Design Inputs for NIFT Mumbai Graduation Show 2013

National Institute of Fashion TechnologyMumbai

Department of Fashion Communication2009-2013

Design Inputs for Graduation Show and Convocation Ceremony (2013) of NIFT, Mumbai

Omkar Khadamkar M/FC/09/13

Internal MentorSusmita Das Pal

CERTIFICATE

This is to certify that Mr. Omkar Khadamkar of Fashion Communication Dept. of NIFT Mumbai has successfully completed his Graduation Project with Mr. Sunil Pereira, Event Organiser on ‘Design inputs for Graduation Show and convocation Ceremony (2013) of NIFT, Mumbai’ towards partial fulfillment of the requirement for granting Bachelor of Design (Fashion Communication).

Project Mentor’s Name and Signature

Department CC Name and Signature

Jury Member’s Name and Signature

Graduation Project Omkar Khadamkar

4

Preface

It is relief to present to you this book explaining my graduation project – ‘Design inputs for NIFT Graduation Show and Convocation Ceremony 2013’. The title cranes to investigate what all was involved to complete my graduation project. I invite your inquisitive minds to read my perspective on my own project. I have taken the best possible care to include each of the tasks I performed in during the period of project. I hope you will be able to get the desired outcome from this book. I expect, it will also play a vital role while producing the design outcomes of similar kinds of upcoming events.

Happy Reading.


5

Acknowledgement

I am grateful to the creator and my parents who manifested the energy which made me think of an unusual idea of the project.I am grateful to the Director of NIFT – Ms Nilima Rani Singh who bared green signal for project.This section of document deserves the golden names of multi-tasking personalities who have contributed their appreciable energy in completion of this project. – Mr Sunil Pereira, Ms Susmita Das Pal, Ms Rupa Aggarwal, Mr Nitin Kulkarni, Mr Vinesh Tapre and Ms Sushma Saitwal who executed respective roles of client and guide in the best possible ways. I am grateful to have Mr Sunil Pereira in place of my industry mentor. His cool, calm but organised behaviour raised the curve of my project. Ms Susmita Das pal being my academic mentor was a great relief, because of her helpful suggestions I successfully transformed this book towards desired stage. I also thank the faculties and the students who were involved in my sampling survey, their answers shared an anticipated part of the design process. Ultimately my special thanks to the NIFT family and associated vendors who performed their respective roles in the production. I feel blessed to work on a project like this.


6

Index

1. Defining the brief............71) How did it all begin?.................................82) Events in context.........................................93) Understanding the client.......................174) The event – Graduation show..............195) The complete event brief.......................21

2. Research..........................221) Primary Research........................................232) Secondary research...................................263) Target Audience............................................314) Unique proposition....................................33

3. Taking a guess!.................34 1) Budget................................................................352) Sponsors...........................................................35 3) Sponsorship Proposal..............................364) Venue..................................................................375) Space and Communication...................37

4. Identifying my role..........39

5. Identity............................401) Brief.....................................................................412) Ideation.............................................................423) The Concept of Heptagonal Sun.......454) Value...................................................................495) Presenting........................................................516) Refinement......................................................52

6. Brochure..........................551) Brief.....................................................................562) Ideation.............................................................573) Presenting.......................................................604) Selecting the template............................64 5) Refinement......................................................66

7. Invitation...............................671) Brief.................................................................................682) Design Directions...................................................693) Value...............................................................................714) Refinement.................................................................72

8. Exhibition..............................731) Brief..................................................................................742) Ideation..........................................................................753) Design directions.....................................................764) Overcoming hurdles...............................................795) Finalizing.......................................................................81

9. Learning.................................821) Analyze and manage the inputs.....................832) Goleftfield...................................................................833) Be disciplined............................................................834) Document....................................................................845) Set aside some time for play...........................856) Ask for more time if the budget is less......857) Finally, it’s all about how I directed my energy!............................................................................85

11. Appendix.............................86

10. Bibliography........................89

7Graduation Project Omkar Khadamkar

1. Defining the brief

Abriefcontainsaspecificgoalthatistobemetbythedesignbutitmay also be couched in terms that have varying interpretations. This wasthefirststageofthedesignprocessofmygraduationproject.The design brief presents all requirements of the client.The brief was included everything that will allow me to initiate the design process. It was further reworked so that my practical abilities could meet client’s requirements.

1. How did it all begin?

2. Events in context – Theory and practiceA. Evolution of Event ManagementB.Defininganevent C. Phases of the event D. Creative Brief E. The Venue F. Budgeting G. Sponsorship H. Promotion in Events

3. Understanding the Client A. National Institute of Fashion Technology (NIFT)B. NIFT Mumbai C. Nature of NIFT Mumbai (Visuals and Adjectives)

4. The event – Graduation show A. The Concept B. Graduation Show 2012

5. The complete event brief


1How did it all begin?

There were following three ways in front of me before starting this unusual journey. I was unable to choose one of them. As all of them seemed interesting.

1. Event management of graduation show 2013

2. Making a graphic novel

3. Designing a flash based mobile application

Afterconsultingwithfaculty,Ifinalizedtoproceedonthefirstway-EventManagement of Graduation Show 2013. Though initially I presented a very long list of all activities, later I concentrated on few of them. Then this project became, ‘Design inputs for NIFT Graduation Show and Convocation Ceremony 2013’. The best part of this idea was its uniqueness and golden opportunity to handle one of the great events of NIFT. At that time, I was unknown about the fruitful lessons thisjourneywasabouttoteachme.Icommittedtoofferthepromisingriseinthequalityofdesign.Thenextstepwastofindouttheproblemsfacedbyclientduringmanaging the past event. Then the initial brief was prepared and presented to Smt. Nilima Rani Sigh, Director, NIFT Mumbai.

“I have preferred to explain you the theory and practice of event management

before jumping on the design process. It will make you aware of all the things

involved in the industry of events in the same way it made me. This part of my

project has also influenced my research and ideation stage.”


