YOUNG DESIGNER

Y UNGDESIGNERS 2012

P G D P D

Y UNGDESIGNER 2012

P G D P D

N AT I O N A L I N S T I T U T E O F D E S I G N

Project Head and Chief Visualizer Content Coordinator Editorial support Project synopsis Coordination at three campuses

Graphic Design Assistance Software Development Photography

Image editing

Scanning &Colour Correction Student Liaison

Student Data Entry Library Support

Production Supervision Print Production Advice

Student Index, Sponser Index, General Index IT Support

Special Thanks to Pradyumna Vyas, Vijai Singh Katiyar, Dr Vijaya Deshmukh, Sidhharth Swaminarayan, Lalita ChettiyarPrint Production Shreedhar Printers (P.) LTD., Ahmedabad

Published by Research and Publications, NID

National Institute of DesignPaldi, Ahmedabad-380 007 IndiaPHONE +91 79 2662 3692 – 97FAX +91 79 2662 [email protected]

ISBN- 978-81-86199-73-2Price: 400 ( Vol: Young Designers 2011 PGDPD )Price: 700 ( All 3 Vols: Young Designers 2011 GDPD + Young Designers 2011 PGDPD+ Educators @ NID )

Dr Tridha GajjarSaurabh KumarEisha SarkarMeghana Jog, Kaveri Gopalkrishnan, Saurabh KumarSwasti Singh Ghai, Mamta Rao,Saurabh SrivastavaDeepak Mahavar Ankit D MehtarDr Deepak John MathewValji Solanki

Dr Tridha GajjarSaurabh KumarBharat D SutharT K Rajan,Rosamma Mathew,Jaya Nair Paresh ShahSnehal LeuvaC T Paul Thomas, Madhu N ChavdaShirish Shah, Dr Tridha GajjarShirish Shah, Bharat D SutharMadhu N Chavda, Ankit D MehtaHimanshu Mistry, Chirantan Raval, Upendra Patel

©2011 NATIONAL INSTITUTE OF DESIGNAll rights reserved. No part of this publication may be reproduced or transmitted in any form by anymmeans, 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 individ-ual students. Where they were not, they have been scanned from their diploma documents.

YO U N G D E S I G N E R 2 0 1 2

Dr Tridha GajjarSaurabh KumarEisha SarkarMeghana Jog, Kaveri Gopalkrishnan, Saurabh KumarSwasti Singh Ghai, Mamta Rao,Saurabh SrivastavaDeepak Mahavar Ankit D MehtarDr Deepak John MathewValji Solanki

Dr Tridha GajjarSaurabh KumarBharat D SutharT K Rajan,Rosamma Mathew,Jaya Nair Paresh ShahSnehal LeuvaC T Paul Thomas, Madhu N ChavdaShirish Shah, Dr Tridha GajjarShirish Shah, Bharat D SutharMadhu N Chavda, Ankit D MehtaHimanshu Mistry, Chirantan Raval, Upendra Patel

Salman HaidarChairmanGoverning Council

NID

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 globalisa-tion, Indian designers have a challenging task ahead. They have to compete with de-signers 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 fifty 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 field 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 rein-stated 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 philosophies.

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.

Chairperson’s Message

Director’s Message

Pradyumna VyasDirectorNID

The National Institute of Design (NID) is undoubtedly the pio-neer of design education in India. For the last fifty 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 insti-tute that has nurtured and helped evolve innovative educational practices. NID is also committed to disseminating design edu-cation 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 first 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 in-creased focus on research in various areas of design, encouraging industry participation for sponsored research, and carrying out documentation and ethnographic studies on existing craft tradi-tions. All of this will enrich educational programmes at the in-stitute, apart from propelling Indian design practices on to the global arena in a more prominent 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 film 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 approach-es to design and societal concerns. I am indeed proud of these young designers and am confident that they will promote a cul-ture of excellence in all their future endeavours.

I wish them all success.

