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Usually, the idea of working on the creative front for a Government project is not welcomed by many studios. But Lopez Design has accepted the challenges that come along with these big scale projects and have been successful in carrying out the same.

Branding for National Impact

India is a globe in itself with a population of almost 1.4 billion, it is important to create experiences that belong to us. Design is about people and the Government is the largest client in context to the impact it creates – it is an opportunity to design for millions. Taking on a Government project replaces the notion that design is for an elitist audience with the idea of design being for the masses.

A Rigorous Process

Government projects involve tedious processes – right from extensive documentation to verification of credentials and adherence to formal guidelines. Nevertheless, this struggle needs to be done to get recognition from the Government – that good design is important and can make a difference.


Studio Lopez Designs’ first major project was identity and branding, communication collaterals, website design, social media and signage for Bihar Museum, with biggest challenges being dealing with the bureaucracy at the administrative level and getting payments and approvals sanctioned. Patience and persistence are the secrets to move forward in such kinds of projects.


A Measured Gamble that Pays Off

A client picks Lopez Design recognising the potential and brand value. Equally, we take the initiative to bid for Government projects as the prospect of designing for a larger audience outweighs the tedium of administrative processes and other risks. Because of our rigorous and thorough design process, we usually get it right the first time, rarely facing opposition, in spite of going through the many levels of authority.


Under the umbrella of UNICEF, we were commissioned to do the branding of the Health and Wellness Centers of the Ayushman Bharat program.


Indian Designers can be Catalysts

We have garnered achievements largely by pushing boundaries and rising against the stereotypical application of design. Making the design, region, and nation-specific and addressing the character, language, and behaviour, imparting an authentic feel to the design.


In Ayushman Bharat, the branding program was about painting the walls of 1.5 lakh local primary health care centres. Creating a national brand and yet a local brand was an achievement by which each HWC has its own unique character. By allowing people the creative power in execution, they became catalysts in the design process.

Simplicity and Creativity in Implementation

Sometimes following standard design practice and providing all specifications falls flat. In the Ayushman Bharat project, created a system with an element of creativity: a simple brand manual with 3 to 4 steps to bring a level of consistency and giving ownership to people at the ground level. This worked wonders and yielded beautiful results. People took responsibility and delivered within the time period. Leaving implementation to the people was a bold and necessary step, but was successful.


These projects outshine many corporate projects because of their scale and reach. It was a moment to take pride in our design process as it is making a difference to the nation.

Published in Issue 44

Behind every successful studio, artist or designer there are stories of challenges, struggles and their unique solutions to these. With this issue, we interviewed many well-known names from the creative industry and found their different learnings and experiences behind making their own self as a brand. Though they all have a different take on this topic, still they all unanimously emphasise on focusing on their skills and quality delivery of the final outcome. So, if you are looking to establish yourself as a brand in the creative market or already in the process of it, this issue is a must read. Full of insights and inspirations from the best of the talents, this issue is waiting to reach your desks.


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Creative Gaga - Issue 54


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Nidhi Isaac

A portfolio is not just a record of your work, and it’s defiantly not a compilation of your illustrations, photographs, or logo bank, it instead is a window to your passion for design and an expression of yourself. A design recruiter can easily gauge design aesthetic, illustration skill, software comfort, composition, and typographic knowledge, at a glance! Unless exceptional, these are not reasons to hire, but just reasons to keep a designer in the running.

Your professional and personal life experiences, as well as your personality, give you a unique lens to comprehend the world, which becomes a unique strength to add to a team. The challenge is finding the right team and an alignment that works for both you and the organisation. This can only be understood if you showcase what makes you tick, which will speak volumes to the right person.

T he last 5 years have shown a shift in portfolio content that we at Elephant Design find exciting and promising in the young designers we meet. The following practices, in particular, have caught my attention:

Not Just Design But Thinking

Anyone looking at your portfolio should feel curious in a few minutes, do not demonstrate only skill but also process. Show how you understood the context, competition, and consumer. Highlight why you made those choices.

Not Output But The Outcome

Design is about emotion and behaviour. Talk about how you wanted people to feel and what you wanted them to do, and then tell us how you made it happen.

Be Accessible

Today everyone has a digital portfolio, whether a website or a page on a portfolio site, keep it simple and easy to navigate.

Be Clear

A recruiter will spend only a few minutes on your portfolio, so highlight the role you have played in different projects or different teams. Equally important is to be clear about the role you are looking for and why.