2A&BEvents in context – Theory and practice

A. Evolution of Event Management

1988 – 89, marked the beginning of the organised event management sector - Times of India celebrated their 150 years with several events through the year including ‘Timeless Art’ and the Yves Saint Laurent fashion show. These functions were organised as a complete in-house annual activity to promote their in-house products, namely newspapers and magazines. These functions for thefirsttimeweretermedasan‘event’becausevery rarely had any such function been organised on such a large scale Since then entertainment and infotainment programmes have been termed

‘events’. Gradually events have emerged as a steady surge in popularity, thereby giving birth to the event management industry.Today’s largest and best event management company in India, Cineyug was also born. Today, the business has evolved into an exciting amalgamation of marketing, promoting and entertaining through creative skills. Each event is thus a unique blend of its own target audience, logistics, planning, promotional activities, technology and research that is peculiar to it.

An event is an occasion where target audience meet to celebrate or experience an occurrence, designed and organised to communicate and interact with a purpose to achieve an objective. It is a dynamic plan involving a live multimedia package organised with a concept or an idea. It is customised to meet the client’s objectives in terms of client’s reach and suitability. Itinfluencesthemindsofthetargetaudience,byproviding them with an enthralling, interactive, touch-and-fell experience. Events are temporary andnotapermanentphase.Theyhaveafinitepublicised life. The objective of any event is thus to capture the consumer’s attention. Events have inherent features in them that attract audiences such as acquiring one’s basic leisure needs, uniqueness of its ambience and multiplicity of goals desired and the festive spirit besides the touch-and-fell experience. Events have high visibility and greater impact than any other media. Eventsbringpeopletogetherforspecificpurposes– marketing, fund-raising, image changing and

image building, expand trade, stimulate business and enhance the market economy. They provide a platform and give opportunities to the organisers, stars and artists to showcase their talents and sometimes even bring out civic awareness.Today companies and organisations, be it large and small are actively pursuing events as a marketing tool to avoid the clutter that exists in the market place of traditional media and also want to utilise thehugebenefitsthateventsprovide.Aneventcansubtly,yeteffectivelyreinforcethebrandimageofa product or service in the interest of the consumer through an association using prominent celebrities andacknowledgedindustryleaders.Eventsoffera sponsor multiple opportunities to extract every possible mileage available in marketing jargon. Events help to address the diverse marketing needs of a company. Events are further exploited via multiple mediums such as audio, video, internet, web casting, etc.

Top of mind recall is an inherent trait of an event.

B. Defining an event


2CEvents in context – Theory and practice

C. Phases of the event

The activities required for marketing and managing events require certain steps to be followed

These steps are known as the 5C’s of events

•Conceptualisation- the creative idea

•Costing- calculating the cost of production

•Canvassing- for sponsors, customers

•Customisation- depending on the brand, budgets

•Carrying-out-executingthefinalevent

The activities to be carried out before an event are limited. However the pre-event activities overshadow the post event activities. These steps are basically an extension of the 5C’s. Justbeforetheevent–afinalbriefingisdone with all those directly involved with the running of the show.Once an event is started one should make sure that all unwanted personnel and client do not interfere with the Show Director in the running of the show, as this is very important in case there are any hiccups during the show.

Once the event is over, all vendors should dismantle their goods and leave a clean venue. It is the responsibility of the Marketing team to see that all paymentscomeinfromtheclient/sponsors.Thefinalaccounts are then drawn up and balance payments made to all vendors and artists as per schedule agreed upon. Finally an event document should be prepared and given to the client for his records.


2DEvents in context – Theory and practice

D. Creative Brief

Once the marketing team has met with the client and understood why they want to do the event – a creative brief is prepared. The creative brief is a detailedlistofinputandspecificinstructionsfromthe client for the event.

The brief should cover some of the following details:• Name of the client / brand / product?• Why are they doing the event?• Who is the TA?• What is the type of event they want?• Venue, no. of invitees, date and time of the event?• If they have done the event before, what was done?• Any specific requirements (celebrities, models, designer, artists, MC, etc.)?• Is there any budget allocated?

On receiving the brief from the marketing team, the creative head should ask questions so as to understand the brief. The creative head then sits with the creative team on the brief. Once the creative team has understood the brief they then break-up the event into various components keeping all the points and answers from the brief inmind.Thefirststageistopenthethoughtsonpaper, so as to see the feasibility of what they have in mind. At this stage they may consult the set designers and the production manager for inputs. Market research should also be done at this stage so

that a unique concept is derived. On formulation of the core concept, the creative team then proceeds to implementing the concept.

The next step is to sit with the graphic designers and design all elements of the event – invitations, publicity material, sets, décor, etc. The concept now starts to take shape and gets a life of its own. Oncethefinalconceptisready,thecreativeteam,marketing team and the production manager then haveajointmeetingtoseethatitfitstheclient’sneeds and overall budget.

The presentation to the client can be done in the form of:• Word documents• PowerPoint presentations• Models of set / structure• Designs• Visuals of décor ideas• Visuals of suggested elements (celebrities, models, clothes, MC, artists, etc.)

At this stage changes may be made in the core concept depending on the client’s feedbackOngettingthefinalnodfromtheclientthecreative team then passes on the core concept and its elements to the Project Manager for implementation of the event.

The SUCCESS of any event is based on the CORE CONCEPT.


2EEvents in context – Theory and practice

E. The Venue

A venue is the site at a desired location with the required audience capacity and with the required availabilityforaspecifictimeperiodfortheevent.The most important factor when selecting a venue is the availability factor – the time that is required not only for the actual event but also for the set-up time and post event activities.

The capacity of the venue is another major issue – the number of people attending the event based on the concept has to be met.

The rates for the venue also forms a major portion in the costing for an event – thus a venue should only be selected if it meets the requirements of the concept as capacity and infrastructure have an impact on the rate of a venue. Rates of venues vary from season to season.

