Rung Raju Patu

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RUNG
RAJU
PATU
REGIONAL MAP OF THE RUNG TRIBE
Graduation Project by Anubhav Kukreti

Guided by Ms. Priyanka Tolia
Sponsored by Rung Kalyan Sanstha
Graphic Design, B.Des, 2020,

School of Design, Doon University
Rung Raju Patu ◆ Thesis Project 2020

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THESIS PROJECT
ON
VISUAL COMMUNICATION DESIGN
FOR THE RUNG MUSEUM
Submitted in Partial Fulfilment of the Degree of
BACHELORS IN DESIGN
(2016 - 2020)
BY
ANUBHAV KUKRETI
B.Des. VIII Semester (Graphic Design)
Under the Supervision of
MRS. RICHA PANT

Faculty Guide, School of Design
Dehradun
Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

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VISUAL COMMUNICATION DESIGN

FOR THE RUNG MUSEUM
Design a Pictorial Display Map for one of the

entrance mural of Rung Museum which is
situated in Dharchula district of Pithoragarh,
Uttarakhand.

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ORIGINALITY STATEMENT COPYRIGHT STATEMENT
I hereby declare that this document is my own I hereby grant Doon University the right to archive
work and it contains no full or substantial copy of and to make available my thesis in whole or in part
previously published material , or it does not even in the University's Library in all forms of media,
contain substantial proportion of material which Now and hereafter known, subject to the provision
have been accepted for the award of any degree of the copyright act. I have either used no
or diploma of any other educational institution, substantial portions of copyright material in
except where due acknowledgement is made in this my document or I have obtained permission
degree project . Moreover I also declare that none to use the copyright material.
of the concepts are borrowed or copied without
due acknowledgement is made in this degree
project I further declare that the intellectual Student Name: Anubhav Kukreti
content of this degree project is the outcome University Student ID: SOD- 024
of my own work, except to the extent that Signature:
assistance from others in this project design's and Date:
conceptualisation or in style, Presentation and
linguistic expression is acknowledged. This
degree project(part of it) was not and will
not be submitted as assessed work in any
other academic course.
Student Name: Anubhav Kukreti

University Student ID: SOD- 024
Signature:
Date:

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CERTIFICATE
This is to certify that the Design Thesis

'Rung Raju Patu', submitted by Anubhav Kukreti
(SOD- 024) has been done under my supervision.
It is also certified that the work in this Dissertation
embodies original designs and hard work
of the candidate.
The assistance and support received during the

course of investigation and all the sources of
literature have been fully acknowledged.
(Name & Signature)

Academic Supervisor Guide
(Name & Signature)

Industry Sponsor Guide
(Name & Signature)

Head of Department

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ACKNOWLEDGEMENTS
First of all, I'm very grateful to the supreme being Tauji for all the support,motivation and advices
for always directing me towards the right places ,that I am able to pursue Design as a career.
and with right people.
All my colleagues Aditya, Utsav, Muskan, Yash,
I'm really thankful to Ms. Priyanka Tolia, Chitku Paridhi, Nimisha, Dipesh, Simran, Prerna,
Design Studio for providing me this real time Nitya, Mansi for all the fun, and learning
project opportunity, and for always pushing me experiences we all had together.
to challenge my limits throughout the duration
of my graduation project. It would have been very All the lovely people of RKS, Sukku and
challenging to complete the project without your Umi Di for helping us in conducting the survey
guidance and help. You are a true inspiration, I and research. Sattu bhaiya and Meera Di for your
have learnt a lot from your way of working and mouth savoring dishes.
approaching problems, it's just very inspiring.
Deepak SS for being an awesome roommate and
Mrs. Dhriti Dhaundiyal for actually setting up also for always capturing the process with his
the School of Design which was unlike other camera.
design colleges in the State. It's because of you,
we got such experienced faculties throughout our
academics and also it was your guidance, that we
had such a strong Foundation year.
Mrs. Richa Pant for helping us with writing

proposals, and guiding us throughout the project.
All the faculties at SOD, for always inspiring us,

not only as a designer but also as a person.
Mr. Rohit Keluskar for all your unconventional
mode of taking classes, Mr. Pranay Kumar for
always pushing us to go deep and thoughtful in our
approach, Mr. Sandeep Nandi for helping us in
providing working opportunities as a professional.
Mr. Siddhant Sharma for always inspiring and

educating me about drawing and design since
childhood days. Really you are the reason that I
took up design as a profession.
Fufu, Fufa ji, Chacha, Chachi, Eva, Aarav for all

the advices and love.
Mummy and Papa for inspiring me to work

wholeheartedly, and aslo always trusting me on my
decisions.

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Contents
◆ About 14
◆ Research 25
◆ Rapid prototyping 42
◆ The Display Map 65
◆ The Folding Map 125

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DOON UNIVERSITY
In the Indian higher education system, Doon

University is classified as a State University. The
university is in the jurisdiction of the state
government of Uttarakhand.
Doon University is a state public university located

in the city of Dehradun in north Indian state of
Uttarakhand. The university was established by
Government of Uttarakhand through an Act of
the Uttarakhand Legislative Assembly in October
2005. The university follows a semester system
with two semesters every year.
Doon University campus is located on

Dehradun - Mothrowala Road, at a distance
around eight kilometers from Dehradun city in
foothills of Shivalik range and at the river
bank of Rispana river.

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Doon University | Collegeduniya.com

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ABOUT TRIBE
Rung Mung is a collective term used for the people

who inhabit the three valleys of Darma, Byans
and Chaundas in the Pithoragarh district of
Uttarakhand. These three valleys lie cradled in
the high Himalayan regions bordering India and
Nepal. Traditionally the community carried out
trade with Tibet for generations, till India and
China went to war in1962. This suddenly brought
an abrupt halt to their only means of livelihood.
Once the war was over, the borders where never
re-opened and the situation remains sensitive to
this day due to the hostile relations between the
two countries. Since then the community has
survived under harsh conditions and hundreds
have been forced to migrate to cities and other
towns to seek livelihood opportunities. In spite of
these odds, the Rung members have preserved their
cultural heritage with great aplomb and maintain
strong and close ties with their respective village
and village members through several ceremonies,
festivals and rituals.

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ABOUT SPONSOR/CLIENT
Rung Kalyan Sanstha (RKS), a more than 22

years old NGO working towards the upliftment
of their society and culture, pitched a concept
of developing cultural Museum in the town of
Dharchula, Pithoragarh with a vision to preserve,
showcase and educate about their culture to the
upcoming generations as well as the tourists from
across globe. Currently, the project got approval
and funding from the Government of India. As the
construction of Museum building is completed,
the RKS is planning and detailing on the Museum
Content and Display.

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ABOUT SOD
Doon University has started imparting design

education on the pattern of leading design
institutes through its School of Design from the
academic session 2015-16, making professional
design education available, at an affordable cost.
The infrastructure and teaching is at par with other
National Institutes imparting design education in
the country through experienced design faculty.
The School of Design at Doon University offers

Bachelor in Design degree. The School offers a four
year program consisting of eight semesters. The
teaching pedagogy lays emphasis on creative
thinking and a critical analysis of the product, and
has a hands-on approach to shape it. The focus is
on nurturing the creative aptitude in each student
and develop their ability to evolve in the process of
problem solving. The emphasis at school is given to
design education in relation to our eco-system and
society that we live in as well as the environment,
which we need to preserve. Aim is to turn out
design graduates, who are ‘industry-ready ‘ and have
the necessary skills to be absorbed in different work
arenas. Participation of industry professionals and
solving industrial problems in the real work
situation is the essence of design education at the
School of Design. After a common foundation
program, students will be required to pursue a
three year specialization, by choosing one of the
Proposed Specialization Like Product Design and
Graphic Design. The curriculum of specialization
courses is developed on the basis of the market
needs and hence is dynamic in nature. The
specialization will be offered in consultation
with the student after an evaluation of
performance and aptitude in foundation year.

