazine 2012
Main TeamKavya Bagga, Kavya Singh, Shreiyaa Maediratta, Koyal Chengappa, Deval Maniar, Harshvardhan Gantha, Ruchika Nambiar
Of this version:
Core TeamDeval Maniar, Harshvardhan Gantha, Ruchika Nambiar
Layout DesignDeval Maniar, Harshvardhan Gantha, Ruchika Nambiar
Final Design EditingDeval Maniar, Harshvardhan Gantha
In-house WritersRuchika Nambiar, Koyal Chengappa, Shreiyaa Maediratta
Final Content EditingRuchika Nambiar
IllustrationsKavya Bagga & Kavya Singh – 17, 22-23Deval Maniar & Ruchika Nambiar – 26-31Ruchika Nambiar – 3, 16, 32-33, 40-41
Srishti School of Art, Design and Technology was founded in 1996 by the Ujwal Trust with the objective of providing art and design education in an environment of creativity to maximize the individual’s potential.
Srishti's culture encourages thinking, questioning and experimenting to harness the artistic and intellectual potential of each individual and place the institution at the leading edge of contemporary art and design discourse. A multi-disciplinary approach inculcates self-initiated learning and independent thinking and expands perceptual perspectives. Regular interaction with design studios, production and distribution centres, community projects, retail establishments and industry forms a vital bridge between Srishti and the world.
Srishti School of Art, Design & TechnologyP.O. Box No. 6430,Yelahanka New Town,Doddabalapur Road,(Opp. Wheel & Axle Plant)Bangalore - 560 106Phone: 91.80.40447000/ 40446964 / 65 / 66TeleFax: 91.80.28560950
SRISHTI SCHOOL OF ART, DESIGN & TECHNOLOGYBANGALORE, INDIA
art and design