Design for Digital Experience 40

Information and Digital Design 46

Information and Interface Design 50

New Media Design 56

Software User and Interface Design 62

Animation Film Design 7

Exhibition Design 13

Film and Video Design 20

Graphic Design 26

Photography Design 32

Ceramic and Glass Design 82

Furniture and Interior Design 85

Product Design 92

Toy and Game Design 104

Transportation and Automobile Design 108

Design for Retail Experience 69

Strategic Design Management 73

Apparel Design and Merchandising 113

Lifestyle Accessory Design 121

Textile Design 130

INTER DISCIPLINARYDESIGN STYDIES IDDS

TEXTILE APPAREL & ACCESSORY DESIGN TD

INDUSTRIAL DESIGN ID

COMMUNICATION DESIGN CD

IT INTEGRATED DESIGN IT

Students’ Index 138

Sponsers’ Index 140

General Index 142



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. Par-

adoxically, 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 & communication 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.

Graphic design


Analysis of this research and cre-

ating a visual language through

illustration was the most inter-

esting phase of the project. I took

several design decisions related

to illustration style, forms, type-

faces, colour palettes and treat-

ments. Creating a distinctive visu-

al language for each of the books

while still correlating them was a

very stimulating challenge.

Through this project, I gained valu-

able understanding into children’s

publications, especially in the

field of environment education. I

learnt that illustrating for children

does not require mere skill but a

great amount of love, passion and

understanding of their psyche. I

have positively gained and learnt

from this project.

27

SWETA GOVILI have always taken a keen in-

terest in image-making. It grew

deeper with the classroom proj-

ects that I took up during my two-

and-a-half year course at NID.

The knowledge I gained about

publications and their allied fields

motivated me to take up a diplo-

ma project that would bring to-

gether my interests in the area of

children’s publications.

My project brief was to design

and package an educational kit

for early learners (between 2-6

years) that would sensitize them

about sharing and caring for our

natural resources and other liv-

ing forms. The design process

comprised different phases of re-

search on the education systems

in pre-schools, child psychology

and publications in the market.

Gra

ph

ic D

esig

n

Designing An Educational Kit For Early Learners

Activity-based learning

pre-schooler

conservation

co-existence

[email protected]

GUIDE: DR. TRIDHA GAJJAR

SPONSOR: KATHA, NEW DELHI


My diploma project was to rede-

sign a magazine for WEKA Uit-

geverij, a publishing house that

offers online information prod-

ucts, seminars, magazines, infor-

mative letters, books and multi-

media solutions for advertising

customers. They publish several

magazines and it was the latest

addition Facility Management

Magazine that I had to work on.

Facility Management Magazine

was founded a few decades ago

and is reputed for its high level of

research content. The publishers

wanted to change the strict, old-

school layouts and designs into

ones that are more approachable

and friendly, in accordance with

the magazines current competi-

tion. They were also interested in

making it more interactive by add-

ing interviews, special columns,

articles, stories, advice and lists.

As a graphic designer, I had to

deliver the building blocks for the

visual language for the magazine.

VAATIKA DABRAThis included redesigning the

logo, magazine cover, colour

palette, imagery, infographics,

typeface and grid.

The project started with un-

derstanding the magazine, the

term facility management and

the competitors. Various sketch-

es were done to understand the

difference in the use of type,

imagery details, proportion,

infographics and so on, along

with the basic layout and de-

signs for the cover. Ideation and

refinement of the logo followed.

The final stage of the project

was to define the guidelines for

the magazine in terms of the

grid, style and typography.

In retrospect, I see myself as a

student who has learnt not only

how to perceive information in

different scenarios, but observe

the nuances of life. I would like

to apply my design understand-

ing into the organic structure in

India.

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publication design

Magazine

Info-graphics

Logo design

[email protected]

G R A P H I C D E S I G N

Redesigning Facility Management Magazine

Gra

ph

ic D

esig

n

GUIDE: IMMANUEL SURESH

SPONSOR: WEDENSPIEKERMANN, AMSTERDAM



The emphasis of the course is on building a variety of skills, in combination with

theoretical knowledge and practical application. The programme commences with

the learning of fundamentals of textile design. These include elementary ergo-

nomics, textile fibres, colour, composition and basic textile design for weaving and

printing. It also covers dyeing techniques, printing methods, sewing techniques,

construction of fabrics and surface design.

