YOUN

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2012

Acknowledgement page

©2011 NATIONAL INSTITUTE OF DESIGNAll rights reserved. No part of this publication may be reproduced or transmitted in any form by anymeans, electronic or mechanical, including photocopy, recording or any other information storageand retrieval system, without permission in writing from the copyright owner. Most of the imagesfeatured in this issue of Young Designers were sent by the individual students. Where they were not,they have been scanned from their diploma documents.

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, ValjiSolankiImage 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, DrVijayaDeshmukh,SidhharthSwaminarayan, LalitaChettiyarPrint 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 1167emaileducation@nid.eduwww.nid.edu

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 )

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 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 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 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

Salman HaidarChairman

Governing CouncilNID

The National Institute of Design (NID) is undoubtedly the pioneer 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 institute that has nurtured and helped evolve innovative educational practices. NID is also committed to disseminating 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 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 increased focus on research in various areas of design, encouraging industry participation for sponsored research, and carrying out documentation and ethnographic studies

Director’s Message

Pradumnya VyasDirectorNID

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 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 approaches to design and societal concerns. I am indeed proud of these young designers and am confident that they will promote a culture of excellence in all their future endeavours.

I wish them all success.

Animation Film DesignExhibition Design

Film and Video DesignGraphic Design

Photography Design

Design for Digital ExperienceInformation and Digital Design

Information and Interface DesignNew Media Design

Software User and Interface Design

Design for Retail ExperienceStrategic Design Management

Ceramic and Glass DesignFurniture and Interior Design

Product DesignToy and Game Design

Transportation and Automobile Design

Apparel Design and MerchandisingLifestyle Accessory Design

Textile DesignDISC

IPLI

NE

LIST

1

2

3

COMMUNICATION DESIGN

IT INTEGRATEDDESIGN

INTER DISCIPLINARYDESIGN STUDIES

CONTENTS

Animation Film DesignExhibition DesignFilm and Video DesignGraphic DesignPhotography Design

Design for Digital ExperienceInformation and Digital DesignInformation and Interface DesignNew Media DesignSoftware User and Interface Design

Design for Retail ExperienceStrategic Design Management

16

84

162

30

104

176

38

118

50

138

68

150

4

5

INDUSTRIALDESIGN

TEXTILE APPAREL & LIFESTYLE ACCESSORY DESIGN

STUDENT INDEX

SPONSER INDEX

GENERAL INDEX

Ceramic and Glass DesignFurniture and Interior DesignProduct DesignToy and Game DesignTransportation and Automobile Design

Apparel Design and MerchandisingLifestyle Accesory DesignTextile Design

186

230

196

245

207

256

271

276

280

212218

Graphic DesignA graphic design student, in addition to a thorough grounding in designabilities and theoretical issues, undertakes the study of the cultural andhistorical context in which designers need to function, as well as of the

social and ethical factors that influence design decisions. The ultimateaim 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 theway a graphic designer works. The expansion and application of theelectronic media has made graphic reproduction technologies more

accessible to the designer. Paradoxically, traditional skills have becomemore necessary than before. Quality and creative solutions contextual

to the user’s needs are still a basic human input. The fundamentalimportance of creating a visual vocabulary through drawing, the

development of aesthetic judgment, values of form, proportion, imageand word have become an integral part of learning graphic design at NID.

During their period of study, students in graphic design are encouragedto work on a variety of projects, majoring in the selected sub-domain

of graphic design. The areas covered include typography & typedesign, 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 haveacquired 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.

In an era where brands are not only commonplace but also ingrained in our subconscious, one does not necessarily realise what goes into building a brand: why some are evergreen while most enjoy only few golden days of glory. My diploma project was to develop two brand identity systems, one major and the second, minor.

My project brief was to develop an identity system for a New Delhi-based fundraising charity. The project required the full works for creating a new entity; giving it name, form, colour, voice and a tangible life. The second identity system was for the Nirula Family Art Trust. Although of a smaller scale, it required much dedication and time. Since both the systems were for the same client, it was extremely important and challenging for me to ensure that both the identities appear fresh and different from each other.I worked on both the identities simultaneously: the naming for one, conceptualizing the logo for the other. The process of building the identities began with paper explorations, then finalizing the visual language and finally creating the collaterals. Due to the client’s requirement, the smaller identity materialized before the main identity.

Brands address hearts and minds. A brand is successful when a customer recognises it from amongst the billions he or she is exposed to and it brings a smile to his or her face. Brand identity is the visual and verbal expression of a brand. To understand the same through first-hand experience was the greatest learning for me from this project.

Namrata Bhatter bhatter.namrata@gmail.com

Creating Identity Systems for the Nirula Family

Guide: Immanuel Suresh Sponsor: Dev Kabir Malik Design, New Delhi

Keywords

BrandingIdentity system

CharityFund-raising

GRA

PHIC

DES

IGN

33 Young Designers 2012 GDPD | National Institute of Design

The objective of this project was to develop a comprehensive branding and marketing strategy for ECCO Electronics, which then had to be translated into

corporate communication material.

As a graphic designer, I had to devlop the marketing objectives and translate them into something tangible for the selected audience.The target audience was divided into rural and urban segments. Research through case studies followed.

