Cover page details
Course 202 | Visualization Drawing
Industrial Design Centre
Indian Institute of Technology Bombay
EòÉäºÉÇ 202
202 |
Three-dimensional drawing for
Product & Communication Designers
Designed coursework
for graduate programs
in Visual Communication.
Coverpage artifact:
Artisan : Kamleshwar Das
Photograph: Mandar Rane
Cane with thermocol inserts. Nail joints.
Student: Ashish Singhal
Camera: Canon Powershot S2iS. 12X. 05 Mega pixels.
www.mrane.com
Mandar Rane
mrane@iitb.ac.in
Assistant Professor
Visual Communication
+91 022 2576-7839
+91 0 99300 78839
January 2004
January 2010
|| Bless me ||
Auspicious beginnings
Contents
Assignments
--------------------------------------Course 202
Visualization Drawing
|| Shree Gajanan Prasanna ||
02
A methodical approach to teach
drawing of three-dimensional
objects for novices. A basic
course for product designers as
well as communication designers.
--------------------------------------Course 106
Visual Order
2
18
This course deals with
rationalizing sensitive issues
realted to graphic design.
--------------------------------------Course 316
Design Analysis & Critics
25
A sequel to the course ‘Visual
Order’ concerned with practical
application of typographic variables. Distance, Value & Scale.
--------------------------------------32
Course 312
Corporate Identity Program
A set of eight assignments
providing a systematic guide,
traversing across the basics
of figure & ground, as well as
typography, to train a student
to design effective logos
or symbols.
Fig. 1. Featured Content: Indian Auto Rickshaw - a three wheeler passenger vehicle. The cover/ roof of the vehicle is missing
revealing the inner structure of the Auto Rickshaw. Location: Faculty gate, outside IIT Guwahati Campus, Assam, India.
--------------------------------------Course 204
Graphic Design
41
--------------------------------------44
Course 121
Computer Graphics
--------------------------------------46
Course 102
Elements of Design I
--------------------------------------48
Course 105
Elements of Design II
--------------------------------------Course 303
Design Project II A
All Courses &
Assignments taught
over a period of
7 years documented
in a single book.
50
Visualization Drawing With the increase in number of computer
modeling solutions, the reason to learn sketching as a skill leads to a debate between novice learners and traditional instructors; whether this skill
is necessary to acquire. The term sketching in the
course refers to the activity of drawing (representing) three dimensional objects located centrally,
surrounded by students along the periphery of
a circle.
The art of sketching in design schools is
currently acquired through perseverance and
can be considered liberal to invite a methodical
approach. Growth of impatience and the need
for instant results in novices are in contrast with
respect to the representation skills which are
generally achieved by extensive practice and
patience. Given the context, this course is a
collection of students work conducted over two
two years of teaching drawing of three dimensional
objects at the Department of Design, Indian
Institute of Technology Guwahati, Assam, India.
Sketching should be understood as skill, which
requires a certain kind of dedication and sustained
enthusiasm. Students with lesser aptitude or weak
in drawing encounter repeated failures in early
stages of sketching. This imbibes a fear in them and
they begin to consider the skill as an inborn talent,
which cannot be attained through practice. With
exposure of computers as a new tool for designers,
such students display reluctance to sketch and term
it as an artistic ability rather than comprehending it as
a tool to enhance visual thinking. (Bradshaw, 2002) 8.
To be an efficient product or communication
designer, a student must master his skills of representing thoughts in a visual form (2d and 3d) by the
means of sketching. The ability of a student to sketch
or draw a three dimensional form with precision lies
in going beyond the external appearances, to internalize the underlying structure and geometry of the
form. In real world, the underlying structure (fig.1.)
is never revealed unless the object needs a repair
or a new structure has to be built.
In comprehension to the problem of three
dimensional drawing the course presents new
methods to teach transition from two dimensional
to three-dimensional drawing in successive stages.
It further guides the students towards visualizing
additional forms over the artifacts presented to them.
Moreover the argument, why should novices learn
to draw/ sketch three-dimensional forms as hidden
structures, (i.e., as opaque objects) is put forward in
the form of course work, ‘Visualization Drawing’.
3
Student: Abhijit Das
(Above) Photography of a large size stapler. (Below) Sketch by the student results in a distorted picture of the attempted effort.
A novice attempts to draw a three-dimensional object by following the contours. He adopts the natural way of seeing
and drawing; primarily to involve the act of tracing contours of the given object and then his struggle to achieve proportions and planes in which the object lies.
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
In the course Visualization drawing 202, our focus would
be to hone our abilities to draw three dimensional forms with
accuracy and precision rather than realism, (which is usually
perceived by most of the novices, as the definition of good drawing). This perception induces a fear in them to consider the
act of drawing as an inborn talent, which cannot be attained
by practice.
Fig. 1.1
The course does not seek an expressive or subjective
representation of the form. Instead, our aim is to develop our
ability to represent the structure of a given form. Your knowledge of perspective drawing is a prerequisite for this course.
Rudimentary levels of the course will engage oneself into seeing
and drawing the provided artifacts, until we develop ourselves
to draw basic three dimensional forms with precision.
The advanced levels of the course will challenge us to visualize an element on the artifact, either to replace the existing
element or think of an additional element. For example, if the
artifact is a mug we would try to visualize a new handle for the
mug. This act will be recorded as drawing of the new visualized
mug (a new form).
Assignment
Task 01:
Drawing a cube with closed eyes. This act will help
us understand that how one visualizes the structure in
his mind, when given the task to draw a three dimensional
form. “This technique gives oneself good practice in visualizing
a shape in a very concentrated way as well as make positive
lines in the right place”, (Robin Capon, 1993) 4.
Fig. 1.2
Stationery: Pencils: 4B, 6B, or Steadler Lumograph 6B
(you need more control over your hand while
handling Steadler Lumograph 6B. The pencil is
very smooth and quickly creates dark tones).
Paper: 10, A4 size, Alabaster Papers (100 gsm)
Task
02:
In a given rectangle, draw three lines which converge at a
single point. It is mandatory that the three lines should touch
three different sides of the rectangle and form approximately
equal angle amongst themselves i.e., 120° each. Create alternatives with orienting those three lines at different positions of the
given format, to perceive them as three different planes with
varied area proportions. Shade each plane with an ascending
degree of gradations increasing the percentage of grey
from 20° to 40° to 70° with a pencil.
4
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
Task 03:
1. Create a point or a dot in the given
square format, at the place of your choice.
2. Originating from this point, diverge three lines
and touch each of them to three different edges of the
outlined square format. The angle created inbetween these
lines should be of 120° each. (Please see Figure 2.1).
3. Modify any one of the three lines as shown in
the Fig.2.2. The modification of any one of your chosen
side need not resemble the figure. Figure is just an example.
120°
120°
120°
Line a/d* was modified along the plane and e/f, f/g and g/h were
created. Take care e/f and g/h are parallel to side a/b, and f/g parallel
to a/d, as it is mandatory to create a shape which forms an angle of
either 90° or 45°.
Fig. 2.1
*Choose the longest line for modification rather than the shortest amongst the three.
d
Task 04:
Complete the rendered version of your
line creation to reveal the faces of the form. See fig 2.3
g
90°
h
45°
f
b
e
Task 05: Extend the three lines which had diverged from the point,
beyond the boundaries of the square outline to result in a cube.
a
Fig. 2.2
c
Task 06:
Rotate the cube mentally on an axis, so that the modified
side has a different orientation in comparison to what it had
earlier. Draw this new picture of the cube visualizing in its modified orientation on a new A4 sheet. Create a cube with the altered
edge in POP. Note:
Please add your Name and Roll No. on the sheets.
