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Kangkan Sharma wears many hats – animator, illustrator, graphic designer and mobile game designer. He takes us along on his unique creative journey.

Long before the age of the internet, Kangkan had comics and ghost stories and a fondness for the characters within, leading him to spend his time doodling away his imagination. Some of his favourite subjects to sketch as a kid were cute monsters and weird characters. Maybe our mind never expects a monster to be cute in real life so … oh … it does? He says that uniqueness is subjective and debatable.


When the era of video games and computers arrived, it blew his tiny brain, and his curiosity, combined with a pint of imagination and a strong desire to get back into the things he loved the most, led him to where he is today, a successful artist and illustrator.

Kangkan Sharma
Kangkan Sharma

A formal design education from a prestigious institute influenced his design worldview. It served as a platform for him to meet like-minded peers, share knowledge, and experiment with the immense guidance of teachers. Knowing that there is a world out there other than engineers and doctors gave him confidence and laid the groundwork for his future professional life. It disciplined and guided his fledgling skills of illustrations, which would otherwise have become a hobby, to a more productive form.

Kangkan Sharma

Kangkan believes that creative expression is always about expressing oneself freely. However, being able to communicate that expression to the rest of the world is art. While practice, experience, and skills are all beneficial to the creative process, positive thinking and a happy, clear mind will always aid in staying creative. The opposite is also true: stay creative, stay happy. References and inspirations are always useful but starting from scratch can lead you to some truly fantastical places.


“As an artist, his first step in coming up with the concept of his illustrations is to build the mood. He spends his time playing games, browsing the internet and indulging in anything but art.”

Kangkan Sharma

Don’t be fooled though, the little gears in his mind are simultaneously building a concept. Only when he has roughly visualized it all in his mind does he pick up the pen to put the first lines on paper and begin his illustration. What follows next is a barge of rough and abandoned concept sketches until he is quite sure something might appear as good as it had previously appeared in his mind.

Kangkan Sharma

Kangkan has a one-of-a-kind relationship with colours. Most people stick to a colour palette, but Kangkan approaches colours in the opposite way. He avoids using certain colours, such as black, which he will never use. Similarly, he avoids selecting the three true textbook primary colours – red, green, and blue – right away. His illustrations are unique and unusual. Unusual is the way to go if you want to stand out!

Kangkan Sharma

Having worked on a lot of content for children, these rules are bent a little. First and foremost, they must be colourful, quirky, and amusing characters. Art for children provides maximum freedom and aids in stimulating the imaginative and playful mind. Go crazy with no parameters.

Kangkan Sharma

Kangkan is a humble artist who is excited about a personal solo game project he is working on and says that if that is what he is remembered for, he will consider himself blessed. He is a creator, and all he wants to be known as is a learner and an experimenter.

Kangkan Sharma
Creative Gaga - Issue 55


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NID graduate, Angshuman Dhar, exclusively shares how artists and designers can avoid burnout and find success by consciously maintaining a love for their craft.

CG. Could you please elaborate on what was your journey to, and at, NID like?

Angshuman: NID was like a dream come true for me. It took quite a lot of effort as the exams were quite challenging and you never know what kind of questions they would ask. I managed to pass the second time I took the test. Getting in was the best feeling ever. It’s the best design institute in the country and rightfully so. The design environment is unlike any other I have ever seen. It felt like a completely new world. The best part was the open studios. You could successfully learn anything you wanted to if you were interested enough. Although my time was cut short because of the Covid outbreak, which makes me really sad whenever I think about the campus, NID has been a huge part of my growth as a designer and as an artist.

CG. What role did art and creativity play in your childhood and vice versa?

Angshuman: I have two brothers and we are triplets. Since childhood, we were quite interested in art and would spend our evenings scribbling, doodling and making superhero sketches. We did play around a lot but making art was a big priority and an even bigger part of our childhood that we really enjoyed. As we grew up, though, art took a back seat and studies became more important. Yet we always took out some time to draw. Taking biology as a subject for our boards was also because we loved to draw so much.

Loving Your Craft is Vital to Success!

CG. Growing up, did you always know you wanted to be in this field?