Be Relevant

Put in the effort to understand the bigger picture, the team, the organisation, and where their market is going; feature work that is relevant to them.

Show Initiative

Whether college event brochures or freelance work, it is vitally important that designers show the initiative to work independently and the interest to move from academia to real-world assignments.

Build A Conversation

No one expects young designers to have all the right answers, but it is refreshing when they ask considered questions or showcase relevant areas of inquiry. In short, work towards landing your dream job. Showcase your best self, tailor your portfolio to the organisation and what they want. As with most of us, it doesn’t happen immediately. Keep your eye out for the right opportunities and build the relevant portfolio that will get you there

Creative Gaga - Issue 54



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Art is once again gaining its momentum among the public thanks to the influence of social media. Hence, we at Creative Gaga wished to understand and shed some light on the role and importance of illustrations and its place among the Indian Brands.

As the world grows increasingly mechanical and societies turn grey, our innate desire to find colour guides us towards the world of art. This ardent need for creative expression, coupled with technologies, can be stated as some of the many reasons for the increasing solidarity for art witnessed in recent years. Illustrations, in particular, are obtaining a singularly strong foothold on the Indian Brands.

“An illustration is an art of crafting an image to convey a message for a particular reason,” explains Sajid Wajid Shaikh, a self-taught visual artist specialising in illustration and design. Sajid’s artworks speak for themselves through their severe lines and abstract forms. Having partnered with companies such as Google, Facebook, and Adidas to name a few, Sajid possesses tremendous knowledge upon the use of visual languages, such as shape, form, line and colour to convey the necessary message. His artworks are often a departure from the reality, portraying the everyday subjects in an abstract style and often coloured vividly. “An illustration is engaging and independent of the boundaries set by the physical world, as they are a fraction of an artist’s imagination, which provides the room for artistic liberty,” said Sajid.

The artist attributed the growing popularity of illustration to its ease and accessibility. “With the advent of technology and internet, illustrations are relatively easy to produce and are quite flexible in terms of the time it takes to make the changes and get the desired image,” explained Sajid. He supported his statement with a series of his projects and commissions.

Illustrations for Granfalloon
Branding for The Granfalloon

“For example, The Granfalloon project. The Granfalloon is a production house based in Mumbai. The idea is to show a state of mind and location that brings people together who may otherwise have nothing in common. And so, we made the two partners fly on a Carousel, one is trying to catch a fish in the sky, and the other is trying to fry it,” explains the artist. “Moreover, illustrations can effortlessly give the brand its character, as they crafted to fit the brands’ needs, and are comparatively easy to make, change, modify and scale. Hence, with all things said, illustrations are taking a seminal place in the marketing and communication department of major corporations,” noted Sajid.

Stationery for The Granfflloon
Poster for The Granfalloon

Agreeing with Sajid, illustrator and graphic designer, Pavan D. Rajurkar believes that the growth of the illustration field can be attributed to three primary reasons: New Tools, Growing Modern Media and Less Manpower & Minimum Resources. “From my experience, I would say that the medium of illustration isn’t as demanding as other mediums like films or photography, which would require certain resources and manpower. One can communicate the same thing through illustration with limited resources and in less time,” explains Pavan.

Illustration for Vinay Electrical

Pavan D. Rajurkar has been working in the advertising and design industry for the past seven years, upon completing his Masters in Animation Film Design from National Institute of Design. Having worked for numerous advertising agencies such as JWT, Interface, and Radio Mirchi, among several others, Pavan draws his inspiration from colours, culture, mythological stories, and is especially inclined towards Indian art forms. It is this penchant for something Indian and local that has helped him find his style and visual language. Hence, what better authority to further explicate on the role of illustration?

Illustration for Vinay Electrical
Illustration for Vinay Electrical

Having attributed the growth of the field to three reasons, Pavan further elaborates on his points. “Firstly, the access and ease of digital tools allow creation and publication with much more ease. New tools including, digital devices, software, print & colour technologies have reduced barriers and opened new avenues. Secondly, today social media is a chosen hub to cater to a wide range of target groups, which contributes to the ever-changing styles of the artist. Since they are always on their toes, learning from different styles and techniques from around the world. On the other hand, brand requirements have also evolved with time in terms of frequency, promotional activities, design language and such. Moreover, their primary need is to maintain a regular social media presence which can be easily fulfilled by illustrations,” elucidates the artist.