Keep your sheets clean and tidy while submitting.
Fig. 2.3
5
6
Student: Dinesh Nagar. Sketches and three dimensional cube in POP (Plaster of Paris).
1. Pencil shading, incremental tonal gradations. 2. Longest edge modification. 3. Extending lines further to complete the cube. 4. Changing viewpoint mentally. 5. Creation of the cube in POP.
translations
Students work: POP Blocks
Translations from 2D to 3D.
7
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
In the last exercise, we learnt how three lines when
shaded along their respective planes were perceived as
a corner of the cube. A boolean operation to the modified
edge resulted in creation of more faces for the cube. All lines
ran parallel along the corresponding faces because the resultant
was a cube. It gave us cues to create intrusions along the modified edge. The appropriateness of the modifications were crosschecked with the fact that all lines should be parallel to each other.
Task 07: In this exercise, some sample artifacts* will be provided to you.
We will draw these artifacts (cubes of various sizes), in different
configurations. We would also shift our viewpoints (physically)
while drawing them. We may encounter configurations where
these opaque cubes would overlap each other and make our
task difficult, at times, forcing us to visualize the hidden side.
In an opaque object, we can never see the hidden structure
(lines or edges) that constitutes a form. Therefore, when we are
presented with a complex form (a combination of several forms,
e.g. cylinders, cuboids, or pyramids), we usually end up tracing
the contours of the form (refer page.3). Whereas, when the form is
simple as a cube we prefer to visualize the structure of the form.
*Sample Artifacts
Edges of the cubes form
three sets of lines, one vertical
and two horizontal, each having
its vanishing points in perspective.
When we draw objects kept very
close to us, the vanishing points
of these lines are too far away
to converge on paper we draw.
Forceful convergence of these
vanishing points in a drawing,
usually makes it look artificial
and more mechanical. (Francis
D.K. Ching)1.
To be able to draw a three dimensional form with precision,
a student should go beyond external appearance of the form.
He should try to understand the underlying geometry and
structure of things. This leads to an argument that while sketching three dimensional objects why should one attempt to draw
them as solids (opaque objects) with hidden faces or edges?
Why can't we make them transperant?
Face
Edge
Hidden side
Task 08:
The second session of the assignment will provide
artifacts which would be transperant. It means the student
will be able to see-through the artifact, making it easy for him
to understand the structure of such solids. It is important that
drawing the structures of cubes and rectangular solids should be
practiced regularly, for they being the foundations to construct other
forms (cylinders, pyramids, etc.). To resonate to this fact we will
draw cylinders inscribed in the cubes and comprehend the exercise.
8
9
Student: Nishant Mungali, (see-through cubes)
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
It depends on each individual student as he continues his
efforts to hone his skills towards drawing of three dimensional
forms. Exercises can only create environments or approaches to
understand the basics of 3 dimensional drawings, but to be able
to draw them successfully, apart from class assignments, one has
to maintain his/ her sketchbook and keep on practicing this art.
Our attempts to draw cubes kept on a white background in
the previous task, must have lead us to new experiences and
difficulties. To make the task easier, we added colored backgrounds
with grids beneath the cubes. It gave us reference points or
clues to plot the cubes on a two dimensional surface like paper.
We also noticed how solid objects when made transparent, (i.e.,
when we made the structure visible) allowed us to see-through
the solid cubes, which usually does not happen in the real world
unless the object is made of a transparent material, like glass.
In this assignment we will sketch structures in our neighboring
environments (outdoors), buildings, large halls, corridors, etc.
H.L.
G.P.
Fig. 4.1
The picture plane is always
perpendicular to the observer’s
central line of sight.
Task 09: See Fig 4.1 and read the terms explained below the picture.
Your task begins with shooting a picture (black and white) as
shown in Fig. 4.1; either in one point or two point perspective.
90°
P.P
The Object
Picture plane (P.P.):
When we draw a perspective, we transfer onto a drawing surface
what we see through an imaginary transparent picture plane; the drawing
surface becomes the equivalent of a picture plane.
Ground plane (G.P.):
The ground plane is a horizontal plane of reference from which heights in
perspective can be measured. For example in the picture above the ground
plane is the floor of the passageway.
Horizontal line (H.L.): The horizon line runs horizontally across the
picture plane and corresponds to the viewer’s eye-level above the ground
plane. For a normal eye-level perspective, horizon line is at the standing height
of the observer’s eyes. It moves down if we sit down on a chair or moves up
if we look from a second storey window. Even if actually not seen, the horizon line should be drawn lightly across the drawing surface to serve as
a level line of reference for the entire composition. (Francis D.K. Ching)1
Once the picture is shot with a digital camera at a
finer quality to which your digital camera supports, take
a print of the same on an A4 sheet. Cover this print with a
tracing sheet of A4 size and trace the picture (not exactly)
but to get a general idea of what the picture is about, by creation
of contours. No need to shade the picture. It should be a line
drawing. Be conscious while tracing the lines from the A4 sheet
onto the tracing. Complete the picture by depiction of the
imaginary horizontal line shown in Fig. 4.1.
Task 10:
Take a new tracing sheet. Keep it above the previous tracing
sheet. Now trace out some structures/ buildings on this tracing
sheet and then visualize new structures within the same solution
with modifications. Use horizontal line as a reference to create your
new visualized picture. You are expected to alter the picture to
create new buildings or add trees or imaginary cubes.
Feel free to visualize new and interesting solutions (apart
from the mentionted above). In all you submit three A4 sheets,
one paper (printout of the picture you shot) and two tracings.
10
11
Student starts with an initial reference (picture below), to guide oneself into the sketch of a new visualized picture (above). Student: Divya Gupta
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76 India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
Fig. 5.1
The figure above shows a
display of artifacts which will be
provided in this exercise. A bottle
depicting the inner structure of the
form and a jug (without a handle)
tilted over the bottle representing
the various ellipses to be practiced
while sketching, (usually it is difficult
to draw objects when objects are
opaque, because one has to visualize
the invisible hidden structure (form).
Task 11:
We continue our efforts to practice new structures,
through these provided artifacts. Your knowledge of ground
plane, picture plane, and horizontal plane will be put to practice
in an indoor setting, where in, the object will be kept very close
to you. The horizontal line or your eye level, will affect the
way an ellipse is perceived, (above or below) especially with
cylindrical objects, which are usually inscribed inside cuboids.
All cylindrical objects are a result of subtraction from rectangular
solids, so always begin by imagining rectangular solids
around cylinders, to deduce the original form.
Submit three sketches on an A4 sheet by shifting your positions
(physically), as well as changing the configurations of given artifacts.
12
13
Cane artifact to practice ovals and ellipses.
Below & above eyelevels.
Changing ellipses.
Detachable thermocol
pieces enabling the
student to see the inner
structure of the form.
14
Student: Monil Khare
Student: Nishant Mungali
Student: Shaiz K.
15
Understanding Structures: Seeing through. Creating see-through (transperant) artifacts for opaque objects.
