1

Anil KS trusts his instinct, essentially, while designing. Observing elements in his environment, he cultivates his techniques to simplistically present depictions that effortlessly spread smiles on people’s faces and make the world a happier place through his illustrations.

Illustrations
Tea Master. A fun illustration for a magazine featuring Kerala Tea shops.

For Anil, the design is a natural way of life, such that a person’s design sense and character are innately connected. Mainly guided by his love for traditional art forms, Indian mythology, sculpting and mural art, he’s always trying to bring his own style into his work of illustration, design, animation and typography.

Illustrations
Double. Amusing characters designed for an animation project.

Choosing a colour palette is a major aspect of Anil’s work, helping his illustrations to stand out and make easily relatable. Largely influenced by the living ambience and visual art forms in his hometown, Kerala, sharp and contrasting colours always make their way into in his work.

Illustrations
Parrot Man. An evocative illustration from a series of miniatures done for society6.

Trying to keep it easily readable in a silhouette, he starts out by scribbling the simplest, basic shapes, adding extra bits only later. Understanding the story behind the character helps in deciding the nature of the character. Anil always tries putting his personal touch into his work, preferring whimsical illustrations with humorous concepts and cheerful colours that make both, viewers and him, happy. That sounds like a win-win.

Horse Man. A colourful, whimsical and funny character designed for a project in 2010.

Published in Issue 34

This is a rebranding special issue focused on finding the answers to some of the basic questions like what is the right time for re-branding? or what all needs changing and how exactly? We interviewed some of the best branding studios like Landor Mumbai, Elephant, VGC, Inchwork, and many more. If you are considering rebranding or want to learn more about the art of doing it then this issue is a must read. So, go ahead

 

Order Your Copy!

Onassis Cultural Centre, a space that brings together people to express and discover diverse art and contemporary culture, needed a visual identity that translated the same. And Beetroot Design shows us how it’s done.

Brief/ Challenge:

Onassis Cultural Centre, a platform for artists to come together to showcase and discover contemporary bold art, required an equally bold visual identity for the season 2017-18. This Athens based institution needed the identity to be open and relevant to everyone, thus reflecting the core idea behind OCC.

Solution:

Beetroot Design Group, a multi-award winning, Thessaloniki based design firm, explored and created a visual identity for OCC, that is made for everyone, and yet so unique. Beetroot achieved thus by putting together all the typographies from the publications and events of the season, thus portraying them all under one visual identity. For this, the firm specially created software, Flow Type, which is now available for free. The software helped handle the high volume of typographies and played a key role in their manipulation, thus resulting in expressive free-flowing words.

The overall visual identity is an explosion of energy, colours, movement and boldness. Each piece of work is vastly different in its expression, but it is beautiful how they all come together to narrate a single story.


Client: Onassis Cultural Centre
Design Studio: Beetroot Design


Designing by developing personalities is one of the best ways to create relatable, relevant and successful campaigns, and Saatchi & Saatchi Integrated Solutions shows us how with the Nobile’s ‘Hang Loose’ campaign for the wakeboards.

Brief / Challenge:

Nobile, a Polish manufacturer is worldwide critically acclaimed for its adventure sports products like skis, wakeboards, snowboards and kiteboards. In 2017, Nobile wanted to engage young wakeboarders with their products. For this, they needed a new upbeat and relatable campaign that would catch one’s attention.

Solution:

Saatchi & Saatchi created the ‘hang loose’ concept to encourage wakeboarders to look inwards and identify with their uniqueness. For this, the agency put together five distinct personalities as themes and created five wakeboard designs around them. Each of the personalities, and thus designs, are youthful, contemporary and fun.

 

‘Shaka’ captures the elements of our childhood imagination. ‘Brah’ talks of brotherhood and adventure. ‘Aloha’ encompasses spritely feminine characteristics. ‘Akaw’ illustrates the yearning for adventure and discovery. ‘Bee3’ displays the fierce need for freedom and individuality.