Illustration for Vinay Electrical

Illustration in terms of brand designing is nothing new in our country. “The art of illustration has its share of history with brand designs in India. The industry is vast as many consumers, industrial products and services have been using this medium to build their brands and promote their stories, since time immemorial. Therefore, I believe that illustration is not forging a new place in the industry because it already has a place of its own. But it is evolving, as the brands reuse this traditional form of communication in a modern system,” elaborated Pavan.

Illustration for Natural Ice Cream

Thinking in similar terms, Satish Gangaiah provides us with a unique insight into the field. Possessing over seventeen years of experience as an illustrator, visual artist and graphic designer, Satish has worked with numerous national and international companies such as Bosch. “The field of illustration in India has evolved tremendously and have started to cater to a broader audience now. In my 17 years of experience, I have witnessed a lot of change in the way art used in creative representations. There used to be a time when there was a heavy reliance on the use of stock images. And now, we can witness this trend gradually fading. At present, there is more thought given about the ‘end-user’. Everyone seems to think of the prospective audience before the design process begins. That, in my opinion, is more professional and also renders the design or the artwork more relatable with its target audience,” Satish explains.

Illustration for Bosch
Illustration for Education App

Furthermore, the artist believes that present-day art and design are evolving to cater to the end-user or the target audience by reflecting the local trends and colloquial flavour. Hence, shaping foreign brands to be more appealing and approachable. “I have worked with multinational companies such as Bosch, where they wanted to represent themselves with a local context. They wanted to portray how their expertise in the automotive sector can help build local economies and create local jobs, specifically catering to an Indian market. And, they wanted to portray it to a vast audience in the simplest of mediums. Illustration connected them to their target group, and the project portrays this,” states the artist.

Illustration for Killer Launch

Approaching the subject from a different perspective, Nithin Rao Kumblekar feels that the market has been changing in different directions for the last few years. He attributes this restlessness in the industry to the ever-growing and ever-evolving development in the available platforms. “Maybe all were confused and didn’t know what medium works best for the brand. As we all know, print media has been diminishing for the last few years. And most of us had no clue what true digital marketing is, many creative ideas got rejected because the client was unsure where to put the money,” said Nithin. This disquiet in the industry reflects in the briefs the artists receive.

Illustration for REVV
Illustration for REVV

The story-based illustrations no longer desired due to time constraints. In its stead, a plethora of creative methods got developed for the illustrations. These works of art are no longer confined to print media they are also being used in digital and television commercials. “Grey Worldwide, Delhi approached me to illustrate characters from their television commercial for car rental brand Revv. Initially, it was for the online ads, but later they decided to have these illustrations to be part of the commercial as well,” explained Nithin.

Indian digital Artists
Illustration for REVV
Illustration for REVV
Illustration for REVV

Just as print media, illustrators for online advertisements also have various format and size specifications. “In some cases, it is difficult to have one single layout which will adapt to different sizes. McCann Bangalore was designing creatives for promoting an event for TVS called MotoSoul. The event had many activities; clubbing all these activities together and then designing the ads would be a nightmare. So, the creative team asked me to create the illustration in a way that all the characters should be different layers so that they can move the required activities and characters from the illustration to fit different sizes and executions,” said Nithin, illuminating his personal experience.

Illustration for Moto Soul TVS

Nithin has also observed a rise in demand for illustrations in small, local brands. He attributes this to the increasing exposure due to digital medium, filling him with hope for a brighter future for design. “I have no clue how the market will change in the coming days. But I’m sure illustration will never go out of fashion. It certainly evolves with every step.”

Creative Gaga - Issue 54


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This century belongs to creativity and innovation. In everything we do. The way we live is a lot different from what it used to be earlier. Our engagement to shape our future has become intense and pervasive. Design is omnipresent. It is so naturally embedded all around us that sometimes we don’t even notice it. Be it in architecture, product, textile, fashion or graphic design. In the past few years however sensitivity towards design has taken a turn for the better. People today are more aware and are slowly but surely appreciating the impact good design can have in their lives.

Associate Creative Director and Partner of GCD Studio, Shahana Jain is going to specifically talk about graphic design as an industry and how it has built a standing for itself as a fast growing discipline. Communication design has seen exponential growth in recent years following the surge in consumerism and media. Branding, packaging and advertising are crucial to the success of a product or service in this fiercely competitive environment where presentation is as important as quality. More so with the explosion of digital media, graphic design has found a new area of expansion.

A new brand is created every day. With the new generation rearing to go, the startup ecosystem is fearlessly growing and new players are constantly aspiring to become big names. In such a scenario each one is trying to create their unique space and identity. Branding has therefore become an obvious starting point for those who want to make their presence felt.

