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Being one of my first courses at Srishti, this course really

opened me up to typography in a way that I did not expect.
Coming from a Mass Media background I had no idea about
the history or relevance of type. Working by hand was also a
first - It was really this course that set my interest for
typography and sensitized me to minute details which I would
otherwise take for granted.
LETTERFORM DESIGN
II
USING GRIDS, MARGINS AND COLUMNS
COMMAND OVER INDESIGN
LAYOUT & TYPE EXPERIMENTATION
LEARNING Adobe Jenson Pro - Regular 10 pt , leading 11.5

Adobe Jenson Pro - Regular 10 pt , leading 11.5
Of course, the fixing ofNews Gothic dimension
a horizontal - Regular 8.75
or
News Gothic - Regular 8.75
pt , leading 10.5
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Of course, the fixing of a horizontal dimension or pt , leading 10.5
‘measure’demands conventions of variable spacing between words
‘measure’demands conventions of variable spacing , or ofbetween wordsof the words themselves, if all the characters
abbreviation Of course, the fixing of a horizontal dimension or
, or of abbreviation of the words themselves, ifalign
all the characters Of course, the fixing of a horizontal dimension or
‘measure’demands conventions of variable spacing between
at left, where the ‘measure’demands
line begins, and are toconventions
end as lead-soldiers
of variable spacing between
align at left, where the line begins, and are to dressed
end as lead-soldiers words, or of abbreviation of the words themselves, if all the
by the right. The multifarious
words, grids used by
or of abbreviation ofthe
thescribes
words themselves,
characters if align
all theat left, where the line begins, and are to
dressed by the right. The multifarious grids usedwereby the scribes
directly translatedcharacters
into the techniques of metal
align at left, wheresetting. Thebegins,
the line and are to
end as lead-soldiers dressed by the right. The multifarious
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were directly translated into the techniques ofscribes
metal had
setting.
longThe
explored
endtheastwo-dimensional
lead-soldiers dressedaxes, long
by before
the right.grids
The multifarious
used by the scribes were directly translated into the
scribes had long explored the two-dimensional axes, long long
Gutenberg, before
beforegrids
Descartes
used described them as
by the scribes constraints.
were directly translated
techniques intoofthemetal setting. The scribes had long explored
Gutenberg, long before Descartes described them as constraints. techniques of metal setting. The scribes had the long explored
two-dimensional axes, long before Gutenberg, long be-
This account restricts itselfthe two-dimensional
to those who usedaxes, longalphabet,
the Latin before Gutenberg, long be-
fore Descartes described them as constraints.
This account restricts itself to those who usedwho the read
Latinfrom
alphabet, fore Descartes
left to right; but only so described them
far as concerns as constraints.
continu-
DIMENSIONAL MATRIX
who read from left to right; but only so far as ous
concerns continu-
narrative text. Quite early on, even in the days of incunabula, This account restricts itself to those who used the Latin
ous narrative text. Quite early on, even in thenotdaysonly
of incunabula, This account restricts itself to those who used the Latin
alphabet, who read from left to right; but only so far as con-
letters but other characters, for example numerals,
alphabet, who read from left to right; but cerns only so far as con-narrative text. Quite early on, even in the
not only letters but other characters, for example numerals, continuous
needed setting – and incerns the attempt of mathematical
continuous narrative text.conventions
Quite early on,ofeven in the
needed setting – and in the attempt of mathematical days incunabula, not only letters but other characters, for
to show conventions
the sequence ofdays a proof, equalities and
of incunabula, nottabulations
only letterswere
but other characters,
example numerals, for needed setting – and in the attempt of
to show the sequence of a proof, equalities andaligned,
tabulations were its example
each below antecedent step: centring a new implicit
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numerals, needed setting – and in the attempt conventions
mathematical of to show the sequence of a proof,
aligned, each below its antecedent step: centring a new implicit mathematical conventions to show the sequence of a proof,
axis on the page. equalities and tabulations were aligned, each below its ante-
axis on the page. equalities and tabulations were aligned, each below
cedent step:itscentring
ante- a new implicit axis on the page.
cedent step: centring a new implicit axis on the page.
Adobe Jenson Pro - Regular 8.75 Myriad Pro - Regular 8.75

Adobe Jenson Pro - Regular 8.75 pt , leading 10 Myriad Pro - Regular 8.75 pt , leading 11
pt , leading 10 pt , leading 11 Of course, the fixing of a horizontal dimension or ‘measure’demands
1 Anthony Froshaug’s Typography is a Grid 2 Of course,dimension
Of course, the fixing of a horizontal the fixing orof ‘measure’demands
a horizontal dimension or ‘measure’demands
conventions of variable spacing between words, or of abbreviation
Of course, the fixing of a horizontal dimension or ‘measure’demands
conventions of variable spacing betweenofwords,
conventions or ofspacing
variable abbreviation
between of the
words,oforthe
of words
abbreviation
years of typographic printing saw the conventions of variable spacing between words, or ofwords abbreviation of the themselves, if all the characters align at left, where the
themselves, if all the
ofcharacters
the wordsalign at left, where
themselves, if all the
theline begins, align at left, where the
characters
words themselves, if all the characters align at left, where line begins, and are to end as lead-soldiers dressed by the right. The
exploration and development of justified Or, ‘net, plexus, web, mesh, twill, skein, and aretheto line
end begins,
as lead-soldiers dressed by the right. The multifarious
line begins, and are to end as lead-soldiers dressed grids by the right. The
and unjustified setting, of italic, of new sleeve, felt, lace; wicker; matting; plait, and are to end as lead-soldiers dressed by the right. used
The multifarious grids
by the scribes were directly translated multifarious grids used by the scribes were directly translated into
letters (J and U surviving; some, like the trellis, wattle, lattice, grating, grille,
used by the scribes were directly translated into thesetting.
techniques multifarious gridsinto theby
used techniques
the scribes of metal
were directly
the translated
techniquesinto of metal setting. The scribes had long explored the
omega, left at last), of punctuation marks. gridiron, tracery, fretwork, filigree, The of metalhad long
scribes explored the two-dimensional axes, long
setting. The scribes had long explored the two-dimensional axes, long long beforethe techniques of metal setting. The scribes hadtwo-dimensional long explored theaxes, long before Gutenberg, long before Des-
After 1530, though, interest shifted reticle; tissue, netting’. before Gutenberg, Descartes described them as constraints.
toward experiment in letter design and, Having accepted, determine the before Gutenberg, long before Descartes described them as constraints. two-dimensional axes, long before Gutenberg, long cartesbefore Des- them as constraints.
described
later, mechanical improvement. conventions. For each text to be This account restricts itself cartes described
to those who used them
the as
Latinconstraints.
alphabet, who
translated into typographic terms, This account restricts itself to those who used the Latin alphabet, who
All later work, until the demands of determine not just how the text appears, read from left to right; but only so far as concerns continuous narra- This account restricts itself to those who used the Latin alphabet,
read from left to right; but only so far as concerns continuous narra-early on, even
tive text. Quite Thisin account
the daysrestricts itself tonot
of incunabula, those
onlywho used the
letters Latin alphabet,
writers such as Blake or Mallarmé but what
grid wasit means
determinedto say.by Discover if
convention, and who read from left to right; but only so far as concerns continuous
IS A GRID
tive text. Quite early on, even in the days of incunabula, not only letters for example
TYPOGRAPHY
disrupted the conventions, considered there be an existing

