Illustrator – Storyteller Ishan Trivedi completed his master’s degree in fine art to work as a freelance illustrator. He combines raw thoughts from imagination with digital software. He is the co-founder of Illustrator Today and based out of New Delhi.
Product design has evolved from simply taking into consideration the physical dimension and form. It’s now all about using technology and design to give it an intangible appeal that converts into a memorable experience for the user. Studio ABD has mastered this through their designs and here they give us some tips that can enhance this very experience.
In today’s world, what sets similar things apart is the experience it promises and gives to its end user. It’s mesmerising to see how a lamp of one type can be preferred over another simply because of the way it is designed. Hence, product designers all over the globe are focusing on taking the extra step to incorporate solutions in simple and every day things to bring about a sense of wonder when it is being used. As technology and the internet merge, so is the tangible and intangible world. Thoughtful details, user empathy, appropriate application of technology and good execution is key to good design.
Good design creates culture of aesthetics that can inspire everyday life by sharing the joy of creativity with society.
With solid design, intelligent use of material and process knowledge and quick prototyping, comes innovative, cost sensitive and manufacturing friendly engineering solutions while enhancing designs to the very core.
Follow this tip like a religion to make your design journey exciting and refreshing. The trick is to remain positive and optimistic in any given situation and never give up. Always say ‘let’s explore’; make that your mantra.
It’s not just designers but people as well these days that are turning to respect recycling and the use of renewable sources and materials. Design has also tapped into this great way of life. Use materials carefully and wisely. Ensure material you use in your designs come from natural sources and that they belong to everybody.
It’s key to not treat your product designs like objects. The idea is to tell stories through them; stories of people’s lives, their culture, beliefs, dreams, past and future.
The whole world looks at India for inspiration, be it Yoga, Ayurveda, our culture or traditions. As designers, it works to include Indian characters in designs to make them appeal to a wider audience.
This issue explores one of the widely discussed product design and automobile #design which is very close to our heart. We spoke to few leading names to find out the future of product design and understand the Indian designer sensibilities and practices. Everyone believe that it’s not just functionality but also the visual appeal of the product which plays a crucial in the success of a product. This issue is a bundle of inspirations and insights from the well know product and automobile designers. A must read which you will enjoy for sure.
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Digital and Ball-point artist, Shital Verma, tells us about his process and idea behind creating portraits of renowned individuals from various fields and what exactly it takes to bring out what they symbolise or stand for as personalities. In other words, highlighting their unique stories which make them a recognizable face.
Shital. To begin with any drawing or artwork, I look at the character first and what kind of lines or textures justify the artwork; whether it’s a ballpoint pen drawing or digital drawing, and such other aspects. Lines and strokes, in particular, are my priority. All this helps me gain a clear picture of how I want to further proceed with the conceptualisation and execution.
Shital. I choose some distinguished characters for portrait paintings, such as Salvador DALI, Zohra Sehgal, John Hurt, Ranbeer and many more. Their expressions with which they get naturally or symbolically associated with over a period of time are what tell their on-screen and real-life stories to the audience. I mostly try to represent and portray their charisma in my works, in the best possible way. In Virat Kohli’s portrait (on page 38), for example, I tried to bring out his toughness and determination through lines.
Shital. I mostly use a digital pen tablet (Wacom Cintiq), as well as pencil and ballpoint pen, as my favourite tools. For digital artworks, in particular, I use Photoshop and Painter. Today, there are a great number and variety of tools with diverse functions that are easily accessible and available, so it all depends on what needs to be executed and in which manner.
Shital. Being an artist, I mostly do it for my own satisfaction, while sometimes I get the opportunity to create something for the newspaper or for a friend request. Subjectivity is what essentially lies at the crux of any form of art, which is why there is no ‘right’ or standard answer to why we do it. The process itself is as gratifying as the result, if not more. So, in my case, the idea is to attain fulfilment within myself through my work.
Shital. In my opinion, the eyes are the most essential part of the portrait and 70% to 80% of a portrait’s character comes out right when the eyes are drawn accurately. Yet, it does not mean that mastering the skill of drawing the eyes allows one to compromise on the other aspects as they too are equally important to add to and complete the character.
Shital. My advice to young artists is to do more and more sketching and life study, structures, Stories, nature study apart from your digital work. Sketching is like ‘Riyaaz’ – the more you sketch, the finer the artist you become. The scope to create is wide open, much like the horizon; all one needs to do is stretch and deepen their vision, for the sky is the limit.
With the changing weather comes the season of Interns, with fresh new energy everywhere. With this comes dilemmas like where to intern and how to get selected in your favourite studio. So to bring little more clarity on current market trends of selecting the right interns, we interview some of the well-known studios to find their ‘Secret Process’ of selection.
It’s not just the design, the elements or the colours in an artwork that blow us away. It’s the concept; a force that resonates from the designer to the audience. Edmundo Moi-Thuk Shung, a graphic designer from The Netherlands, believes cracking a creative concept is the most important step in branding design. He speaks to us to throw more light on his approach.
Edmundo: There are three things that I constantly make sure I am aware of while designing – they have to be unique, meaningful and easy to understand.