Credit:

Agency

Saatchi & Saatchi IS, Poland

Client

Nobile Sports, Poland

Creative Director

Michał Pawłowski

Design Director

Rafał Nagiecki

Art Directors

Anna Caban
Bartosz Morawski
Kamil Bugno
Rafał Nagiecki

Retouching

Aleksander Bieroński
Bartosz Morawski
Kamil Bugno

3D Artist

Bartosz Morawski

Senior Copywriter

Marta Frączek

Account Director

Jakub Krawczyk

Account Supervisor

Anna Borysewicz

CEO

Malgorzata Rosiak-Brawanska

Marketing and Communication Officer 

Maciej Jaźwiecki

Brand Manager

Dominika Jagodzinska

Why do we love illustrations so much? Is it because it gives us a different perspective? Or is it the yearning for something spectacular? Maybe it’s simply to make one stop and think. These 3D installations by Peter Tarka, is all this and more. Each installation in the series takes different principles of design and explores the possibilities. The tension between the various objects in each installation creates something wonderful.

 

Peter Tarka is an art director and illustrator based in London who has worked with several renowned agencies like Saatchi & Saatchi, and for eminent clients like Apple, Honda, etc.

 

Connect Here

 

We all look for it. From a product to a person, quality is what stands out. It’s what is most desirable. “Design without quality is like mathematics without the number zero”, believes Creative Director, Avi Sehmi. And its importance multiplies when you’re starting up a design business. Here, he tells us how quality and other factors contribute to calculated growth of your business and you as a designer.

Reemerge - Digital Art Creativegaga
Shivinity - Digital Art Creativegaga

Achieve Quality And You Can Achieve Anything

For a design business, quality work always comes first and foremost followed by networking events and the word of mouth. To hook a new client, the best way to move forward is to sit with your team and whip together a solution based pitch deck, with a simple and consistent follow-up schedule. The rule is to not push too hard or you will push them off.

King Brach Kaiju - Digital Art Creativegaga
Spuddle - Digital Art Creativegaga

Practice Makes A Master

We’re born with talent within us and inspirations around us. These vary from designer to designer. One may wish to portray an abstract world and the other might want to tell a story through accentuated body language and a surreal setting. But the question is, ‘How do you do it?’.

 

Well, learning is a step by step journey. It’s a constant dance of finessing the basics’ the composition, the tone, the quality of light, the story etc. From Wacom & Adobe to Autodesk & Pixologic, digital design software and programs is where the magic lies. Master the magic, and there’s no stopping you.

 

And of course, it’s not just what’s within the measures of your screen but also the giant world around you. Travel. Experience various cultures. Discover different designs and art forms. Whether it’s African tribal art or the Bauhaus of Germany, notice the distinction, notice the similarities.

 

Remember, your mind makes connections that are unique to you and then you get to integrate that understanding and express that in a way that’s true to you. The process is nowhere near complete as it’s a lifelong mission to patiently work away at your craft.

Mechsplorer - Digital Art Creativegaga
Asia Borg - Digital Art Creativegaga

Every Creative Mind Needs To Be A Technology Mind As Well

The design is solution based and with modern day analytics and AB testing, there are ways to measure engagement and success rates. Keeping up to date with the trends in technology and working on the way you see the world around you is not an option, but absolutely necessary. Art is open to opinion and one will always feel that there are better, worse, stranger, even cooler artists out there. In that space its better to see how others are applying the principles and techniques and apply that understanding on improving the expression of your vision. Remember, it’s not a rat race but a lifelong process. Thinking otherwise will end up exhausting you too soon.

Trod - Digital Art Creativegaga
Puppetite - Digital Art Creativegaga

Never Forget To Work For Yourself Too

Over time, you will realize that it’s not all about you and your ideas but rather about facilitating the thinking of the team, making them work cohesively and passionately, to come to the best solution. That is actual growth. With such growth comes pressure and responsibility; not only to handle a team but to also manage a client. To stay in touch with creativity and innovation, always present an alternate route to the client if you believe it adds value to them. That’s another thing that often times, the client will stay bull headed in the pitch meeting. Some may appreciate the extra mile you walked, some may totally disregard the idea. Hence, it’s always beneficial to have an outlet, like digital painting or music. It keeps you sane and creatively active. That’s your space for unleashing ideas and experimenting.