embodied in the typographic
Procrustean language
bed of the but other characters, who read from left
numerals, to right;
needed but –
setting only
andso infar
theas concerns
narrative continuous
text. Quite early on, even in the days of incunabula, not
the typographic grid unalterable. And which allows this
composing stickfullest meaning
– probably at to
that be time, but other characters, for example numerals, neededattempt
setting –ofand in the
mathematical conventions
narrative text.to show
Quitethe sequence
early on, evenof ain
proof,
the days ofonly
incunabula, notother characters, for example numerals, needed set-
This article was first published in The Designer, attempt of mathematical conventions to show the sequence letters but
even with the poets, their understanding setasout. If not,lately
more how must inthethe typographic
case of 13-pica
equalitiesofand
a proof,
tabulationsonly wereletters
aligned,
buteach below
other its antecedent
characters, step: numerals, needed set-
for example
of typography was such that they hardly syntax
fixed semantics
newspaper be sticks,
so changed that
an unadjustable equalities and tabulations were aligned, each belowcentring
its antecedent ting – and in the attempt of mathematical conventions to show the
no.167, January 1967. It is one of the ‘texts’
considered the presentation of their this most loved and thefullest meaningbricks is a new step:
implicit axis on–the
ting andpage.
in the attempt of mathematical conventions to show the equalities and tabulations were aligned, each
published in our book Anthony Froshaug: hod into which standard of
centring a new implicit axis on the page. sequence of a proof,
personal desires a challenge to the grid. setcharacters
clear. (Andcould if thebe text is sacred, howpiled. sequence of a proof, equalities and tabulations were belowaligned, each step: centring a new implicit axis on the page.
successionally
Typography & texts / Documents of a life. does that text itself alter and enrich its antecedent
Froshaug wrote this at the height of the vogue And here’s a sadness. Typography, as theSotypographic
during centuries:standards?) Follow
for the firstthe ninety
below its antecedent step: centring a new implicit axis on the page.
for grid-based graphic design, imported into taught in schools of art, and captioned poets:
yearstheyof play the ‘normal’language
typographic printing saw (as the
in the illustrated books, is mostly but much as fools or
exploration and advertising
development agents, they
of justified
Britain from (especially) Switzerland. In an
a word delimiting a field of art-/craft- base
andtheir shocks and
unjustified base their
setting, basic of new
of italic,
earlier contribution to The Designer, Brian history; books of types, of typographic meanings
letters (J onandthe Unorm, quite often
surviving; some,bylike the
Grimbly – a friend and colleague of Froshaug ornaments and rules, of title-pages (fewer departing
omega, left from atit, but of
last), always allusive marks.
punctuation to
– had discussed grids in a purely pragmatic books of double-page spreads), sit on it).After
Look at1530,the length
though,of line – consider
interest shifted
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Adobe Garamond Pro - Regular 8.75 pt , leading 10 Adobe Garamond Pro - Regular 8.75
way, as a tool for designers. (‘Designing to a their shelves or presses. Typography (sic) thetoward
reader;experiment
look at the type, its size,
in letter design the and, pt , leading 12
has become the study of placing letters on length of line it’s set to (the horizontal) or pt , leading 10 pt , leading 12
grid’, The Designer, no. 162, August 1966, pp. Anthony Froshaug’s a field: typography, a more precise form
later, mechanical improvement.
the relation of the x-height of each line to Of course, the fixing of a horizontal dimension or ‘measure’demands
Typography is a Grid
4–5). Anthony Froshaug then wrote this ‘call to of lettering. And lettering, calligraphy, neighbour lines (the
untilvertical). Of course, the fixing of a horizontal dimension or conventions
‘measure’demands Of course, the fixing of a horizontal dimension or ‘measure’demands
has died some sweet Roman death or
All later work, the demands of writers of variable spacing between
Of course, words,ofora of
the fixing abbreviation
horizontal of the or ‘measure’demands
dimension
order’, restating central tenets of his approach to conventions of variable spacing between words, or words
of abbreviation of the
such as Blake or Mallarmé disrupted the
Make all considered
mistakes that can beletters
made,
and unjustified setting, of italic, of new means know, means find the nuts of informing his approach. To find the text, themselves, if all the characters align at left, where the line begins, conventions of variable spacing between words, or of abbreviation of the
typography. letraset itself below the ground. conventions, the typographic (J and Uwhile
surviving;thinking
some, like the ‘em. What can be done, for instance, to stipulate the ways in which it gets words themselves, if all the characters align at left,and
where the line begins, conventions of variable spacing between words, or of abbreviation of the
are to end as lead-soldiers dressed by the right. The multifarious grids words themselves, if all the characters align at left, where the line begins,
that this trial,
grid unalterable. And which afterwards
even with the poets, mayleftprove
omega, at last), ofmistaken, is
punctuation marks. with these standardized components? – manipulated, to cohere all the mutually-
and are to end as lead-soldiers dressed by the right.used
The bymultifarious
It is time, after half a millennium, for the their understanding of typography was After 1530, though, interest shifted standardized before the military uniform, destructive (as they may, at first, seem) the scribesgrids words themselves,
were directly if allthe
translated into thetechniques
characters of
align at left, where the line begins,
metal and are to end as lead-soldiers dressed by the right. The multifarious grids
re-assessment of typography. worth the most serious exploration.
such that they hardly considered the toward experiment in letter design and, in fact. Accept is obviously the answer, requirements into a still centre of quiet used by the scribes were directly translated into thesetting.
techniques of metalhad long
The scribes and explored
are to endtheastwo-dimensional
lead-soldiers dressedaxes,bylong
the right. The multifarious grids
used by the scribes were directly translated into the techniques of metal
Anthony Froshaug’s This article was first published in The Designer, no.167,InJanuary
architecture,
1967. stones,
It is onemud,
of theplants
presentation of their personal desires a
(but never make mistakes deliberately
later, mechanical improvement. accept the grid which is their essence. meaning: this needs a knowledge and setting. The scribes had long explored the two-dimensional axes, longlong before
before Gutenberg, used by Descartes described
the scribes them astranslated
were directly constraints.
into the techniques of metal
All later work, until the demands of ‘grid, n. Frame of spaced parallel bars … a recognition of typography. Admit before Gutenberg, long before Descartes described them as constraints. setting. The scribes had long explored the two-dimensional axes, long
Typography is a Grid
challenge to the grid.
humbled
‘texts’ published in our book Anthony Froshaug: Typography together,
& texts were governed; labour
/ Documents with hooded, knowing eyes). writers such as Blake or Mallarmé network … gridiron …’ constraints: then, having admitted, fill setting. The scribes had long explored the two-dimensional axes, long
This account restricts itself to those who used the Latin alphabet, who before Gutenberg, long before Descartes described them as constraints.
Byof aAnthony
life. FroshaugFroshaug
was delegated, craftsmen worked their
wrote this at the height of the vogue for grid-based graphicon
design,
Acknowledge all constraints.
And here’s a sadness. Typography, as disrupted the conventions, considered with discovery.
This account restricts itself to those who used the Latin alphabet, before Gutenberg, long before Descartes described them as constraints.
feeling for materials that material,
taught in schools of art, and captioned in the typographic grid unalterable. And Or, ‘net, plexus, web, mesh, twill, skein, read from left towho
right; but only so far as concerns continuous narrative
imported into Britain from (especially) Switzerland. Inbuilders
an earlierorganized,
contribution to The later,
architects, Now all this may appear to be, but is not even with the poets, their understanding sleeve, felt, lace; wicker; matting; plait, read from left to right; but only so far as concerns continuous narrative
the illustrated books, is mostly but a word text. Quite early on, even in the days of incunabula, not only letters This account restricts itself to those who used the Latin alphabet, who
Designer, Brian Grimbly – a friend and colleague of Froshaug – had discussedAfter
chiefed constructions. gridsthe
in decline far from grids. (Only this latter word has of typography was such that they hardly trellis, wattle, lattice, grating, grille, text. Quite early on, even in the days of incunabula, not only letters This account restricts itself to those who used the Latin alphabet, who
This article was first published in The Consider the problems which faced
of Froshaug
architecture,
delimiting a field of art-/craft-history; but other characters, for example numerals, needed setting – and in the read from left to right; but only so far as concerns continuous narrative
a purely pragmatic way, as a1967.
tool forIt designers. Anthony thenall major
wrote thiswork
‘callnowadays lately become a conscious term.) I can’t considered the presentation of their gridiron, tracery, fretwork, filigree, but other characters, for example numerals, neededattempt
setting of
– and in the
Designer, no.167, January is Gutenberg, some five hundred years ago,
is done by those who dreamed of white
books of types, of typographic ornaments
imagine any early printer using just such
To print the slogan ‘re-assess’ means
personal desires a challenge to the grid.
or advertising agents, they base their
reticle; tissue, netting’. mathematical conventions
read from lefttotoshow
right;thebut
sequence
only so of
faraas
proof,
concerns continuous narrative
to of
one order’, restatingpublished
the ‘texts’ central tenets of his
in our book approach to typography.
in helping ‘the eternal God’to bring ‘into
cathedrals or had an intimate experience
and rules, of title-pages (fewer books
a word; I can only imagine such a concept
nothing, of itself. Qualified, defined, shocks and base their basic meanings on attempt of mathematical conventions to show the sequence
equalitiesofanda proof,
tabulationstext.wereQuite
aligned, each below itsthe
antecedent step: text. Quite early on, even in the days of incunabula, not only letters
Having accepted, determine the early on, even in days of incunabula, not only letters
Anthony Froshaug: Typography & texts existence the laudable art, by which men
or interest in their material, old or new.
of double-page spreads), sit on their
informing his approach. To find the text,
means know, means find the nuts of
And here’s a sadness. Typography, as
the norm, quite often by departing from
conventions. For each text to be equalities and tabulations were aligned, each belowcentring
its antecedent step: axis on the page.
a new implicit but other characters, for example numerals, needed setting – and in the
/ Documents of a life. Froshaug wrote now print books, and multiply them so shelves or presses. Typography (sic) has ‘em. What can be done, for instance, it, but always allusive to it). Look at the
centring a new implicit axis on the page. but other characters, for example numerals, needed setting – and in the
Grid structures are implicit
to stipulate the ways in which it gets taught in schools of art, and captioned translated into typographic terms, attempt of mathematical conventions to show the sequence of a proof,
this at the height of the vogue for grid- greatly …’ Item, the said Johann Gutenberg become the study of placing letters on a with these standardized components? – length of line – consider the reader; look
Grid structures are implicit in the word existence the laudable art, by which men historically probable, Gutenberg’s So in typography: the early days were manipulated, to cohere all the mutually- in the illustrated books, is mostly but determine not just how the text appears, attempt of mathematical conventions to show the sequence of a proof,
typography. now print books, and multiply them so based graphic design, imported into
invention was that of the adjustable type- knew of the invention of paper (which had
seasons of experiment; experiments field: typography, a more precise form of
destructive (as they may, at first, seem) standardized before the military uniform,
a word delimiting a field of art-/craft- at the type, its size, the length of line it’s
but what it means to say. Discover if equalities and tabulations were aligned, each below its antecedent step:
greatly’ Item, the said Johann Gutenberg Britain from (especially) Switzerland. In
mould, tolerant of characters of differing reached Cologne by 1320); item, knew of
became conventions, conventions lettering. And lettering, calligraphy, has
requirements into a still centre of quiet in fact. Accept is obviously the answer,
history; books of types, of typographic set to (the horizontal) or the relation of
there be an existing typographic language equalities and tabulations were aligned, each below its antecedent step:
centring a new implicit axis on the page.
After half a millennium it is time for an
understanding and re-assessment.
knew of the invention of paper (which
had reached Cologne by 1320); item, in the word typography.
an earlier contribution to The Designer,
widths, intolerant of divergence in body-
size,Brian Grimbly – a friend and colleague of
this invention acted as a vertical grid
the development of suitable inks … of the
rules – and after that, till now, almost
general features of the cloth- and wine-
always a play with shapes, with paper
died some sweet Roman death or letraset
meaning: this needs a knowledge and
itself below the ground.
a recognition of typography. Admit
accept the grid
ornaments which
and rules,isoftheir essence.
title-pages
books of double-page spreads), sit on
‘grid,
(fewer the x-height
(theset
vertical).
of each
which allows thisline
Make
out. If not, how
to neighbour
fullest
allmust
meaning to
mistakes
lines
that can
the typographic
be centring a new implicit axis on the page.
knew of the development of suitable uponFroshaug – had
the setting, discussed
the forme, thegrids in a purely
page. press, of the arts of and
patterns, the engravers, of the facility of
the extraordinary constraints: then, having admitted, fill their n. Frame
shelves of spaced
or presses. parallel
Typography (sic) be made, while thinking
syntax semantics that thisthat
be so changed trial,
To mention both typographic, and, in the inks … of the general features of the pragmatic way, as a tool for designers. die- and punch-making of the goldsmiths
mechanical contrivance, to reach an end It is
with time, af ter half a millennium, for
discovery. bars
has…become
net work
the … gridiron
study …’ letters on
of placing whichthis most loved and fullest meaning isis
afterwards may prove mistaken,
But (‘Designing
the length oftoline,
a grid’, The Designer, no. (after all, he
thatwas a goldsmith himself). the re -assessment of t ypography. a field: typography, a more precise form worthset the most
clear. (Andserious exploration
if the text is sacred, (but
how
same breath/sentence, grids, is strictly
tautologous. The word typography means
cloth- and wine-press, of the arts of the
engravers, of the die- and punch-making After half a millennium it is time for an
162,provided
setting, August another
the width
1966, dimension.
of
pp. 4–5). It Anthony
is rarely
What did Gutenberg invent?
worth attainment.
Or,of‘net, plexus,
lettering. Andweb, mesh, calligraphy,
lettering, twill, skein, neverdoesmake mistakes
that text deliberately
itself alter and enrichwith
Froshaug
that thisthen wrote this ‘call to order’, In architecture, stones, mud, plants sleeve, felt,some
has died lace;sweet
wicker; matting;
Roman death plait,
or hooded, knowing eyes).
the typographic standards?) Follow the
to write/print using standard elements;
to use standard elements implies some
of the goldsmiths (after all, he was a
goldsmith himself).What did Gutenberg
seems
understanding and re-assessment.
(x) ofrestating
horizontal
the grid central
To print the slogan ‘re-assess’ means
dimension
tenets ofbyhis approach In order that letters, characters, may
nothing, of itself. Qualified, defined,
was determined humbled together, were governed; labour letraset
trellis, itself below
wattle, the ground.
lattice, grating, grille, poets: they play the ‘normal’language (as
It was a great challenge having to work with layout-design