Student: Nishant Mungali (Shoe sketch with construction of cubiods)
Student: Kirti Meera Goel
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Visualization Drawing | 202
Credits: 10
Visualization Drawing
Task 12:
Place the given artifact in adequate light to see it
comfortably. Then using a digital camera take a photograph
of this object. Take the photograph exactly from the same point
of view and distance, with reference to which you’d represent
this object in your three dimensional sketch.
Now to represent this object on paper, take three tracing sheets
(Gateway*) and gradually build up your sketch on each successive
sheet. The breakup of the object into basic primitives, central to the
object should be considered, as well as the method of inscribing
the object inside the cuboid should be practised. For example, you
could use the first tracing sheet to draw only the basic shape or lines
which contain or define the object. Later, you can add additional
contours and indents to the basic shape on the second sheet.
Use the third sheet to depict the finer details and complete the
3d representation of this object (in three or four successive stages).
(See Fig 6.1).
Fig. 6.1
Tracing 01
Tracing 02
Tracing 03
You can compare your final sketch with the
photograph you shot and edit the tracing sheets
individually to remove discrepancies in your drawing.
* Gateway is a well-know brand for tracing sheets
16
Before the course
After the course
17
Employing a methodical approach towards drawing of three dimensional objects. Student: Sumit Nair
Rationalizing Design Sensitivity
18
Picture from workshop on Visual Order at Symbiosis Institute of Design, Pune, India. Students: Saibal and Sharad
Abstract:
The advent of digital technology has created a radical shift in execution tools within
the realm of graphic design. This has turned out to be a blessing and a problem in relation
to the context and the user. Working with traditional tools, like the brush, ink, paper or pencils,
which were simple to use, fortunately allowed errors while executing a task and indirectly
promoted learning and sensitivity. More was understood by doing, sharing and observing each
other, in comparison to computers, which nowadays, only permit individual participation from
the user. Today’s new tools and software offer error-free execution, making a task easier
for an individual to create a layout, use a typeface, choose a color or an image with ‘utmost
insensitivity,’ particularly among novice learners of the discipline. Apparently, it leads them to
demand more rational approaches to understand macro and micro issues related to graphic design.
© Visible Language, 39.2 Rationalizing Design Sensitivity, Special issue, Rane M. 2005. 147-167
Download PDF at http://www.mrane.com/visorder01.htm
It’s a simple exercise, which provides an analogy to
'Visual Order' in graphic design, as well as a rationale
to understand macro and micro issues in graphic design
realted to sensitivity. For this assignment we need three
subjects (i.e., in this case students). It is necessary that
the subjects have an incremental difference in relation
to their physical features, as well as they should form
an obvious visual hierarchy, when made to stand together.
(See right-hand corner, top). Remaining students of the
class shoot/ photograph these subjects in black and
white (stills) with a digital camera, within a predefined
frame (Horizontal). This frame or the space, remains constant through out the exercise. The illustration below
will guide us through each task one has to perform.
19
Task 01
Task 02
Task 03
Task 04
One subject: Create Interest...
Interest here means: The power of attracting or holding
one’s (user) interest (because it is unusual or exciting)
or to be precise, we can say to create “emphasis”. To
begin with, some students shoot and execute the task
01, with a (single) subject and he acts out a gesture to
create an interesting frame. Students are free to choose
or direct the subject for the required gesture. The aim is
to create interest/ emphasis in the frame, when the
Task 05
picture is shot with the subject. The dots below the
human figure, symbolize ‘interest levels’ that students
should try to create in each frame, in relation to the latter,
i.e. beginning from task 02. So, one should try to achieve
incremental progress in each gesture with the help of
a single subject. Find new ways to shoot the frame, to
make it more and more interesting than the previous.
Similar process continues till we reach task 04.
Task 06
Shoot 2 subjects
with equal importance
Task 07
Shoot 2 subjects
with predefined order
Shoot 2 subjects with
reversed order in relation to the latter
Two subjects: Predefined order...
In the next task, one has to choose the first and the last
subject from the three subjects we discussed in the
beginning (or see top right hand corner of this page). It
means, skip the middle subject and choose the other
two. So in physical features, we would have one subject
as very strong and the other comparatively weaker than
the first. Students should shoot the subjects in task 05
with equal importance, i.e., when the frame (that was
shot), is shown to a user, attention or the attraction sh-
Task 08
Task 09
Three subjects: predefined order
(to be executed similar to task 06 and task 07)
ould be equal to both the subjects. None of them should
get prominence/ precede over the other, in relation to the
visual preference of the user. In task 06, according to the
order described above, (i.e. no.1 & no.2); students should
shoot subjects with this pre-defined order, i.e., shoot the
subjects in a manner, where the resulting solution would
be tested with an user to find whether the desired result
was achieved. The task 07 follows the same procedure
only with the reversed order.
Task 10
Ten Subjects: predefined order
(One of the subject should be a female and she will be no.1 in order)
Student: Nishant
Task 01: Single subject, increasing emphasis
20
Single subject, increasing emphasis
(Picture and typography). Comparisons, understanding the meaning of life in a font.
Student: Siddharth, Task 01: Typographic Translations
Single subject, composition.
A single subject in an enclosed space. The subject
occupies a position in an empty space. The designer decides the
alternative locations for the subject to be placed in an given empty space.
21
22
single subject
create interest
A point of focus.
A single element in an enclosed space. The element stands alone in
an empty space at a location, in a particular position. The element in
that position interacts with the empty space. The position in which it is
placed divides the space symmetrically or asymmetrically.
Attention grabbing with a single element in a predefined space
is easier, because there is nothing else to look at. Moreover the element
here is static and not dynamic. The placement of an single element
in a given space is not random, it is purposefull.
23
24
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
The material and practical nature of the world makes us vertical rather
than lateral thinkers. Therefore, assignments in Basic Graphic Design1
are compartmentalized into right and wrong by vertical thinkers and if
a functional reason is not found to act upon, then they are labeled as
irrational. In such cases, it becomes critical for the instructor to design
courses, which can address audiences comfortable to think with both
the hemispheres (left & right), instead of creating dominance of one
kind of thinking over the other.
Metaphors2 and analogies 3 are excellent ways to understand concepts which need to be experienced. The course Visual order provides
insights to the rationality that exist in the sensitive issues related to
Graphic Design (Rane, 2005) 4.
Instead of simply allowing oneself to comprehend these issues
as in the course Visual Order, the present chapter will focus on
task of a more pragmatic nature. It attempts to enable a student
to practically do things on his own. The aim here is to work on
solutions and analyze them with a solid foundation of elements and
principles of design. The primary objective is to assist the students
understanding towards analyzing as well as performing the role of a
critique, specifically, for communication design solutions related to
type and images. Attempt is to prepare the students to judge design
solutions with more concrete answers, releasing them from the
notions of likes and dislikes.
1
Basic Graphic Design:
It includes teaching of elements and principles of Design. These courses
are exploratory in nature and the objective is of learning by doing/ experiencing.
Metaphor:
A metaphor is a figure of speech in which a word or phrase is substituted for a
dissimilar subject to suggest a likeness or link between them. The original word or phrase then takes on qualities of the linked subject, increasing understanding.
2
Analogy:
Analogy is the term for a description derived from a process of reasoning
from parallel or similar cases explaining what unlike things share in common.