Turtleopolis - Digital Art Creativegaga
Issue-23- Digital Art Creativegaga

Published in Issue 23

The issue explores a topic which is close to every designer, the Business of Design. We try to understand from the experienced ones that when is the right time to open own studio and what more you should get in your toolbox before taking the plunge! We had interactions with many talented studio founders like Rajesh Dahiya, Archan Nair, Ishan Khosla, Prasun Mazumdar and Anupam Tomer. Also featuring some of the best talents around the world such as Martin Grohs from Germany and Avi Sehmi from Canada, this issue not only provide answers to many questions but also initiate many new ones to explore further! We hope you will enjoy exploring the possibility of your studio with this issue.

 

Order Your Copy!

Forget technology for a while and try lifting that fountain pen or a paint brush. Dip it into the world and paint that stroke. It feels different. The magic that hands creates can never be matched by technology. Calligraphy is one such area of design where the old way rules. Graphic Designer Anup Shah does wonders with delicate letterforms to depict stories and create an aura. He tells us more about his meditative designs and his gratitude for the guidance from his father, Kiran Shah and calligraphy mentor Achyut Palav.

You are the World You are in.

In most instances, the environment we grow up in determines the likelihood of what one chooses to pursue in life. If the ambience around you since childhood has been papers, ink, books on the design they become your muse and instil a sense of curiosity that soon gives wings to your talent and sets you on a path of a lifetime – the path of a designer.

 

Such exposure is beneficial and offers a great platform to learn from experienced people. A creative environment is important for any designer and for those growing up to become one.

If you Think You’re Right, You are Right.

This should be the attitude of any designer in today’s world. Self-doubt is your biggest critique and is unnecessary. The process of design can be described to be consisting of the following key words – See, Think, Imbibe, Explore and Execute.

These five simple words can easily be the constitution that dictates the actions and behaviours of any artist. If one is sensitive to things happening around and make a conscious effort to capture the essence by reflecting them in their work, then one can say that half the battle is won.

 

And what this philosophy translates into is the fact that one need not convince anybody about what one’s work says because people will automatically understand and know.

Do Away with Technological Dependence.

For today’s tech and net savvy youth, it’s imperative to understand how this may be hampering their design growth at times. Because what technology is doing is only killing creative strength by preventing thought and only allowing you to polish, modify and execute things which are already there.

 

Originality is losing its charm. Back in the days, designers would create 50 different options not variations to create a single logo. Today, it’s rare to see such an instinct. It’s all about speed now, it’s all about being the fastest. What this is doing is making them less designer and more operator.

Calligraphy is Relative.

Every single alphabet has its own sound and characteristic. For example, ‘L’ relating to famous singer Lata Mangeshkar paints an imagery of something soothing, soft and silky whereas if ‘L’ was depicting Laden, it would be read as something bold, rough and wrong.

 

Hence, the letters never communicate on their own but always in conjunction with a central element or subject. Also, for those taking up calligraphy and typography, it’s important to make such hints as subtly as possible. In other words, create a story by animating letterforms to depict the theme so that when simplified forms mixed, creates an expression. Understand that every stroke should have a meaning.

Published in Issue 30

Since stone age when individuals were identified with certain marks, branding has always been an integral part of our life. It has evolved so much that now every success can be connected to great branding behind it, but still brand creation has always been a mystery. We interviewed the branding experts, who are behind some of the very successful brands. In brief, this issue is packed with branding and typography design experts who can help you solve the mystery of the brand creation! Order your copy here!

 

Order Your Copy!

Don’t jump to the conclusions and enter into a world of assumptions, wait till The End, know the reality and live on peaceful terms for the time after completion of a project. Anuj Prasad from Desmania shares his insights about this phase, the last mile, as he calls it.

What is the Last Mile?

It’s often seen that designers and clients start getting flustered when the project is on the brink of completion. This is the last mile and the toughest to handle, because at this stage mind is in an anxious state to complete the project and get on with the next one.