modular relationship between such invent? to typography.
convention, and embodied in the be arranged in lines,
means know,line upon
means line,
find thefor
nuts of was delegated, craftsmen worked their gridiron, tracery, fretwork, filigree, much as fools
Acknowledge allorconstraint
advertisings.agents, they
elements; since such relationship is two- Procrustean bed of the composing stick printing, each
‘em.letter
Whatmust bedone,
can be of thefor
same
instance, feeling for materials on that material, It is time,
reticle; after
tissue, half a millennium, for the
netting’. base their shocks and base their basic
dimensional, it implies the determination In order that letters, characters, may Grid struc
– probably tures
at that time,are implicit
as more lately in the depth or body-size
with these as its neighbours,
standardized components? – builders organized, architects, later, re-assessment of typography. Nowmeanings on the
all this may appearnorm,toquite often
be, but is by
not
of dimensions which are both horizontal be arranged in lines, line upon line, for word
in the caset of
ypography.
13-pica fixed newspaper irrespectivestandardized
of its individual width: uniform,
before the military chiefed constructions. After the decline Having accepted, determine the departing
far from from
grids. (Only it, this
but always
latter allusive
word has to
guidelines & grids. Abiding by such standards and processes;

and vertical. printing, each letter must be of the same Af ter
sticks, half a millennium
an unadjustable it is
hod into time for an
which the verticalin dimension
fact. Accept(yis obviously
in Cartesian
the answer, of architecture, all major work nowadays In architecture,
conventions. stones,
For each textmud,
to be plants
translated it).become
lately Look at the length of line
a conscious term.)– consider
I can’t
depth or body-size as its neighbours, understanding
the standard bricks ofand re -assessment
characters could be . co-ordinates) is the
accept critical. If, asis their
grid which seems essence. is done by those who dreamed of white intohumbled together,
typographic were governed;
terms, determinelabour
not the reader;
imagine lookprinter
any early at the type,
usingitsjust
size, the
such
Consider the problems which faced irrespective of its individual width: successionally piled. historically probable, Gutenberg’s cathedrals or had an intimate experience justwas
howdelegated,
the textcraftsmen
appears,worked their it
but what length
a word; of line
I can onlyit’s set to (the
imagine suchhorizontal)
a concept or
Gutenberg, some five hundred years ago, the vertical dimension (y in Cartesian To mention both typographic, and, in the invention was‘grid, n. Frame
that of spaced parallel
of the adjustable type-bars … or interest in their material, old or new. feeling
means tofor materials
say. on that
Discover material,
if there be an the relation
informing of the x-height
his approach. To findof each line to
the text,
To mention both
fortypographic, and, in the had reached Cologne by 1320); item, mould, tolerant of characters of differing builderstypographic
organized, architects,
languagelater, neighbourthe linesways(the vertical).
the design-process was a new experience as compared to

in helping ‘the eternal God’to bring ‘into co-ordinates) is critical. If, as seems So during
same centuries: the first
breath/sentence, ninety
grids, is strictly mould, network
tolerant … gridiron
of characters …’
of differing existing which to stipulate in which it gets
same breath/sentence,
tautologous. grids, is strictly
The word typography means knewintolerant
widths, of the development of suitable
of divergence in body- widths, intolerant
So in of divergence in
typography: thebody-
early days were chiefed
allows thisconstructions.
fullest meaning After theset
to be decline
out. manipulated, to cohere all the mutually-
to tautologous.
write/print The word
using typography
standard means
elements; sizeinks … ofinvention
, this the general features
acted as aofvertical
the size, this invention
seasonsacted
of asexperiment;
a vertical grid experiments of architecture,
If not, how must the all major work nowadays
typographic syntax destructive (as they may, at first, seem)
to to write/print
use standardusing standard
elements elements;
implies some
cloth- and wine-press, of the arts of the
grid upon the setting, the forme, the
upon the setting, the forme, the page.But
became conventions, conventions rules –
is done by those who dreamed of white
semantics be so changed that this most
Make all mistakes that can be made, while thinking
requirements into a still centre of quiet
to use standard elementsbetween
implies some engravers, of the die- and punch-making the length of line, the width of setting, cathedrals or had an intimate experience
modular relationship such page. and after that, till now, almost always a loved and fullest meaning is set clear. that this trial, which afterwards may prove mistaken, is
meaning: this needs a knowledge and
my initial working-style. Of course, it was a lot of trial-and-

modular relationship between such of the goldsmiths (after all, he was a provided another dimension. It seems or interest in their material, old or new.
elements; since such relationship is two- play with shapes, with paper patterns, and (And if the text is sacred, how does that a recognition of typography. Admit
elements; since such relationship is two-
dimensional, it implies the determination
goldsmith himself).What did Gutenberg
But the length of line, the width of setting,
that this horizontal dimension (x) of
the extraordinary facility of mechanical text itself alter and enrich the typographic
worth the most serious exploration
constraints: then, having admitted, fill
dimensional, it implies the determination invent? the grid was determined by convention, So in typography: the early days were
of dimensions which are both horizontand provided another dimension. It seems contrivance, to reach an end that is rarely standards?) Follow the poets: they play with discovery.
of dimensions which are both horizontal and embodied in the Procrustean bed of seasons of experiment; experiments
vertical. that this horizontal dimension (x) of the worth attainment. the ‘normal’language (as much as fools
In order that letters, characters, may the composing stick – probably at that became conventions, conventions (but never make mistakes deliberately
error – which in turn has made me a better designer and more