3
2,3
(Elizabeth Resnick, 2003) 5
25
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
The act of arranging words in a given white space is not
random. The words (content) and the space (format) provided,
define a correlation, interacting with each other in order to
extract a hidden or visible visual hierarchy, usually pre-defined
by the graphic designer through his design. As graphic designers,
we tend to create order of importance, i.e., try to create 'emphasis'
in the elements of the page. Hierarchy defines the visual flow,
priority of the elements, from larger to smaller, defining a path for
the user’s convenience, while extracting the presented information.
We will try to experience these visual hierarchies through a series
of assignments and find out how elements and principles of design
affect these hierarchies.
Birthdate
Death
Birthday
Name
Dumb
Intellectual
Father
Mother
Friends
All the questions will be answered
in relation to the 'Distance' from the
name. Name will act as a central
element (keyword) to all given
words.
Assignment
Task 01:
A list of words is provided and you have to arrange these words,
either close or far away from each other (in distance) within a given
format. Try to exploit the subtle spatial distance, which would exist
between those two words in reaction to the question asked for
each word 1. Your name1 (Write you name in the predefined format?)
2. Birth date (How far you are from the date when you were born?)
3. Death (How far would you aspire to live from the present state?)
4. Birthday (How far or near you are from your next birthday?)
5. Dumb (How far you are from being dumb?)
6. Intellectual (How close you are from being intellectual?)
7. Father (How close are you to your father?)
8. Mother (How close you are to your mother with respect to your father?)
9. Friends (How close are you to your friends than to your parents?)
This is an endeavor to use typographic variables,
to design visual answers for a user/ viewer. One may realize
enrichment of sensitivity towards white space or negative space.
Note:
Use font: Franklin Gothic Medium Condensed/ Regular, font size: 20 pts
1
Do not write your surname (Write your first name)
26
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
(away from)
(near to)
*Distance
Farther
Closer
Value
Lighter
Darker
Scale
Smaller
Bigger
Variables
After the successful completion of the task 1, if we analyze the words and their relationship to the questions asked, we will be able to
retrieve some answers resonating from the arrangement of words in
relation to their distance, i.e., (away from or near to). Therefore, the
probable question to a solution would be - is the student more (close)
attached to his mother when compared to his father? We can derive
visual answers through subtle spatial distances, deliberately altered
by each subject to achieve the desired result in his solution. Now we
will study the same questions by changing the acting variable, either
to the 'Value' or the 'Scale'.
*(Already experimented variable in Task 01)
Value
Scale
Value
Scale
Value
Scale
Value
Scale
Value
Scale
Demonstrating meanings of the two variables ‘Value’ and ‘Scale’
Value is the relative lightness or darkness of an area or object.
Value adds dimension by creating the illusion of depth in a design.
Scale refers to the process of making size relationships.
Task 02:
We are already familiar with the questions asked in the
previous assignment. The same questions (as in task 1) are
supposed to be addressed in this assignment also. Here you
are supposed to replace far and close in relation to the 'Value'
of the achromatic colour 'Black'. Lighter the value of black more
is the distance; darker the value of black, more is the closeness.
Comprehending this simple relationship for far and close to
the given variable 'Value', you are expected to design task 2.
You should not think of the variable 'Distance', rather you are
only working with the variable 'Value'. Please note, your solution
will be judged on the basis of 'Value' and not the 'Distance'.
Task 03:
This task will tackle the third variable. 'Scale' will act as
the third independent variable with the same questions to
be answered. Something smaller in its scale will be termed as
far and bigger in its scale will be considered as near. The variable
of 'Distance' and 'Value', will not be considered while judging
your solutions. Complete the task by altering the scale of the
words adhering to the logic of the questions asked.
27
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
The completion of the three tasks gave us an idea,
how the three variables - Distance, Value and Scale, affect
the word relationships of 'away from' (far) and 'near to' (close)
in a given format. All the variables were trying to create 'emphasis'
(a principle of design) for each word, against the posed questions
in their respective groups.
"Emphasis indicates the most important element on
the page based on the message one wants to communicate.
It could be said as the element which stands out and gets noticed
first. The most emphasized visual element in design is called the
focal point, because it attracts the viewer’s attention first".
(Resnick, 2003)5.
herefore, we understand that emphasis creates an order
T
of importance for the content (information). Every information
that has to be communicated will usually have an order of
importance (in the hierarchy of the content or the context to
which it relates). It could be also defined as the starting point
or the reference point to begin within each chunk of information.
As graphic designers, we create these hierarchies in given
contextual constraints to ease retrieval of information for
the user/ viewer. This hierarchy is achieved in design solutions
by employing elements and principles of design to one’s advantage.
Task 04:
a. Employ line (an element of design) in the background
of your solution, in high key, to emphasize your name.
Use the line to enhance 'maximum' perception of distance.
Your use of line should not disturb readability of the solution.
Clue - Attempt to alter the topology of white space to visualize depth.
Emphasis attracts the user attention to a particular
point in the presented information first. The most emphasized
element is called the focal point (for example, No.1 in the
picture, forces visual attention). Secondary and tertiary focal
points are called accents. (No.2 and No.3 are accents)
Design after all has unique capacity to shape information by:
1. Emphasizing or understanding,
2. Comparing or ordering,
3. Grouping or sorting,
4. Selecting or omitting,
5. Opting for immediate or delayed recognition,
6. Presenting it in an interesting fashion.
b. Create emphasis for your 'Name' using the variable distance,
you are not allowed to change the font. Only variable of distance
can be altered to your advantage. Questions to be answered
will remain the same.
Fill the whole background with 100% (k) black
c.
and try to emphasize your name. (You can to use all
three variables to achieve your solution, but you cannot
to change the font). Questions to be answered will remain
the same.
28
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
When we compare a piece of art and the work of the graphic
designer from a viewer's (user) perspective, it would be necessary
for us to understand the difference between both kinds of visual
enquiries. An artist creates art for self expression and the viewer has
the freedom to interpret meaning out of the artist expression.
Fig. 5.1
01.
02.
03.
04.
05.
06.
07.
08.
Your name
Birthdate
Death
Birthday
Dumb
Intellectual
Mother
Friends
09.
10.
11.
12.
Marriage
Ambition
Money
God
A graphic designer has rarely any room for self expression.
Moreover, they can never be physically present to explain their
designed solutions to the viewer. Graphic designer has to visually
communicate the clarity of the message in the absense of the
viewer, to make it least ambiguous as well as achieve their sole
goal of effective communication. You have to understand this
difference before designing solutions, thus prioritizing the
viewer’s perception and perspective.
4 new words introduced
13. Father
A sample depiction of numerical ordering of the words.
You are free to define your numerical order for words.
Four new words are added to the previous list.
Father: A source of strength. An idol.
Source of security and comfort.
A constant motivator.
A sample description for the word Father. You are free
to write short sentences as in the example above or one
sentence which may comprise of 17 words.
Task 05:
In this task one has to predefine the numerical order (1 to 13)
for the words of the previous exercise and the additional words
shown in the figure 5.1 as per one’s own preference. This numerical
order should be independent of the relationships they share with the
keyword (name) and has no relation to the questions that were
asked earlier. Your task is to define your own numerical order to
the given set of words. Your solutions will be judged on the
basis of your predefined numerical order.
So, first, you begin with assigning a number to each word,
including your name. You will present your numerical order in
the format that would be provided. Once the numerical orders
are frozen write a description for each word consisting of 15 words.