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WHY THIS PROJECT
As I come from one of the interior villages from

Uttarakhand, I have this attachment to its culture
and places in someway. That's why previously I had
done my two design projects around Uttarakhand
only to know more about the land closely. But, I
was very confused initially about deciding my
thesis project brief, I remember thinking to do it
in User interface design as it wasn't a part of our
curriculum so I wanted to explore it also but one
day one of my colleague Deepesh asked me if I'm
interested in a Museum design project happening
in Uttarakhand. As I wasn't sure about my thesis I
went to the Chitku Design Studio to know more
about the possibilities for my thesis project and
after gettting an overview of it I got very
excited to work on the project.
At the starting phase of the project, I had many

things in my mind to do for this project from
interactive installations to expanding the visual
identity of the museum to signage, publication,
tickets etc. First big thing for me was that it's going
to be a real time project with real deadline/tasks to
be executed Secondly, It was going to be executed
in the Kumaon region of Uttarakhand which I had
a keen interest to travel and explore.

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PROJECT BACKGROUND
The project has been sponsored by Rung Kalyan The Museum is located in the town of Dharchula,
Sanstha, an NGO working with the Rung tribe Pithoragarh. The map was going to be installed
from the district of Pithoragarh, Uttarakhand. at the musuem in April but due the ongoing
I was assigned to design the display map for one pandemic lockdown, It cannot be executed now
of their coveted projects, The Rung Museum. It so taking it as an opportunity we at studio decided
is going to be one of the first tribal museum in to expand it into a foldable illustrative map also
Uttarakhand . The foundation of the project has which could be sold as souvenir to tourists and
been layed down 10 years back when the commu- visitors resulting in an extra revenue source for the
nity took this initiative to construct a Museum museum. So for foldable map we shortlisted some
that will not only display/educate the tourist from of the major celebrations and tourist’s places of the
around the globe about them but also to impart region to be illustrated with some introductory
their tribe’s rich cultural practices and history to information about them. The architecture of the
the upcoming generations to have pride upon. The building was such that the building remains lit
project has now been came to the stage of from inside during the day time as sometimes
interior designing and space curation. All the it has to face electricity shortage. It was well
artifacts were donated by the native people ventilated as well. Some walls looked damped due
through various donation drives. to the moisture absorbed . Initially, the brief was
to design an illustrative Map but as the execution
deadline was close, The brief was modified into a
much minimal and simple visual map.Also. it was
after the first client meeting that we realised that
they are finding the illustrative approach to the
map a bit confusing/clutter and eventually
asked us for a much basic map

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ABOUT STUDIO
Chitku Design Studio is a social enterprise which These stark experiences help to inform and expose
operates in the Himalayan terrains of Uttarakhand. them of each other’s respective surroundings,
It has its head office in the capital town of sparking the potential of some innovative design
Dehradun, while its studio workshops are hybrids. For designers and artisans, this often
scattered across the rural hubs where it questions the deeper impact of their products and
collaborates extensively with indigenous services, not just in relation to the buyers but to
communities in the realm of craft and design. the producers as well. This process of ‘Making’
The studio design interventions are people centric thus becomes as valued as the ‘Product’. Chitku
across its endeavours in the field of livelihood Design Studio aims to be one such bridge
and skill development; harnessing local natural to facilitate cross-disciplinary
resources; sustaining traditional knowledge dialogue on Natural Local Resources,
and practices ; product design innovation Craft and Design and dreams to be a conduit
and development. of exchange of the best from both the world.
We engage in Research and Documentation of
CHITKU In is an intended journey embarked heritage craft traditions of mountain communities
upon by a collective of creative individuals which is rooted in sustainable practices of
operating in contrasting and distinct cultural harnessing local materials through ingenious skills
economic milieus of Uttarakhand. Their collective and techniques, honed over generations. We seek
experiences of living both the bucolic charm and to keep our craft practices relevant by designing
the urban live wire, excites and inspires them to products for contemporary lifestyles by
attempt and build a bridge of inquiry, interaction, intervening and adding basic innovations in
introspection and ideation. The thrill of straddling material and techniques. We strive to conceive and
the dynamic worlds of both the urban and the rural create our products from Indigenous materials and
is that it constantly juxtaposes scenarios, ideas, skills and hope it can present the best of
materials, methods and means for contemporary Uttarakhand, and
an inquisitive mind. thus maybe, add our bit to the
Indian Design Vocabulary.
The studio intimate collaboration with local

communities and their scenarios has opened
up opportunities to engage and develop
strategic systems in preserving and promoting
social, cultural and educational activities which
urgently require to be addressed. We were selected
to showcase our furniture line for an exhibition
‘New Indian Designscape ’curated by Triennale
Design Museum, Milan Italy in
the year 2013.
TEAM
Ms. Priyanka Toliya

Founder, Senior Designer
Chitku Design Studio
Mr. Deepak SS
Intern, Product Designer
UPES, Dehradun

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PROJECT TIMELINE
Primary Research
Secondary Research + Prototype testing
February March
Redefined Brief
Rapid Prototyping Fin

+D

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Documentation
April May June
Prototype Testing
nal Prototyping
Design Detailing

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“I’ve always been fascinated by maps

and cartography. A map tells you
where you’ve been, where you are,
and where you’re going —
in a sense it’s three tenses in one.”
~ Peter Greenaway

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Research
◆ Reading the Brief 26
◆ About Map making and its process 28
◆ Elements of a Map 29
◆ Queries before Designing 30
◆ Researching the Research 32
◆ The Display Area 34
◆ Studying the region in depth 35
◆ Intially a Pictorial Map 36
◆ References 37

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READING THE BRIEF
The brief was to illustrate a The main Display Gallery of the Rung Museum
was almost ready and tourists have already
Pictorial Display Map for started to visit the Museum, but there was no
introduction Mural of the introduction panel(about museum) made yet.
Display Gallery. So we were also approaching the display Map as
an orientation area where the Map can be used
as a visual aid to the guide who will be telling
visitors about Rung settlements of the area.
Rung Museum Building | Deepak SS
Before my first meeting with client, the brief was

to design a Pictorial Display Map for the entrance
mural of the Museum’s exhibition area. The Map
should have been around the major landmarks of
the Rung tribe across the three valleys of Darma,
Vyans and Chaundas.Also we were trying to figure
out how to make the Map more informative about
the region's culture so that it can be beneficial
for a larger audience.

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A Rung Girl | Rung Kalyan Sanstha

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ABOUT MAP MAKING & ITS PROCESS
A map is a symbolic
representation of selected
characteristics of a place, usually
drawn on a flat surface. Maps
present information about the
world in a simple, visual way.
Cartographers rely on survey data for accurate

information about the planet. Surveying is the
science of determining the exact size, shape, and
location of a piece of land.
Today, many surveyors use remote sensing to

collect data about an area without actually
physically touching it. Sensors that detect
light or radiation emitted by objects are
mounted to airplanes or space satellites,
collecting information about places on
Earth from above. One method of remote
sensing is aerial photography, taking
photographs of Earth from the air.
Before making a map, cartographers decide

what area they want to display and what type
of information they want to present. They
consider the needs of their audience and the
purpose of the map. These decisions determine
what kind of projection and scale they need, and
what sorts of details will be included.
Before the development of advanced computer

and printing techniques, maps were drawn by
hand. Cartographers would draw, or scribe, the
map on a sheet of coated plastic with a special
etching tool, scraping away the colored
coating to leave clear, sharp lines.