There are basically 2 types of venues:Indoor venueOutdoor venue

The general guidelines should be kept in mind when selecting a venue. In some venues there is a monopoly of decorators and caterers and these costs should be looked into when booking the venue. Contingencies like power failure need to be dealt with and the generators should be properly assessed. Most venues have standard restrictions and these should be understood at the time of booking the venue. The mode and type of payment for the venue would depend on the arrangement that is negotiated.

Event Production-Pre event productionOnce the venue has been selected make sure it meets on-site facilities like drinking water, food, barricading, toilets, cabling, meter rooms, green rooms, housekeeping, gate management, security, general lighting and parking. Depending on the size of the event make sure that the venue is booked accordingly. The venue should be ready in totality at least an evening before the event so as to enable rehearsals, sound check and complete technical rehearsal (also termed as a dry run) on the day of the event. A technical rehearsal is a complete run through of the event with the MC’s, artists, sound and lights. It implies conducting the full show, as per the event flow.Howeveritneednotbeadressrehearsal.

On event productionOn event production is the phase when the event is actually taking place. Show time job responsibilities areassignedtospecificteamsorpeople.Averyimportant team for an event is the backstage management team. This team manages all activities on and around the stage such as front-stage, on-stageandoff-stageaspertheeventflow.


2ESome important functions / activities during an event:

o Organise for the registration / reception committee, ushers, volunteers and hostesseso Check invitee arrivals, informing VVIP arrivals backstageo Distribution of ID badgesoDistributionofthefinalshowflowamongstthe show crew, green rooms and SLV consoleo Assist with green room requirementso Assist with the movements of props on stageo Brief the performers and MC before they go on stageo Hand cue cards to the MCoHandovermementos,trophies,flowers,etc. during the show

Event flow chartBasedontheperformingactivitiesfinalised,aminute-to-minuteeventflowchartispreparedwhich is to be distributed to the entire organising crew, performing artists green rooms and all important crew before the show.The chart has the following information: run time – duration – act – entry – exit – AV – cue – performing artist – choreographer – sound /music format–lights–specialeffects–setchange–stagemovements – props – remarks.A sleek synchronisation of the script along with the activitiesintheeventflowchartisthebackstagemanagement team’s core task all through the show.

Technical riderAtechnicalriderisalistofspecificrequirements against each activity, mainly the technicalspecificationsintermsofsound,lights, music, equipment, stage set-up and props.Specificarrangementsbasedontheartists’ requirements – travel, accommodation, food, etc. (for outstation events) are also listed on the rider. The rider is presented to the eventmanager/promoterbeforeoneconfirmsproduction details and execution of the event.


2FEvents in context – Theory and practice

F. Budgeting

Though some certain production costs are standardised, one needs to ensure that relevant components involved in the event are not missed out.Attheoutsetonemustseethatthecostingfitsthe bill both for the promoter / sponsor and the event company.

A cost sheet is drawn up after taking all the elements of the show into account and should be as accurate as possible as most clients do not like additions once budgets are passed. Agency commission and tax should also be part of the cost sheet so that the client understands what he is paying for. Once the cost sheet is approved both by the client and the agency then a copy should be handed to the client so that he can process the same for advances that the event agency will require for the event.

Sound and Lights This structure / platform is set-up to house the sound, light and video console. It is basically a workstation from where all the technicians operate their equipment such as the audio and light mixers, DAT(digitalaudiotape)player,specialeffectsprogrammer, video projector, TV director, event co-ordinator (backstage management team) and the director of the show. The director is on a clear and frequent communication with almost all the differentfunctionalheadssuchassound,lights,sets, TV, etc.

Licences & PermissionsThese are required for every event and no event should be done without them being in place. Depending on the event, magnitude and scale of the event, the licences and permissions that are required will be determined. Normally licences should be applied for at least 20 days before the event, however it is important to check the same with the relevant authorities. If the event has more than one sponsor than the required paperwork is needed to be got from each sponsor before applying for the licences and permissions.

Requirements for shows in India:•ExciseLiquorlicense•Municipallicense(whenservingfoodin public)•PWDclearance(forallstructuresabove15 feet)•Firebrigadelicense•loudspeakerpermission•Generatorparkingpermissions(onlyfor Mumbai)•RTOtrafficpermission•policepermissionforsecurity•PPL(publicperformancelicense–forany kind of recorded music)•EntertainmenttaxcollectorsNOC•IPRS(IndianPerformersRegistrationServices – when using live performers)•WorkPermit(forinternationalartists/ performers)•ECNR(Emigrationchecknotrequired–when travelling within Asia)•Ifitisacharityeventthenthecharity commissioners NOC is needed.


2GEvents in context – Theory and practice

G. Sponsorship

Top Ten Tips for Sponsorship Seekers

Tip 1 Sponsorship is not about your need; it’s about achieving the sponsor’s objectives. If you can’t – or are unwilling to – accept this, don’t even try to gain sponsorship. There is no such thing as free money.

Tip 2 Sponsors don’t need to share your passion for your event or organization in order to sponsor you. They justneedtobeabletoseethecommercialbenefit.Focus on that in any proposal you provide.

Tip 3 Do your very best to gain sponsorship from companiesorbrandsthatareanaturalfitwithyourevent or organization. They more they look like they are an authentic part of an audience’s experience, the better marketing platform sponsors will have and the less potential they have to detract from your credibility.

Tip 4 Be sure your whole organization understands why sponsorship is important to you and is prepared to treat your sponsors like marketing partners. If your colleagues think sponsorship is just free money or a necessary evil, the sponsors will know and your relationshipwillbedifficult.

Tip 5 Putting logos on things for awareness and exposure is very old school and is no longer a primary goal ofsponsorship.Goaheadandoffertoputlogoswherever you want – just make sure your proposals offerfarmoresubstancetosponsors.Exposureisnot the cake, it’s not the frosting, it’s simply the cherry on the top.