Angshuman: Not really. I was always interested in art but never thought I could pursue it as a career. It was just a hobby growing up and, being from a middle-class household, art was not a top priority. Only after my board exams did I seriously think about honing the craft into a profession.

Loving Your Craft is Vital to Success!

CG. If you weren’t into design and illustration, what do you think you’d be doing?

Angshuman: Most probably, I would have been in biotech or microbiology. Thinking back, I don’t think I would have been as good or as in love with other fields as I am now.

Loving Your Craft is Vital to Success!

CG. How did you adopt the comic style of illustration? What impact does this approach make on the outcome?

Angshuman: My style is a culmination of all the years of work; my inspirations and other artists whose work I really admire. I think this approach really helps tell a story better. Comics are great pieces of media that tell stories like no other media can. It’s almost like a middle ground between books and films.

Loving Your Craft is Vital to Success!

CG. What makes you choose a consistently dark colour tone across your works? How does it contribute to your illustrations?

Angshuman: I think it mostly depends on the mood I want to portray in my work. Dark colour tones often help accentuate the subject which also helps in storytelling and composition. However, it heavily depends on the subject matter. I do love darker colours as I find them quite soothing and cosy.

CG. Who is your audience most of the time and what efforts do you particularly take to cater to them?

Angshuman: My audience would mostly be young and working adults. I think they fall exactly at a time and place where they appreciate the kind of art that I make. I really like to work on different topics but, lately, I have been really interested in documenting daily life in India and its uniqueness. It makes me very happy to see people connect with my work and share their own stories.

Loving Your Craft is Vital to Success!

CG. Please elaborate on one or two of your projects you consider most significant or breakthroughs.

Angshuman: My nostalgia series would be my most significant and successful work. Indian people are quite nostalgic and we love to reminisce about our ‘good old days’. During Covid, I got nostalgic and made a short animation about trains which blew up on Reddit and other social platforms. School life is also something people really love and my works on the subject got lots of love.

Loving Your Craft is Vital to Success!

CG. You’ve illustrated such a wide range of topics or series. How do you choose your subjects and the way you want to represent them?

Angshuman: Most of the topics I try to illustrate are about the daily life we see in India. So choosing a topic is just thinking about the unique things we do as Indians. I have been to and stayed in many states across the country, which really helped me realise how vast and different India and its people are. There is no shortage of content when it comes to such a unique country with such a vast variety of people.

CG. Essentially, what’s your work process from start to end, and how do you go about a project?

Angshuman: It all starts with ideation where I write down all the ideas I get. Once I’m happy with an idea, I go thumbnailing. Once the composition is set, I move to basic sketches. Linework follows and then colouring and polishing. Animation is a different ball game, though. Animation involves a lot more work and planning.

Loving Your Craft is Vital to Success!

CG. Could you tell us about some of your notable commissions or client projects you’ve worked on?

Angshuman: I have worked with quite a lot of clients over the last 8 years that I have been working as a freelance artist. I have had the opportunity to work for Hike, Kwality walls, Sunfeast, Wacom and quite a few more.

CG. What are the sources of your inspirations, influences and observations? How do you develop vision and ideas?

Angshuman: My source of inspiration comes from a vast range of things but, mostly, from whatever I observe when I am up and about. The experiences I have had over the years also help me ideate for my works. Developing ideas start from the simple step of writing down each and every idea that comes to mind, no matter how bad they might seem. Once you have ideas, it’s easier to focus and polish the stories that you want to tell through them.

CG. Which skills do you find crucial to your work and what are the best ways to develop them?

Angshuman: I think the ability to work fast is very important. This helps manage your time, which in turn helps you balance your work and personal time. The art industry is quite fast, so learning to manage your time is extremely helpful. This skill comes with practice and experience, so it’s very important to keep practicing and improving yourself.

CG. What have been the greatest lessons you’ve particularly learnt through your journey?

Angshuman: The greatest lesson would be to not be over-ambitious about your work. Being interested and motivated is important but being over-ambitious often leads to disappointment down the road. It’s always good to keep a steady pace rather than sprinting. I have also learned to not get too attached to my own work as this hinders growth.