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ELEMENTS OF A MAP
Title Distance(Scale)
The title of a map is one of its vital features. It is Distance or scale must always be
the keyword that grabs the reader’s attention. A indicated or implied unless the
short ‘title’ might be apt if readers are familiar with audience is so familiar with the
the theme being presented. The need for a suitable map area or distance of such little
title, whether small or long, depends on the relative importance that it can be
reader but the title should provide an answer assumed by the audience.
to their “What? Where? When?”
Locator Map
Labels
Unless the map is aimed at a very
Labels are the words that identify a location. They specific knowledgeable audience or
show places (streets, rivers, and establishments) is of a geographic breadth (such as a
with specific names and can also be used to countrywide map or a global map),
represent something if there is only one of it, it can be very helpful to include
instead of making up a symbol to a smaller inset map showing the
just represent one thing. location of the mapped area. This
helps to further orient the viewer in
placing the geographic context of
the map.
Legend
The principal reference to the map symbols; Symbolization
subordinated to the title and direction. However,
this is still a key element for map reading; The choices of symbology can make
describing all unknown or unique or break a map. The color choices,
map symbols used. line widths, icons, and labeling
(more on labels next) all affect
the readability, and hence
message, of the map.
North Arrows
Consider the intended audience
North arrows indicate the orientation of the map of the map when selecting design
and maintain a connection to the data frame. choices. A map aimed at children
When that data frame is rotated, the north arrow might involve brighter colors and
element rotates with it. North arrow properties less complexity in the symbology. A
include its style, size, color, and angle. The size general audience map might involve
of the north arrow is in points. Decimal fractions the use of laicizing terminology. A
can be entered here. map with a potentially color blind
audience should not contrast cer-
tain colors.

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QUERIES BEFORE DESIGNING
How this Map will be different ◆ Who all will be the target audience for the
Display Map ?
from an online Map ? Pilgrims, Tourist, Locals and Trekkers will be the
main target audience for the Museum.
What is really the main need
behind making this Map ? ◆ What all purposes should the Map solve ?
It will orient the visitors to the major Rung Tribe's
settlements in the area and will also be a guiding
material for the trekkers and tourists .
◆ What all information to put on the Map ?

Motorable and Non-motorable roads, Trekking
pathways, Major Rung Settlements, Geographical
boundaries, Way to Mt. Kailash, Major Tourist
attractions, Introduction of the Rung Region.
◆ What are the characteristic elements of the

region and their culture ?
The festivals (especially Kandali which is
celebrated once in 12 years), The Natural
landscapes, The traditional Costumes,
The Tribe's trade history with Tibet.
◆ What all Visual media of communication, most

of the tribe is exposed to or interact daily ?
Smartphones, Books, Magazines, Newspapers etc.
◆ Can we also think of an interactive map ?

Would be difficult to run an Interactive Map
Display as there are electricity cuts often.
◆ Where the production of Map will happen ?

For now, Dehradun
◆ Will the map get displayed anywhere else like

On internet, Pocket Map, Books etc. ?
Maybe on the website later
Though finally I ended up making a general refrence

map but at this stage I was really looking to
challenge the usual refrence maps.Therefore,
was thinking about other possibilities
and other possible type of data to
be incorporated in the map.

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Vyans Valley | Rung Kalyan Sanstha

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RESEARCHING THE RESEARCH
Since, some research on the

positioning of landmarks had
already being done by the Studio
previously, so I had to start
compiling all the available
data into a single map, which
will be used for the client to
review the accuracy of
landmarks position
and spellings.
Landmarks placed on the grid based on their
geographical coordinates, by the Studio earlier.
I mapped out all the major landmarks on the map and had to
proportionately stretch Chaundas valley's landmark to sort
the visual clutter due to the close proximity of the places.

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British Kumaon & Garhwal Map | Survey of India

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THE DISPLAY AREA
Museum Gallery Area | Chitku Design Studio

The display area was spacious enough for any
visitor/ crowd to see/ read the Map
from an optimum distance.
The wall seemed to be moist because of the area’s

weather conditions so it aslo became one of the
important parameters for us to figure out the
material and mounting of the Map.
Map's installation area
Front elevation of the Museum building

Museum Floor Plan | Chitku Design Studio
Map's installation area

1st floor plan of the Museum building

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STUDYING THE REGION IN DEPTH
There were many myths and stories around

landmarks and their significance, the trade
that used to happen earlier and how after the
indo-china war it got affected. The landmarks
are also divided into their summer and winter
settlements due to their nomadic lifestyle. One
can also observe the tibetan influence in their
textiles, language and daily used products. As
a trader, getting well versed in the all the
three languages(English,Tibetan and Hindi)
was crucial for them.
Since, I just started the project I knew very few about

this region and the tribe so meanwhile I was going
through the books, online videos, Photos and articles
about the tribe and about their rich history.

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INITIALLY A PICTORIAL MAP
Pictorial maps (also known as

illustrated maps, panoramic maps,
perspective maps, bird’s-eye view
maps, and geopictorial maps)
depict a given territory with
a more artistic rather
than technical style.
It is a type of map in contrast to road map, atlas,

or topographic map. The cartography can be
a sophisticated 3-D perspective landscape or a
simple map graphic enlivened with illustrations of
buildings, people and animals. They can feature
all sorts of varied topics like historical events,
legendary figures or local agricultural products
and cover anything from an entire
continent to a college campus.
Drawn by specialized artists and illustrators,

pictorial maps are a rich, centuries-old tradition
and a diverse art form that ranges from cartoon
maps on restaurant placemats to treasured art
prints in museums.

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REFERENCES
Bhutan Wildlife Map | WWF Bhutan
◆ Vibrant Colour palatte
◆ Handwritten All capital
◆ Stylized characters
◆ Digitally illustrated
◆ Enough breathing space making
the illustration stand out

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CRAFTS MAP OF DELHI

The map of India’s capital shows a rapidly growing
metropolis, which contains the old and the new. Metro
lines compete with carts, two wheelers, three wheelers,
buses and cars of all kinds. Despite flyovers, traffic jams
are a way of life. Handicrafts are available everywhere.
Folds
An informal typeface
Different paintings collaged together
Muted colour palatte
Hand painted
Description about the elements
The map is a part of the other
maps in the collection
Crafts Map of Delhi | Delhi Tourism
CAMBODIA WILDLIFE MAP

Colour palatte inspired by
natural colour of the place
Custom lettering for the Title
Vector illustrated
Composition: Perspective ariel view
Cambodia Wildlife Map

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Uttarakhand Ecotourism Map | Uttarakhand Government
UTTARAKHAND ECO-TOURISM MAP

Colour palatte inspired by natural colour of the place
Custom lettering for the Title
Vector illustrated
Composition: Perspective ariel view

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“A map is the greatest of all epic

poems. Its lines and colors show
the realization of great dreams.”
~ Gilbert H. Grosvenor

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Rapid
Prototyping
◆ Artwork dimensions 42
◆ Visual ergonomics 43
◆ Illustration styles explorations 44
◆ First client meeting 46
◆ General reference map 48
◆ References 1 49
◆ Locating the landmarks, boundaries 50
and pathways
◆ Preparing terrain backdrop 51
◆ Initial composition and fixing 52
◆ Visual heirarchy 53
◆ Composing ligatutes and typing 54
in devanagari
◆ Rapid prototyping 56
◆ Visit to the printer 60
◆ First visit to the Rung Museum 62

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ARTWORK DIMENSIONS
Intial Wall Area & Dimensions | Chitku Design Studio
The final dimensions of the We decided to mount the printed Map on a panel
to protect it from any moisture.
artwork were 351cms x 245cms.
Working on the actual dimensions of the Map on
software was very time time taking as the file was
too big to work on.Hence, I decide to work
on 1/10 dimension of the actual size which was
351mm x 245mm.
After actually visiting the place, we found that the

wall dimensions were little different from what it
was measured earlier. Also, the horizontal roof
wasn't perpendicular to the walls due to
some construction error.