 

Most designers feel the euphoria during creative phases and lose steam as the project moves into technical and execution mode.Perhaps, the last mile is the most important mile in any passage of activity that must come to a conclusive end. It is also the most frustrating mile as one is almost there but yet not.

It is the same feeling as your plane circling around before landing or your train parked at the outer locations as it crawls to the destination.

 

Such situations make the virtual time expand to disproportionate dimension, creating a good likelihood of losing cool. Flaring up at this point is so obvious, while the challenge is to let the positive energies flow steadily.

Tough to Handle? Not Really!

Patience and perseverance is the answer.

 

It is like making a painting with a hazy idea and then evolving it into something meaningful. Yet the final strokes make all the difference. Believe it or not, but a masterpiece is differentiated from an average piece of art based on the final strokes.

The same holds good in design, sustained energy to keep improving till the end of the project, penetrating down to tweak the final details, small little modifications and refinements make all the difference.

 

Being open to inputs from the stakeholders, while responding in judiciously is an art that each one of us needs to master consciously as our experience grows.

After-Effects of the Last Mile

The last mile has the power to break long-lasting relationships. Primarily because it creates the slip between ‘completion with contentment’ and ‘completion for the heck of it’.

 

A small advisory to the team to be prepared for this phase is a good beginning. Thereafter, project managers need to take on the mantle with a focussed aim to exceed the expectations of the client at the time of completion.

The intent should be to pair with the client and run the last mile as a true companion to touch the finishing line with aplomb and give a high five to each other!

Critics, admirers and friends have in unison called his work controlled explosion of energy and movement. Tom J Manning believes this is true as it is his conscious effort to evoke positive and creative energy through his works. He presents an account of his design beliefs, thoughts and practices.

Evoking Positive and Creative Energy
Nike Wild
Personal Project
Mind Over Matter

Moving Images Are More Alive Than Static

I am fascinated by the flow of time, particularly the moments that may never be repeated. I also realise that nothing is ever truly still. With these themes in mind I make very quick strokes using special custom brushes. Smudging and fast scratchy pencil lines add to this effect. The theme of movement relates to the energy in my work. I always add simple lines to the outside of an image to make it ‘move’ even if it is portrayed as a static object.

Vinyl Cover
Evoking Positive and Creative Energy
Vinyl Cover
Repair Album

Contrast Adds Depth

I like to keep my images bright. That’s why I use vibrant colours, mainly orange. I find that I can isolate the brightness of the colours by using grayscale, which makes them stand out almost like highlights. I tend to work in darker colours first before layering brighter colours on top. I feel that this helps to create a more indepth kind of image.

Personal Project
INTERNAL CONFUSION.
Personal Project
Love and Pride
MUSE BOOK COVER.

Connect Comes From Positive Emotions

Most of my work is open to interpretation, especially the abstract work. When I do portraits I want the audience to understand who the person is and what they do and perhaps a glimpse into their personality. I also try to invoke happiness, content, hope, sadness and change within my images. My style always attempts to make good out of the bad, light out of the dark. Quick and vibrant strokes of colour represent that creative and positive energy.

Alberto De Tenis Illustrations
Alberto De Tenis Illustrations

Free To Pick, Think And Draw

In nature you can see so many things moving, so many colours and varieties. I pick them up in abundance and use them in my work. Like, the quick strokes in my paintings are inspired from Leafy Sea Dragons. Or, the orange comes from the colour of the Malay Lacewing Butterfly. More importantly, I find mixed media to be free and expressionistic which is perfect for my style and the themes I wish to communicate. It also allows me to keep my work traditional and raw. Often a single image could contain as many as 15 different media all mixed together with a digital finish.

Linkin Park, Musical Illustrations
Linkin Park, Musical Illustrations
Linkin Park, Musical Illustrations
Linkin Park, Musical Illustrations
Linkin Park, Musical Illustrations

Published in Issue 16

We always wish we had someone to show us the right way of doing things when we were starting our professional journey. And that’s why we have based this issue on graduates. The cover feature is an ensemble of advice from top names of the industry. We have also showcased few talented fresh graduates from across the country, keeping with the theme. You’ll find Tom J Manning and Pallavi Sen share their international exposure as well as insights behind their unique approach. Also featuring Shreya Shetty, a prominent concept artist, who shares the secret behind the believable characters she creates. She believes, with practice and patience, anyone can be a good artist.