Loving Your Craft is Vital to Success!

CG. What do you feel are the pros and cons of being a professional artist?

Angshuman: This is a huge list but, I think, the biggest pro is also the biggest con. The biggest pro of being a professional artist would be the fact that you can do what you love to support yourself. Doing something creative every day is a great feeling. But, when you do something you love as a career, it can become a chore or just a job and one can start losing interest in it. So the thing you love to do can become a job that you just have to do to make a living.

Loving Your Craft is Vital to Success!

CG. If you had a magic wand, what would you do with it?

Angshuman: I would get myself a real shaka-laka-boom-boom magic pencil and start drawing the things that I always wanted.

Loving Your Craft is Vital to Success!

CG. Your word of advice to upcoming illustrators from your own experience?

Angshuman: My word of advice to new illustrators would be to keep loving their craft and not lose hope. This field is quite competitive and newcomers can feel overwhelmed. If you love what you do and do it enough, you will always make it.

Loving Your Craft is Vital to Success!
Creative Gaga - Issue 55


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The animation industry in India has come a long way and has a long way to go. Renowned animation filmmaker, Suresh Eriyat, gives us the ground reality of the industry today, and where the future lies. In the process, he also teaches us a few things that make the animation world go round.

The Indian Animation Legend, E Suresh, has been a pioneer in storytelling and animation through films. He currently heads his animation studio Studio Eeksaurus. He was the first to launch clay animation commercials in India. A few feathers in his cap include creating Amaron battery advertisements, music video Bindu re Bindu, the Simpu series for Channel V, MTV Poga series, Johnny Bravo goes to Bollywood, Levis Slim vs. Slim, and so many more.

His short films, Fisherwoman and Tuk Tuk, and Tokri, both won National Film Award for Best Non-Feature Animation Film, apart from winning almost 60 national and International awards at various festivals with over 150 official selections globally.

CG. Where does animation stand today in India? Is there a gap in the understanding of what the animation industry encompasses?

Suresh. There are several gaps in the way animation is understood in India. Internationally ‘animation filmmaker’ and an ‘animator’ are similar. There the animator is synonymous to a filmmaker who uses animation to make his/her films bringing in a holistic process to the film making. In India that is not necessarily the case. Firstly, the animation is associated with cartoons in India. Beyond that, it is widely believed to simply be a technique. And this is used in the Indian animation industry mainly to provide a service, as a BPO format. Unfortunately here animation is seen as a skill set equivalent to learning software or a tool, and not as a conceptual ability of a person creating ideas to tell a story. It is not seen as the overall process.

Another misconception is that animation films don’t require direction/a director. These are all misnomers because it is not yet a popular medium here. The way it is taught or talked about by some of the academies in India, also adds to the confusion and misleading terms.

CG. What do you think it would take to change this perception in India?

Suresh. It would take more exposure to see these films, and gathering a better understanding of what animation is, for this change to occur. This will eventually lead to recognition for animation and its various forms. The evolution needs to happen where people become more aware of animation.


In the West, people have been with animation for many decades now, so they understand all that it encompasses. They understand that it is a tool to tell powerful stories. In India, the animation is still young. I am sure in another 10 years we will be where all these countries are in terms of understanding of the medium.

CG. When you are making your films, what sort of target audience are you looking at?

Suresh. I make both short films and advertising films. Both have different agendas. Advertisement films have a definite purpose, either to spread awareness about a brand or convey a message. In both cases, a behavioral change is desired. The brief and objective are very clear and the process involves a lot of research. We go by the design process where there is a defined problem, a defined target audience, and a very clear message to convey. The advertising films have a wider reach in that sense.

My short films, on the other hand, aren’t targeted to a market audience. Instead, they are targeted to a crowd who are artistically inclined and who appreciate the process. The films also target the festival audience, so that they see what India is capable of creating. It is important for Indians to not just be perceived as a service but also as great storytellers.

CG. Where does India stand on the global platform in the animation industry and film making?

Suresh. At the moment, we are not considered capable. Nobody thinks India will make good content. Right now, there are only a handful of companies that are known to create content in India. But the majority lot of animation professionals is complacent about creating something original. We need to tell more stories and make more films to be put on the map.

