with Sheetal Barge
What feeds your work?
My work largely eeds on my
,which is undergoing a shit o sorts. Ater coming to IDC I beganshooting pictures which are mostly environment/ city-scapesdevoid o humans. Currently they are pretty random. I am workingtowards developing a voice o my own, I am not there yet- but Iam just about beginning to articulate through my photographs.In
I am not loyal to a particular kind yet and watch all kindso lms. Biographies are especially relished due to the constraintsinvolved. In terms o content you can’t tamper much with what’sexisting, compressing lie span o a person to the duration o lm,picking up highlights- pruning the unnecessary- all makes or goodlearning. So does environment creation through cues. My currentavourites are My blueberry nights, The Bridges o Madison County,Cold Mountain. Incase o animation, beore IDC I was a Disneybu, but ater coming here I have seen rench as well as Japaneseanimation lms and it’s amazing the variety o themes and stylesexplored.I relish
work of Sameer Kulavoor, Ulhas Moses and Ravi Paranjpe
DF: What are you personal work tastes?
I like at coloured simplied illustrations, shapes comingtogether to create new orms. I like all aspects o motion graphics.
DF: What was it like working for two years?
I worked at two places and they were extreme contrasts o each other. In terms o the size, culture, philosophy and obviouslythe lessons learnt. My rst job was at a small studio catering toanimation pre-production. I was mainly involved with story-boarding and character designing. Though the place was very smallI was given a lot o reedom to experiment and everything waslearnt rom scratch, handling dierent kinds o projects. The next job was at a relatively bigger e-learning rm and I made show reelsor clients, in ash. Though the work was not as creative as the rst job- I learnt in terms o certain tips and tricks that enable you tochurn out quality output to meet tight deadlines.
DF: Future plans?
Near uture- Motion graphics, someday- Paintings.
DF: Parting words
Over three semesters, I have realised that i you don’t plan yourtime well and don’t gauge your own capabilities things can goreally haywire. It’s critical to have a realistic estimate o both howmuch time certain work would take and one’s own capacity o doing justice to it. O course one should push onesel, but taking onunrealistic goals can be really rustrating.
Sheetal’s work largely eeds on her doodling, photography and lms. She is interested in multiple aspects o motion graphics. She mostly works in clean, 2D, atcolours illustration style as ar as her motion graphics work goes. She values the learnings that came out o two years o work in contrasting atmospheres.Work o Ulhas Moses uses Indian motis in an unconventional way. Imagestaken rom http://www.umsdesign.com
by Shilpa BishtMy avourite Indian designer is Ulhas Moses. I have been loyally in aweo him since 2006- back when I never knew o IDC. His website wasbeing lusted ater by a couple o my riends in ofce. It was the veryrst time I saw an Indian designer’s work looking Indian. First time.I had practically created a database o all design studios in India,wondering whom I should work with. It soon hit me, that they all dothe same work. That they all lack a voice. They have no distinct designstyle. Indian design invariably becomes kitsch driven, or is derivedrom a humorous exaggeration o a normal Indian product. Worse still,it goes into a spiritual, exotic land o snake charmers’imagery. Moseshas broken the cliche. His prints are ull o play and action, where artand crat does combine into a design that is not pre-meditated. Heuses Indian motis in an unconventional way. He transorms some intocosmic algorithms, reminding me much o John Maeda’s work, orhis computer art. Yet his work is organic. One can sense how he hasevolved over the years in his own way. And he is still at it.