Through increasingly complex design projects, complemented by related inputs in

the social sciences and technology, students are encouraged to apply their abili-

ties to resolve specific design problems. The programme helps one understand all

the intricacies of production, in order to find innovative solutions. It provides major

field-level exposure to all levels of industrial and craft production.

Besides instilling design sensibility, all the courses lay emphasis on technology and

market-related inputs. Design projects in textiles cover woven and printed apparel

fabrics, textiles for interiors, collection of prints, craft documentation, computer

aided textile design, jacquard fabrics etc. Design solutions are translated into sam-

ples or prototypes through workshops in dyeing, printing and weaving.

Textile Design


For my diploma project, I designed two collections of saris and fabrics for the brand Raw Mango. The first was a collection of Chanderi saris and fabrics inspired by the Mogra (a variety of jasmine) flower. The second was a collection of Benaras brocades and silk fabrics based on the Pichhwais of Krishna as Srinathji.

Chanderi is known for its soft fabrics and pastel colours while Benaras is renowned for its rich brocades and unmatched weaving techniques. I explored the traditional tech-niques of extra weft by handpicked jala from Chanderi and kadwa work from Benaras for my designs. Though the designs were based on traditional motifs and techniques, their approach was contemporary. They cater to women between 25 to 55 years of age.

Maha Raasa: Collections of Hand-Woven Saris From Chanderi And Benaras

VIBHUTI JAIN For this project, I had to understand Raw Mango’s identity and how it compared with similar brands. It also required a thorough understanding of the techniques of weaving, cost-ing etc. I worked and communicated with weavers directly in order to get their inputs and perspectives for the designs. My design approach had to justify the requirements of the brand but at the same time it had to avoid exploitation or unnecessary modification of the weavers’ work because sometimes, over a period of time, the weavers lose the original language of their weaving tradition. I had to carefully craft my designs in accordance with the existing tech-niques and production costs.

Working with the weavers’ commu-nity was a very enjoyable experience and I learnt many new aspects of design

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[email protected]

Sari collection

Hand-weaving

Brocade

Pastels

Tex

tile

Des

ign

GUIDE: Aditi Ranjan

SPONSOR: Raw Mango, New Delhi

YO U N G D E S I G N E R 2 0 1 2T E X T I L E D E S I G N


Abhay VyasNEXT GENERATION SMART ECO WASHER52

Abhilash JoseThree Boons of a Politician18

Abhimanyu GhimirayANANT19

Abhishek MaithulConstituting Growth Strate-gies for Hansiba, a SEWA Initiative120

Aditi DhamijaConcept Store Design for F-Studio106

Aditya SomwayChildren's Furniture in Wood152

Ahona GuptaThe Sore Thumb: a short Fiction Film32

Aishwarya DasareConcept Store Design for Arrow Woman107

Ajay BogaSpeciality store for Studio ABD153

Akash ShekharDesigning user experience of a web shopping applica-tion53

Akhila MathurScope of Dynamic Behaviors in User Interfaces54

AkshayK oranneNew Identity for FASTRACK Concept Store Design108

Alpa JainFurniture @ Food Courts154

Ambrish GaurLinen Fiesta – Bedding Col-lection for Exports214

Amit AmbekarSpace inside Space: Kiosk for mall atrium155

Amit DasParityakto (Deserted)20

Amrapali SatpudkeRedefining Mobility: Appropri-ate wheelchair for Physically Challenged Children164