By mapping the scenario (a result of intensive study, survey and analysis), I found the communication objectives which could be implemented as strategies. The end

deliverables/marketing collaterals were designed in the form of guidelines for the marketing strategy, while keeping in mind the subtle differences between the

urban and rural audiences.

For the rural segment, an advertising campaign through newspaper ads was conceived while the end deliverables for the urban segment included an

e-newsletter and mock-ups for a promotional interactive platform. Both content and designwere part of the deliverables.

At the start of this project, I found that the field of marketing was very new to me. Gradually, I realized that this project was more about the systems than just the end deliverables. By internalizing the process I was able to strike a balance

between the marketing objectives and communication objectives and transform intangible attributes into tangible forms of communication. I realized how a brand

identity could transform from just being a mark to being the core of how one ‘feels’ about an organization.

Branding & Marketing Strategy for ECO Electronics

Keywords

MarketingEnergy efficient lampsStrategyUrban-Rural difference

Guide: Immanuel Suresh Sponsor: Lemon Design Pvt. Ltd., Pune

GRA

PHIC

DES

IGN

34Graphic Design | GD

Meenakshi Borgohain meenakshi.b8@gmail.com

Product DesignProduct Design is concerned primarily with the relationship between prosuctrs and systems and those who use them. The Product Design

programme at NID inculcates a user-centred approach and processes. Responsibility and concern toward the social, physical and ecological

environment is emphasized in the process of developing innovative ideas.

The Product Design programme commences with the inputs in elements of three-dimensional form, ergonomics (human factors) and an

introduction to forming of various kinds of materials. Along with this, students also acquire workshop, technical drawing and presentation

abiliyies. Emphasis is placed on learning through participation and teamwork. Design projects start in the very first semester and continue

through out the programme, forming the ore of a product designer’s education. These projects gradually increase in their level of complexity and cover a variety of situations that product

designers are likely to encounter in their professional carrers. Projects are supported by therorietical inputs in structures and strength of materials,

technical studies, processes as well as ergonomics.

In addition to courses in design, technology and ergonomics, specific courses develop general awareness of areas relevant to product design.

these are History of Design, Information Theory, Computer aided Design, Design Management and Marketing, Value engineering and systems

thinking. An important component of the programme is the exposure to various levels of the manufacturing industry through field visits

and projects.

In an era where brands are not only commonplace but also ingrained in our subconscious, one does not necessarily realise what goes into building a brand: why some are evergreen while most enjoy only few golden days of glory. My diploma project was to develop two brand identity systems, one major and the second, minor.

My project brief was to develop an identity system for a New Delhi-based fundraising charity. The project required the full works for creating a new entity; giving it name, form, colour, voice and a tangible life. The second identity system was for the Nirula Family Art Trust. Although of a smaller scale, it required much dedication and time. Since both the systems were for the same client, it was extremely important and challenging for me to ensure that both the identities appear fresh and different from each other.I worked on both the identities simultaneously: the naming for one, conceptualizing the logo for the other. The process of building the identities began with paper explorations, then finalizing the visual language and finally creating the collaterals. Due to the client’s requirement, the smaller identity materialized before the main identity.

Brands address hearts and minds. A brand is successful when a customer recognises it from amongst the billions he or she is exposed to and it brings a smile to his or her face. Brand identity is the visual and verbal expression of a brand. To understand the same through first-hand experience was the greatest learning for me from this project.

Namrata Bhatter bhatter.namrata@gmail.com

Creating Identity Systems for the Nirula Family

Guide: Immanuel Suresh Sponsor: Dev Kabir Malik Design, New Delhi

Keywords

BrandingIdentity system

CharityFund-raising

PRO

DU

CT D

ESIG

N

33 Young Designers 2012 GDPD | National Institute of Design

AbhayVyasNEXT GENERATIONSMART ECO WASHER52

Abhilash JoseThree Boons of a Politician18

AbhimanyuGhimirayANANT19

AbhishekMaithulConstituting Growth Strategiesfor Hansiba, a SEWA Initiative120

AditiDhamijaConcept Store Designfor 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: Appropriate 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

Student Index

Anuradha ReddyActivity kit analysis using Instructional Design87

ArnobSenguptaGame-based Learning Projectfor 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

BalajiWaghmareFestival Ad Campaign and Brand Guideline for TanishqJewellery41

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

Charanyha SSingle Occupancy Room Furniture157

Charuta BhattRangoli 2011, CMF/P for HomeAppliance209

ChinmayHulyalkarYahoo! Mime: A New Way to Communicate56

DarshanPatilElectrical Vehicle for Urban India 2020189

DarshanaTatibandwaleSweet Dreams — Design for Comfort200

DebasishBiswasOutdoor Kiosk for Coffee Day Express110

DebasmitaKarmakarDesigning Eclipse-based mapping tool72

Deepak BerthalomeKiosk System design for retail Mails158

Deepak GuptaDefining BOROSILicate - Tube to FORM144

Deepankar RayBicycle for Siblings181

DeeptiJhaDesign for Education57

DhwaniSoniCMP Strategies for Emerging India121

DinudeyBaidyaScenography for Narrative Space in D.S. Group Museum111

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, 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.