and vertical.
be arranged in lines, line upon line, for time, as more lately in the case of 13-pica rules – and after that, till now, almost with hooded, knowing eyes).
Consider the problems which faced printing, each letter must be of the same fixed newspaper sticks, an unadjustable always a play with shapes, with paper Acknowledge all constraints.
Gutenberg, some five hundred years ago, depth or body-size as its neighbours, hod into which the standard bricks of patterns, and the extraordinary facility of
in helping ‘the eternal God’to bring ‘into irrespective of its individual width: characters could be successionally piled. mechanical contrivance, to reach an end Now all this may appear to be, but is not
knowledgeable.
existence the laudable art, by which men the vertical dimension (y in Cartesian that is rarely worth attainment. far from grids. (Only this latter word has
now print books, and multiply them so co-ordinates) is critical. If, as seems So during centuries: for the first ninety lately become a conscious term.) I can’t
greatly’ Item, the said Johann Gutenberg historically probable, Gutenberg’s years of typographic printing saw the To print the slogan ‘re-assess’ means imagine any early printer using just such
knew of the invention of paper (which invention was that of the adjustable type- exploration and development of justified nothing, of itself. Qualified, defined, a word; I can only imagine such a concept
PUBLICATION DESIGN
II
LEARNING
MILESTONES
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knowledgeable.
PUBLICATION DESIGN
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LEARNING
MILESTONES
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knowledgeable.
PUBLICATION DESIGN
II
LEARNING Have you
MILESTONES
been there, done that?
OCT 20 09
R s. 40
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MAIN MENU PAR ADISE AWAITS
LAHAUL AND
SPITI VALLEY
last minute
road trip
Electronic Music The ultimate check list
the party
troopers
Top Destinations

knowledgeable.
PUBLICATION DESIGN
II
OVERCOMING A SERIOUS MINDBLOCK
USING DIFFERENT MEDIUMS
TIME MANAGEMENT
LEARNING
MILESTONES
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The time I’ve spent here has been quite un-easy; as I’ve pro-
duced work that has been unsatisfactory to me in terms of
quality. The primary reason is of course my inexperience with
hand-drawn illustrations. This can be clearly seen in the execu-
tion for this project as I know there’s room for improvement.
I’ve tried my best in order to represent Bangalore keeping in
mind the brief and framework decided for this project.
FLOWERS OF BANGALORE
II
TIME MANAGEMENT
LEARNING
MILESTONES
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The time I’ve spent here has been quite un-easy; as I’ve propro-
II
TIME MANAGEMENT
LEARNING
MILESTONES
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The time I’ve spent here has been quite un-easy; as I’ve pro-
II
SELF LEARNING THROUGH TRIAL & ERROR
ONGOING PROCESS
A METHOD OF TRAVELOGUE
LEARNING
MILESTONES
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Photography is a passion I take very seriously. Even though

there have been no courses that touched upon the subject,
I have tried to, in my own way use it to enhance some work
I’ve done. Apart from that, I have used it as my primary meth-
od of documenting things I see, constantly trying to develop
a style. Photography helps me express how I feel when I see
certain things.
PHOTOGR APHY
II
ONGOING PROCESS
LEARNING
MILESTONES
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Shot for Histor

Graphic Des
Cigarett
Style Inspira
Art Nou

certain things.
Wandoor, Andaman &

PHOTOGR APHY
II
ONGOING PROCESS
LEARNING
MILESTONES
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certain things.
PHOTOGR APHY
II
ONGOING PROCESS
LEARNING
MILESTONES
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certain things.
PHOTOGR APHY
II
ONGOING PROCESS
LEARNING
MILESTONES
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certain things.
PHOTOGR APHY
III
POSTCARDS GARAM MASALA POSTER ACROSS THE UNIVERSE
MAKING AND USING SCREENS
MANUAL PROCESS OF MIXING COLOR
WORKING WITH IMAGE AND VECTORS
EXPLORATIONS &
EXPERIMENTATION
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This course was about representing Bangalore through

postcards using screen printing as a technique. I chose to
fuse both image and vector to create an interesting visual
that would be “eye catching” but also classic. Understanding
this method of printing was not new to me, however, regis-
tration with image was quite challenging!
POSTCARDS
III
MAKING AND USING SCREENS
MANUAL PROCESS OF MIXING COLOR
WORKING WITH IMAGE AND VECTORS
EXPLORATIONS &
EXPERIMENTATION
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This course was about representing Bangalore through

postcards using screen printing as a technique. I chose to
fuse both image and vector to create an interesting visual
that would be “eye catching” but also classic. Understanding
this method of printing was not new to me, however, regis-
tration with image was quite challenging!
POSTCARDS
III
“BREAKING” THE RULES
WORKING WITH EXISTING MATERIAL
MAKING THINGS LOOK COHESIVE
EXPLORATIONS &
EXPERIMENTATION
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The brief stated that we were to make an A1 type poster. The

type had to be created by us, using anything and breaking it
into parts. I learned to really not worry about the rules and
just make a fun poster that didn’t follow any stringent grid or
type norms. The biggest challenge was using all the separate
photographs taken and make it look like a “whole”.
GARAM MASALA POSTER

III
“BREAKING” THE RULES
WORKING WITH EXISTING MATERIAL
MAKING THINGS LOOK COHESIVE
EXPLORATIONS &
EXPERIMENTATION
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The brief stated that we were to make an A1 type poster. The

type had to be created by us, using anything and breaking it
into parts. I learned to really not worry about the rules and
just make a fun poster that didn’t follow any stringent grid or
type norms. The biggest challenge was using all the separate
photographs taken and make it look like a “whole”.
GARAM MASALA POSTER

III
CREATING “SHELF THROW”
CREATING CURIOSITY THROUGH VISUAL CUES
LASER CUTTING
EXPLORATIONS &
EXPERIMENTATION
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Designing a wine bottle label for a bottle that held a dream

was probably the most bizarre brief I’d read. What I liked
about it was we could do absolutely anything with few re-
strictions. Experiments for the look of the bottle with throw-
ing and smashing strawberries. Also I decided to laser cut
part of the label and working with that changed the final look
of the label.
ACROSS THE UNIVERSE

III
CREATING “SHELF THROW”
CREATING CURIOSITY THROUGH VISUAL CUES
LASER CUTTING
EXPLORATIONS &
EXPERIMENTATION
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
Designing a wine bottle label for a bottle that held a dream

was probably the most bizarre brief I’d read. What I liked
about it was we could do absolutely anything with few re-
strictions. Experiments for the look of the bottle with throw-
ing and smashing strawberries. Also I decided to laser cut
part of the label and working with that changed the final look
of the label.
ACROSS THE UNIVERSE

IV
INFORMATION DESIGN I BAKED HELVETICA TYPOGRAPHIC UNITS CUTTING CHAI
CREATING HIERARCHY OF INFORMATION
ENGAGING PEOPLE
DELIVERING DATA VISUALLY
PROCESS & PRODUCT

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These assignments really gave me the ability to scan data

and pull out both relevant and exciting facts in order to meet
the brief of enticing people to pick the table mats up and read
them to evoke conversation and curiosity based on the sub-
ject. In both cases, I started off with a completely different
style in mind and I had to change my visuals completely for
them to work.
INFORMATION DESIGN
IV
ENGAGING PEOPLE
PROCESS & PRODUCT

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them to work.
INFORMATION DESIGN
IV
ENGAGING PEOPLE
PROCESS & PRODUCT

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them to evoke conversation and curiosity based on the sub sub-
them to work.
INFORMATION DESIGN
IV
ENGAGING PEOPLE
PROCESS & PRODUCT

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them to work.
INFORMATION DESIGN
IV
ENGAGING PEOPLE
PROCESS & PRODUCT Paanch matlab

chota Coke! Thanda matlab Recycle by
Reuse
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This was an initiative to increase sales
in Rural Indiai in 2001 and place Coke as
an alternative to Chai or Nimboo Pani.
rural sales increased by 20 %
Coca-Cola !
CAFFEINE IS AN
Only 1 out of 10 PET bottles
are recycled!
The waste is in BILLIONS
each year world over.
All glass bottles are
resent to the bottling
company through the
retailers and re-used
in just 2 years.
retail outlets increased from INGREDIENT IN MOST
MAIN MENU 80,000 to 160,000 in 2003. SOFT DRINKS.
Caffeine is an ergogenic aid used to increase the capacity for mental or physical labor. The every 350ml bottle
ergogenic qualities of caffeine are contested, although there is strong evidence that it may
signi�icantly enhance endurance. For this reason, caffeine is listed as a restricted substance of coke contains
by the International Olympic Committee. 10 spoons of sugar!
Paanch matlab
chota Coke! Thanda matlab Coca-Cola products are servedRecycle by
Reuse
more than 705 million times every
This was an initiative to increase sales
in Rural Indiai in 2001 and place Coke as
an alternative to Chai or Nimboo Pani.
rural sales increased by 20 %
Coca-Cola !
CAFFEINE IS AN
are recycled!
day, quenchingAllthe
Only 1 out of 10 PET bottles
The waste is in BILLIONS

each year world over.
consumerscompany
glass thirsts
bottles are of
resent to the bottling
in more
retailers and re-used
countries in every climate.
than 195
through the
in just 2 years.
retail outlets increased from INGREDIENT IN MOST
80,000 to 160,000 in 2003. SOFT DRINKS. 1 INSTANT COFFEE CUP 1 RED BULL CAN 1 MOUNTAIN DEW 1 DIET COKE 1 REGULAR COKE
Caffeine is an ergogenic aid used to increase the capacity for mental or physical labor. The
ergogenic qualities of caffeine are contested, although there is strong evidence that it may
signi�icantly enhance endurance. For this reason, caffeine is listed as a restricted substance
by the International Olympic Committee.
The Beginning: 1885 every 350ml bottle
of coke contains
10 spoons of sugar!
100 mg 80 mg 55 mg 44 mg 34 mg
5 BILLION bottles/cans of Coke were consumed
during the WWII by the Armed Forces! This is also
Pemberton's French Wine Coca
&
Coca-Cola products are served because the water was dirty in most places and
n ts
er a
at d
more than 705 million times every

die
soldiers had to drink chlorinated water.