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VISUAL ERGONOMICS
Visual Ergonomics | Chitku Design Studio
Visual ergonomics is about The eye leads the body, and if we can’t see well we’ll
designing the visual environment adapt our body posture to enable vision. This can
cause improper work posture, which in turn can
to avoid any visual fatigue in lead to musculoskeletal problems.
the working area.
Visual ergonomics played a vital role in deciding
the placement of elements and point sizes of the
typeface in our project. We also had to consider
the legibility of the elements from varied eye
levels of different age groups as shown
in the figure above.
The display area was well lit in the daytime due to

the skylight present on the roof. There were track
lights also installed on the roof.
Only after the Museum visit, We got to know about

that the track lights were not working at all.
www.eat.lth.se/english/research/indoor-outdoor-and-work-
place-environmental-factors/visual-ergonomics/

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ILLUSTRATIONS STYLES EXPLORATION
Raster based illustration style
Meanwhile along with doing research I tried out

some illustration styles in vector and raster both to
present it to the client for their perspective on it.

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Vector based illustration style
Had explored making vector grain brush also but

after a point of time my system started
responding very slow because the
brush had a lot details.

46
FIRST CLIENT MEETING
The Brief got modified from the

Pictorial Display Map to a
General Refrence Display Map.
Mapped new landmarks and corrected the spellings with client.

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The meeting was mainly around to do a spelling

check of all the landmarks and as the client needed
to execute the Map by April, The brief was changed
to make it a General Refrencing Display Map
because doing a Pictorial Map seemed
to take more time.
There was still some confusion regarding the

correct spellings of the landmarks so we asked
them to visit the Museum soon to discuss the
correct geographical position and spelling of
the landmarks with locals also, as they are
more familiar to the place.
After the meeting I wasn't able to visualise what

all can I do in the General Refrencing Map for my
graduation project. So, after getting clearity with
Ma'am, we decided to finish the General Refrence
Map by March and then to work on a Pictorial
Trade Map of their trade lifestyle as my
main Graduation project.
As I was designing a Map for the first time, I

thought it is possible to attempt both the Maps in
the time of four months But when I really started
with it, then only I realised how much actual time
is required to design a Map.
The project was sponsored by the

ONGC(a government entity), so that's
why also the Map needs to be executed
before the financial year ends (in March).
Later, I realised that General Refrence Map was far

more useful and understandable for a larger group
of audience that was coming to the Museum as
compared to a Pictorial Map.
After finishing the General Refrence Map, I tried to

extend it in some foldable explorations also, with a
series of illustration at its back.

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GENERAL REFERENCE MAPS
These are simple maps showing

important physical (natural and
man–made) features in an area.
Their main purpose is to
summarise the landscape to
aid discovery of locations.
They are usually easy to
read and understand.
Most of the early mapping of the Earth falls

into this group.
General Reference maps often enlarge or emphasis

some features to aid users. For example, road maps
show roads boldly and may use road widths and
colour to distinguish between major and minor
roads.
As a general rule, General Reference Maps would

only show relief (the difference in height between
features on the map) in a stylised manner. Street
and tourist maps are good examples of general
reference maps.

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REFERENCES1
For more better understanding of the regions

actual terrain of the earth’s surface was used.
Terrain was less prominent due to

low saturated colour tones.
Statistical data was incorporated like

demographics structures,seismic zones
division, terrain elevation, etc.
Mostly Serif typeface was used.
The Map was very detailed information heavy .
Some icons were too detailed to

be recognised from a distance.
Uttarakhand State Map | Pahar Publication
Muted colour tones made it look

visually less heavy.
Coloured gradients are used to depict the

topographic elevation.
Grids and statistical data is

used for distance accuracy.
Serif typeface is used for bigger titles and

Sans serif for smaller ones.
Only major landmarks are shown to avoid

any visual clutter.
Reduced opacity of the terrain outside the

state's geographical boundary.
Uttarakhand Tourist Map | Uttarakhand Tourism

50
LOCATING THE LANDMARKS,

BOUNDARIES & PATHWAYS
Pathways already done by the studio

Pathways, boundaries and glaciers I added later
On referring to the Satellite images of the region,

there was some deflection in the pathways of
the map that was done earlier.

51
PREPARING TERRAIN BACKDROP
I coudn't find out any source

from where I could get a
high resolution terrain
imagery of the whole region
so I tried collaging multiple
images, taken from the
Google earth to prepare
a high resolution terrain of
the whole regionand use it
as a terrain backdrop.
Satellite Imagery | Google Earth

Satellite Imagery | Google Earth
Simultaneously, I was also exploring other

possible terrain styles options.

52
INITIAL COMPOSITIONS &

FIXING VISUAL HEIRARCHY
After getting all the boundaries and pathways Below are the explorations of possible inset
correct, next step was to add colour to the position of Chaundas Valley. The purpose of
elements but before doing so, I first sorted out the using the zoomed inset was to reduce clutter of
information heirarchy in grayscale and then later the landmarks across the Chaundas Valley. Also
added colours accordingly. we were aiming to position the inset in such a
way, from where the viewer's eye can move as less
as possible while navigating through the main
Map, and also the bridge of the inset
shouldn't overlap any important
element of the Map.
To get more clarity, I

numbered my grayscale
palatte first and then
accordingly applied the
tones to achieve the
needed visual heirarchy
for the Map.

53

54
COMPOSING LIGATURES & TYPING IN DEVANAGARI
There were some devanagari ligature

characters which were not present in the
character set of the typeface so I had to
construct them manually by visually
comparing the spaces of similiar
ligatures available in the character set.
Confirming the correct spellings of all the

landmarks and elements on paper.

55
Another challenge was do hindi typing of the

landmarks, which I had never done before so I
क
was selecting each character from the character
set to form words which was quite time taking.
TYPEFACE : KOHINOOR
An elegant low contrast Devanagari typeface
suitable for both body and display text. Part of the
super family Kohinoor Multi-script. It comes in
5 upright styles and has full support for
the conjuncts and ligatures.
Also, the Museum has already been using

the Kohinoor Devanagari for all of its
communication purposes.