CG. In your work, how extensively do you use the design process?

Suresh. We often use the design process in the craft of film making. Through this process, we arrive at the most appropriate form and direction to convey the story in the best way possible. Different production houses are bracketed for making a certain type of content. It took us some time to establish ourselves without being labeled in that manner, and instead to be perceived as a design-driven production house.

We are known to work with any medium in order to make the idea stronger. I have directed and produced close to 500 films now, and I don’t consciously try to come up with a new medium, but somehow that has always happened. Each of my films has a unique look and feel to them. This is mainly the result of the design process that we use to strengthen the idea we want to convey.

CG. Creative professionals often begin to make the same kind of work, and then get stuck to that style. How did you escape that?

Suresh. While making films we first look at the story and then the form. We never begin by deciding the form. Many people tend to decide the form first thus stick to it. Sometimes clients go to them because they are known for a particular narrative style or a form that they specialize in.

Creating work with similar form is understandable because of our influences. We see things around us and try to include them in our work. But this is exactly why the design process is important. It diminishes the tendency of aping something or following a trend.


Our attempt has always been to push the form further than the predictable and strive to make it more cutting edge and niche.

CG. What makes a good story? What is good storytelling?

Suresh. No story is good or bad. It depends on how memorable a story is. And this depends on how engaging and captivating the audience is by it. And all this comes down to how the story is told. Majority stories have a similar pattern, the intro, the middle, the climax, the end, etc., but how you manage to tell the story in a captivating way is what counts. For example, the story of Ramayan and Mahabharat has essentially been the same. But the style of narration has changed with time. Every story can be told in many ways. Narrating it in a way relevant to the context is important.

CG. What is the importance of humour in storytelling?

Suresh. While narrating a story, the audience needs to feel good about it, and humour is a sure shot way to do that. It lightens up the mood and adds a twist to look at reality. Laughter is definitely a great ingredient.

CG. An example of great use of humour is the awareness campaign for Mumbai women that you had created. Can you tell us a little more about that, and how humour worked there?

Suresh. The Mumbai police claimed that in Mumbai, anywhere a woman is in distress, all she needs to do is call the hotline, and the police will reach her in within minutes. This was something they were proud of, but when I checked around, no one knew the number. So I decided to create a campaign to create awareness.

We did not want to go by the obvious approach of showing women morose or stressed ‘victims’, because that does not work at all. Through the communication we wanted women to feel empowered and get the courage to face the world. We wanted them to imagine the hotline was their weapon.


The beauty of this campaign is that the way it was executed, still makes it relevant. The form has a cartoon look, but artistic styling sets it apart.

CG. Many youngsters look forward to a career in animation. But Indian parents are very concerned about how lucrative this industry is. How would you respond to that?

Suresh. The animation is unlike mainstream fields like medicine, today in India. Instead, it leans towards art and culture, and these are essential elements of the fabric of society.


Another thing is, if you empower a student with animation, you are making him independent because animation films can be made single-handedly. It is like writing a novel. Just by investing time in it, sharpening your skills and exploring different mediums, a career can be made out of it.

If you are good at it, work will always come your way; because we are living in a time where the demand for entertainment is going to grow. Earlier the platforms were limited, but now there are so many non-linear avenues for accessing entertainment like Netflix and Prime. There is a lot of content that needs to be made available, because not it is turning into a library of content. In that sense, there will never be a dearth of work.


Apart from this, there are so many other emerging sectors connected with animation like the education sector, AR and VR experiential environments, simulations, etc. There is a tremendous scope and I don’t see parents regretting this in the future.

CG. Tell us why you see specialization as a danger today.

Suresh. Nowadays the younger generations are too focused on a specialization. It is necessary to know peripheral aspects that could influence art or the specific subject one is into. When you are thinking of a story or making a film it requires a certain sensibility towards what is going on politically, socially, and environmentally what is happening in the country and outside. Youngsters today find this irrelevant. They focus so much on their specialization that the ideas they give are no more holistic. When you are a specialist, the danger is not being aware of the bottom line issues.