w so
day, quenching the thirsts of

gre
d d
Coca Cola was invented by Doctor John Pemberton a pharmacist

ie e
consumers in more than 195

rif at
In
countries in every climate. from Atlanta, Georgia. He concocted the Coca Cola formula in a
pu on
rb
1 RED BULL CAN three legged brass kettle

COKEin his backyard.
COKE Its �irst version was a
y
1 INSTANT COFFEE CUP 1 MOUNTAIN DEW 1 DIET 1 REGULAR

Ke
ca
The Beginning: 1885

es
100 mg 80 mg 55 mg 44 mg 34 mg
wine till the government of Atlanta prohibited Alcohol. It was
av
5 BILLION bottles/cans of Coke were consumed

then sold as a tonic atWWII
a Pharmacy
by the Armedas tonicThiswater
is also to cure many
le
during the Forces!

ca
Pemberton's French Wine Coca

ga
diseases, including
becausemorphine addiction, dyspepsia, neurasthenia,
&
the water was dirty in most places and

n ts
er a
co
su
at d
die
soldiers had to drink chlorinated water.

w so
headache, and impotence. This was because at that time

gre
ed
d d
Coca Cola was invented by Doctor John Pemberton a pharmacist

ie e
rif at
In
from Atlanta, Georgia. He concocted the Coca Cola formula in a carbonated water was believed to have medicinal properties.
in
pu on
t
f
nu
rb
re
three legged brass kettle in his backyard. Its �irst version was a
y
Ke
ca
es
la
le
wine till the government of Atlanta prohibited Alcohol. It was

av
ko
ub
then sold as a tonic at a Pharmacy as tonic water to cure many

le
123 years ago the 1st

ca
do
ga
diseases, including morphine addiction, dyspepsia, neurasthenia,

co
su
headache, and impotence. This was because at that time

coca-cola advertisement
ed
carbonated water was believed to have medicinal properties.

fin
t
nu
appeared in the atlanta journal

re
la
e l
ko
ub
123 years ago the 1st “delicious! refreshing!

do
coca-cola advertisement
appeared in the atlanta journal exhilarating! invigorating!”
“delicious! refreshing!
exhilarating! invigorating!”
Top Secret Formula Top Secret Formula 1899 1915 1957 1960 1977
1899
These assignments
The �irst ever Coca
1915
Earl R. really
Dean from Thegave
1957
The SlimmeContour the
1960
design as ability
Metal cans,to
�irst scan
1977
data
With the innovation of
The Coca Cola Company located in Atlanta, Georgia The Coca Cola Company located in Atlanta, Georgia
The �irst ever Coca Earl R. Dean from The The Slim Contour design as Metal cans, �irst With the innovation of
produces the base concentrate and syrups that they
inturn sell to bottling operations all around the
world. They do not sell their formula or the
marketing rights to anyone else.
9 mg of Cocaine in a glass
produces the base concentrate and syrups
Cola Bottle. Manually
Handthat
inturn sell to bottling operations all around the

blown.they
Root Glass Co. won the
Coke bottle design
competition with this
design.
9 mg of Cocaine in a glass
we know it now was an
offshoot of the 1915 design.
The earlier bottle had too
small a base and would.
fall off conveyor belts
developed for armed
forces overseas during
WWII, were available
on U.S. market shelves.
PET, the company
introduced their �irst
plastic bottles in
a 2l pack
Cola Bottle. Manually
and pull out both relevant
Hand blown.
Root Glass Co. won the
Coke bottle design
competition with this
we know it now was an
andTheexciting
offshoot of the 1915 design.
earlier bottle had too
developed for armed
factsWWII, inwereorder
forces overseas during
available
PET, the company
toplastic
meet
introduced their �irst
bottles in
world. They do not sell their formula or the
the brief of enticing people to fallpick thebeltstable mats up and read
design. small a base and would. on U.S. market shelves. a 2l pack
marketing rights to anyone else.
Government of India At �irst Coke was only sold by the glass through soda fountain
5670 million
off conveyor
Sales in India
at 5 cents a glass. Infact, One glass of coke had 9 miligrams of

turned down! Cocaine in it. This was removed from the concoction in 1905.
themAt to evoke conversation and curiosity based on the sub sub-
Government of India After 1905, instead of using fresh leaves, Coca-Cola started using
Bottles sold in 1998
�irst Coke was only sold by the glass through soda fountain
5670 million
Sales in India
In 1977, Coca Cola left India. This is because the
Government according to their new FERA laws
"spent" leaves—the leftovers of the cocaine-extraction process
10000 million ject.Cocaine
In inboth cases,
removed fromI thestarted off with a completely different
with cocaine trace levels left over at a molecular level. at 5 cents a glass. Infact, One glass of coke had 9 miligrams of
demaded to know everything about the operations
of a foreign company. They asked The Coca Cola
Company to reveal their formula on Top Secret
turned down! To this day, Coca-Cola uses as an ingredient a cocaine-free coca leaf
extract prepared at a Stepan Company plant in Maywood, New
it. This was concoction in 1905.
After 1905, instead of using fresh leaves, Coca-Cola started using
basis, but instead, Coca-Cola Company left India and
In 1977, Coca Cola left India. This is because
Jersey. In the United the
States, Stepan Company is the only 14000 million style"spent"
in leaves—the
mind leftovers andofIthehad to change my visuals completely for
returned only after the laws changed 16 years later,
in 1993! Government according to their
manufacturing plant authorized by the Federal Government
new and
to import FERA
demaded to know everything about the operations
of a foreign company. They asked The Coca Cola
laws
process the coca plant.
ANUSHKA SANI
cocaine-extraction
with cocaine trace levels left over at a molecular level.
them to work.
process
10000 million
To this day, Coca-Cola uses as an ingredient a cocaine-free coca leaf
Company to reveal their formula on Top Secret extract prepared at a Stepan Company plant in Maywood, New
14000 million
INFORMATION DESIGN
basis, but instead, Coca-Cola Company left India and Jersey. In the United States, Stepan Company is the only
returned only after the laws changed 16 years later, manufacturing plant authorized by the Federal Government
in 1993! Bottles sold in 2004
to import and process the coca plant.
ANUSHKA SANI
IV
TAKING THINGS OUT OF CONTEXT
CLOSELY ENGAGING WITH THE TYPEFACE
BAKING COOKIES
PROCESS & PRODUCT

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I Baked Helvetica for an experimental typography course. The

process was very interesting because it was only because of
the cookie dough that the first few tries were unsuccessful.
But the method followed was simple and the most challeng-
ing aspect was to make sure they all looked and tasted like
the same typeface.
I BAKED HELVETICA
IV
BAKING COOKIES
PROCESS & PRODUCT

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the same typeface.
I BAKED HELVETICA
IV
BAKING COOKIES
PROCESS & PRODUCT

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the same typeface.
I BAKED HELVETICA
IV
BAKING COOKIES
PROCESS & PRODUCT

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the same typeface.
I BAKED HELVETICA
IV
TO MAKE TYPE “COME TOGETHER”
THE IMPORTANCE OF KERNING AND LEADING
PROCESS & PRODUCT

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Never had I imagined working with type to be so involving!