56
RAPID PROTOTYPING
As the senior members of RKS(Rung Kalyan Along with the discussion for the Map, There
Sanstha) were present in Dharchula at this time were other tasks also which were important
(February, 2020). We thought this will be a to figure out the composition of the
great opportunity to get feedback on the Map artifacts(with their stories) in the
with locals and RKS members together. main Artifacts Display area.
The above Map is what I have prepared initially for

our first prototype test but this Map had limited
variation of elements to compare, so in final one I
incorporated as muchvariations as possible.
Getting feedback from the Rapid prototype and then

improvising on it, was less time taking than working
on the perfection from the first design itself.

57
Here, I tried to test most of the variations of

elements in this first print only to compare
the various elements interacting together.
The purpose for this first rapid prototype was

to test the following things :
◆ Legibility of point sizes(typeface) and

Lines width(pathways)
◆ To confirm the Spelling of the landmarks
◆ Information heirarchy
◆ Visual ergonomics of the space
◆ Quality of images when getting printed
on the actual scale
◆ Remeasure the dimension of
the installation area

58

59

60
VISIT TO THE PRINTER
Going for the test prints throughout the project

gave me many useful insights which were
difficult to observe on the digital screen.
Also learnt how important it is to involve the
printer since from the initial phase of the project
because their insights are very useful to design
or approach the product accordingly.
Signage Printers, Dehradun
AVAILABLE MATERIALS AT
MARKET AND COSTING
Basically there were two materials available,
Canvas and Flex which had 3-4 quality options
available in the city so we were thinking to do the
final printing in Canvas and flex
for initial prototypes.

61

62
FIRST VISIT TO THE RUNG MUSEUM
Community Interaction | Deepak SS

It was a two week trip and throughout the visit it was
very exciting and engaging. I got so impressed by the
people that how they have kept their culture intact
and still trying to preserve and preach it through
developing their cultural museum. I can never forget
the charm of the Dance they perform
collectively.
One fine morning, After crossing

the Indo-Nepal bridge we also climbed up a
mountain in Nepal and the landscapes were
just breathtaking with the huge
snowcapped mountains. Space observations
We used to munch on Thithoraas(a spicy ◆ Some of the track lights were not working.
Aam-papad) whole days which we got from Nepal. ◆ Wall had some moisture absorbed due to the
weather conditions there.
◆ Electricity keeps fluctuating in the area.
◆ The actual wall dimension was more
than what it was measured earlier.
◆ The display area was very well lit during
the daytime even without any artificial
source of light.

63
Further, I discussed what all other things could

be added in the Map to make it usable
for a larger group of audience.
We also thought adding Banks, Hospitals, Hotels,

Petrol pumps etc. But as these landmarks are not
permanant and could change their position in
future, so we decided to avoid these.
Locals helped us in correcting a lot of landmark Other tasks I did with team on the visit:
spellings than what we expected. Many new
landmarks were also added in the multiple ◆ Helping Deepak in
discussions with the them. Also, they were Photography of the artifacts.
preffering to write the local names of ◆ Measurements of the Artifacts.
the landmarks than their general names. ◆ Assisting Ma'am in figuring out the
composition of Artifacts in
the Display Boxes.
The major corrections were : ◆ Measurement of all the Display
Boxes and the gallery area.
◆ Map’s proportion were looking small ◆ Assisting in preparing the prototype models
in comparision to other elements on the Map. for the Display Boxes.
◆ The glaciers were not properly
blending with the background.
◆ Having a lot of negative space around
the Mansarovar lake was making it
look more prominent.
◆ The colours of the pathways and
boundaries were seemed too saturated.
◆ The coloured terrain background was
looking overpowering to the pathways.

64
“In cartography, as in medicine,

art and science are inseparable.
The perfect map blends art and
science into an effective tool
of visual communication.”
~ Dr. Keith Harries

65
The
Display Map
◆ Background 1 66
◆ References 2 74
◆ Background treatment 2 76
◆ Terrain treatment 1 77
◆ Terrain treatment 2 83
◆ Chaundas valley inset exploration 89
◆ Borders 90
◆ Lettering 92
◆ Type intervention for title 104
◆ Icons for legend 106
◆ Differentiating the landmarks 108
◆ Line test 109
◆ Information clutter 110
◆ Third Client Meeting 117
◆ The Finalized Map 119
◆ Installation 122

66
BACKGROUND 1
Background Textures | Freepik.com

67
After coming back from the trip , First I

corrected all the spelling of the landmarks.
As the Museum is about to display the history of

tribe, I had vintage visual aesthetics in my mind
therefore most of my explorations are around it.
While working with the high resolution

background, My system started to lag as the file
became too heavy for it, So then I had to work
on the 1/10 size of the actual size of the Map.
Working on small size was also quite tricky because

then I wasn’t able to adjust the size of typeface in
points, as the size was 1/10 of the actual size. So
their x-height became my measuring parameter.
Left: Some of the treatment explorations

I did for the background of the Map.
Why I chose to work on 1/10 size of the Map

68
The Map was not really

standing out against the
background colour tone.
The intensity of the blue

patches was also very dull.
1st exploration
Hierarchy wise, All the

landmark names were
seeming to be on the same
level and also there was
no element signifying
the three different valleys.
2nd exploration

69
In this, I have tried

removing the glacier
patches as they were not
blending with the
background.
So, to depict the glaciers,

I tried adding an
imagery of terrain.
3rd exploration
To differentiate the three valleys visually on the

Map, I tried colour coding the landmark names.
Also, the type size of the landmarks which are
coming below 2 feet to above 6 feet are bigger
than the landmark names which are falling in
between to make all the landmark names legible
from different eye levels.

70

71
After discussing the Map with the team, It is

observed that the background is getting too dark
and taking all the emphasis on itself which needs to
be shifted towards the Map and its landmarks.Also
colour coding the landmarks wasn’t
working well and making the overall
Map look visually heavy.

72

73
COVID-19
By this time, the COVID-19 cases have already

started to show in Uttarakhand, especially in
Dehradun. And I was the only one in studio
who was daily commuting from the main city area,
so for everyone's safety I shifted to the
studio itself with Deepak.
The biggest thing that happened was that the

execution of the project got paused as the RKS
team was helping the nepalese workers who were
stuck in Dharchula, by providing them the basic
needs and the responses from client have started
getting delayed but I continued to work to
finish it as my thesis project.
After a week I shifetd, the Janta Curfew and

lockdown have started to happen as the cases started
to rise across the country. This lockdown period was
the longest I've stayed out of my home, or say out of
my comfort zone. But I feel that there were many
great things you learn while living alone because then
you have to manage everything from listing down
what groceries to buy, to what and how to cook, to
which day keep clothes for washing which I didn't
used to even care about when I'm at home.
Sometimes, I used to have this thought also
that how most of the women in India does this
throughout their life and not only for themselves
but for the whole family without any
holidays/Sundays, and still men get more
importance/authority in the families.
From being a Chief to Barber, I practised quite a few

things which I think are beneficial for us
to know in life.
Staying near to the workplace saved at lot of my

travelling time in which I worked more on the project.