(Please revise your description to maintain a minimum of 13 words
or maximum of 17 words). All descriptions have to be presented
according to the predefined format. Create your solutions in the
given format. Even though the user will be unaware of the numerical
order while judging your solutions, ensure that your solution should
make them perceive the same numerical order which you
had preset. You are expected to come up with two solutions:
a. Define the order of 13 words without descriptions, use same font, and consider all three variables.
b. Define the order of 13 words with descriptions for each word.
You have full freedom of using any font with additional elements of design to support your solution.
29
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
01. Your name
02. Birthdate
03. Death
04. Birthday
05. Dumb
06. Intellectual
07. Mother
08. Friends
09. Marriage
10.
11.
12.
13.
Ambition
Money
God
Father
A sample depiction of chunking
of words in groups. You should still
adhere to the defined order
of perception.
In communication design, an important factor to be
considered is the amount of information to be conveyed.
It may vary upon what one wants to communicate, in what
quantities, and to whom. Communication, therefore, could be
for a leaflet, a telephone directory, a brochure, or a poster.
The common criterion that stands out in all these mediums
of communication is to define the order of priority to their related
information. When the amount of information is less or the types
of information are limited, hierarchy of information in a group
or groups needs to be highlighted. In such situations the role of
emphasis shifts with respect to each group. It can be also termed
as developing a sense of visual/ logical sequence in the information.
For the upcoming task (task 6) we will try to chunk information in
groups to understand the concept via the presented hypothetical
situation.
Task 06:
The users are supposed to perceive the same numerical order
of words in the solution of this task, as they did in the preceding
task. But additionally, the objective is also to make the user perceive
four distinct groups consisting of elements (1 to 3), (4 to 6), (7 to 9),
and (10 to 13), respectively, of the predefined numerical order.
This chunking of elements into four groups should not conflict with
the individual perception/ sequence of these elements from (1 to
13). Here the subject is free to use all elements and principles of
design, except the element colour.
30
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Analysis and Critics | 316
Credits: 04
Design Analysis & Critics
01. Your name*
02. Birthdate
03. Death
04. Birthday
05. Dumb
06. Intellectual
07. Mother*
08. Friends
09. Marriage
10.
11.
12.
13.
Ambition
Money
God
Father*
*Replace with Black & White Photos.
Replace the mentioned words with
photographs without altering the predecided numerical order of the task.
Execute your solutions so that the user
can perceive the same visual order
as predefined by you.
Task 07:
As instructed in advance, you all should have clear,
black and white pictures of minimum 150 ppi (postcard size)
of you and your parents. In task07, you will be replacing words
with images, i.e., replace the words, your name, mother and
father with their respective photographs.
After these three changes, draw upon your solutions to
the preceding task to maintain the same numerical order and
perception of the same four groups of elements. Please note
that even after the introduction of strong visual elements as
photographs, the user’s perception of your predefined numerical order and the hierarchy of groups should not change.
Please note: All solutions are to be rendered in grayscale. No Color/ Sepia tone photographs should be used, only black and white
photographs are allowed.
31
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
The letterform
in
Devnagri Script is an unique
arrangement of the strokes and
curves to create an abstract shape
which is recognized by a certain
group of people or culture and
used to communicate in the
form of language.
"When a black spot is located on a white ground,
this is already perceived as a three-dimensional situation.
This is cleary reflected in langauge: The spot is said to be on
the white ground, i.e., the spot is in the foreground and the white
is its background. The eye separates the parts of a two dimensional
picture into figure and ground, i.e., it interprets two-dimensional
form in a three-dimensional manner. Frequently, linear forms are
also perceived as three-dimensional. The criteria for the separation
of figure and ground lie in the relative size of the forms and in the
shape of their outlines". (Moritz Zwimper, 2001, Chapter 07) 6
Knowledge of figure and ground with typography are
indispensable for any graphic designer to design effective
logos and symbols. In this assignment, we will try to experience
the figure & ground relationship in letterforms. Aim of the exercise
is to explore possibilities; as to what is the least amount of ground
required to identify a letterform when it is reversed and to get
sensitive to the subtle changes which matter in recognizing
the letterforms through an user study.
Task 01:
Type the first letter of your name in Devnagri Script. Font face - Manjusha Bold.
Your Name:
First Letterform:
An exploration to investigate
the identity of the letterform by
creation of ground in least possible
counters and the space around
the letterform.
Add black background to your letterform, so that the letterform
appears white and the (ground) as black. Keep on trimming (deleting)
the black portion (i.e., the ground) around your letterform (i.e., the
figure) to the maximum possible extent without losing the identity of
the letterform, meaning you should be able to identify the letterform
(figure) with least possible (ground) black area. Generate various
alternatives by juxtaposing the letterform over the black background to study which are those vital curves/ counters, necessary,
to make or break the identity of the letterform. Create five variations
to investigate the identity of the letterform within an area 5 x 5 cms.
Create the identity task with any one Roman letterform.
Take care you don’t repeat the letterform amongst yourselves.
Create five variations of identity investigations for your chosen
Roman letterform.
32
33
The purpose of the exercise was to extract the
most basic curves of the alphabet that made recognition
possible by the human eye. As the positive space (the black
area) was reduced more and more frivolous curves were discarded and the eye moved towards the basic most essential part
of the alphabet. The smaller triangles were discarded for the
sake of harmony.
Student: Sidhharth Gupta
Letterform:
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Task 02:
This exercise tries to formulate a balance between the
letterform and added meaning, in other words, you don’t lose
the visual appearance of the letterform (i.e., to be able to recognize
the letterform when visually perceived) and at the same time it
should also express a metaphor (added meaning). It explores the
designers ability to represent dual meanings in a single letterform.
1.Use first alphabet of your Surname or Name (in case it
starts with 'W' or 'I', then please use an another letter).
2. Assume a light source from any angle and create depth.
Don’t end up creating, mere shadow of the letterform.
Find possible solution where the shadow becomes the
part of the letterform (as shown in the second stage;
Depth of the letter 'W').
3.In the third stage create a visual surprise out of the
letterform without losing the identity of the letterform.
Letterform
Depth
Visual Surprise
34
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Visual + text = Symbol
Fig. 3.5
Task 03:
Till now, we have understood negative and positive space and
creation of depth in the last exercise. While creation of symbols
one often has to deal with combination of visual metaphors as well
as written text (either the name of the company or initials), fuse
together to form a unit as a whole. Communication designers face
these challenges while creating symbols. The example shown
above is picture of a kid and the shop name “toykid” which has
been cleverly transformed to form a single group. The designer has
changed the font to (smooth, rounded edges), conscious to the fact
of it being a Kid’s store, and substituting the letter “O” with the kid’s
face in a circle.
You are challenged with a similar task and are expected
to come up with alternatives. The aim here is of an exploratory
nature where you should create options to generate harmonious
combinations of the pictorial element and text to complete the
symbol. (It is an exploratory task devoid of context)
You are free to alter the font according to the requirements of
the symbol. If you don’t find font which suit's your purpose, you
may try calligraphic strokes instead of true type fonts.
35
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
In an elementary stage of symbol design, designer should
be aware of basic fundamentals which create a good symbol.
Understanding of figure and ground, principles of lines, shape
and form are few essentials without which one should not proceed.
Other than these there are significant questions such as “why do we
need an identity?” “Do non-living things have identity?”,
“How does it affect an organization or a product?” etc...
Name
:
First letter
:
Hostel Room No. :
Myriad examples of logos, symbols, icons, either typographic,
descriptive or abstract can be found in numerous books which are
endorsed by principles of basic design. Attempts to search figure
and ground relationships with explorations in negative space has
resulted in numerable solutions for Roman Scripts (English).