For instance many design firms in India is constantly working with start-ups in the technology, FMCG and hospitality space to help them create a distinct identity that then interfaces with the world. Designers are contributing to the entire visual world around us. There is immense scope for designers in almost every industry.

More and more industrial companies are utilising the services of product designers as their inputs often lead to added values in terms of improved usability, lowered production costs and more appealing products. The design is, therefore, emerging as a much sought after career option. If you have a flair for design, the industry offers you wonderful opportunities to prove your mettle. We, as designers, therefore play a vital role in giving expression to an idea and have the power to influence the success of a brand.

With retail moving into self-service formats, the shelf appeal of packaging has become more important than ever. The market is flooded with products vying for consumer attention. Packaging design has become critical, as it is the initial point of purchase: the point of decision making for the buyer.

Attractive and relevant graphics, appropriate balance of colours and typography, as well as attention to forms and material make a significant difference in the aesthetic appeal of a product. Large corporates and businesses have realized the importance of packaging design and are continuously investing in revamping their product packaging so as to make it more in line with current trends and to counter competition.

Advertising has also evolved in last decade. With the advent of the digital media and people consuming information all the time, short, simple and impactful advertising has become the order of the day. You have to be instantly noticed to make an impression in a cluttered marketing environment.

The consumer should feel excited and compelled to ‘follow’ you, ‘like’ you or ‘tweet’ about you. Divided consumer attention can be channelized using the tools of good design. Given the changing fabric of advertising, more time and energy is being spent by big and small corporates on brand strategy including the use of effective marketing and social media tools to get the message out.

Digital, web and app development is an area there maximum expansion has happened. And it will only increase in the future. If you do not have web presence you’re not in the running. Meaningful content development, both visual and copy is essential to maintain brand presence. Smart UI and UX design including easy layout and navigation determines whether an app/website is user friendly and hence functionally viable. Therefore role of graphic design becomes critical in finding appropriate solutions for the task at hand.

From a global standpoint, design is no longer contained within the boundaries of any country, as the world wide net is really one holistic platform. It forces design to find some sort of universal language and designers to be aware of trends around the world. Every new brand is present on the net and the net is accessible to people in virtually every corner of the world.

While this was always the mantra for ‘global’ brands and MNCs – today even if you are a boutique coffee roaster in Coorg, you will have presence on the net and your brand and product will be accessible to people all over the world! So designers sitting in New Delhi or Beguserai, could be creating brands for a consumer in Tokyo or Chicago! And therefore designers need to be up to speed with developments and expectations not just in their local area or country but also on a global platform.

The design industry in India is adapting itself to deal with increasing demand for good, discerning design, both locally and globally. Design schools are equipping themselves with the best teaching tools and updated software knowledge to keep pace with industry requirements. Design companies on the other hand are beefing up their service portfolios and bandwidth by adding to their skillsets and expertise.

Freelancers have found new ground, as there is work for everybody. This is in turn is enabling the availability of talent to large and small organizations who are setting up their independent design departments to accommodate the gamut of work.

To sum up, the design industry is booming and is in a very promising space today. The future is getting brighter, every aspect of life demands a new approach, a new solution, a new way of looking at it.

Creative Gaga - Issue 54


Shreya Shetty
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LA-based freelance concept artist and illustrator, Shreya Shetty, shares her insights about handling and organising finances as a freelancer, so that it no longer feels a daunting task.

Working as a freelancer means you have a wear a lot of hats. Being smart about your finances will allow you to continue to operate smoothly. Here are some ways to help you through the ups and downs of the freelance life.

1. Know Your Worth

Charging a below par rate is going to hurt you, over time. Talk to your peers and know the general rates. Sources like ArtPact, Glassdoor, etc. help find out the hourly and per piece rates for illustrations and such.

2. Budget for Taxes for Freelancers

Freelancers pay at a higher tax rate. Consider this when you quote your prices, and budget for this when you have expenses. Virtually, all work related expenses can be written-off as business expenses. Find out all possible allowed business expenses that you can claim as a freelancer. Be sure to keep your personal and professional spending separate.

3. Consistent Clients

Try to have consistent clients so you know that you will be making a certain amount per month. Also, don’t put all your eggs in one basket. Try to have a couple of different clients, so even if one stops commissioning work, you won’t be out of work.

4. Invoicing

Be prompt about sending in your invoices as soon as the job is done. Most of the bigger companies have fixed billing cycles so if you are late and don’t send your invoices in by a certain time, it might take up to the next cycle to get paid.