 

Order Your Copy!

Adaar shares how understanding the contribution and significance of various aspects such as subject matter and the passion behind the designing process can help gain clarity from conceptualisation to execution.

A concept art-based piece on urban structures set up in a background or festival, music and monuments.

CG. What do you feel forms the basis of your motion graphics work?

Adaar. The subject matter at hand and the passion behind communicating the same are what we really focus on – if we connect to it personally, magic happens. So, that’s what we consider as the basis of the kind of work we take on and how we execute it.

Abstract world. Abstract style executed in a clean aesthetic way with pastel colours and elegant material textures.

CG. What is the contribution of colours in motion graphics, and how do you apply them?

Adaar. Colours speak for themselves and always enhances the mood and effect of what is being conveyed. They are very essential to make an impression and convey the feel of what is being communicated, like red for appetite and yellow for joy. It contributes a great deal without saying or doing much – that’s the beauty
of it.

Unframed. Real world objects in a digital environment.
Gadget Advert – Phone. A representational display of a new-age phone in its sleek and stylish form.

CG. What is your process of choosing the right colours and achieving the right tone and contrast in them?

Adaar. Colours enhance life around us by telling us volumes of any mental process. It has its influences on human emotions, more than one can imagine. So, the impact of the subject matter on the target group is the chief driving force behind choosing the right colour. The nature of the colour chosen and how it is applied to a certain piece of work shall determine its effect on the audience’s and in turn its response to
the work.

Unframed. Real world objects in a digital environment.

CG. How do you determine aspects such as the apt proportion, balance, symmetry and the likes?

Adaar. Passion for work done and experience allows one to gauge minute details over time. The drive to get things perfect and the effective delegation of work determines the details for us. That’s the process and approach we keenly follow.

Run with nature. A personal project where the inspiration comes from nature.
Abstract world. Abstract style executed in a clean aesthetic way with pastel colours and elegant material textures.

CG. How do you feel symbolism, concept and the likes contribute to the communication in a motion graphic?

Adaar. The objective behind a symbol is to make a quick memory shot without forsaking the meaning of what it represents. A symbol can influence visual perception by connecting the viewer or client to the core driving ideology of the company at hand. The use of symbolism and its comprehension is very subjective. Different people can perceive it in rather diverse ways. We believe it must convey the direct idea at hand in the simplest way that ensures a quick comprehension.

Gadget advert – Phone.

CG. What is your advice to others practicing your style of design?

Adaar. Observation is the key. It can open up your senses and perception to a whole new and wide range of aspects that you might not have conceived earlier. Likewise, there are so many styles. Refer to them; in fact, refer to as much and as many as you can, as that is what keeps you growing. And, keep updated – with current technologies, contemporary needs and situations, ideas, designers & artists and so on.

Byron. A Signature film demo.

CG. What do you feel is the future of motion graphics towards which it is heading?

Adaar. Scope of motion graphics is massive in the field of advertising, gaming and immersive technology, and it is evolving like anything. We are very happy that clients are approaching for innovative and quality motion graphics projects. We see a bright future ahead of us, and are quite excited to see what it holds.

Floating Palace. An epic Sci-Fi theme of a floating palace.
Issue 40

Published in Issue 40

We all have favourite TV shows and we passionately discuss the stories and characters of it. But sometimes, we tend to ignore the channel and its branding. Now with many different channels to choose from, we are experiencing many new branding overhauls to grab the audience’s attention. In this issue, we focused on Motion Graphics design and people behind some awesome channel rebrandings. If you are interested in moving design or animated content then this issue is a must-read for you!


Order Your Copy!

Character designer, illustrator and storyboard artist, Ritaban Das, takes s through his own style of telling stories through illustrations in a single frame style of designing. He introduces his perspective that guides his ideas and also shares his process.