Most of them can be found on hte internet and in books.
But, there still lies a lot of potential for indian designers to
exploit typographic quality of local languages, (Devangri or
Assamese scripts).
Fig. 4.1
Task 04:
You have to create a small symbol for identification of your
hostel rooms. Your creation should be combination of numericals
and letterforms (i.e., your Hostel Room No. and your 'Name' or
'Surname'). Combination of these two script elements should
emerge as your solution. For example (See Fig. 4.1). You can scale,
rotate, or shrink, (but cannot distort or skew) to create a unique
identity, which would be reminiscent of your personality (dynamic,
imaginative, or extraordinary). This act of designating your identity
visually can form doorplates of your hostel rooms or stickers (labels)
to personalize your belongings.
Does colour evoke
emotions?
Are we important in
identity design?
Use one colour of your choice from the limited set of
colours shown above and use it for your hostel room no.s
(to depict personality of the room) or the letterform (to represent
yourself).
36
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Introduction:
If we extend the edges of the letterforms
along the axis we are able to perceive dimensions and depth. Carefully observe the people
in (Fig 5.1). Some of them appear hiding behind
an invisible vertical face of the form “ “ which is
white. One can use this principle as an advantage
to explore other letterforms in that space.
Fig. 5.1
Sticker/ Image
Mapped on each face
of the cube in a 3D software
The base (ground) of one of the
face of the cube was deleted.
White space gives
perception of the
face or side of a
three dimensional
plane.
37
Addition of two
white stripes gives
birth to another
letter form “E”.
Perceived dimension after
deletion of the remaining base.
Task 05:
We have seen explorations of the symbols on different faces.
In this exercise you will have to study the mapping of your symbol (which you created in the last assignment) not on only cubes
(Fig 5.2) but on varied 3D forms (may be cylinders or spheres).
Once you have mapped them delete the 3D form in an
image editing software. See (Fig 5.3) for reference.
The aim in the explorations will not be just random
mapping in 3D software, but to learn to see a shape from
all possible angles and how an image, just by the way it is
mapped creates perception of depth and dimensions when
the original form is deleted. The importance of it still being
‘readable’ should be considered while execution.
Fig. 5.2
Fig. 5.3
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Original Letterform
Pixelated Letterform
Can one pixel be so
critical to identify a
letter form?
Does adding the pixel
enhance the readability
of the letter form.
Fig. 6.1
Task 06:
The illustration in Fig 6.1 describes how a pixel can create difference in recognition of the letterforms
made with pixels. Display of these letterforms becomes a critical issue when displayed on small mobile
phone screens. We will try to explore various possibilities of curves transforming into pixels and their
aspects of legibility and readability for electronic displays. Choose any one pair of letterforms in the
circles given below and work in (1x1inch) file of 16 ppi to convert them into pixelated letterforms.
Devnagri Script
Assamese Script
38
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Letterform “E”
E + Fish
E + Hot soup
Letterforms become interesting when you are able to see
a figure in the remaining portion (negative space/ counters) of
the letterform. See the above examples in which you can see a
letterform as well as a picture. The designer alters the negative
space to his advantage, according to the given brief (client’s
business). Further he translates the concept of the verbal
brief into one integrated visual symbol.
Task 07:
This assignment is simple as well as complex!. You have
to begin with two words. Key and Fire, use the negative space
of these two words in an interesting manner, so that it enhances
the meaning of the word. One student sample work is provided.
You are free to choose a fontface of your choice for both the words.
A cohesive integration of the word and the visual element would
be a challenge. Your solutions will somewhat resemble Fig 7.1
in principle.
Fig. 7.1 Student: Kirti Meera Goel (sample for reference)
1. Key
2. Fire
39
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Corporate Identity Program | 312
Credits: 10
Corporate Identity Program
Task 08: Project
Hello class, today we will simulate a real design practice
environment. You will be presented with a brief and are expected to come up with ideas for “Connect” (calling the future)
a mobile service provider, who is to launch their service in India
under the brand name “Connect” with a supporting base line
(calling the future).
The client aims to launch a chain of shops in all the shopping
malls across the country. These chain of shops will be launched
under the brand name “Connect” (calling the future). The names
written in the (Fig. 8.1) are dummy font faces used by the Senior
Designer. Your task is to come up with ideas for the symbol
and suggest a suitable font face for the logo.
Fig. 8.1
Connect will be providing cellular services throughout the
country and claims to provide better connectivity, which is
lacking in most of their competitors. Connectivity will be the
major highlight due to use of superior technology in comparison
to their competitors. Better connectivity, (network access) is
the strongest USP the client claims.
Connect aims to target rural as well as the urban market.
The brand name “Connect”, will appear in different languages
for the symbol, as per the state where the service is offered,
but the base line (calling the future) will always remain constant.
Client expects the design firm to come up with simple graphic
design solutions, which can be easily articulated by their consumers. The client plans to launch two more services under
the same brand by the end of the year. He expects consistency
in the brand image which will look modern as well as be appealing
to the younger generation.
40
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Graphic Design - Book Design | 204
Credits: 10
Graphic Design - Book Design
The primary objective of this course is to orient you with the
meaning of word ‘graphic design’ as a whole, in the context of
visual communication through theory and practice. To acquaint
oneself with the essentials of basic design, which are mandatory
within the knowledge bank of a designer, irrespective of he being
a product designer or a graphic designer. This course will instill
confidence into students by achievement of specific graphic
design skills aimed at employing formal order into visual
solutions. The course focuses on primary issues in words and
image, which form an integral part of any visual communication.
Tasks are designed to comprehend the relationship of the white
space to written matter embedding into us the basics of typography.
Pragmatic benefits: Awareness to grid in product brochures,
leaflets, manuals, etc. Application of design elements and
principles to translate rationality in the whole act of designing.
Acquiring skills to design your own portfolio and document
one’s work irrespective of the medium.
Assignment:
Creating a book cover design and inside pages for the
given topic. Text for the inside pages will be provided to you.
Brief:
Title of the book “Cognitive Psychology”.
Cognitive psychology refers to cognition as higher mental
processes. The origin of knowledge and its representation in
the mind is the fundamental question that cognitive psychology
deals with. In a wider context, however, it refers to knowledge
or act of knowing and in socio-cultural context it refers to
emergent development of knowledge and concepts
within a group.
Dimensions: 240 x 180 mm
Emotion: Sad + Happy
Step 1.
You will be provided a graphic. You have to use the graphic
and create four options using any one or all principles of design.
Each option should be an interesting composition in (black and
white) resonating with the theme of the book. Figure and ground
relationships should be used to create images with high
graphic quality.
The graphic should be created in an area of 180 (W) x 240 (H) mm (portrait).
You are free to work in a vector program of your choice.
41
Course : Graphic Design DD 204
Student: Vamshi Reddy
Details : Perfect Binding, 180 x 240mm (portrait)
42
Course : Graphic Design DD 204
Student: Aditya Bhandhari & Vikas Vaishnav
Content: Grid Systems. Book Design Basics
43
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Introduction to Computer Graphics | 121
Credits: 08
Computer Graphics
Certain complex objects, living or non-living can be
represented in simple graphical forms. Such representations
help us to understand one of the aspect of graphic design.