There is always a contradiction between generalization and specialization. The organic path would be specialization after generalization. I am talking purely technically, but in life also, if you have a wider opinion on things, you have a much better view on a specific topic.

Creative Gaga - Issue 46 - Cover

Published in Issue 46

This issue is focused on, how to design for kids, bundled with articles full of inspirations, advice and unique point-of-views from the veterans of the animation industry, illustrators, photographers, artists and many more. So, order your copy or subscribe, before print copies run out and enjoy reading this issue!


Order Your Copy!
Creative Gaga - Issue 55


Animated Explainer
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The Internet is filled with free Animated Explainer Video Softwares that are easy to use. But you need the best for your brand! Which is why we’ve created a list of online tools to help you out.

The article was originally published on Studio Tale

It’s time to bid farewell to the written word. Brands all over the world have realized that consumers prefer video content over text. The industry is now reacting to this shift.


Today, the animated explainer video is dominating the marketing scene.

These video explainers are everywhere – Social Media, Product help pages, Landing pages of the brand’s website, you name it!

In this article, we’ve listed out the 10 best-animated explainer video software that will give you an edge over the competition.


Stop googling how to make an explainer video for free. These software are free and easy to use! And if you want to sign up for the full version of these products, we’ve added in the price range as well.

These explainer video software will help you create amazing explainer videos for your product or service and capture the attention of your viewers.


Ready? Let’s begin our countdown!


Rawshorts is a brilliant online video animated explainer video maker for creating animations. It features a simple, user-friendly drag-and-drop interface, an amazing collection of explainer video templates, and a unique pricing structure.


Rawshorts is perfect if you want to convert slides into captivating animated videos. You can easily customize your video clips by adding audio, texts, and transitions.


However, keep in mind that this animated explainer video software needs a strong internet connection to work smoothly.


Full Version Pricing: $39 to $89 per month


Create flashy and captivating explainer videos in minutes with this online explainer video maker.


Animaker brings together 3 different features in one place – Presentations, Graphic Design, and video editing.


Being a DIY platform, it is extremely user-friendly and features the largest set of free explainer video templates in this list – including an improved whiteboard animation software.


Want to use data and stats in your video? Animaker allows you to create beautiful visuals for your numbers. You also have a plethora of animated characters who you can drag and drop into your explainer video.


Not to mention it features resonating sound effects that will help you add life to your video – something other animated explainer video makers haven’t quite got on point yet.


Full Version Pricing: $12 to $99 per month.


It’s an online and free tool, has thousands of templates, stock videos, animated graphics, and music tracks for you to create or edit that captivating, high-quality video – perfect for sharing online.


Canva gives you the power to create professional-level videos without the hassle of complicated software or the cost of a professional videographer.


There’s no software to download, and no new skills to learn. Simply pick a video template, then customize it to suit your needs.


When you’ve finished, you can download your video and share it on social media.

Free to Use Try Here


Know how to use PowerPoint? That’s how easy it is to use Powtoon!


This animated explainer video software features a wide variety of free explainer video templates and animated characters that you can use in your product presentation.


There is also a constant design upgrade that meets their clients’ high expectations.


Full Version Pricing: $16 to $197 per month.


Wideo is a great animated explainer video software for creating all kinds of video content.


Easy to learn and user-friendly, Wideo features a drag and drop interface and has a large number of professional, free explainer video templates to choose from.


Other features include YouTube sharing, the ability to upload images and audio, and an extensive library of over 1000 in-built images at your disposal.


Wideo is available on Windows, Linux, Mac and is also available as cloud-based software.


Full Version Pricing: $19 to $199 per month


Formerly known as Goanimate, Vyond is a simple cloud-based video editing software.


Straightforward and intuitive, this animated explainer video software is simple for beginners to use and features beautiful in-built video templates.


Vyond features a simple drag and drop interface that allows you to create character-driven videos or compelling data visualizations.


It also has a large audio-visual library and is available on Android and iOS.


Full Version Pricing: $39 to $159 per month.


Viddyoze is great if you need to create high-quality animated explainer videos in a short time-frame.


This cloud-based animated video software is really easy to use. It is the best explainer video maker for incorporating logos and text beautifully into your videos.