74
REFERENCES 2
Because I got stuck with the visual language for

the Map and was not able to understand what
really was lacking in the Map, so to get a new
perspective I started studying the National
Geographic Infographics along with some
others to see how they have figured
out their visual systems.
◆ Smooth fading in and out, gradients

◆ Muted colour palatte
◆ Contrasting size of the subjects
◆ Contrast in the opacities of elements to give a
sense of perspective and motion
◆ Darker subjects against light background
◆ Map inset is used
◆ Grids are followed for content placement
◆ Serif typeface is used for heading and
sub-heading while Sans Serif for body text
Jerusalem's Holy Ground | National Geographic
◆ Actual contours of the subjects illustrated and

not stylized
◆ Lighter subjects against dark background
◆ Contrasting colour palatte
◆ Grids are followed for content placement
Infographic | Google

◆ Sans serif typography for cleaner and
contemporary look

75
◆ Muted colour palatte

◆ No grid is followed
Infographic on Egypt | Google
◆ Use of multiple typeface
◆ Mostly colour tints are used for palatte

◆ Sans serif typography
Silk Road | Google

76
BACKGROUND TREATMENT 2
After analysing the Natgeo Infographics, I

tried to approach the information heirarchy
differently than what I was perceiving earlier.
I explored lighter foreground on dark backgrounds
and vice versa. In these attempts, mostly I've used
Green, Brown and Blue colours which are
prominient in nature.

77
TERRAIN TREATMENT 1
Earlier the terrain (original satellite image)

was becoming overpowering on the lines
and text in foreground, so to counter that I
explored making the terrain monochrome
with Green, Brown and Blue colours
which are prominient in nature.
I've kept the colours lighter to let the

foreground elements stand out first.

78

79
Though Map against the blue backdrop was looking

better with nice contrast of Brown and Blue colours
but on getting feedback from team I realised that
it is more looking like an island Map
surrounded by water.

80

81

82

83
TERRAIN TREATMENT 2
The terrain was looking flat and monotonous,

so to add depth I added Green colour for
the shadows and contrast.
Here I was trying balancing both the colours to

acheive a muted colour terrain with depth as well.

84

85

86

87

88
Darma Valley | Rung Kalyan Sanstha

89
CHAUNDAS VALLEY INSET EXPLORATION
Rather than keeping a line for the bridge of inset, I

tried to make it look like stretching
out in perspective. The bridge used for the inset of Chaundas valley
was appearing to be disconnected due
to its less opacity at one end

90
BORDERS Set 1
The entry doors of the houses were intricately

sculptured by the craftsperson to welcome guests
in the homes. Similiarly, I have tried using the same
pattern for the Map’s border to welcome the
viewers into the Map. The patterns were
chosen based on the signifance and
craftsmanship of the pattern. Set 2
A wooden frame was also coming around the

map, on which it was going to be mounted.
It is decided to remove the border
to avoid the clutter because of two border.

91

92
LETTERING
Though we were not able to use the lettering but in

the whole project, Lettering and illustrations were
the only things which I enjoyed the most while
exploring. I tried quite a few variations
in their style and composition. I think because
after working so long on screen, I got the chance to
scribble on paper again.
“Rung Region” is called “Rung Raju Paatu”

in the local language ‘Rung Lo’

93

94
As the available space for lettering in the Map was Motifs found on the tribe’s products of daily use
close to a square so I was trying to fit the letters and like clothes and jewellery.
motifs into that shape.

95
Tried some tibetan calligraphy inspired letters also Trying to intertwine all the letters into one form.
because the region had many things
similiar to Tibet.

96
Here, I was trying out to depict the

“Celebrative” and “serene” nature of
the region through the lettering style.
The forms and patterns were majorily inspired by

the local flora.Most of the houses with this style of
architecture were more 100 years old.

97
Engraved Wooden Doors | Rung Kalyan Sanstha
The organic forms and patterns were intricately

imbibed in their vernacular architecture
Mixing lettering with the motifs found in their

vernacular architecture.

98
At this stage of developing lettering, I wasn’t giving

much attention to the finish of the form and just
trying out different possible styles to check which
will compliment the Map most.

99
As the Museum was also about celebrating the rich

history of the Tribe, I started compiling different
motifs into a single composition to communicate
that celebrative nature.

100
In Maps usually, to cover more area

kerning of the Country's name is increased.
But increasing the kerning in devanagari
letterforms was making it hard to read.
So, I tried adding Swashes to both the sides
of letterform to make it cover more space
without losing its legibility.
To save more space for the Map and give the inset
a zoomed in effect, I was trying to make
it in a perspective position also.

101
On showing it to the team, they felt the whole Some title explorations were overpowering when
composition seemed too Floral and Decorative due applied over the map as they looked
to which it was catching the main attention in the too floral or detailed.
Map. Also the lettering seemed quite illegible at
the first glance because of the swashes.
It was interesting how the sculpture of these

wooden doors and windows have used repetition
of only one pattern to get the organic forms of
local flora.Even the joineries were attaching in
flow such that the overall composition
looks very seemless and organic.

102

103
Legend with border was getting more emphasis

rather than the introduction itself so, I replaced
the border from legend to the introduction.
Also, the iconic forms of the silhouettes in the
inset were seemed affected and making it a
challenge for the viewer to decipher.
I found Drop shadow as a boundary line was con-
fusing for some people to understand.

104
TYPE INTERVENTION FOR TITLE
When the lettering styles didn’t worked

for the title, I tried using general
typefaces for the title.
Laila
Rozha One Regular Amita | Laila
Arya Baloo 2

105
Tried a compass form inspired by one

of the architectural element.
The border around Map’s introduction gave

it more visual prominance than Legend.

106
ICONS FOR LEGEND
Approach for the first set of icons was to

design an icon set with basic shapes and as
minimal as possible so that the landmark
could be identified even from a distance.
But later while discussing it with the

team, We found that some forms were not
appropriate enough to be understood easily.
Then we were trying to make the icons
communicative in themselves even
without looking at the legend.
Later, It was interesting to see how the forms

for the mountain remains almost same
across all sets of ideation.
Initially, I was only exploring around the form of

icons without bothering about the grid to see
what are the possible symbols and iamgery
to depict a perticular subject.

107
Wildlife Mountain
Meadow Mountain Temple Sanctuary Pass

108
DIFFERENTIATING THE THE LANDMARKS
Previously, I had tried using coloured shapes

behind landmark names to differentiate the
landmarks but those shapes were covering
much of the map’s terrain.
So, the challenge was to figure out a system of

elements to differentiate the landmarks further
into the valleys they come under. After several
ideations, I arrived at using 5 different variations
of Co-Centric Circles which(Circles) I
was already using for common landmark.

109
LINES TEST
Lines variation tried for the pathways and

boundaries to check their emphasis and
legiblity interacting the Map.The number
of pathways and boundaries needed
different types of line.
At this stage, before printing the second

prototype, I wanted to confirm all the
spellings and locations once with client.
Therefore, for spellings I compiled all
the spellings into phone screen size
format to circulate it through
Whatsapp (because many of the
members were more active
on Whatsapp than E-mail).

110
INFORMATION CLUTTER
Region around the Adi Kailash is like a paradise for trekkers with
full of Peaks, Glaciers, Passes and Lakes to visit. But in Map the close
proximity of these landmarks was creating a clutter as compared to
other areas on the Map . So, to resolve it I tried
experimenting with other typefaces.
After exploring around with 15 typefaces, the team shortlisted 3. And

after putting those typefaces on Map, everybody felt that Kohinoor
was still working better than others.
Then it was decided to only keep prominient landmarks around the

Adi kailash region and for trekking enthusiasts, there could be
another Hand Map which will have most of
the trekking destinations.

111
Kohinoor
Baloo 2
Halant

112
To resolve the clutter and make icons stand out, I

tried out some different colour schemes also
which is taken mostly from the
colour palatte of Map itself.

113

114

115
Removing glaciers seemed like reducing

information for the trekkers and other interested
users So I tried different glacier patches options
to blend the form with background.
In the Chaundas inset bridge, reducing the opacity

for effect was creating a disconnect between
both the elements.

