Undergoing Graduate Diploma in Creative technologies at Media Design School, Auckland and has done Bachelors in Communication Design. Currently, Pankaj Bhambri specialising in Illustration and Animation from Symbiosis Institute of Design, Pune.
Traditional vs. digital; it’s the debate of the century. According to young illustrator, Pavan Dashrath Rajurkar, both are winners. Believing that both are like sides of the same coin, he tells us why it’s impossible to do without the other.
Drawing is an art which will fade with time if one does not practice it regularly. It’s important to constantly keep in touch with that skill because the mind is directly connected to the hands. Nothing can create something as raw as the hands. Tools are used for getting different outputs while one is drawing, and design software is simply one of those tools. One shouldn’t feel any less if one does not know it.
Digitalisation is the need of today. It can’t be ignored. It has enabled designers to increase output, where they can create multiple options in less time. Everything evolves with time and so has designed. Being a designer twenty years ago would mean facing greater difficulties in finding a platform and exposure as compared to today. In those days the process of artistic growth would have been really slow. We should make the most of the available sources.
It’s what they teach in all schools- research the subject before you romance it. An artwork starts from collecting a brief about it. It gives one the understanding to be able to visualise in context. India’s education doesn’t introduce technology right at the beginning, fearing that students will become dependent on it and won’t realise their own potential. A good example is how mental math is preferred over the use of a calculator in schools even today. Similarly, many designers today need a pencil and paper to sketch rough ideas and brainstorm. It’s a healthy habit. Finally, when you have the basic structure and elements of your design, you can work with technology, imparting flexibility and variation to your design.
Not just Indian, but even international designers are drawn to seek inspirations from our rich history, mythological stories, beautiful architecture and mesmerizing illustration styles. Taking these things as a base, many creative experiments can be undertaken and few have and are taking place. But unfortunately, many talented folks in India fail to receive a good platform for their work. The unfortunate reality is that many artists are lost due to lack of exposure. Hopefully, we will see that change soon.
Pencil or stylus? Paper or touch screen? This is just a start to the long list of questions that are swimming in every designer’s mind today. They say change is the only constant but has digitalisation really taken over the traditional methods? Would there be a time when the pencil will be forgotten forever like writers have forgotten a fountain pen? We discuss the issue with famous Indian designers and try to understand what they think. This issue also has some very talented and unique designer like Sachin Puthran, Raghava KK, Ramanjeet Kaur and Pavan Rajurkar got featured along with much more. Mr. Xerty and Amrei Hofstatter came with unique interpretation in our MadeIn section.
A graduate from Willem de Kooning Academy, Lucky Dubz Trifonas is a Rotterdam-based illustrator and graphic designer. Known for visualising concepts into handcrafted characters, human forms and typography, he has worked for international giants like MTV, Nickelodeon, Puma among others.
A typography special, made up of not only Indian type designers or designers whose first love is type, but also few very talented international designers who open a totally new playground with sharing their insights and inspirations. This issue has exclusive interviews with Lucky Dubz Trifonas from Netherlands, Indian UI & type designer Sabareesh Ravi and Shiva Nallaperumal, who believes, type designers are the material providers to all the creative professionals. Also, includes a special making of Nirlep rebranding done by Elephant Design and an interaction with the ace product designer Aman Sadana.
In this Advanced Photoshop tutorial, Kevin Roodhorst shows you step by step how this Astronaut Photo Manipulation is made. Someone even decided to have this as a huge tattoo on his arm!
Kevin Roodhorst a 26-year-old digital artist/retoucher from Almere, The Netherlands, specialized in high-end creative imaging and editorial/commercial advertising.
• HARDWARE/SOFTWARE USED
– Wacom Intuos
– Eizo 27inch Screen,
– Photoshop CC 2017
• STOCKPHOTO CREDITS
Shutterstock
Mumbai based fashion and lifestyle photographer Vinod Wakkchare assisted Mr. Atul Kasbekar, before deciding to fly solo. He has worked with many famous Indian fashion designers and celebrities.
This issue also explored the Jewellery Design & Wedding Photography with some cool techniques to learn from experts in Gyaan section.
Illustrator, Pracheta Banerjee, believes that if the fire within keeps burning, one will find their own unique way and style. With that, she stays true to her fondness for the eerie kind of beauty, and finds expression in showcasing deep emotions of characters in dark settings or environments.
Pracheta is obsessed with the eerie side of beauty. For her, it leaves a heavy and mysterious impact, making one curious about the unknown while demanding the most attention. Her works are inspired from Greek Mythology to even basic human emotions, and have a lot of symbols and historic references, or may just be direct. She generally surrounds the character with elements that strongly convey their internal state or sentiment. Colours, in the process, have astrological references. There are certain aspects she highlights most while colouring, such as the eyes – some people’s intentions can be seen very clearly just by looking into their eyes. Likewise, if the lighting is strong, it adds a heavy impact to the entire painting, she feels.