Many units were created to finally end up at the final one. The
process of this exercise was of most importance as the rele-
vance of a single point size was magnified and we were made
to question everything - spacing, layout, choice of weight, di-
rection and overall “wholeness”.
TYPOGRAPHIC UNITS
IV
PROCESS & PRODUCT

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process of this exercise was of most importance as the rele
rele-
TYPOGRAPHIC UNITS
IV
PROCESS & PRODUCT

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process of this exercise was of most importance as the rele-
TYPOGRAPHIC UNITS
IV
IDEATION AND ACTUALIZATION
SURFACE CONSIDERATIONS
CLEAR COMMUNICATION
PROCESS & PRODUCT

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The process for this packaging assignment is one that evolved

every single day. It started off with the idea of using the face
of a newspaper as the package to create a shelf display to
actually using the newspaper to wrap the package as is done
in stalls by hawkers in Bombay. The challenge was to make a
label that stood out on this newspaper and also represented
the true spirit of Bombay without being cluttered.
CUTTING CHAI
IV
CLEAR COMMUNICATION
PROCESS & PRODUCT

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CUTTING CHAI
IV
CLEAR COMMUNICATION
PROCESS & PRODUCT

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CUTTING CHAI
IV
CLEAR COMMUNICATION
PROCESS & PRODUCT

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CUTTING CHAI
V
TE XTI LE M A K EOV ER A STIT VA BOOK COV ER SELF PORTR A IT G AY-PR I DE!
SOURCING, TESTING & PROTOTYPING
NARRATIVE & PRODUCT
INTER
CONNECTIONS
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After doing a studio on creating a material library for Srishti, I

was exposed to textiles as a larger category than just fabric.
Quick ide a ske tche s for thermocol balls For that reason, I chose to work with something different and
picked up a random material for the sake of exploration. The
to be the hero of a product brief stated that we must give any one material a “make over”.
rmocol balls
TEXTILE MAKEOVER
V
NARRATIVE & PRODUCT
INTER
CONNECTIONS
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For that reason, I chose to work with something different and
brief stated that we must give any one material a “make over”.
TEXTILE MAKEOVER
V
NARRATIVE & PRODUCT
INTER
CONNECTIONS
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For that reason, I chose to work with something different and
brief stated that we must give any one material a “make over”.
TEXTILE MAKEOVER
V
EXPRESSIVE CALLIGRAPHY
BOOK COVER DESIGN
INTER
CONNECTIONS
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Prof. Mahendrabhai had shown us various examples of ver-

nacular type. Taking the opportunity of the calligraphy stu-
dio, I chose to do some pretty bold, large format calligraphy
unlike what we were meant to. This exploration and connec-
tion proved to be successful and were my only successful
pieces of calligraphic work which was then used to design
a book cover.
ASTITVA BOOK COVER

V
USING SYMBOLS IN SPACE
REFLECTIONS FROM WITHIN
INTER
CONNECTIONS
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The brief stated that we were to create a spiritual self portrait.

Since it was left completely open, I decided to draw from the
concept of “Art in Public Spaces” which was a Fear and Gender
Lab conducted for 2 months. This is why I created a “space”
where people could come and experience the portrait and also
be part of it.
SELF PORTR AIT

V
COMMUNICATION THROUGH PATTERNS
RESEARCH VS PRECONCIEVED NOTIONS
FORM AND CONTEXT
INTER
CONNECTIONS
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Being an open ended assignment, we could chose to create

a part of or an entire campaign propagating or anti gay pride.
From a course we had on “Conversational Patterns” I chose to
create a similar pattern to be applied onto clothes, accessories
or souvenirs that would stir up a conversation upon observing.
The pattern would hold universal symbols as well as key state-
ments from research I conducted with Parents and Teenagers.
G AY-PR I DE!
V
FORM AND CONTEXT
INTER
CONNECTIONS
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G AY-PR I DE!
V
FORM AND CONTEXT
INTER
CONNECTIONS
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

G AY-PR I DE!
VI
W W W.K ICK A SH.COM W W W.GIZ A PAGE .COM
WIRE FRAMING & NAVIGATION
COLLECTING USER DATA & CONVERTING IT TO EXPERIENCES
APPLICATIONS & USABILITY
TECHNOLOGY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
From beginning to end this was one of the projects I enjoyed the
most while learning new skills and processes everyday. From
knowing nothing about wire framing to actually researching,
processing, compartmentalizing and designing, we covered it
all. We used key design principles along with new dimensions
of navigation and layout to create the final product which was
meant for use on a Macintosh dashboard as a widget.
W W W. K ICK A SH .COM
VI
TECHNOLOGY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
VI
TECHNOLOGY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
VI
WORKING LIVE IN A TEAM
DESIGN & APPLICABLE INTERFACE
GIZAPAGE
LOGIN
Your social media hub eg. Bill Clinton, Sachin Tendulkar, Eva Longoria
TECHNOLOGY
PREV CATEGORY NEXT Streamline your social
media networking, now!
DIMENSIONAL MATRIX GizaPage helps you manage and serve all your SUR¿OHV
through one platform effeciently thus creating your
MAIN MENU all-round online personality on one URL.
<RXUIULHQGVDQGIROORZHUVFDQYLHZDQGVZLWFKWKURXJK\RXUSUR¿OHVZLWKHDVH
SIGN UP IN LESS
THAN 60 SECONDS
Full Name
Email
PERSONALIZE SHARE EXPLORE
GIZAPAGE GIZAPAGE Satrebut condac maciam

es sena, nes? Opimusci
Satrebut condac maciam
es sena befeconsus peci ia?
LOGIN LOGIN
Your social media hub Your social media hub
eg. Bill Clinton, Sachin Tendulkar, Eva Longoria eg. Bill Clinton, Sachin Tendulkar, Eva Longoria se no. Opubistrum intem
popubliuDum Palinte rimilla
Em, es.Sa misque con int.
Bus. Sendicaves is, cepos
se no. Opubistrum intem
adhuit da maruc.
Streamline your social Streamline your social

media networking, now! Latest Blog Posts Latest Tweets
media networking, now! *L]D3DJHKHOSV\RXPDQDJHDQGVHUYHDOO\RXUSUR¿OHV
GizaPage helps you manage and serve all your SUR¿OHV through one platform effeciently thus creating your
through one platform effeciently thus creating your all-round online personality on one URL.
all-round online personality on one URL.

ACCESS PERSONALIZE TRACK ANALYZE
<RXUIULHQGVDQGIROORZHUVFDQYLHZDQGVZLWFKWKURXJK\RXUSUR¿OHVZLWKHDVH Customize the way your Gizapage looks
based on your Brand, Website or Personality. View Blog Follow us
SIGN UP IN LESS ABOUT PRIVACY TERMS & CONDITIONS FAQs PRESS JOBS
THAN 60 SECONDS
Full Name
SIGN UP IN LESS THAN 60 SECONDS
Working on a live project in the office of a new Social Media
GizaPage on Twitter
GizaPage on Twitter
Email Hub, was a great learning experience as we got to design
PERSONALIZE
TRACK
ANALYZE
SIGN UP and at the same time keep track of what was possible on the
es sena befeconsus peci ia?
Em, es.Sa misque con int.
programming end. As part of a team of 3 designers, I was
popubliuDum Palinte rimilla Bus. Sendicaves is, cepos
adhuit da maruc.
responsible for homepage layout, navigation and style. Apart
from this widgets had to be designed to pull information from
Flickr, Twitter, Delicious & YouTube.
ABOUT PRIVACY TERMS & CONDITIONS FAQs ABOUT JOBS
PRESS PRIVACY TERMS & CONDITIONS FAQs PRESS JOBS
W W W.GI Z A PAG E .COM

VI
BREAKING DOWN INFORMATION
TECHNOLOGY
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DIMENSIONAL MATRIX
MAIN MENU

Hub, was a great learning experience as we got to design
and at the same time keep track of what was possible on the

VI
BREAKING DOWN INFORMATION
TECHNOLOGY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
option 2 FLICKR LOGIN
BROWSE IMAGES Peter A. Juley & Son Collection

VIEW ON FLICKR
PHOTOSTREAM
TAGS
Painting
Frames
1 SETS Rennaissance
Sale FLICKR LOGIN
Art
Color
GALLERIES
BROWSE IMAGES Smithsonian’s Sets
VIEW ON FLICKR
PHOTOSTREAM
SETS / ALBUMS
GALLERIES Uptatet autem vero dolor am vent prat. i

X

Hub, was a great learning experience as we got to design
and at the same time keep track of what was possible on the

VII
PEPPER M I NT FE A R & GEN DER A STRO-FEST
PITCHING A CAMPAIGN
CLIENT FEEDBACK
APPLYING STRATEGIES
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU Customer Insights
t0OUIFHP
)05&-(6&454
Launch Insights t0OUIFCBMM
t1SJWBUF1VCMJD.FFUJOH4QBDFT
t#VTJOFTTHVFTUTNBZOPUCFBMXBZTDPNGPSUBCMFXJUI
t5IF)BOT#SJOLFS)PUFM "NTUFSEBN BCV[[JOHQPUQPVSSJBUNPTQIFSF
HOSPITALITY
Key Insight- Honesty
Launch Insights t.POEBZCBS$SVJTFT