116
Client Meetings | Deepak SS

117
THIRD CLIENT MEETING
The Map was hung in the car shed as it was raining

often those days and alinged it to the actual height
at which the Map was going to be installed.
We did the final client meeting at our studio only

with most of the senior members of Rung Kalyan
Sanstha.The feedback session was tiring
and lasted for 4 hours.
Along with adding new landmarks and spelling

corrections, One of the major change client asked
for is to put the Chaundas valley inset to the left
side of the composition as there is an ongoing
political tension going regarding the border
between Nepal and India. So to avoid any
confusion they wanted the inset to be within
the India's boundary. Also, some landmarks
were removed in the Map which were
coming under the disputed area.
Team was looking to execute the project after making

the changes, so we were planning to print it so that
whenever this pandemic situation goes normal we
can go install the Map along with other executions.

118

119
THE FINALIZED MAP
Finally, the Map was ready to print re-composing

the Map.
Designing Map on the computer to Printing it, was

a task in itself.
Printers usually were not providing the best print
quality to cut cost, so it became very crucial for
me to sit with the printing team from the Machine
Operator to the DTP Operator guy, to get the
desired print done.

120

121

122
INSTALLATION
Sunboard was first stuck

on wall to keep the Map
away from any moisture
absorbtion in future.
A textured Vinyl
Wallpaper was selected as
the material of the Print,
for its better durability.
We had to divide the Map

into 4 columns as the
longest print roll was 4
feet wide.
It was really a task to align

all the print rolls while
sticking because a slight
shift could have made
some landmark names
illegible.

123
A Wooden Border was

given as the Map alone
was tending to blend
with the surroundings
Map Installation | Ms. Priyanka Tolia
THe Installation finally executed by the Studio in April 2021 as

other things including the Dispaly Cabinet Graphics, Artefact
Dispaly Stands were also going to be installed at the same time.

124
“Maps codify the miracle of existence.”

~ Nicholas Crane

125
The
Folding Map
◆ Converting to a foldable Map 126
◆ Materials available for printing 127
◆ 1st test print 128
◆ References (folding) 130
◆ Foldings 132
◆ 1st folding variant 135
◆ 2nd folding variant 137
◆ 3rd folding variant 139
◆ 4th folding variant 141
◆ Concepts for back illustration 143
◆ 1st Approach 144
◆ 2nd Approach 146
◆ 3rd Approach 148
◆ 1st Composition : Festivals and Events 149
◆ 2nd Composition : Landmarks, 161
Flora and Fauna
◆ 3rd Composition : Lifestyle and Activities 165
◆ Cover 169
◆ Reflection on the Journey 170
◆ References 172
◆ Colophon 173

126
CONVERTING TO A FOLDABLE MAP
As the Covid-19 cases were going up throughout

the nation, the lockdown also was keep extending.
To use this time we thought to extend the Display
Map to a foldable map which could also be used as
souvenir in the museum. It’ll also create an
extra revenue source for the museum. This was not
amoung the deliverables so we decided to prepare
a prototype of the souvenir map to present
it to the client in the next possible
meeting after the lockdown.
Mainly, I’ve explored illustartion concepts,

foldings and opening experience of the Map.

127
MATERIAL AVAILABLE FOR PRINTING
The only printer that was opening this time once in

a week had only 2 materials for this Map printing.
One was PP(polypropylene) and other was a
thin sythenthetic sheet which they
were calling a thin flex.

128
TEST PRINT 1ST HANDMAP
◆ Text was pixelated in the print.

◆ The PP material was glossy.
◆ The Map was not folding completely due
the thickness and nature of the material.
◆ Colours were very saturated in the
first test print.
◆ Comparitively expensive than Basic
printing paper.
◆ Crease lines were not coming sleek.
It was only when the 2nd test print came in the

actual colours, we realised that the printer used
other printing machine for the 1st test print which
had some issues.

129

130
REFERENCES (FOLDING)
MAP OF ATHENS
Athens Tourist Map
◆ Despite having such a large dimension of the Map,

the map was very thin when folded only because
of the material used was of such quality.
◆ Sponsors advertisement
◆ The map’s dimension after folding was very handy

and was even fitting in the pocket also.
◆ Important places such as Restaurant, Places to vis

it, Shop and Stay have a seperate sorted list
for the ease of finding them under
one seperate section.

131
GENEVA CULTURAL TRAIL MAP
Geneva Museum Trail Map
◆ More sorted because of the less cluttering element

like Advertisements
◆ From the Map’s render to the typography, every

thing was very bold and big enough to
◆ Paper material was around 200gsm thick making

it thicker when folded.

132
FOLDINGS
Foldings were very crucial for the content

placement and opening experience of the User.
I tried combining mutiple folds variations with
whatever material was available in the studio,
and then finally we took selected 3 folds
and size variations for printing.

133

134
29 x 19 inches

135
1ST FOLDING VARIANT
I have mixed the accordian and letter folds for all

the variations of the foldable Map.
◆ In this variation, we have kept the introduction

on front face of the folded map and
legend at the back.
◆ The extra left space is kept for advertisement
or Facts about the region.
◆ Uncomfortable to hold in hands.
◆ Legend seemed to far from the Map while using.
◆ Text was legible.

136
29 x 19 inches

137
2ND FOLDING VARIANT
◆ In this variation, More breathing space is kept

for the Map by reducing the extra space for
the advertisement section.
◆ Here, the extra left space is kept for citation.
◆ Comparitively better to hold in hands than
the vertical one.

138
19 X 14 inches

139
3RD FOLDING VARIANT
◆ In this variation, No extra space is kept due to

its size constraints.
◆ Very Handy.
◆ Text was hard to read for some people.

140
29 x 19 inches

141
4TH FOLDING VARIANT
◆ In this variation, Keeping more space for the

introduction, the extra space is
shifted to the left.
◆ Comparitively better to hold in hands than
the vertical one.
* This is a refined one done later

142

143
CONCEPTS FOR BACK

ILLUSTRATION
Making the Map into a foldable format would

make it resourceful for the trekkers and visitors
but we were also trying to make it into a souvenir
which people would want to frame and
put on their walls.
So we conceptualised 3 posible concepts

to approach illustrations

144
1ST APPROACH
A pictorial map depicting the geographical

landmarks and activities on Map.
In this concept, I’ve illustrated the regional

festivals, Lifestyle activities and prominent
tourist destinations on the illustrated
terrain of the region.

145

146
2ND APPROACH
In this concept, we tried dividing the

activities and landmarks, then putting them
under the valley in which they are
practised or come under.
The illustrations are kept in between the crease

lines so that even after opening and folding
multiple times, The illustrations
doesn't get affected.

147

148
3RD APPROACH
A set of theme based illustrated map.

For the third concept of Map, Ma’am suggested
to divide the content into three categories :
Festivals, Lifestyle and Landmarks.Then
accordindly I explored illustrating the three
concepts into three Maps.So the final souvenir
visualised was a set of three Maps together
with various aspects of the tribe, illustrated.
The main identity for the title visualised, had

the word “Rung” as main heading written
horizontally, paired with the subheading
which is written in vertical orientation to
balance the available negative square space.
Descriptions were composed along
with the illustrations to aid the viewer in
understanding the context of the elements.