Always exploring ways to convey stories through her works with as fewer boundaries as possible, there are times when she’s just unable to get the work done. That’s when she starts fresh and gets back with a clear vision of what she wants to do. It helps to come back to the drawing board, refreshed and renewed, so as to be able to see things clearly. By exploring and being open to more new ideas, one can truly grow and find more answers in the process. It is important to actually feel or ‘be there’ on the scene, so as to express something.
She paints from memory, which requires a lot of photo studies and understanding of how it works, or from references, depending on the effect to be achieved. One has to take a break from time to time, and plan out a composition and work from memory; by this, the mind keeps on looking for new information. It keeps challenging the mind, and one may patch that up by looking at some references and understanding them. In time, one can mentally ‘see’ i.e. visualise the object or subject in 3D space.
According to Pracheta, there is no right way to depict fantasy paintings effectively, as everybody has their own different style and method, and one may not work out for the other. One has to just keep practising and following their intuition. It is necessary to understand what one is painting, in order to move forward. In fantasy paintings, we usually get to see very heavily rendered works; lots of surrounding elements; colours and what not. The key is to find your own style; to break out from what has already been done. It all comes down to the final execution and what one wants to express.
The season of the festival has started and everyone is preparing to have a unique one this time with less cash and more fun. We interview many creatives who creates promotional or calendar design each year. As most of the thing around us had shifted to digital, even calendar design and the promotion has shifted. But Yorick Pintos, a strategic consultant at studio Kohl suggests that best option would be a mix of both. If you are interested in print design & want to understand the future of the same. So, go ahead and order your latest issue copy!
Here is our 2017 collection of illustrations by Lokesh Karekar, Wallcano, Shreya Gulati and Ranganath Krishnamani, that well describe and represent, thorough current context, the significance of the day India marked its independence after a long freedom struggle.
Celebrate this Independence Day with free, easy to download mobile and desktop wallpapers of
the displayed artwork.
We ought to remember all those souls that readily offered themselves in life and death to the Indian’s freedom movement. Hence all the leading icons of the nation’s freedom, in their iconic poses.
By Lokesh Karekar locopopo.com
Desktop Version: [lana_download id=”22011″]
Mobile Version: [lana_download id=”22018″]
Young India, today, is synonymous of ‘Digital India’, where most things are expressed via hashtags. Thus depicting, hereby, the vibrant, positive and liberating tastes and trends of the nation’s youth, symbolised by one of its most insisted pursuits, gender equality.
By Wallcano wallcano.in
Desktop Version: [lana_download id=”22020″]
Mobile Version: [lana_download id=”22023″]
70 Years of independence, yet the nation’s woman is not free in its true sense, hindered by various social stigma. This illustration serves as a tribute to all the powerful, all-encompassing women empowering themselves and each other.
By Shreya Gulati shreyagulati.in
Desktop Version: [lana_download id=”22026″]
The splendor of the dialogue between the current times and storytelling monuments of the past is bygone with the splendor of the modern digital era, submerged in the glamour of the ‘selfie’—Hemakuta hill, Hampi, of 14th century Vijayanagar empire.
By Ranganath Krishnamani liquidink.design
Desktop Version: [lana_download id=”22024″]
Mobile Version: [lana_download id=”22025″]
Utilising technology through the mediums of light and sound, designer and interactive performance artist, Michael L. Dolto enjoys honing and nurturing individuals’ awareness of their environment. This approach and attitude are what provide him the constant nudge to guide the younger ones.
As a new academic year is about to commence, one is reminded of the expectations one has of the educational experience. All is not rosy, neither all thorny, for that matter; it is mostly a mixed affair—there are “good” and “not-so-good” aspects of any educational institution, Indian or foreign. Students, generally, are quite adept at recognising negatives over the positive. As per Michael Dolto, though, the best bet is to make qualitative judgments while employing parameters such as the follows:
It is useful to have a set of academic goals for oneself. At the same time, the context to be in school should be to get exposed to things you didn’t even know existed. Certainly, you may have ideas as to what is out there, but it is more likely that you will be able to discover fascinating new things through your time spent with faculty. You have to remain open to possibilities and be true to your own interests, and so also consider it fine to shift your goals based on the experiences of your education.
All is not rosy, neither all thorny, for that matter; it is mostly a mixed affair—there are “good” and “not-so-good” aspects of any educational institution, Indian or foreign
Students are often stressed about finding work when they graduate. In the creative industries, there is no formula, per se. The professional market is starting to realise that the world is capable of changing very quickly. One’s marketarketability will increase with the ability to adapt. This ability is developed only through experimentation and taking chances with one’s work. This experience will only make you more confident and able to adapt to any professional opportunity that much quicker.