5. Passive Income

It’s always great to supplement your commissions with passive income. This means that you can generate revenue with minimal effort, based on the work that you have already done. Examples of this would be Print on Demand (POD) services for prints, licensing; selling content like tutorial videos, brushes, and so on.

6. Plan Downtime

Plan for the downtime and try to save up at least 3-6 months of your basic living expenses. When you start out keep your overheads low, embrace the frugality till you know you have saved up enough to not panic if the work dries up for a while.

Published in Issue 37

The issue includes interactions with Preeti Vyas from VGC on ‘How to pitch for clients or retain the existing one’ and Ashish Deshpande from Elephant on ‘Challenges of working with a startup’, along with some best freelancers like Archan Nair, Shreya Shetty and Paul Sandip, sharing their knowledge of working with various clients. Also, Sachin Puthran from Thatzit.com gave a 10-point no-nonsense guide for studios to handle their finances. A must read, if you are planning for the financial year ahead or worried about your handling your money matter.


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Creative Gaga - Issue 54


Priyanka Bhasin
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To give custom solutions to the client one must understand their requirements and expectations. Though every client has its own uniques needs but to better understand the rapidly changing client’s demands during the COVID pandemic, we asked Priyanka Bhasin, co-founder of Design Stack, for her recent experiences and learnings.

Client’s Demands, Have you witnessed any changes in the projects you receive now than from the projects from pre-pandemic days?

Priyanka. Yes, we most definitely have. The projects we have been approached for in the past few months have been far more focused and defined in terms of business objectives and timelines. Also, they seem to be largely based on immediate and visible client’s demands, which is in stark contrast to how things were earlier. Where people were willing to take more risks, today there is a lower scope for indulgence.

Another interesting new development includes work coming our way from large scale public sector companies that speak to the wider demographic, demonstrating a surprising yet encouraging the savvy understanding for strategic branding and appreciation for good design.

Apart from COVID impact, is there any other recurring theme that you can observe in the current commissions?

Priyanka. Some businesses have been hit very visibly in the past few months because of the way that COVID has impacted consumer spending patterns. It has led to a visible shift from ‘want’ to ‘need’ and once again, there seems to be little or no scope for indulgence. Businesses seem to be now investing in more holistic and purpose-driven brands.

‘Survive to thrive’ is also a recurring theme we are witnessing. The inability for businesses to differentiate between branding, advertising and digital agencies is possibly the industry’s biggest challenge which is further burdened with the need for agencies to stay afloat. Survival is dictating decisions and if we as a collective are not cautious, it could even impact creative standards.

Has there been any difference in project deadlines before and during the lockdown?

Priyanka. More than just deadlines becoming tighter, it is the intensity of engagement that is crazier; heavy spurts in short times. Often, there’s just about enough time left in a day to schedule the next set of calls. The lines between personal and professional are fast fading and balance has become critical to stability. We are at a whole new level of multitasking!

Has work from home impacted the projects/commissions that you receive?

Priyanka. Not really. The industry at large has been hit more by the economic downturn rather than WFH. And since we saw a similar downturn play out in 2008, our decision to build a diverse portfolio spanning most industries across both public and private sectors, has worked wonders and helped us ride this wave.

As far as WFH is concerned, our clients have been happy to have more access to us; and we think they secretly prefer it as well!

Has there been a general increase or decrease in the projects since the lockdown began? What would you attribute this change too?

Priyanka. Besides the initial few weeks of the lockdown where we saw not just clients but the entire country go into silent shock, it has been an extremely busy year for us. We did lose a few clients along the way which hit hard because the associations were long term and well established. On the other hand, we have a surge of meaningful enquiries coming from across emerging business categories, as expected, and completely new geographies which have been quite unexpected.

We would like to end on what has ironically been our most gratifying work this year. Pro bono work has become our creative investment towards that holistic purpose and hence closer to our hearts. It may probably be our only indulgence through these COVID times!

Creative Gaga - Issue 51

Published in Issue 51

Business, studios, agencies, freelancer all have different perspectives to handle the pandemic and hurdle it brings. While some find pandemic an obstacle which will soon fade away and on the other hand, few saw opportunities in the same. Many creatives used the past few months to reflect on their styles and horn their art. Many utilized it for collaboration opportunities with national and international creatives. This issue is a must-read if you are looking for insights, inspirations and ways to bounce back in this unlocking phase. Grab your copy and enjoy it on a sunny day!