149
1ST COMPOSITION
In this first illustration style , I was trying to
blend the Highlights and Shadows through
textured brushes to give it a raw aesthetics.
Again the aim while attempting these
illustrations was to explore the styles
and compositions which would
best compliment the content.
It was challenging, yet exciting at the same time to

work on these asymmetrical compositions as I
was attempting these for the first time.

150

151

152

153
These explorations were done to see how the

composition would look in limited colour palattes.
Elements in these limited colour schemes were
getting similiar visual prominance as compared
with their original colour scheme.

154

155
The more the colour contrast I increased in the

composition, the more the subjects
were standing out.

156

157

158

159

160

161
2ND COMPOSITION
As clouds were one of the prominent aspects of

the landscapes here, I tried using it as a stitching
element amoung the main subjects
of the composition.
Here in second illustration style , I tried to blend

the Highlights and Shadows through
a dry brush.

162

163

164

165
3RD COMPOSITION
Here, the Highlights and Shadows were smoothly

blended using oil brushes. The subject’s shadows
were merged to use as a combining element
for all the subjects

166

167

168

169
COVER
The approach for cover of the souvenir was to greet

the viewer into the three main aspects of
the Rung Region : Festivals and Ceremonies,
Landmarks and Flora-Fauna, Lifestyle and
Activities. So here I used an old Rung
lady doing Namaste to communicate that.
Here, I’ve used Dry and Oil brushes to

illustrate/manipulate the portrait.

170
REFLECTION ON THE JOURNEY
This 4 month real-time project completely changed Deepak, my colleague in the project also inspired
my practice of the Design Process, because in in terms of his sincerity towards work. I like
college assingments I have mostly followed a linear working with interested people because on the
Design Process. Most of the times, I already had journey one gets so many opportunities to learn/
something in mind what kind of output I'll be unlearn from them, I learnt that everyone is good
working on. in something, and working in team just makes
I have understood that this is how some designers the overall work comes out more effective
are able to arrive at a new, or more appropriate and efficient.
solution by completely thinking around the core
problems/ needs of the user. Also, earlier Publiaction Design always seemed
boring to me, But after working on this document
This project shook all my believes around the I realised the amount of work and thought is
process, It was for the first time that just after the required to execute it, and I must say it was a
secondary research, we had to make and test the learning in itself which I really enjoyed.
rapid prototype as it was the need of the project.I
learnt that every real-time project comes with When I look back, I think I could have finished
different set of contraints and opportunities, and the project sooner and could have attempted other
hence requires a specific process & solution. things also like Signage, Ticket Design, Children
Books etc. for the Museum.
There were many learnings at every stage of the
project. For the first 2 months I wasn't enjoying the
project much because the brief was changed after
3 weeks and I already had something in my mind,
the kind of output I wanted to work on.
But luckily my guide, Priyanka Ma'am was always
guiding, questioning things critically, which
pushed me to refine the Design at every stage.
which realised me that the design process
can't be linear always.
I learnt many things in the studio especiallly

managing the things, how to plan and to get
things done in advance including coordinating
with everyone at the Printer's place, pushing Client
for the feedback.
I feel it is still challenging for me to convince

people over the design decisions, that I take. I
think I should start interacting more with people
to communicate better verbally also, just arriving at
a good design solution isn't enough to make things
happen.

171

172
REFERENCES
Books Web Links

• Throne of Gods by Heim and Gansser ( 1939) • en.wikipedia.org/wiki/Cartography
• Administrative Atlas, Uttarakhand, 2011 • www.gislounge.com/mapping-
• Outlook Traveller, Uttarakhand, 2007 through-the-ages/
• Lonely Planet, Trekking in the Himalaya, 1997 • www.nationalgeographic.org/encyclopedia/map/
• Lonely Planet, Indian Himalaya, 2000 • www.gislounge.com/ten-things-to-
• Map my India, Uttarakhand, 2010 consider-when-making-a-map/
• Reader's Digest Vanished Civilization, 2002 • gisgeography.com/map-elements-how-
• In the Forbidden Land by Arnold to-guide-map-making/
Henry Savage Landor (1898) • earthexplorer.usgs.gov/
• landsat.gsfc.nasa.gov/landsat-8/landsat-8-bands
Maps • www.glims.org/maps/glims
• Uttaranchal Tourist Map, Department of Science • www.britannica.com/science/map/Types-
& Technology of-maps-and-charts-available
• Uttaranchal Map, Survey of India, 2003
• Uttaranchal State, Pahar Publication, 2004 Films
• Athens Tourist Map • Hamarey Simaantwasi, UP Government (1962)
• Geneva Museum Trail Map • Rung community in traditional attire during
• Uttarakhand Eco tourism Map, 2012, Arch i Kangdali procession, Wild Films India
• Crafts Map of Delhi, Delhi Tourism
• Istanbul City Map
• Working with Type, Exhibitions
• Indian Anthropometric Dimensions,
NID Publication

173
COLOPHON
This Document has been written and designed

by Anubhav Kukreti. It has been printed
at
, using a Printer,
on a gsm paper on
This document has been set in:
Garamond Premier Pro

Designed by Robert Slimbach
Available at Adobe
Futura LT
Designed by Paul Renner
Developed by the Bauer Type Foundry

174

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1

Graduation Project by Anubhav Kukreti

Graphic Design, B.Des, 2020,

Rung Raju Patu ◆ Thesis Project 2020

Submitted in Partial Fulfilment of the Degree of

Under the Supervision of

MRS. RICHA PANT

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

VISUAL COMMUNICATION DESIGN

Design a Pictorial Display Map for one of the

Rung Raju Patu ◆ Thesis Project 2020

ORIGINALITY STATEMENT COPYRIGHT STATEMENT

Student Name: Anubhav Kukreti

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

This is to certify that the Design Thesis

The assistance and support received during the

(Name & Signature)

(Name & Signature)

(Name & Signature)

Rung Raju Patu ◆ Thesis Project 2020

Mrs. Richa Pant for helping us with writing

All the faculties at SOD, for always inspiring us,

Mr. Siddhant Sharma for always inspiring and

Fufu, Fufa ji, Chacha, Chachi, Eva, Aarav for all

Mummy and Papa for inspiring me to work

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

Rung Raju Patu ◆ Thesis Project 2020

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

Rung Raju Patu ◆ Thesis Project 2020

In the Indian higher education system, Doon

Doon University is a state public university located

Doon University campus is located on

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

Doon University | Collegeduniya.com

Rung Raju Patu ◆ Thesis Project 2020

Rung Mung is a collective term used for the people

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

Rung Kalyan Sanstha (RKS), a more than 22

Rung Raju Patu ◆ Thesis Project 2020

Doon University has started imparting design

The School of Design at Doon University offers

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

WHY THIS PROJECT

As I come from one of the interior villages from

At the starting phase of the project, I had many

Rung Raju Patu ◆ Thesis Project 2020

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

The studio intimate collaboration with local

Ms. Priyanka Toliya

Rung Raju Patu ◆ Thesis Project 2020

Rapid Prototyping Fin

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

April May June

Rung Raju Patu ◆ Thesis Project 2020

“I’ve always been fascinated by maps

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

Rung Raju Patu ◆ Thesis Project 2020

READING THE BRIEF

Rung Museum Building | Deepak SS

Before my first meeting with client, the brief was

Anubhav Kukreti ◆ UG Graphic Design ◆ School of Design, Doon University

A Rung Girl | Rung Kalyan Sanstha

Rung Raju Patu ◆ Thesis Project 2020

ABOUT MAP MAKING & ITS PROCESS