Single Frame
Sketching with friends. Personal work showing aliens as company while sketching.
Single Frame
Team Dank. Personal work depicting a rather artistic team spirit.
Single Frame
Together. Just a piece of commissioned work for my friend, depicting the funny side of companionship.

CG. What are the particular advantages and challenges of telling stories in a single frame?

Ritaban. Illustration or design is a visual communication medium. It is important to challenge yourself with a different perspective, scale and how your subjects interact with one another. When sketching, I produce numerous roughs or loose drawings which later make into more developed sketches. I then decide on a final composition. The most critical element is really an activity of the subject. The figure is usually doing something and caught before it happens or just after. The other elements are supporting artefacts. Whatever I draw, I think of it as a clue or a breadcrumb that helps understand the complete story and message. It’s up to the reader to put it all together and solve the riddle

Single Frame
Indian Warrior. For a monthly Facebook character design challenge. The topic was "Warrior".
Single Frame
Clown. Personal work, inspired by Eli Roth's film of same name.
Single Frame
Two Detectives cover artwork. For the unfinished graphic novel I was working upon with my brother.

CG. What are the essential designing tools and software you use for such an approach and how do you decide on what kind of a role they play in your work?

Ritaban. I usually make the design part in Photoshop, from scratch to end, and I work in Storyboard pro for storyboard. Tools can make your work easy or even open the avenues to do it faster, but it’s based on how good your design sense, storytelling abilities and drawings are. These are the most basic fundamentals to create anything.

Merry Christmas. Old commissioned work created during the Christmas season.
Two Detectives. A promotional poster for the unfinished graphic novel I was creating with my brother.
Single Frame
YUWA. For Art Exhibition last year, collaborating with the NGO Yuwa that empowers young girls,.

CG. What aspects do you particularly give attention to in your work to ensure effective communication through your illustrations?

Ritaban. I start by trying to understand the character, his/her background, history as well as his/her place in the story. Research helps at this stage since it’s so important to understand the world you’re creating before jumping into it Next, I’ll do a series of drawings where I figure out the characters shapes and attitude; I try to just draw the first thing that comes to mind, knowing that I’ll be changing it later. All the while, I’m searching for a new or interesting take on the character. After I’ve done a few rough thumbnails, I decide on the one that has the most appealing silhouette, shape proportions and that best describes the character. I then start to flesh out the character and begin to add details, keeping in mind any specific traits described in the script or story.

Single Frame
A promotional fan poster for the most anticipated boxing match in the history between McGregor and Mayweather.
Single Frame
Odd Socialites # 1. The first installment of a small comic strip project with my writer friend.
Single Frame
Red Necks. Personal work showing the not so friendly folk in town.

CG. How do you describe your process and goal of designing?

Ritaban. Being a Character Designer and Illustrator, most of my work is very much character driven, blended with humour and very graphical too. I always try to convey some sort of stories through each and every character or Illustration I make I like to play with various shapes and silhouettes and usually keep things simple. The character design process is, in a way, a combination of different things. I ask myself ‘Who am I drawing?’ What is his/her personality?’ I look at the work of influential artist sometimes to get some ideas or even start from a drawing I like and translate it into my style. Then, trying to forget those influences, I often start from scratch with a basic shape such as the face as it determines the rest of the character for me, then the body (this can be a circle, oval or even a pear shape – it all depends on the personality of the character I want to draw)

Single Frame
Battle of the Beasts. UFC 223 fan poster for the main fight between Ferguson and Khabib.
Single Frame
Inked! Personal work depicting a tattoo artist working his craft on the devil.
Issue-42-Cover

Published in Issue 42

Every designer wish to be independent and willing to jump into the word of freelance but most of them unaware of the fundamental challenges of the initial phase. So, we dedicated this issue to freelancers and interviewed some established and talented designers to dig deep for the expert advice. Kevin Roodhorst on the other hand, an experienced freelancer from Amsterdam, has recently shifted to be a full-timer with an Agency says “Freelancing is not all roses!” and shared the best way to survive as a freelancer! So, whether you are a freelancer or planning to be one, this issue is a must-read. Go ahead and order your copy here or subscribe to not miss any future issues!

 

Order Your Copy!

Pin It on Pinterest