Key Insight- Fusion of desires
VISITORS
t:PVOH JOEFQFOEFOUQSPGFTTJPOBMT
Deriving insights from various other hotel launches, t'VODUJPOXJUIGSJMMT
product launches, campaigns and events. t4VOCVSO 4VCNFSHF t/VDMFBSGBNJMJFTXJUIMJUUMFUJNFBOEFOFSHZGPSIPVTFIPMEBDUJWJUJFT
EVENTS
,FZ*OTJHIU$PNNVOJUZ
t"MXBZTPOUIFMPPLPVUGPSOFX EZOBNJDBOEGSFTITQBDFTBGUFSIPVST
t"CPWFBOE#FZPOE"OKVOB#FBUT7PMVNF-BVODI
,FZ*OTJHIU#PSFEPNPOUIF*OUFSOFU
Peppermint Insights
t"YF&òFDU
130%6$54
Rounding out key insights that #SB[JM,FZ*OTJHIU1FSTPOBMJ[BUJPO

can capture the overall peppermint essence. $IPDPMBUF,FZ*OTJHIU$SBWJOHT
t0SBOHF5FMFDPNNVOJDBUJPO4FSWJDFT#BMMPOBDZ
While doing a Business Design course at Idiom we were split
Key Insight- Directly engaging with the audience
into groups and given the challenge on taking a live ongoing
Customer Insights
project and making a pitch presentation to the Client itself.
Picking out the key traits of the target customers
This was an all around learning experience as we even got
and deriving insights specific to the needs of the guests,
and specific to the needs of the neighbourhood.
feedback from the client after pitching our ideas. Working in
a group was great as in a situation such as this it is best to
bounce ideas off others and take things forward.
PEPPER MINT
VII
PITCHING A CAMPAIGN
CLIENT FEEDBACK
APPLYING STRATEGIES
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
PRE-LAUNCH
attention grabbers
PRE-LAUNCH
outdoor campaign
where is
As attention grabbing techniques, we believe that nothing gets
better than Indian Street Culture. Everyone loves to stare.
Stare at something. Stare at nothing. Stare at Peppermint. While doing a Business Design course at Idiom we were split
After all, it’s a really nice place to go to!
Using arrows as a design language and to communicate the direction in which the hotel is we This was an all around learning experience as we even got
can actually involve the actual characteristics of that neighborhood by simple painting upon it. feedback from the client after pitching our ideas. Working in
The paint would be fluorescent reflective paint that would even be visible at night. a group was great as in a situation such as this it is best to
PEPPER MINT
Lo
au re
ri gu m
ve sus. e enipsu
di ne m
am na Mau im do
.
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in lle o s
ut nu el sq sit
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(w
io at en ut et,
eg lle e , e . Ph ti tu du co
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tu es nt mag ip eg as id m i ns
sa rp tas esqu na sum et m el un sc qu ec te
lu t el is
ph gitt is ur no e pu i s ti so er la tu
ar is na n ve mag ru mi,
a et el hi nc da isqu cu r ad
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)h
cu ol m ra it lo non cu na s pr sed
, ar , ac bo la , et co un s, e al ipis
fe rs lis cu ac rt is met volu ultr ium ng t la mi turp ique cing
m lis us ju or ni is t
an et us fe sed sto
sit cu ni us tp ic es ne ue
am ee sl ve elit
te rm m si . Se at
sa qu nu t ph co eu hi . M
es m et n , et d laci sed e, lla. m cu
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id d is tu V ia eros al mat ni ti ve Et
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er mal m ivam sapi ra o tito et dign
el te port
it m os es vi en
lis su ua tis, Cr id fr in m
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or ipit lo enim qu t gilla ug
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pu at m. am m te pe elit M m s ve t, no rem se ur in, nisi t, at am n
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ar ti ve nt l bi
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do cu mol en da lo ti er fe gu . cu endi se citu et lis d vi ve
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is
fa lo s ph es im le bo s in at lis e ve la iat, Nul da co ss m. di es nec puru rr a
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du uc ib r. N ar tie aliq s pu rt is terd , ti sa st cu le nd D t
so i. . s au er at lam s
id
im pote ui tr is laor elit s.
us ul et et ua ru Pe um nc id gitt ibul en nt s su ti ee .
ridi ciis Ut . lam ra qu od m s, lle
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cu na cons as ve am io. Ae com et te ntes felis t risu in e ol m In sc ip e,
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vo s m qu te lu ib a ne mod mpu que ut ta s, id terd as is n e na ger
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. pe r ip ta . Cu ng gu am
ph er tpat rta et lle Sed est suer ium ns nval . D
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na su e on ra fa e qu et
ti bu m mag er at ra sa ntes tu elem e di . Ve equa lis ec bi cilis ,
m sl et ra curs tinc gi
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tt s ut na ut pien qu is en gnis st ib t vi mas or r se is ,
us ne m us idun is
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he oin ti d nc m ci vu c o od do os , m ac m um e, m re,
ag sc au lig
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da bo am , ac ni lput im lli se r in ng . In eler ut faci ris ul
au et re lo pl Mor .
ac bi Se rt is us eg s ci d lis
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di ate po tudi es feug ue tege isqu arcu is sed a
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co pi us sit di or m, sa lle isti fe po s rt us r se ae or ve lo ul is
tr nd bu te am ct um in te vene pi nt qu rm r er ur d
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nt et or nc ,
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89 V us e ju m ium mi pien rta. fauc s in i co en o in ul lisis on e t
la 7 89 P
un m sto , tu ne m im vel sapi um eu te er am t ni leo
s, at et si
ag m rp er c pu Nul ibus inte m qu ne en bl .
ch 7 29 na au is at du lv in la od am qu na . Cu ut
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pp t, s et vi
or cu bi nt mco vi bo ur
er na od verr elem msa bend es rp tae, rt tege pi bu sed Nul po
m re io a n qu er is.
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ut risu e
ur c am po
ga ul iam po m co Mae mpo d ve lisis el s
on tr ng et suer it
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.c ie m su im na n at
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, bi us od mol rus ac m sa ci.
be pu io lis la au . Don pien Dui
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um id gn eg eet. or ec sit
et ve in
a or issim . Don lit
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os re du Et ia ec .
!
to i, id m
rt
or
.
PRE-LAUNCH
LABS & PROJECTS
MAIN MENU
DIMENSIONAL MATRIX
PREV CATEGORY NEXT
VII
magnetic attraction and repulsion.
PRE-LAUNCH
corporate kit
A totally fun and interactive way to get the neighbourhood
with a spin-the-wheel game that answers your question

“Where is Peppermint?” Works on the basic principle of
going. Temporary stands on the pavements in Guragaon,
spinning board.
Hidden iron strip on the back of
Hidden magnet on base board,
CLIENT FEEDBACK
APPLYING STRATEGIES
PITCHING A CAMPAIGN
where is
out
find
to
spin
magnetic placards
PEPPER M I NT
stalls, and works great for low cost promotion.

PRE-LAUNCH
mobile vendors. This adds a little more color to their own

interest and curiosity amongst people. Simple low-cost
Using the neighborhood local businesses, we generate
stamps, stickers and wrapping papers can be provided to

FE A R & GEN DER

a group was great as in a situation such as this it is best to
feedback from the client after pitching our ideas. Working in

A STRO-FEST
This was an all around learning experience as we even got

PEPPER MINT
outdoor campaign
VII
PITCHING A CAMPAIGN
CLIENT FEEDBACK
APPLYING STRATEGIES
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
THE LAUNCH
MAIN MENU
in-house exhibition
THANK YOU
POST LAUNCH
fun days@peppermint
Using the space that the hotel lobby and exteriors

offer, we create engaging spaces which showcase
commisioned artwork. In most cases, the artist
shall also be available to interact with people.

To keep the energy alive, we suggest feel-good
sessions at the hotel, where people will be provided
with stress-busting services, including massages, This was an all around learning experience as we even got
bartending crash courses and encouraging shopping feedback from the client after pitching our ideas. Working in
sprees through contests and vouchers. a group was great as in a situation such as this it is best to
PEPPER MINT
VII
TAKING LEARNINGS FORWARD THROUGH PROJECTS
PUBLIC INSTALLATIONS
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
Social art in the public realm is a lab that is to take place

every year and I was part of a 2 month course called Fear
& Gender in Public Spaces. This lab included working with
visiting artists to understand the issues of gender and fear
related to it in public. The entire lab required active group
involvement to make each of the various exercises a shared
learning experience.
FEAR & GENDER

VII
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

FEAR & GENDER

VII
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

FEAR & GENDER

VII
BREAKING OUT OF “2D” THINKING
RESEARCH IN A NEW SPHERE
GAME DESIGN & TESTING
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
For this course, we worked as a team of designers, who

each presented an idea for one space for the astro fest which
was to take place at the Planetarium. Although, the idea for
The Star Dome was mine, it would not have reached its
full potential without timely feedback from the rest of the
team. Also the 3d model for the space was created with
one of the students from furniture.
ASTRO-FEST
VII
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
They can now use the polyfirs & foil to make stars and They must now tie a string to each star and mark a point
cover them with different papers if desired. noting how long the star is from the board.