Viddyoze specializes in producing call to action videos and has over 700 templates to choose from.


And if you aren’t happy with the platform, there’s always a 100% money back guarantee!


Full Version Pricing: $77 or $97, one-time payment.


Biteable has often been called “The World’s Simplest Video Maker”.


This explainer video maker’s tools are intuitive and easy to use. It has a great collection of pre-animated scenes to choose from. It also features a high-quality audio library and has a great colour editing capability.


The result? You can create high quality animated explainer videos in minutes.


Full Version Pricing: $20 to $99 per month


Renderforest is a simple cloud-based explainer video maker that lets you create great videos in minutes.


Equipped with a comprehensive catalogue of animated explainer video templates to choose from, you can use it’s drag and drop interface to get the style and tone you need. It also allows you to upload images and videos, and play with colours and text in your video.


However, Renderforest has a higher pricing range than the other contenders on this list.


Full Version Pricing: $59 to $299 per month


This animated explainer video software allows you to easily create beautiful animated explainer videos that can incorporate video clips and images.


It provides you with a selection of explainer templates to choose from and even has an in-built library of music for you to use. Animoto has also partnered with Getty Images to create a collection of over 1 million stock photos and videos that you can insert in your explainer video.


However, keep in mind that you cannot edit individual clips in this explainer video maker. Any changes or edits made will translate to the whole video.


Full Version Pricing: $9 to $94 per month


This drag and drop style animated explainer video maker features an extensive library of over a million usable objects – be it stock images, videos or sounds.


Moovly also has in-built templates that you can use to create the right explainer video for you.


However, there have been complaints that this explainer video maker takes time to render the final product.


Full Version Pricing: $49 per month


CreatorKit as a solution to create Instagram stories, videos, and ads that convert and generate results. Creators are able to create social media content for their business or personal online presence without any design skills.


CreatorKit offers hundreds of templates proven to increase engagement rates and results. The animated text styles and motion graphics enables anyone to convert any static image into a highly engaging video.

And there you have it.


Those were our picks for the best-animated explainer video maker software on the internet today.


If you’re looking to create your own videos, these explainer video makers are going to give you some brilliant results!

The article was written by Koushik Marka and originally published on Studio Tale

Creative Gaga - Issue 55


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Seerow Unni, a keen animator, takes us through his approach and process. He sheds light on how he arrives at improvising in the course of designing, and why it is so vital to enjoy each and every aspect of the progression.

Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level

The core intention is to convey the message.

For that, it is essential that one enjoys each and every moment of the process of creation, no matter how small or big the work. For example, rather than just as a simple image or illustration, one may perceive everything as a scene, like in a movie. This leads to adding details, emotions, fun and more to a scene. Similarly, when we get it right, fun or wit and humor are the easiest ways to make people fall in love with what we create. Improvisation, likewise, is a part and parcel of the experience. From the very beginning, one may sustain the habit of keeping a close eye on the developments that are happening in the world of creative designing. For instance, I had started with the traditional canvas and then with time, shift to the digital medium.

Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level
Key is to Enjoy the Process and Improvise at Every Level

One may continue to keep familiar and updated with the works of renowned digital artists. This automatically teaches to adapt to the needs of the changing times.

Diversity is a boon in the form of a challenge.

Dealing with different clients from diverse fields means they all have different requirements. They all demand a new approach, something that’s entirely path-breaking in the making of their animated film. This gives the freedom to keep the entire setting as well as characters so different from previous work. One must look at this as an opportunity instead of as a challenge and, no matter how big or small the work is, enjoy it to the fullest. Even if you are good in it, keep practicing and never stop sketching. It is equally important that you follow the famous artists and be updated about the trends and changes in design. There is no shortcut to success; as hard work always pays off in the end.

Changing with the times involves observing the direction.

The trend this year is shifting towards clean and minimal design from the complex, elaborated ones. Flat designs are going to be in the limelight. The idea is to keep things simple and minimal. In fact, minimalism is probably going to be a huge trend this year, not just in design, but in all walks of life. The challenge to come up with new ideas would be of a galactic proportion. But simplicity is the way to go forth, and it has got a lot of untapped potentials. We will be able to see these elements everywhere from movie titles to logos and other mediums. As far as perception goes, our audiences have always been game for positive changes. They will embrace the change with open arms.