Tip 6 Start at least twelve months before an event if you are seeking any kind of substantial sponsorship. It can take some sponsors months to make a decision and they usually need at least six months to get their leverage program together before the event. Thisisforyourbenefit,aswellasthesponsors’.Ifyou get knocked back, you need to have enough time to source another sponsor.

Tip 7 Keep in mind that you may be working with a very big, very bureaucratic organization. Be sure your proposal can stand on its own without the personal enthusiasmyoumayputintoyourfirstpresentation,as it will likely be passed around to a dozen or more people who will all have input into the decision.

Tip 8 It’s better to get a couple of big sponsors than lots of small ones, if at all possible. There is less clutter for them and less sponsor management for you. Small sponsors are just as hard to look after as big ones and can quickly drain your time and energy.

Tip 9 Don’t ever think that once you’ve got the cheque your job is done. If you don’t service sponsors properly, they will never give you another cent and will talk about you unfavorably to their peers. At worst, you will end up in litigation.

Tip 10 Be sure you understand the basics of sponsorship before you try your hand at it. Go to a workshop, read a book or two, and start networking with people in the business. This is a very rewarding field,butonethatrequiressomeveryspecificskillsto be successful. If you don’t do it properly, you will not get the money you are looking for, and may well burn bridges for funding in the future.


2HEvents in context – Theory and practice

The media campaign for events has 3 stages –

Pre-event, During the event and Post-event.

Pre-event media involves informing the target audience and advertising in the genuine sense. Press releases and press conferences can also be pre-event activity.

Live coverage and reporting of an event is possible on media such as radio, TV and the internet. This increases the reach as well as actual participation in the actual proceedings of the event.

Post-event media coverage involves all the reporting of the success to reap the post-eventbenefits.Thisisachievedbyarrangingpress conferences, interviews, reviews and the participation in talk shows by the celebrities or core talent involved in the event.

Benefits -A media element may be print medium, radio, TV, outdoor or the internet and in the media industry, these are also known as products. A media element too needs to advertise its presence and reach to create a certain image amongst the various segments of the market. By associating with an event designed for a particular target audience, themediaelementsgetthebenefitsofthebrandassociation for focussed advertising. Calculation ofcirculationfiguresbasedonresponsethatanevent generates is also another reason that media sponsorship is popular.

H. Promotion in Events

Negotiating with the media Whilenetworkingwithmediaforpublicity,theeventorganisershouldfirstunderstandtheobjectives that have been set for the event in terms of reach. The frequency of the publicity blitz planned would also be a factor in deciding the media mix. The event organisers usually have to obtain publicity space or time at the prevailingcommercialrates.Specialoffersof reduced rates are frequent phenomena in the media industry during festive seasons or special editions or programmes for particular occasions.Whentheobjectivesoftheeventandthoseof the media elements match, a mutually beneficialassociationcanbeworkedout..


3A&BUnderstanding the client

The Institute is a pioneer in envisioning and evolving fashion business education in the country throughanetworkoffifteenprofessionallymanaged domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Jodhpur, Kangra, Kannur, Kolkata, Mumbai, New

Delhi, Patna, Raebareli and Shillong.NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The Institute provides a common platform for fashion education, research and training.

NIFT Mumbai was established in 1995 to cater the garment industry in the commercial capital of India.Withtheobjectiveofproactivelycatalyzingthe growth of Fashion Business. NIFT- Mumbai has always remained true to its vision, growth and fashionbusiness.Withamulti-disciplinaryapproachfor a more agile industry response. NIFT- Mumbai has included its professional education industry inputs in Design, Management and Technology in varying proportions. A common platform for interaction with industry and craft sector has been created as an intense and dynamic part of Curriculum at NIFT-Mumbai. NIFT students have successfully completed their various ‘study abroad’ programs at foreign fashion schools of acclaimed repute. This initiative by NIFT has given wider perspectives to our students who have then gone a step further and returned to the respective foreign universities for advanced studies. Craft Cluster initiative at NIFT Mumbai has built in collaborative partnerships in a mutually learning mode with various handloom and handicraft clusters in Maharashtra. NIFT has also integrated cluster activity with student curriculum and exposure to rural crafts for all programs in a project mode as a model of rural development has given a holistic approach to combing crafts and design in India. This activity has integrated the value Indian Crafts across design, management and technology programs.

NIFT Faculty members are highly trained professionals from leading reputed fashion and design institutes, who bring to the classrooms wide exposure and years of hands on industry experience. During the course at NIFT Mumbai, the students undertake areas of research which are in tandem with the industry through which newer ideas and solutions for the modern fashion world are created. NIFT Mumbai has always enjoyed a close association with the apparel industry and through time has enhanced its responsiveness with collaborations like internships, projects, placements, etc. Continuing Education at NIFT Mumbai has further increased technical support to industries, trade bodies and educational institutes.

Degree courses offered at NIFT Mumbai cover all aspects of Fashion Business-B.Des. (4 years undergraduate program)Departments of Fashion Design (FD), Knitwear Design (KD), Textile Design (TD), Fashion Communication (FC)B.F.Tech. (4 years undergraduate program)Fashion Technology (Apparel Production)M.Des. (2 years postgraduate program in Design Space)M.F.M. (2 years postgraduate program in Fashion Management)

A. National Institute of Fashion Technology (NIFT)

B. NIFT Mumbai


3CUnderstanding the client

AmbitiousFocusedMulti-disciplinaryDynamicHighly-trainedWide ThinkingCraft LoverCollaborativeOptimisticExpanding

C. Nature of NIFT Mumbai


Graduation Show is the annual event of NIFT. The event harmonies all graduating students of NIFT to display their graduation projects and design collections. Generally, it takes place in the month of May.