Now they can string the stars onto the board and their 3d All the 3d constellations are unique even though its the same team. Also the 3d model for the space was created with
constellations are ready. one! They can take this home or back to school to display.
ASTRO-FEST
VII
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

ASTRO-FEST
VII
LABS & PROJECTS

PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

ASTRO-FEST
VIII
ONE DEGR EE CONNECTIVITY NAGARWA LLA ESTATES TFOEM CELEBUTA NTE
SIMPLE PROCESS
PERSONALITY INTO VISUAL IDENTITY
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
This is a logo/mark I have designed for One Degree Con-

nectivity, which is a Networking, Styling and PR company
run by Anita Vaswani. The logo is a development from Ani-
ta’s earlier venture which was a Jewellery Label - STONED
which had Circles in it. She wanted it to be “Stylish, Whole-
some and Trippy”
ONE DEGREE CONNECTIVITY

VIII
CLEAR BRIEF & NEEDS
CLIENT - DESIGNER RELATIONSHIP
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
Nagarwalla Estates is an established and well reputed Real

Estate company in South Bombay. They needed to revamp
their brand and did not really have a “logo” before this.
NAGARWALLA ESTATES
VIII
CLEAR BRIEF & NEEDS
CLIENT - DESIGNER RELATIONSHIP
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
Ground Floor, Jal Darshan, 51, Napeansea Road, Mumbai 400036

T 022 23673265 23683713 23684481 F 022 2363 0006
M +91 9821280725 E nagar wallaestates@vsnl.com
www.nagar wallaestates.com
K A R L N AGA R WA LL A
grnd fl r, ja l da rsha n, 51, napea nsea road, mum ba i 400036
Nagarwalla Estates is an established and well reputed Real
K A R L N AGA R WA LL A t 022 23673265 23683713 23684 481 f 022 2363 0006
m +91 9821280725 e naga r w a l laestates@vsnl. com Estate company in South Bombay. They needed to revamp
their brand and did not really have a “logo” before this.
w w w. naga r w a l laestates. com
NAGARWALLA ESTATES
VIII
MEETING URGENT NEEDS!
DESIGN LANGUAGE TRIALS
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
TFOEM, The Freedom Of Expression Movement has been

started by young entrepreneurs in Mumbai. They had an in-
stallation/stall at this years Kala Ghoda Festival. For visibil-
ity during the festival, they had performers sport the brand
on stage as well their volunteers and people involved. I
design a simple and stylish T-shirt using just elements of
their existing logo to be screen printed.
TFOEM
VIII
LOGO PITCH PRESENTATION
BRANDING ACROSS ALL BUSINESS STATIONARY
ADVERTISEMENTS
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU Stationery - Business card back
Star - Logo option 02

Logo option6
celebutante
TALENT
nt TALENT
Star - Logo option 01

celebutante
EVENTS
Logo option 4
EVENTS
celebutante
celebutante
TALE NT IMAGE
IMAGE
IMAGE
E VE NTS celebutante
TALENT
While interning at Vyaas Gianetti Creative in Mumbai, I was
put onto a Branding project for “Celebutante” which is a
Talent & Event Management company. From ideating to
I MAG E celebutante
EVENTS
what the logo should be to taking it across all stationary
and having them sent for print, everything was a learning
Winning takes talent, to repeat takes character. Life is an event. Things do not change, we change process. We also developed some advertising concepts
for their courses offered.
CELEBUTANTE
VIII
ADVERTISEMENTS
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
Life is a succession of The most exciting place

moments. To live each to discover talent is in
one is to succeed. Corita Kent yourself. Ashleigh Brilliant
C 60 R 114
TALENT IMAGE EVENTS TALENT IMAGE EVENTS M 0 G 191
Y 100 B 68
K 0
Things do not change, Life is an event.

we change. Henry David
TALENT IMAGE EVENTS TALENT IMAGE EVENTS
process. We also developed some advertising concepts
CELEBUTANTE
VIII
ADVERTISEMENTS
REAL WORLD
INTERFACE
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU

process. We also developed some advertising concepts
CELEBUTANTE
IX
SAY I A M
USING SOCIAL MEDIA TOOLS TO PUBLICISE EVENT
STRUCTURING A CAMPAIGN / PROTEST
CONDUCTING A WORKSHOP
SOCIAL
RESPONSIBILITY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
In order to retaliate to the Mangalore incident, We as a

group decided to start a perfomative walk and invite people
to join in. The stand was simple and clear and the walk was
a huge success as more than 300 people showed up after
just a few days of the Facebook event being created and
flyers put up. The spirit was that of positivity not hatred. A
great way for us to involve people in their state’s affairs.
SAY I AM
IX
SAY I A M
USING SOCIAL MEDIA TOOLS TO PUBLICISE EVENT
STRUCTURING A CAMPAIGN / PROTEST
CONDUCTING A WORKSHOP
SOCIAL
RESPONSIBILITY
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
The walk motivated us to pool our skills and work as a group

and reach a certain community. This project dwells into commu-
nity spaces of Domestic helpers. The purpose of this project is to
make the women of this particular community understand, ex-
press, face and respond to their own fears in both public and pri-
vate spaces of their life through a series of interactions. The ob-
jective of this workshop is to make them feel their own powers.
SAY I AM
X REFLECTIVE
STATEMENT
PREV CATEGORY NEXT
DIMENSIONAL MATRIX
MAIN MENU
While perusing my Bachelors in Mass Media, I
had decided that I wanted to get my MA in
Strategic Marketing from Warwick - I made it my
goal. Life, being the way it is opened up many
more avenues and my curiosity got the best
of me. I found myself doing an internship at a
Design Studio and loved what I was doing. After
graduating, I decided that I would experiment,
take a chance and go with what I “feel” like doing
- which is unusual, as for me most decisions are
based on logical evaluation and analysis. Srishti,
was meant to happen - because of the nature in
the ability to experiment freely in areas I would
not have ventured into. I have also taken it upon
myself to become a better photographer as that
is my passion and I hope to be able to persue
it in the future.
To be honest, I thought being at Srishti would

define what I did however, on the contrary
because of all the exposure in the past 2 years,
I’m a little more unclear than I was! But this is
a great feeling - for once I think, the unknown
is exciting and brings with it opportunity for trial
and error. I am not afraid to respond to questions
which I got in on a last minute basis and I had no
pertaining to what I am doing next, with an “I’m
idea what it would be like.
not sure.” Whereas earlier, I looked upon this
Life at Srishti has been a learning experience for uncertainty as a stressful signal. The reason for
me in more ways than I expected. The beginning this is now, I’m a much more open person and
was a challenge, being a Direct Entry student also, a much more confident designer.
as I found myself quite displaced. My thought
I am also enthusiastic about the opportunities in
processes were different, my aesthetics sense
our country for design. On the whole, there is very
was poor in terms of VC and being new in a batch
little “design thinking” involved in processes. I feel
of 30 is in itself - interesting! Now, in retrospect,
there is a lot of scope in this area of the creative
these are the very same reasons for which I
industry. People are also more informed and
actually have taken the most out of my two years
understand that design is not just ornamental but
here, both personally and in terms of work. My
has a specific, functional purpose. It is our duty as
greatest lesson has been to understand that the
designers, to put good, thoughtful and sensitive
person you are is not separated from the Designer
design out there as a solution to a brief. I am
you will be. Unlike other professions, our work
grateful to Srishti, for this broad understanding
reflects how we think, process information, what
and ability to follow through with anal
we observe and soak in. For this reason, I decided
detailing and a varied skill set.
to work on the person I was, not only my skills.
Courses and Faculty prodded me to open up and
let go of the inhibitions I had, in turn giving me

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5 . 05 .

LEARNING LEARNING EXPLORATIONS & INTER

REAL WORLD SOCIAL REFLECTIVE

STRATEGIC PROBLEM SOLVING

RESEARCH AND ANALYSIS

UNDERSTANDING LETTERFORMS : MACRO & MICRO

ADAPTING TO DIFFERENT TOOLS OF WRITING

DEALING WITH VERNACULAR TYPE

Being one of my first courses at Srishti, this course really

USING GRIDS, MARGINS AND COLUMNS

COMMAND OVER INDESIGN

LAYOUT & TYPE EXPERIMENTATION

LEARNING Adobe Jenson Pro - Regular 10 pt , leading 11.5

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Adobe Jenson Pro - Regular 8.75 Myriad Pro - Regular 8.75

disrupted the conventions, considered there be an existing

It was a great challenge having to work with layout-design

guidelines & grids. Abiding by such standards and processes;

the design-process was a new experience as compared to

my initial working-style. Of course, it was a lot of trial-and-

error – which in turn has made me a better designer and more

USING GRIDS, MARGINS AND COLUMNS

COMMAND OVER INDESIGN

LAYOUT & TYPE EXPERIMENTATION

It was a great challenge having to work with layout-design

USING GRIDS, MARGINS AND COLUMNS

COMMAND OVER INDESIGN

LAYOUT & TYPE EXPERIMENTATION

It was a great challenge having to work with layout-design

USING GRIDS, MARGINS AND COLUMNS

COMMAND OVER INDESIGN

LAYOUT & TYPE EXPERIMENTATION

LEARNING Have you

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It was a great challenge having to work with layout-design

OVERCOMING A SERIOUS MINDBLOCK

USING DIFFERENT MEDIUMS

OVERCOMING A SERIOUS MINDBLOCK

USING DIFFERENT MEDIUMS

OVERCOMING A SERIOUS MINDBLOCK

USING DIFFERENT MEDIUMS

SELF LEARNING THROUGH TRIAL & ERROR

Photography is a passion I take very seriously. Even though

SELF LEARNING THROUGH TRIAL & ERROR

Shot for Histor

Photography is a passion I take very seriously. Even though

Wandoor, Andaman &

SELF LEARNING THROUGH TRIAL & ERROR

Photography is a passion I take very seriously. Even though

SELF LEARNING THROUGH TRIAL & ERROR

Photography is a passion I take very seriously. Even though

SELF LEARNING THROUGH TRIAL & ERROR

Photography is a passion I take very seriously. Even though

MAKING AND USING SCREENS

MANUAL PROCESS OF MIXING COLOR

WORKING WITH IMAGE AND VECTORS

This course was about representing Bangalore through

MAKING AND USING SCREENS

MANUAL PROCESS OF MIXING COLOR

WORKING WITH IMAGE AND VECTORS

This course was about representing Bangalore through

“BREAKING” THE RULES

WORKING WITH EXISTING MATERIAL

MAKING THINGS LOOK COHESIVE