Icons and symbols are simplified graphic forms. They facilitate
ease in communication as well as save space. Advantages of
these simple graphic forms is their property of being language
independent and need not be translated. The process of simplification requires design inputs from a graphic designer who has
acquired the skill of breaking (realistic) images into simplified
two or three dimensional forms.
Sample of a detailed picture which has been
simplified in the examples shown below.
Reducing complex information by use of elements
of design to assign it new attributes of outlined
(curves), Filled (curves), Robotic (solid or geometric).
a.
b.
c.
Black & white artworks: Student - Siddharth Gupta
Coloured variation of geometric form, Robotic - Solid
Example:
While designing a label for a Honey bottle, attempts to display
a realistic representation or a photograph of the honey bee would
appear weird and ugly. Whereas, a simplified graphic representation
of the honey bee, semantically cute, accentuates the product
communication and persuasion.
Assignment:
Aim of the exercise will be to work with draw/ vector programs
as well as be efficient/ creative in simplifying of a complex form.
The challenge lies with the graphic designer as, how can he make
a form interesting as well as keep it simple. Your task here will
be to simplify your chosen picture and find solutions similar
to figure a, b and c.
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45
1.
3.
Outline (curves)
2.
Robotic (solid)
4.
Fill (curves)
Student: Siddharth Gupta | Artworks 1,2,& 3
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Punctuality in submission
Innovativeness in solutions
Translation into appropriate visual expression
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Elements of Design | 102
Credits: 04
Elements of Design I
Elements of design are:
Line, Shape, Space, Size, Texture, & Colour.
Principles of design are:
The principles of design – Balance, Emphasis, Rhythm,
Unity, Contrast. These principles explain why certain orientations
of lines, shapes, forms, textures and colours seem to be orderly
and pleasing.
Assignment:
Line:
Today we will experiment semantic expressions with one
of the element (line). In a given format we will try to depict meanings
with lines. We will use lines as the syntax for
our assignment.
Task 01:
To begin with you are given a list of words. You will work
in a predefined format. The format will be provided to you
in the begining of the assignment. You should work within
the predefined area with help of lines to represent semantic
expressions of the following words:
Student: Saibal Datta
Institute: Symbiosis Institute of Design Pune (SID)
Chosen word: Inflate
expand
increase
enlarge
pressure
burst
While thinking about the word “inflate”,
initially I was thinking very obvious and illustrative.
Then I thought these two lines as characters, so a
small line watching other one inflating and taking a shape
of a balloon - Saibal Datta (SID)
*Provided solution is an example,
you can choose to create your new expression for the word.
01. Travelling/ going away
02. Falling
03. Growing
04. Struggling
05. Inflate*
06. Excited
07. Pushing
08. Running
09. Flying
10. Stop/ halting 11. Sleeping
12. Smile/ frown
13. Dying
14. Killing
15. Jumping.
Constraints: You are allowed to use only two lines.
The modification of the line (at the nodes) should not
create a sharp curve. A smooth continuity of a line is acceptable
when done by adjusting the beziers or spline handels. Stroke width
of the lines should be 9 points.
Please Note: The work area is 240 x 180mm. (Horizontal)
46
Push
pressure
strength
supress
move
shove
The word “Push” suggests
something like pressure or probably
just a simple forward movement. That's
how I thought of this idea, which is little
illustrative.
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Jump
high
fly
skip
basket ball
spring
Intially I thought of a spring jumping and it
looked like a curly line, but it appeared to
me very complex. Then I thought of basket
ball and made this one.
Grow
increase
progression
develop
larger
expand
Grow sounds something big and
progressing. So, I thought of the obvious,
about men made with single lines. Earlier,
I thought of tree and plants growing. But
later when I did this solution, it was looking
better than the earlier ones.
Student: Saibal Datta - Communication Design
SID. Symbiosis Institute of Design, Pune, India
Example of the advanced level of the course. Figure: Dependency.
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Punctuality in submission
Innovativeness in solutions
Translation into appropriate visual
expression
Mandar Rane & Utpal Barua
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Elements of Design | 105
Credits: 04
Elements of Design II
A smile in mind:
"Thank goodness the brain is designed to be uncreative.
With eleven items of clothing to put on there would be
39,916800 ways of getting dressed. The brain is designed to
make patterns, to use them and to stick to them. That is why
we can get dressed, eat breakfast, cross the road and do more
less useful work when we get to office. Creativity, concept
formation and all wonderfull aspects of the brain are nothing
to do with these established patterns; they arise from the
brain's defect as an information system". (Foreword by
Edward de Bono)7.
Elements
In the last class we explored line as an element with a
given word. All of us concluded with interesting solutions.
You need to submit one exploration of line which would finalized
by the instructors to be further executed in a vector program
Adobe illustrator.
Guidelines for submission: You will submit two pdf files
Please follow the naming convention: (Add your name not the surname)
1. Yourname_01_mon_dd_yy.pdf
2. Yourname_02_mon_dd_yy.pdf
-----------------------------------------------------------------------------------
Figure 3.1
We need to understand the last class of the course as an
introduction to working with the tools (softwares) of our profession. These software packages (in our case a vector program
like Adobe illustrator) would help us realize our ideas into visual
expressions. Therefore, proficiency with the software to a minimum level seemed to be a prerequisite, before we could dwell into
experiencing any further complexities of the course, elements of
Design II, Course 105. Assuming all of you are comfortable with
the software, Adobe Illustrator we proceed into the next task.
Task 03:
Draw a blank square of 140 x 140 mm with a stroke width of
0.25pt. centered in an document size of A4, (orientation potrait).
With the elements shown in (Figure 3.1) create a face with an
expression. Try to orient the elements in different configurations
to achieve interesting facial expressions. Keep on generating
alternatives and encourage your mind to search for new possibilities. Find new ways of organizing the same elements. Understand creativity and constraints as an integral part of the design
process.
Please note the constraints:
You cannot use any extra element/ s apart from the depicted in
figure 3.1.
48
Advanced levels of the course,
Translating expressions out of simple forms.
Student: Vineet Chaudhary
Expression: Stunned. Shocked
49
Student: Shanuj Sharma
Expression: Dejected. Depressed
Student: Maadaram Jaychandra
Expression: Astonished. Oh!
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Mandar Rane
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Design Project II A | 303
Credits: 10
Design Project II A
Course Content:
System design project to be undertaken from the domain of
Communication system/ Product system. Exhibition Design project
students are exposed to different parameters of exhibition design/
Information design. It involves development of theme, categorization
of information, application of reproduction mediums, designing
of physical structures, space planning, costing and new
techniques of production and presentation.
This project emphasizes on demonstrating the internalization
of design studies. The student engages in intensive information
collection, analysis and formulation of the design problem.
Following this concept generation, detailing and design finalization
with suitability for manufacture will be worked out. In this process
the student will experience specific challenges faced in design
within selected subject area of his choice.
Topics:
Redesign of the Mumbai City Bus Route Guide - Siddharth Mohan
Redesign of IIT Bombay Bus Timetable - Tanuj Shah
50
Course : Design Project 303
Student: Siddharth Mohan
Project : Mumbai Bus route Guide Redesign
51
Course : Design Project 303
Student: Tanuj Shah
Project : IIT Guwahati Bus Time-table Redesign
48
52
Evaluation Criteria:
Accuracy and neatness in execution
Devotion and diligence towards the work
Regularity and punctuality in attendance Frequency in interaction with teachers
Presentation and documentation
Time management and punctuality in submission
Innovativeness in solutions
Industrial Design Centre Indian Institute of Technology Bombay
Powai, Mumbai - 76, India
Course Details:
Graphic Design - Book Design | 204
Credits: 10
Course 204. Grade sheet Student name
53
Grade Obtained
A A
A B
B B
B C
C C
C D
D D
35 - 32
31 - 28
27 - 24
23 - 20
19 - 16
15 - 12
11 - 08
5 - Excellent
4 - Good
3 - Satisfying
2 - Average
1 - Poor
Roll No.