The event can be divided into three major

formats of displays- I. Seminars – Presentations by graduating students of the departments of Fashion Technology, Design Space and Fashion Management.II. Exhibition – Panel and 3D displays by graduating students of the department of Fashion Communication and Textile Design.III. Fashion show – Shows by graduation students of the departments of Fashion Design and Knitwear Design.

The prize distribution ceremony is also a vital part of the event which is scheduled after the Fashion Show.

The sole objective of the event is to focus on the brilliant works done by the students to gain more appreciation from audience. Which ultimately leads to consolidation of the desired professional image of the NIFT graduates. Theeventisconductedbyutilizingaspecificamount of budget. Each centre of NIFT has been allotted a budget of two lac per department. NIFT Mumbai meets the excessive expenses by creating marketing opportunities for sponsors. Generally thedirectorformsacommitteesandallotsspecifictasks of the event.

Following is the list of tasks appointed to these teams. These committees work simultaneously to push the project towards successful completion.Administration and coordination – This is a core committee.Thememberslookaftertheflowofcommunication through rest of the committees and select best possible ways of implementation according to availability of budget. To create a sponsorship proposal, to approach the sponsor, compensate their demands and meet the agreed terms in sponsorship proposal are also major tasks of the members of the core committee.Venue and Décor – To select the venue which meets all the requirements and to look after the exhibition and space design are the duties performed by this committee.Brochure and Invitation – This committee looks after the print and digital communication of the event. Compilation of all the information received from all graduation students is one of the tasks performed by them.Fashion Show – This team coordinates with the sponsors and choreographer to meet the output of the students of FD and KD departments.

4AThe event

A. The Concept

Guests of the event include following groups

of people-

•Honorablechiefguests

•Designers

•Industrymentors

•Parents

•NIFTAlumni

•FundraisersandSponsors

•Students,facultyandstaff


It was held at Hotel Lalit in Mumbai. The event was inaugurated by Ms. Nilima Rani Singh, Director - NIFT, Mumbai. The day was commenced with displays and presentations on various projects of the students of the departments of FC and D. Space encompassing areas such as visual merchandising, set designs, art direction, event management, exhibition and displays designs, Graphic Design, Fashion Journalism, Styling, and Photography. The day ended with the Fashion Design and Knitwear Design students showcasing their respective collections. The collections of both departments were drawn from variety of ideas and out of the box themes.

Some of the exciting themes the students have worked on are Khiraj-a-Jannat, Hypnotic Daze, Saudade, Dusky adieu, Dream Catchers, Raised by the Streets, Time starts now and many more. Also the students were honored with a range of awards sponsored by Globus, AMFI (Association of Manmade Fibre of India), NOAH Fashions, Usha International, Sheetal India etc. by eminent dignitaries. The event was the culmination of four years of practical learning and intertwining the knowledge and skill to mark on the fashion scene.

Renowned models like Alesia Raut, Parvathy Omanakuttan, Shriya Kishore, Aanchal Kumar, Natasha Suri, Hrishant Goswami, Gaurava Arora and many more dazzled the ramp dressed in student ensembles.

Theeveningwasaglamourpackedaffairwith

an eclectic mix of celebrities and prominent

fashion designers from the industry like

Narendra Kumar Ahmed, Archana Kochhar,

Actor Gaurav Chopra, Actress Amrita Raichand

and news speaker and casting director Dolly

Thakore.

4BThe event

B. Graduation Show 2012


A. Client – National Institute of Fashion Technology, Mumbai.

B. Target Audience •Honorablechiefguests•Designers•Industrymentors•Parentsofgraduatingstudents•NIFTAlumni•FundraisersandSponsors•Students,facultyandstaff

C. Objective -To focus on the brilliant works done by the students -To gain more appreciation from audience. -To set the desired professional image of the NIFT graduates in the minds of TA.

D. Design Solutions •Finalizingthebudget•CollectingSponsorship•Venue•MediaandPRManagement•PrintanddigitalCommunication•Invitationandhospitality•Decidinghonoraryguests,artistsandfacesofthe event•Décorandspacedesign•Choreography•Sound,LightandVideomanagement•EventAnalysis

E. Project Time Scale I. Pre-event tasks – -Budget Finalization -ConfirmationfromSponsors–Pitching-Follow- up - Agreement -Finalizing the venue -Finalizingtheeventflow -Deciding and inviting the honorary faces for the event -Press- conference and inviting media -Dispatching print and digital invites

-Compilation of brochure date and printing -Finalizing the choreographer and models -Designing Décor and space and SLV console tasks -Rehearsal and delegating the tasks to ushers II. During-event tasks –-MaintainingtheScheduleandflowoftheevent -Hospitality and Guests management -Capturing and recordingIII. Post-event tasks – -Event Documentation and analysis

5The complete event brief


2. Research

Onceabriefwasdefinedandagreedtheresearchstagebegan,whereI investigated the subject matter of the brief in order to accumulate relevant information that will be used to inform design decisions. Thisinformationprovideddifferentwaysofidentifying,determiningand dissecting the attitudes and behaviors of target audience. It also helped to provide understanding of the design approach considered by competing institutes. Obtaining a clear understanding of the target audience fed information into the ideation stage. This was then used to generate ideas for design directions. The research stage ultimately outlined the unique proposition of the event.