Published in Issue 41

Every year brings many opportunities and hopes along with celebrations. For this issue, we reached many visual artists and designers to know their expectations from the year 2018. This issue’s cover designer, Shreya Gulati is exceptionally impressed by the advancement of technology in design, especially how VR & AR has impacted new ways of creating. Honing and sharpening one’s skills is always a quest for every creative. So, whether you have many or none expectations for the year, this issue is a must-read. Go ahead and order your copy here or subscribe to not miss any future issues!


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Creative Gaga - Issue 55


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Story-boarding is not just creating beautiful pieces of art. Instead it is presenting ideas and content in a strategical & comprehensible style. Saumin Patel tells us more.


An illustrator at heart, Saumin started out professionally by joining an animation studio creating online cards. Eventually realizing his plus points, he decided to manage the backstage of animation, which is designing and illustrating for the animated projects, also known as story-boarding.


What is story-boarding?

As the name suggests, it is a story told through multiple frames in a visual manner, defining an entire process in detail. Used for animated films or even shooting a scene in a movie, story-boards help the director in streamlining his vision and allow the team to align themselves with this vision to achieve the desired result.


Story-boards are not just pretty pictures, they are the shots which supposed to evoke certain emotions and enhance the story, conveying an overall mood but could be subjective to each individuals’ interpretation.


Every element used in here becomes a character, be it fire, wind, trees, water or rocks, thus becoming a definitive source of information about what the scene is going to be like. In short, it is a manifestation of the creators’ thoughts through tangible elements.


Story-boarding puts forth the anticipated difficulties and helps in deriving solutions for the scene’s smooth-sailing.


The beauty of a story is that it can be expressed by different directors in their own unique style. So as a storyboard artist, it is essential to convey the essence of the director’s idea and vision in a clear-cut manner through these frames.


Story-boarding for advertisements is a bit different from that of films. Advertising is all about presenting to the client, hence the story-board needs to be completely finished and aesthetically appealing. Whereas for a film, it is about clear communication of ideas from the director to the entire team, showcasing the flow of the sequence to build the expressions and the mood. Beauty and aesthetics take a bit of a backseat in this case.

An Artist’s Individual Style

Saumin’s style is mostly comic, giving a lot of details about layouts and backgrounds, thus making it simple and easy for the entire team to execute the shoot. For him, the excitement is more about brainstorming and presenting ideas and options to the directors rather than drawing the boards out. His style and work culture helped him carve a niche for himself in this sector and got him working for some of the reputed names in the film industry like Ashutosh Gowariker and Sriram Raghavan to name a few.


A big fan of director Sriram Raghavan, Saumin along with his friend created an original graphic novel for the promotion of Agent Vinod, published by Westland Publications Ltd.

For Raghavan’s Andhadhun, Saumin has worked on a few key sequences, creating boards in his own style to function as inspirations and concepts for the sequences. He has also created promo images for the Bollywood blockbuster Stree and has had the opportunity to storyboard a song and the climax sequence for Vikas Bahl’s Super 30.

Words of Wisdom

There is learning at every stage.
Before story-boarding, it is necessary to study and understand films, television shows, comics, performing arts or any other subject that needs to explore. Reading fiction and non-fiction adds up to the knowledge base of an artist, thus helping him in expressing his work better.

Issue 45

Published in Issue 45

When celebrations are all around for the new year, everyone is curious about what this new year will bring. So, the rounds of looking back to the past year and trying to predict the new one starts. We started the same exploration through this issue by reaching various experts for their take on the trends for their respective fields. So, go ahead.


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Creative Gaga - Issue 55


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It’s interesting how all of us grow up with individual memories and experiences. It’s fascinating how transforming these memories to stories can create opportunities of telling unique tales that can emotionally connect to a universal audience. Animation filmmaker Balasubramanian explores his own memories and maps them to create engaging visuals and films.

KING SAGE. Part of an unreleased project. As the ruler