Angeline IrudhayarajGAMES.EBAY.COM70

Animesh ShrivastavaElectra-Electric Vetrctc for adults with188

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

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

Anjali MalikCostume Accessories140

Ankit VyasIndiglow165

Ankita PatelKapas Organic Cotton Project: From Soil to Self199

Annapurna BanerjeeILLUMINATUS86

Anuj AgrawalLiving Demonstrations (Brand activation and Experience)109

Anuja DhulekarTerracotta Culinary141

Anuradha ReddyActivity kit analysis using In-structional Design87

Arnob SenguptaGame-based Learning Project for ICICI Bank178

Arun GaneshImproving the Online Bus Ticket Booking Experience in India71

Arun PrakashMeeninaKathe (Tale of a Fish)21

Arvind KumarNew Range of Tiles Surfaces for Kitchen and Bathroom142

Ashish KumarLanguage and Literacy Learn-ing Kit179

Ashish SanwalDining Furniture for the Export Market156

Ashok KumarUniversal Design for Public Toilet143

Austin DavisGameveda180

Avantika KumarOrnamental Accessories for Women208

Ayswarya SankaranarayananOruPaattu, OruKadhai (A Story and A Song)22

Ayush SrivastavaICT Interventions in Indian Agri-culture: An Ethnographic Study55

Balaji WaghmareFestival Ad Campaign and Brand Guideline for TanishqJew-ellery41Brajendra PandaPolice Health: A systemic inter-vention to improve health of police personnel166

Charanyha SSingle Occupancy Room Furni-ture157

Charuta BhattRangoli 2011, CMF/P for Home Appliance209

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Chinmay HulyalkarYahoo! Mime: A New Way to Communicate56

DarshanPatilElectrical Vehicle for Urban India 2020189

DarshanaTatibandwaleSweet Dreams — Design for Comfort200

Debasish BiswasOutdoor Kiosk for Coffee Day Express110

Debasmita KarmakarDesigning Eclipse-based map-ping tool72

Deepak BerthalomeKiosk System design for retail Mails158

Amrapali SatpudkeRedefining Mobility: Appropri-ate wheelchair for Physically Challenged Children164

Deepak GuptaDefining BOROSILicate - Tube to FORM144

Deepankar RayBicycle for Siblings181

Deepti JhaDesign for Education57

Dhwani SoniCMP Strategies for Emerging India121

Dinudey BaidyaScenography for Narrative Space in D.S. Group Museum111

Divya SangwaiyaRadio Navigation System73

Elizabeth JosephEclectic Inspiration215

Fatema JaliwalaNarendra Kumar for Deben-hams201

Garima NarayanThe Marketing Hive112

Gati NarvekarImproving Roman Script for Transliteration of Indian Languages42

Gaurang GuptaDesigning App Development Paradigm for Office 36574

Girish WaghRFID based Library Manage-ment System Devices167

Gopal krishna PaiDesign of a 4-door REVA NXR190

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

Heya BasuPrint-related Solutions for Emerging Markets58

Ishwari VakhariyaBig Track: Software Application for Execs on Handheld device88

Janki ThakoreABHA’ - DECORATIVE AMBIENT LIGHTS145

Jonathan D MelloRedesign of the NID Website75

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Kabeer KodaniyilChic Appeal’ - Fashion Trade Range for Women’s wear: Autumn/Winter 2011-12202

Kanchan DhankaniModernising hair oils the Dove way43

Kanika BhardwajDesigning Courseware and Wireframes for Teach¬ing Systems Thinking Online182

Karan AroraRedesign and Re-branding for Boost: Health Food Drink44

Karthika GMatic Reloaded: Product Demo for Machine Variant113

Kartik Gupta‘Aurora’: Knowledge-sharing Portal for Enterprise Users59

Kirti AnandMobile Application for Indian Market89

KS Dhinesh KumarNew Drinking Water Unit for Schools - Scope Study122

Kumudini RohekarStudy of Indian Users’ Unique Mobile Usages and Design for Med-cost Phone76

Kunaal DudejaStrategic Design and Operations Management123

Linda Lee‘Devyani, Invoking the Goddess Within’ Collection 2011203

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Young Designers, an annual publication,

offers glimpse into the outcome of the final

diploma projects undertaken by graduating

students of NID. These projects reflect upon

sectors as diverse as: crafts, education, envi-

ronmental concerns, entertainment industry,

healthcare, heritage and culture, public ame-

nities, 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 profession-

al world. The synopsis of the design projects

presented here in this publication unfolds the

professional values and the user-centered de-

sign service propagated by the National Insti-

tute of Design. Undergraduate & postgraduate

students convocating this year are featured

herein the two volumes.

Documents

YOUNG DESIGNER