1. Primary Research

2. Secondary research

3. Target Audience

4. Unique proposition


The primary source of research was the feedback generated during the survey of the TA of Graduation Show 2012. Sampling survey* was conducted to gather information. A set of questions was asked to a TA sample. Following are the names of the people who were selected to be a part of sample with the role they performed during the Graduation Show 2012-

1Primary Research

Names Type of audience group Roles in Graduation Show 2012Mr. Nitin Kulkarni Faculty Member of the brochure team Mr. Nitin Rangdal Faculty Decoration CommitteeMr. Vinesh Tapre Faculty Decoration CommitteeMr. Shripati Bhat Faculty Logistic and security CommitteeMs. Shweta Faculty Member of the backstage team, AudienceMr. Mohd. Jav ed Faculty Core CommitteeMr. Tanmay Faculty AudienceMr. Rajiv Kumar Guest PrinterMr. Dhanraj Survase Faculty Exhibition and front stage managementMr.SachinKumar Staff AudienceMs. Monika Aggarwal Faculty Member of the invitation card and choreography teamMs. Aboli Faculty B.F.Tech Seminar CoordinatorMs. Ranjini - -Ms. Disha Gupta Faculty Member of the invitation card teamMs. Sonali Saldanha Faculty Mementos CommitteeProf. Jomichan S. P- Faculty Invitation and Reception CommitteMs. Sharmila Dua Faculty Member of the Core-coordination team Mr. Apoorv Gupta Student Member of the brochure teamMs. Eipsita Tikoo Student AudienceMs. Aastha Seth Student Audience


What worked and what did not work? (Representationofprimaryresearchfindings)

1Primary Research


Quotes

“The exhibition and displays were not given enough space and attention.” - Ms. Disha Gupta, Asst. Prof., Dept. of P.G. Design Space.

“Department differentiation was missing.”

- Monika Aggarwal. Asst. Prof., Center Coordinator, Dept. of Fashion Design.

“Sponsors should see potential clients and customers in audiences.”

– Mr. Rajiv Kumar, Asst. Prof., Dept. of Knitwear Design.

1Primary Research


Secondary research is the information obtained and derived from secondary sources such as the event brochure and invitation card of the Graduation Show 2012. The blog posts and reports in newspapers about Graduation Show 2012. The promotional and documentary videos of Graduation shows of other institutes. These provided the demographic and historic performance of such events. It also provided a clear view of how the TA is structured. The sources of the secondary research are mentioned in the bibliography section of this documentation.

Secondary research is the information obtained and derived from secondary sources such as the event brochure and invitation card of the Graduation Show 2012. The blog posts and reports in newspapers about Graduation Show 2012. The promotional and documentary videos of Graduation shows of other institutes. These provided the demographic and historic performance of such events. It also provided a clear view of how the TA is structured. The sources of the secondary research are mentioned in the bibliography section of this documentation.

Graduation Show 2012 Cost Breakdown (on record)-

2Secondary Research

Name Activities Amount (Rs.)Mystique promotions Pvt. Ltd. Event management and production (Stage and backdrop, Printing, technical, Miscellaneous, Forum evening conference, Permissions, Royalty.) 7,68,542.00Mr. Hugo D’souza Master of Ceremony 25,000.00You me & we Pvt. Ltd. PR 72,000.00Hotel The Lalit Venue 15,72,922.00NCN Creatives Photo and video shoot 24,200.00Stationery stores Stationery 17,657.00 FD jury visit hospitality 40,850.00 Travel and Transportation 13,769.00 Models 4,97,800.00 Backstage 27,000.00 Makeup and hairs 75,000.00 Lunch while rehearsals 22,000.00 Ironing 7,000.00Anchla Sachdev Choreography 2,52,810.00Jokers Pvt. Ltd. Invitation Printing 32,000.00 Total 34,58,550.00Texzone Pvt. Ltd. Brochure Printing (Sponsored) 3,50,000.00


2Secondary Research

Media Universe-Publications

List of sponsors (on record)-

General Dailies and suppliments RegionalMidday (if paid) Maharashtra TimesBombay Times (if paid) Navbharat TimesHT Café Aajchi Navi MumbaiDNA After Hrs Asian Age WebsitesAfternoon Stylekandy.comScreen Fashionfad.inFree Press Journal Miss MaliniVashi Times Explosivefashionfeista

TV Channels (If Celebs present)ZoomNDTV Good TimesCNIBNAaj TakZEEETCNew 24Sahara Samay

Sponsors Amount (Rs.)Alok Industries Ltd. 2,52,810.00ONGC 2,00,000.00Jacksons International 1,00,000.00TVS Motor Co. 75,000.00M/S Biazo Clothing Mfg. Co. Pvt. 30,000.00M/s Vira Enterprises 15,000.00M/s Sheetal Clothing Pvt. Ltd. 10,000.00M/S Unity Infraprojects Pvt. Ltd. 15000.00M/S HP Fashions 10,000.00M/s Iqbal tours and travels 20,000.00Axis Bank Ltd. 15000.00Yes Bank Ltd. 20,000.00Suditi Industries 20,000.00Malwa Industries 20,000.00M/s Addon Retail Pvt. Ltd. 21,000.00M/S RV Design Couture Pvt. Ltd. 15,000.00Manmade Fibre Industry of India 25,000.00Total 8,63,810.00

Event brochure of Graduation Show 2012 (Secondary findings) -

Cover - 300 GSM Art paper with lamination Inner pages - 90 GSM Glossy Litho paperTypeofprinting-4colors,offsetprinting.Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.Design Support – Shobhit KumarFaculty Coordination – Nitin Kulkarni, Patricia Sumod and Nitin Rangdal.Editing – Ms. Susmita Das Pal, Dr. Reena Agarwal, Mr. Muvilvannan and Ms. Garima SrivastavaProof Checking – Prof. Sharmila Dua, Dr. Ajit Khare and Ms. Kundalata Mishra

Event invitation card of Graduation Show 2012 (Secondary findings) -

300 GSM Art paper with laminationEnvelop Size - A5Dinner coupon size - 2” X 2”Typeofprinting-4colors,offsetprinting.Printed by Jokers Pvt. Ltd. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.