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Creative Gaga - Issue 54


Divyam Kaushik
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After completing my MBA, I joined an advertising agency where I fell in love with the whole concept of designing communication. For two months, I used to sit next to my graphic designer friends and play around with colors, fonts, and copy; it was so much fun. After a few months, I noticed a pattern; the creative team created five options for one poster and multiple feedback every day. It wasn’t fun anymore.

Being client-facing, I felt responsible for my friends in the creative team, creating multiple options, and spending drunken nights in the office (Working!). It came to the point that I learned how to make the ‘logo bigger’ myself, export PDF, and send it to the client myself. (Kidding!)

I thought it’s not me; it’s the client. They are indecisive and cribbed about them with the creative team to gain sympathy and get the work done. But I knew I was in trouble when it happened to us again.

That’s when I decided to seek help and gathered my creative team to brainstorm ways to increase efficiency and get the design right in the first go. We discovered the problem wasn’t that the client was indecisive, but we didn’t know the client and the business much.

Why was that happening? Every meeting with the client, we tried to please the client by filling the awkward silences with something while we should have heard the client instead. We were not asking the right questions to solve the business problem with the design.

When you start talking, you have taken away your client’s chance to think about what you have said. You stop them from digesting the design you carefully created, and you start sounding like that annoying pushy salesperson that no one likes. Instead, you can get inside your client’s head, so you know what they really want — and let them do the talking.

You can become a trusted advisor in the business process, and you use your client’s own words to give them what they want.

“Judge a man by his questions rather than by his answers.” ― Voltaire

Listing down the questions that we decided to ask every client before getting onto a design phase, use these questions for your next campaign brief or freelance project to save time and become that trusted advisor to your clients.

1. What are your long-term and short-term business goals?

This question does two things. First, it gives you a roadmap to follow to help you provide for your customer’s immediate needs. When you can help make your customer’s short-term goals a reality, you become a partner in their success. Second, beginning to understand their long-term goals establishes you as a partner for the long haul. You stop being just a person trying to achieve a one-time sale, and you build a relationship that helps you to become a trusted confidant.

2. What’s your single most significant challenge/ problem when it comes to your product/ service?

People don’t buy products/ designs; they buy a solution to their problem. Asking these questions pushes your client’s to think and tell you exactly where the problem is.

3. How did you discover that this is the biggest challenge?

Humans tend to assume things, this question will help you identify the hypothesis and finding the root cause.

4. Major challenges that you have faced in the last 6 months or a year?

This is an extension of the previous questions and brings recency to the conversation. Every client wants to first address the immediate problem, and once the solution works, they will look for a long term relation with you.

5. What have we done already to solve this challenge?

This will help you understand all the ways the client has tried solving the issue and if you think it was the right approach, dig down deeper into understanding the execution. You will know which ideas to work on and which ones to discard right-away.

6. How do you define success? What are the KPIs?

This will help you track success, and if you are in digital, this will help you course-correct if the design needs any iteration.

7. What are the no go areas?

I remember working for a client that hated typography and loved quirky wordplay.

The Key to Your Success

The best way to know your client is to ask! For that matter, anyone. If you do it right, you’ll identify countless options to solve problems, become an asset, and help your clients succeed.

I still won’t guarantee that client won’t ask you to make the logo bigger.

And finally, don’t ask them how much budget do they have. If you have a great design/idea, they will be open to extending the budget. Trust me when I say this, I have been on both sides of the tables.

Creative Gaga - Issue 54


Chaaya Prabhat
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Chaaya Prabhat highlighting some of the challenges and advantages she feel are there for an independent illustrator working with Indian clients.

There are a lot of advantages and disadvantages of working independently as an illustrator in the creative field in India.

The advantages are plenty – In India, the need for illustration work has increased over the years so there’s definitely a lot of scope and demand for the work, and when you work independently you can work on multiple projects with various companies simultaneously, so it’s always creatively challenging.


You also have a lot of the advantages that come with freelancing – flexible schedule, not being tied down to a 9-5 schedule, being your own boss etc. What I like about working independently as opposed to working in-house or as a part of a company is that I can be very hands-on with the work that I do, and be very involved from the start of the project to the end – whereas in a studio setting the work is usually split between multiple people or compartmentalised.

However the same independence can also work as a disadvantage – you often have to take care of everything on your own and wear multiple hats, which can be quite taxing. In addition to all the creative work that has to be carried out, you also have to have at least a basic knowledge of contract writing and reading, invoicing, accounting, etc.