Evaluation Criteria Scale of 1 - 5 Attendance
Cover page (Ideation)
Knowledge of software and its use
Set 01/ two column grid options
Set 02/ three column grid options
Binding/ Cutting/ Pasting Precision
Articulation/ Devotion/ Diligence Dt.
Mon.
Yr.
Date:
Instructor/ s Comment/ s
Marks obtained
You have an incomplete/ fail in this course
Industrial Design Centre,
Indian Institute of Technology Bombay,
Powai, Mumbai - 76, India.
Instructor/ s Signature/ s
out of 35
I
F F
coming soon!
54
Translations from Nature
Digital Photography
Course: 313
55
Course: 313
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Course: 313
56
Corruption (§É¹]õÉSÉÉ®ú)
Missing (±ÉÖ{iÉú)
Horror with hands (¦ÉªÉÉxÉEò ½þÉlÉú)
Inhale exhale (ºÉÉÄºÉ ±ÉäxÉÉ +Éè®ú UôÉäc÷xÉÉ)
Everybody smokes (ºÉ¦ÉÒ vÉÚ©É{ÉÉxÉ Eò®úiÉä ½éþú)
Mental hair (¨ÉÉxÉʺÉEò Eòɱ{ÉÊxÉEòiÉÉ)
Indian Crabs (¦ÉÉ®úiÉÒªÉ EäòEòcä÷)
Transitional (ºÉÆGò¨ÉhÉÄ)
Save
m
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ea
rth.
57
. Save yo
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58
Boiled tiger (=¤É±ÉÉ ½Öþ+É ¶Éä®)
Development
Constraints ({ÉɤÉÆÊnùªÉÉÄú)
A4 ({ɽþÉc÷ Eäò EòÉNÉVÉ)
(Ê´ÉEòɺÉ)
References:
1. D.K. Ching Francis, Drawing - A creative process,
Van Nostrand Reinhold, Newyork 1990, 108.
ISBN- 0 442 31818 9
2. Josef Müller-Brockmann, Grid systems in graphic design,
A visual communication manual for graphic designers, typographers
and three dimensional designers, Verlag Niggli AG, 1996.
ISBN- 3 72 120 145 0
3. Philip B. Meggs, Type and Image,
The language of graphic design, John Wiley & Sons, Inc. 1989.
ISBN- 0 471 28492 0
4. Robin Capon - Drawing,
Teach yourself books, U.K., 1993.
ISBN- 0 340 58306 6
5. Elizabeth Resnick,
Design for Communication, Conceptual Graphic Design Basics,
John Wiley & Sons, Inc. 24, 2003.
ISBN- O 471 41829 3
6. Moritz Zwimper, 2D Visual perception,
Elementary Phenomena of two-dimensional perception.
A handbook for artists and designers,
Verlag Niggli AG, Chapter 07, Figure-Ground, 2001.
ISBN- 3 7212 0277 5
7. Beryl McAlhone & David Stuart, A Smile in the Mind,
Witty thinking in graphic design, Phaidon Press Limited, 1998.
ISBN- 07148 3812 8
8. Bradshaw Mike, Research study drawing from visual thinking,
School for graphic design, London college of printing, The London Institute
U.K. Cltda conference 2002
Dear Friends,
Credits
Earlier publications of A5
size were too small to be read.
Therefore a new format was
designed, so each assignment
can be read, shared, referred
and argued upon.
My sincere thanks to
all my colleagues at the
Department of Design, Indian
Institute of Technology Guwahati,
I enjoyed working there and
this is an sincere attempt to
document those memories.
Your comments on design
of the book or assignments is
welcome. Your feedback would
be valuable.
Greetings
Mandar Rane
Thanks to my students:
-------------------------------------Ashish Singhal, pp. 1
Kirti Meera Goel, pp. 39,15
Siddharth Gupta, pp. 33,44,45
Jaini Shiva Rama krishna
Kshitij Gupta
Satyendra Nainwal
Satyajit Das
Vinay Mohanty
Tanuj Shah, pp. 52
-------------------------------------Abhishek Dhal
Amit Bharti
Manshu Aneja
Dinesh Nagar
Divya Gupta
Kartikeya Shandilya
Nishant Mungali, pp. 9,14,15
Vedant Mheta
Lakshyajeet Gogoi
Monil Khare, pp. 14
Prashant Dixit
Vikram Batra
Shaiz Kunhimohammed, pp. 14
Siddharth Mohan, pp. 20,51
Sumit Nair, pp. 17
Further Reading:
Saurabh Srivastava
9. Indian Symbology - Trilokesh Mukherjee,
(In search of a symbol for India - A problem),
Industrial Design Centre, IIT, Mumbai, 155. Jan, 1987.
Shanuj Sharma, pp. 49
Vineet Chaudhary, pp. 49
Jaya Chandra, pp. 49
--------------------------------------
-------------------------------------10.Manu Desai, Indian Graphic Symbols, A study by Manu Desai,
Published In India, 1985, Ashutosh Prakashan, 58/ 486, Unnat Nagar 2,
Swami Vivekanand Road, Goregoan (West), Bombay - 400602.
Soumitra Bhatt
Rahul Bhatt
Navendu Tripathi
Kshitij Anand
11.Alan Pipes, Third Edition, Production for Graphic Designers,
Lawrence king Publishing, 1992, 1997, 2001.
ISBN- 1 85669 268 X
--------------------------------------
12. Harm J. G. Zwaga, Theo Boersema, Henriëtte C. M. Hoonhout,
Visual information for everyday use, Design and research perspectives
Taylor & Francis Group, 1999.
ISBN- 0 7484 0670 0
Tanvi Dalal, pp. 54
Saibal Datta, pp. 47
13. Rob Carter, Ben Day, Philip Meggs,
Typographic Design: Form and Communication, Second Edition,
John Wiley & Sons, Inc. 1993.
ISBN- 0-471-28430-0
14. Deana Mc Donagh, Paul Hekkert, Jeroen Van Erp and Diane Gyi,
Design and Emotion: The experience of everyday things,
Taylor & Francis Group, London and Newyork, 2004.
ISBN- 0-415-30363-X
15. H Kumar Vyas, Design The Indian Context,
Learning the Historical rationale of the Indian Design Idiom,
Tridip Suhrud, Chairman Publications Department, NID, 2000.
ISBN- 81-86199 -38-1
16. Steven Heller, The education of a typographer,
Allworth Press, 2004.
ISBN- 1-58115-348-1
17. Wolfgang Weingart, Typography,
Basel, Lars Muller, 1989.
ISBN- 3-907044-86-X
Symbiosis Institute of Design
Pune, Maharashtra, India
-------------------------------------Mumbai, India
59
Family photograph: Brother, father, mother and myself. With the blessings from my family and you, let my curiosity grow forever and I keep on searching for new avenues in visual domains of design. Mandar Rane.IDC, IIT Bombay
60