2Secondary Research

Event brochure of Graduation Show 2012 (Secondary findings) -

Cover - 300 GSM Art paper with lamination Inner pages - 90 GSM Glossy Litho paperTypeofprinting-4colors,offsetprinting.Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.Design Support – Shobhit KumarFaculty Coordination – Nitin Kulkarni, Patricia Sumod and Nitin Rangdal.Editing – Ms. Susmita Das Pal, Dr. Reena Agarwal, Mr. Muvilvannan and Ms. Garima SrivastavaProof Checking – Prof. Sharmila Dua, Dr. Ajit Khare and Ms. Kundalata Mishra


2Secondary Research


2Secondary Research

Event invitation card of Graduation Show 2012 (Secondary findings) -300 GSM Art paper with laminationEnvelop Size - A5Dinner coupon size - 2” X 2”Type of printing- 4 colors, Digital printing.Printed by Jokers Pvt. Ltd. Design Concept and layout – Omkar Khadamkar and Apoorv Gupta.


3Target Audience

Target groups-

•Honorablechiefguests•Industrymentors•Parentsofgraduatingstudents•NIFTAlumni•FundraisersandSponsors•Students•Faculty•Staff

Digital Medias consumed by them-

Social networking sites- Facebook, Twitter, YouTubeOnline shopping- Fashion and you, Book my show, Flipkart, Jabong, Make my tripSmart phones apps–Whatsapp,Blackberry Messengers, M-Indicator, QR code reader.

This section defines the character profile on the basis of primary and secondary research-


3Target Audience

Their Aspirations for the Graduation Show 2013

Target audience dream-

ShowsouldbeasgoodasLakmeFashionWeek,

Whataboutthehugeauditoriumlikethisto

accommodate crowd, Call Anurag Kashyap or Karan

Johar,Itshouldntbejustafashionfigurebutagreat

communicationdesigneraswell..Weshouldfeelthe

‘íntelect’ and ‘glamour’ in the air!


4Unique proposition

The following Venn diagram sets the target of ideation through the all outcomes derived from the research.

3. Taking a guess!

1. Budget

2. Sponsors

3. Sponsorship Proposal

4. Venue

5. Space and Communication- Print and Digital

34



35

1&2Budget

Sponsors

Considering some percentage of increase in the budget of Graduation Show 2012 and keeping the quality of this year’s event, following estimates were made-

Sets + Venue Constructs + Technical = 28,00,000Choreography and models = 12,00,000Media and PR = 4,00,000Print and Digital Communication = 4,00,000Approx. total = 48,00,000

LOREALLAKMEOreoVodafoneAirtelMumbai MirrorAxis

Union BankAmway LifestyleGlobusBombay HighBombay DyeingSEASONS furnishing

RaymondLevisPVR entertainmentsInox / Big cinemasFashion and you.comFlipkart.com / Jabong .comTanishq / Reliance jewelers

The outcome of research and character profile of TA helped me to suggest following sponsors-Excluding the sponsors of Graduation Show 2012-


3Sponsorship Proposal

The basic structure of sponsorship proposal was made on following headings-

• Event title

• Event Description

• About NIFT, Mumbai

• NIFT Mumbai Graduation Show 2012

• Audiences

• Benefits to sponsors

• Sponsors slab

• Concept visuals of their exposure on stage, and other possibilities for marketing

• Our current sponsors

• Our previous sponsors

• Contact


4&5Venue

As per the requirement of space, period of the year and budget constrain following venues were suggested.-

The LalitHotel RenaissanceNCPAGrand HyattMahalaxmi Racecourse

Innovative Ideas were doodled during the survey and secondary research to overcome the problems faced during the Graduation Show 2012. Having a general idea of the Medias consumed by TA. Following ideas were referred

Space and Communication- Print and Digital


Space and Communication

5

4. Identifying my role

The brief contained all design solutions needed by the client. It involved many people it was not a one-man’s job.I reworked on the brief and selected few of the tasks which are achievable by me. I chose to work on the activities I was interested in.Consideringthetimescaleandmyabilities,Iidentifiedmyroleinthecompleteeventbriefanddevelopednewspecificbriefsforeachtasks. These briefs were focused and they talked only about the tasks I committed to deliver.Those tasks would finally implement following design solutions-

• Identity

• Brochure

• Invitation Card

• Exhibition and space


5. Identity

1. Brief

2. Ideation A. Theme of thinking B. Inspiration and references

3. The Concept of Heptagonal sun

4. Value

5. Presenting

6. Refinement A. Appropriation B.ShapeModification C Paper and type of printing



Brief

1Beforestartingthedesignprocessaspecificdesignbriefwasdevelopedtodesignthenew identity for Graduation Show 2013 for use on all the external communications of the event.

Aim: •ToproduceanewcorporateidentitythatreflectstheuniqueproposalofNIFTMumbai Graduation Show 2013.•TocreateanidentitythatcanstimulatetheTAtoexperiencethecoreconceptbehind the event.•TodifferentiatetheeventfromothereventsofsimilarconceptsandTA.

Usage:The identity will be used on all external communications including brochure and invita-tion cards, soft copy of the invitation cards, backdrop and standees.

Target Audience:Asmentionedinthedefiningbriefsection(page-20)

Nature of the client and the event:Asmentionedinthedefiningbriefsection(page-17)


Ideation

2ADuring the ideation stage, I drew on the research gathered. This information was used to create ideas with which I tried to tackle the design brief.

A. Theme of thinking-I chose to harness three factors – Convergence, Divergence and Transformation. And took forward the unique proposition of the event. These factors were original as if they drew a unique theme of thinking in my mind, which seemed specially made for the identity of the event.

Convergence Here, I have visualized NIFT Mumbai as convergence of all seven departments. As NIFT Mumbai gathers all the processes carried inside the fashion industry under one umbrella.

DivergenceWhilethethoughtofdivergencesetsthereader’smindinoppositeflowoftheconvergence as it focuses on all the separate departments with their unique existence. As if the seven heads are peeking out of the umbrella.

TransformationTheidentityshouldbeperceivedasanevolvedversionoftheidentityof2012.Whichwill link and create a qualitative impact on viewer’s mind.


Ideation

2BB. Inspiration and references

8 9

Whilegoingthroughthesealreadyexistinglogosinthemarket, one can notice the fresh typographical element. Theconfidentsizeoftheeventtile,simpleandshortgraphic, theme based color schemes are prominent features.


