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In an attempt to connect the sport enthusiasts to their very own city on an emotional level, Nike collaborated with Gautam Gajbar to create an in-store mural for their flagship store in Mumbai.

Brief

A Nike store is not just where the brand lives, it is where the brand comes to life. Nike is a runner’s company, build by runners for runners. Then, Now, Always.

 

For its flagship store in Mumbai, Nike appointed Gautam Gajbar to create an in-store mural.

 

The project brief demanded certain pointers to be taken care of while designing this mural.

Nike

To top this list of challenges, the biggest of them all was to get this mural in place with the store being completely operational!

 Firstly, the mural must make Mumbai city, its heritage and Nike, its heritage and brand moment statements as a part of it.

 

• Secondly, the mural should tell stories that open conversation and connect with runners on an emotional level. They should feel inspired and rewarded for coming in.

 

• And lastly, the material and finishes of this mural should be inspired by the environment of running.

Nike

Solution

Considering himself lucky enough to have bagged a second opportunity from Nike to work at their creative front, Gautam Gajbar collaborated with Sachin Kondalkar, Ryan D’Costa, Rohit Bhanushali and Tushar Agawne to achieve the project brief of creating an in-store mural in a short span of time.

 

The process started with the objective of creating an inspiring experience for consumers as soon as they set foot into the store and go like – “This is ma hood and I belong here”.

Nike

Going one step at a time, the first phase was about creating the design followed by the process of approval. The provision of a detailed on-point design brief facilitated the creation of a quick and apt illustration for the mural, which were closed in a few interactions with the brand.

 

The next phase, post the approval of the design, was its execution in terms of recreating the design on a one is to one scale. The approved design had to be hand painted with the desired effects and texture of a canvas in the same proportion as the store wall that spanned as wide as 22 feet and rose as high as 19 feet.

Nike

Once the art piece was completed to scale, then came in the last and final phase of the project: its installation on site. For this, the art piece was divided into 3 parts. Using a special water-based adhesive, these parts were pasted onto the wall. The pasting took about 8-9 hours followed by final touch-ups on the spot. Being in-tandem with the design brief, the installation was done post the operational hours of the store.

Conclusion

Using a new medium and ensuring that it has the desired final effect, and the onsite execution given the constraint of a fully operational store was quite a challenging task!

 

However, working within the brand guidelines of Nike and at the same time being as creative as one can be to do justice to Nike, the brand, Gautam did his job perfectly.


Client: Nike
Illustrator: Gautam Gajbar


Nike
Nike
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Creative Gaga - Issue 49

 

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!
LATEST RELEASE
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Creative Gaga - Issue 49

 

For innovation and originality one needs to break-free from the herd mentality. With design and aesthetics as its core, FutureDeluxe, headed by Andrew Jones & James Callahan, is a design and motion studio that is in constant pursuit of aesthetic innovation with every project it undertakes. Here, they give us an insight into some of the crucial aspects that makes them tick in the industry.

CG. With a wide array of projects from varied industries, what is your creative process like?

FD. Today’s commercial timelines are tight and short, therefore, exploration of new styles and production outside of projects is paramount; to gain knowledge beforehand to bring in a unique approach towards the project. Our creative process is different with every project that we work on, we strive to experiment and innovate every single time.

CG. How do you keep your team updated with the newest technology/ techniques and how does the research enable an innovation in your work for diverse clients?

FD. With a broad spectrum of in-house designers and a bigger community of trusted partners and freelancers, the FutureDeluxe family in itself is the key to our diversity. Our interests within the company remain broad and we are always on the look-out for talented artists to collaborate. It’s that collaboration and mix of styles and techniques which keep it interesting for all of us.

CG. What are the challenges faced when creating moving, live-action narrative?

FD. The approach is very different. When working with CG and digital technology, it gives us an opportunity to approach the project in unconventional ways. It allows us to explore and change direction regularly within the project timeline. We are essentially designing and experimenting all the way through the process which means we often stumble on looks and techniques which are happy accidents. However, working with the latest equipment and technology for experimentation or innovation also means a huge financial outlay on a regular basis!

With live action and more narrative based projects, the planning and scripts are written in advance and the production process follows a strict timeline and storyboard, especially with live shoots. You can’t experiment on set as much as you do in a studio!

CG. How important is aesthetics in story-telling?

FD. We are a design-led studio and aesthetics plays a major role in visual story-telling. However, we are aware of the wide variety of aesthetics prevalent in the industry which seems disposable in today’s age with the limited time span. Therefore, we strive hard to create something challenging, which has never been done or seen before, to make it more memorable.

CG. Apart from motion graphics, which are the other domains that your studio would want to explore?

FD. Emerging technology, films, and digital backgrounds are the key aspects of how we work and the style of work we want to make. Unintentionally, over the last two years, a majority of our commercial work has been CG based. This year we have been working on more data-driven work for a TV Chanel and a digital product brand. We are currently working on large-scale installations for two automotive brands as well.

CG. Experimental design is all about pushing the boundaries of technology. Can you cite one example from your body of work?

FD. We always try to do something new with every project undertaken. We used a great technique in our latest project, OFFF Titles where live action macro footage was used to drive a particle FX system. This gave us incredible results.

Our procedural approach to all of our design work is the same where we create these techniques which are computational with varied results, while a more traditional and linear approach will give you only one outcome. These unexpected and varied outcomes are interesting and what excites us the most.

CG. Apart from stunning imagery, your designs visually connect with the audience and are successful in exciting the mass. What are the key points for consideration to achieve this?

FD. I think when you achieve to create something that’s new and original in today’s saturated content channels, it will always connect. Creating a reaction, good or bad is better than no reaction at all. We put our heart and soul into our projects and hope that it connects and resonates with people.

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!


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Creative Gaga - Issue 49