Every design school should focus on developing an individual’s creative process, not the individual’s product. What makes you valuable in the workplace is your ability to solve problems; to reconcile parameters with resources to make the ends meet. If a faculty gives you a bad critique of your work, reflect on the processes you implored, not the end product.
A creative process should include a sense of detachment. The object is not important; the object is an expression, just as you form your sentences in dialogue. You need to learn how to detach yourself from your work. It is the only way to develop your critical and analytical thinking.
Success in any creative field is a measure of one’s ability to develop analytical and critical thinking. Teachers and peers will help you, but only you can become a best observer of yourself.
An education in design is likely very different than the education you have previously received. The foundation of one’s success in any creative field is a measure of one’s ability to develop analytical and critical thinking. Teachers and peers will help you, but only you can become an observer of yourself.
In evaluating your education, understand that the texture shifts at all academic institutions. Faculty enter and leave on their own trajectories, so the chemistry of faculty can vary tremendously. Some years may be better at a given institution, compared to another. Thus, “good” and “bad” is a relative dialectic, as the teaching methods of one institution will likely vary greatly from another institution at any given time. Not everyone learns in the same way, so the effectiveness of the experience can vary among individual students.
Michael L. Dotolo is the Area Head – Communication Design, Pearl Academy. His studies include music composition and performance, and art and design with technology. Professionally, he works with a range of mediums, varying from performance, installation & environment to web-based technologies.
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There are two kinds of people in this world, people who love to read and people who don’t. Regardless, in this day and age, content is still the king. However, the great content is meaningless if not presented well. Today so much of web designs compromises of text and hitting the right mark for your typography and fonts is a key factor in the overall success of your site.
Digital is a very dynamic platform and we have to accept that the content keeps changing. Unlike print, web design doesn’t have the freedom to define the space between the letters.
Fonts have a deep psychological impact on your users and here is a list of 6 examples of great typography which are being used to create web designs around the world and are perfect examples that texts can never be boring!
One of the Geometric sans serif typefaces and have been a popular design tool for building websites. Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic colour.
Recommended For: Modular and minimal websites
Use Case Examples: www.zipl.pro | www.nerval.ch | www.theisbothmann.com | www.kikk.be
Source: Google Fonts
Font Link: Download
Open sans would be a very good pair for many fonts like Raleway, Brandon Grotesk, Montserrat, Lato etc. It renders beautifully on the browser, with good readability.
Recommended For: Standard look & feeling, Corporate and Product websites
Use Case Examples: www.gravity-theme.site
Source: Google Fonts
Font Link: Download
This typeface comes in three variants and evokes the modernist style of the early 20th century, however, it feels less formal than, say, Futura. Montserrat really shines for short pieces of all caps and the geometric simplicity of the letters. In lowercase, Montserrat is still a pretty nice font with a nice large x-height and a lot more character than Arial or Helvetica.
Recommended For: Fun looking websites, it creates a majestic yet fun look.
Use Case Examples: www.dangblast.com | hansonwu.com
Source: Google Fonts
Font Link: Download
It is a serif font with beautiful curves and well-rounded corners, which is suitable for both traditional, as well as modern websites. The design is influenced by typefaces from the mid to late eighteenth century, such as Baskerville. It makes an excellent font for titles and headlines (especially the beautiful italic), however, for long stretches of body copy, the delicate, high-contrast strokes might hinder readability, especially when used at smaller sizes.
Recommended For: It is basically the one that suits all and creates a feeling of trust. It can be used for modular as well as traditional sites.
Use Case Examples: wwww.adrien-heury.net | www.mondaymusic.es | www.craftedbygc.com | www.hoodzpahdesign.com
Source: Google Fonts
Font Link: Download
The name Avenir means “Future” in French, and it is a minimal and modular sans-serif font used in many sites, which gives a futuristic look to the design. Use the bold and extra bold weights of Avenir for emphasis with the light, book, and medium weights.
Recommended For: Most suited for futuristic feeling. It resembles minimal, futuristic content, and creates clean looking product websites.
Use Case Examples: www.playcharms.com
Source: Web
Font Link: Download
It is a beautiful condensed looking font which looks very standard as well as stylish.
Recommended For: For standard yet solid and stylish layout feeling. It is a beautiful condensed looking font which looks very standard as well as stylish.
Use Case Examples: www.craftedbygc.com | www.theqcamera.com | www.ekpesbookclub.com
Source: Web
Font Link: Download
Although typography isn’t as flashy as Animation or HD images, they are nonetheless, an integral and powerful part of every design. They can be bold, to draw attention to the messaging, or, subtle, to draw attention to other elements on the screen. In either case, one thing we all can agree on is that typography enhances the design as a whole, one way or another.
– article by Dhilip Kumar G., Lollypop Studio