Edmundo: Well, the most important part is to make sure the concept is clear and useful to others. This, for most of the time, also covers the creative part of the whole process. Concentrating on the job is the hardest part for me as I was diagnosed with Attention Deficit Disorder that hinders the thought and concentration process of the mind. I overcome this by doing exercises to clear my mind. You’ve got to figure out your own tricks to overcome whatever it is that distracts you from the job.
I get the most enjoyment out of concept designing, like doodling in my moleskin and working them out digitally. It’s also refreshing to put your thoughts on paper and work these out.
Edmundo: Once I’ve accepted the assignment, I make sure to gauge the client’s vision by asking them questions to rule out what they expect from me. From then on, I usually make a “plan of approach” that describes the needs, planning and requirements for the assignment. This helps put everything before me so that I can connect the dots through creative ideas and concepts. Afterwards I pitch my ideas to the clients and decide what direction I should take.
Edmundo: The demand in today’s time is to create something that is ‘unusual yet affective’. I guess that means people are willing to take risks as long as the concepts are effective and don’t differ too much from already existing products.
Edmundo: It all started with an old sketch of a Yogi which I stumbled upon while going through all of my drawings. The project was a mother’s day gift and I related the element to the fact that she does yoga. That’s when I came up with the idea to make something by myself using an old duffle bag and other stuff lying around my house and created several products out of it. Since Yoga originates from Ancient India, the logo was apt. The project was received well by people with different backgrounds perhaps because our world is getting more multi-cultural.
Edmundo: I make sure the logo I design isn’t too complicated. Ofcourse a lot depends on the kind of brand and the brief, but I usually give it a visual reference for what the company stands for. It gives it the advantage to become memorable and the ability to evolve easily as the time passes on.
They say not to judge a book by its cover. But they also say that exceptions are always there. There’s no doubt, branding and packaging are the faces of any business and product. They decide the way people will receive the brand; whether they will accept it or reject it. To understand and gain more perspective on this much-unsolved mystery, we invited many branding and packaging experts who throw light on the topic.
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Based in the Netherlands, Edmundo Moi-Thuk-Shung is a graphic designer that chooses to work with vectors. He has worked for various brands in his design journey like Colgate, Palmolive, Douwe Egberts, Ziggo Zakelijk, and Hansens Naturals.
In today’s world where problems are evolving, so are the needs and desires. “As a product designer, you need to incorporate a solution in your design. And how refreshingly and creatively you can do that determines how well it will relate to the user.” says product designer Aman Sadana. More on what every product design must have and should do.
Irrespective of the product, the process remains the same. A design process is the DNA which infuses the style or approach of the designer in his work. Plunge. This is the time to get inspired and get passionate about the project. Try to develop a thorough understanding of the product, its user and its context. Next, plan.
Take all the learnings and insights from the first phase and transform these into an actionable plan. Define your goals, timeline, deliverables, constraints etc. Then play. Get wild with ideas. Scribble. Ideas are never judged nor evaluated. This is the time to test the limits of your imagination. Finally, precision. Scrutinize all your ideas with the parameters listed in the brief. Mix and match ideas to make individual concepts stronger. Detail out the final concepts, keeping all stakeholders (marketing, engineering etc.) on board. After all the tinkering, testing and evaluation, one gets selected and goes forth.
As architect Frank Lloyd Wright says “Form follows function – has been misunderstood. Form and function should be one, joined in a spiritual union.” While working on a project, try not to consciously work on the two separately. It is imperative that the form be honest to the product’s underlying purpose and not a false facade to hide it with. Like every designer, walk the tight rope between functionality and aesthetics on a daily basis. It’s a skill that comes with practice.
Great products not only fulfill their function and look great, but are also able to evoke an emotional response. Be it the petal shaped medicine, the bee shaped vehicle, or the ball-shaped cart, they are all intended to evoke joy and play in the heart of the user. The key word here is ‘surprise’. Give the viewer what they do not expect. Give them an experience through your product. Make your product do something no one ever thought it could do or be. Like the chair and slide furniture design; it’s bound to make even adults feel like a kid again.
How you assimilate what you see at a particular moment of time, dictates the fate of your design. That’s what sparks an idea in the mind, and a design on paper. Just like the jug design that was inspired by the Devnagri alphabet ‘Ja’ from the word ‘Jal’ (water). Typography is a visual manifestation of the culture it is rooted in. Hence, it was perfect to design a product that looked intrinsically Indian. So always look out for visual cues to contextualize your designs.
One never knows when inspiration strikes. It might be on the drive back home, in the washroom or at the library. But when it does, make sure you have a sketchbook handy. Doodle, write and even keep paper cuttings. As a rule, keep hard copies rather than put them in soon forgotten compute folders. You won’t realize, but over time you are slowly inching towards having your personal ‘Black Book’ of ideas! Refer to this idea almanac constantly.
Eureka moments happen to us all, but most of us just let them slip out of our minds. At the same time, try to keep yourself updated about new trends, materials and technologies. This ‘homework’ not only enriches your work but also vastly improves the chances of ‘connecting the dots’ while working on a design problem.
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.
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Aman Sadana is a Senior Manager (Design & Research) at Atomberg Technologies, who did his M.Des from IIT Delhi and B.Arch from Sushant School of Art & Architecture. Having lived in Sweden, France and Japan, his unique cultural influences have worked for brands like LG, PepsiCo, Videocon, Orient etc.