Ideation

2BB. Inspiration and references

The next step was to investigate the fresh typography which can be ideated and utilized in the logo, I found some great references to create an edge in the market throughtypefaces.THefirstimageshowcasesthe18versions of the éxo’typeface.


The concept of Heptagonal Sun

3

As I developed the refined collection of visuals directed my thoughts towards one concept –‘Heptagonal sun’.

After exploring the themes of thinking and references, the major challenge was to break the clutter with a senseofevolution.Thefreshtypographyandanelementunfoldingtheevent-propositionwasthefirstwayout.



3

The initial exploration began with only use of typography, the graphic impact was added in later concepts like; rising sun, encircled sun. Small food of thoughts at each stage moulded the concept into more visually appealing form.



3

Initially I produced this self-written copy for the concept, and arranged in better typography.



3Some of the samples explaining the copy and the story around the concept were checked, The copy needed to be presize and deep enough to communicate and spread the energy. The name of Aristotle and his quotes were suggested by the client. To see the list of quotes prepared refer Appendix-I page-86

Incorporation of the heptagonal sun as a lamp in the decore. Initially, it was decided by the client to freeze the construction area of the NIFT(infront of the last entrance) as a venue for the event. Basic visual concepts for the decor and ramps were developed, these can be refered in the Appendix-II section of this document. page no.- 87


Value

4The concept was further brainstormed to add value and to strengthen its roots. Mythological reference for the sun concretes the perspective and stabilizes the theme.

The Sun God in the Life of Ancient Egypt ReligionSometimes the Sun God was worshiped as the supreme deity Ra or Re.The bright father who fertilized Mother Earth with rays of penetrating heat and light; sometimes it was a divine calf, born anew at every dawn, sailing the sky slowly in a celestial boat, and descending into the west, at evening, like an old man tottering to his grave.Or the sun god was the god Horus.

Takingthegracefulformofafalcon,flyingmajesticallyacross the heavens day after day as if in supervision of his realm, and becoming one of the recurrent symbols of Egyptian religion and royalty.Surya is the chief of the Navagraha, Indian “Classical planets” and important elements of Hindu astrology. He is often depicted riding a chariot harnessed by seven horses or one horse with seven heads, [1] which represent the seven colors of the rainbow or the seven chakras. He also presides over Sunday. Surya is regarded as the Supreme Deity by Saura sect, which is now a very smallfollowing.Smartasworshiphimasoneofthefiveprimary forms of God.

“Helios” is just the Greek word for sun. He was also worshipped as a god by the Greek, especially in Rhodes. He is connected with horses and chariots and sometimes with cattle. He is usually called the son of the Titans Hyperion and Theia or Euryphaesssa. Prominent children ascribed to him are Phaeton, King Aeetes of Colchis, and Circe. In Roman tradition, Helios was simply translated by the Latin word “Sol” meaning “Sun”. But this Sol was also sometimes called Phoebus


Value

4

Surya as the Sun is worshipped at dawn by most Hindus and has many temples dedicated to him across India. He also enjoys worship as a part of the Navagraha. He is especially worshipped in the Hindu festivals of Ratha Saptami, Makar Sankranti, Chhath and Samba Dashami.


Presenting

5BeforeIworkedonmoreconcepts,thisconceptwaspresentedtoclient.Andluckilythefirstandtheonlyconceptwassettobetakenforward.Theclientapproveditandsuggestedfewrefinements.Duringthesame time I also presented a story around it to boost the media in the fashion environment, which failed the approval. Moreover a good decision was made to keep everything short and simple in every possible way.

Following are some of the slides from the presentation.


Refinement

6AA. Appropriation


Refinement

6BB. Shape Modification


Refinement

6CC. Paper and type of Printing

Leather textued creame color paper with a gold foil stamp of logo was selected for general usage, Above are the samples of paper and printing variations of the same logo.

6. Brochure

1. Brief

2. Ideation A. Inspiration and referencesB. Design Directions

3. Presenting

4. Selecting the template and gathering information

5. Refinement



Brief

1Aim: To produce a new brochure that engages the A to read and re-read the information about the graduation projects and design collections.

To create a new brochure that resonates and improves the potential image of the client.

To design a brochure that unfolds the selected theme of identity

To create a durable brochure which will be presented by target audiences can be referred whenever needed.

To develop a platform of industry exposure for graduating students through this brochure.

Money involved: 300.00 to 400.00/brochure

Target audience:As mentioned in the complete event brief (page-20).


Ideation

2ADuring this stage macro elements like typography, page layouts and dimensions and look of the book were worked on. Simultaneously, many inspirations and references were noticed to trigger the fresh concepts.

A. Inspiration and references


Ideation

2A

The deeper I went to seek references and inspiration, the more innovative uses of elements of a book I noticed. Some of them were actually ideated for implementation.


Ideation

2BConsidering the nature of client, TA and brief, few fonts were dragged and categorized into design directions. I refused my urge to use fonts like Garamond, Gill sans, Times, Myriad and Futura to maintain the fresh appeal of the brochure.

a. Little booklets

b.Overcoming the last problem

c. Penstand and newspaper

d. Calendar

B. Design Directions

The combination of san and san serif has a long tradition to influence the reader, the same combination was picked through these typefaces to update the traditional look of brochure.


3Presenting

These are few of the innerpages layout. Initially only dummy text was added. These ideas were clubbed together to form a new hierarchy of information. The idea of the breaking monotonous text through a statement in contrasting Didot typeface was appreciated.


3Presenting

This page displays the layout options for departments of Fashion Communicaion, Master in Design, Bachelor in Fashion Technology and Master in Fashion Management as the students have categories of visuals to add unlike the students of departments of Fashion and Knitwear Design, who showcase the full garment.


3Presenting

These options are for the pages introducing each department. They seperate information pages of students from one department to another.


3Presenting

Options for initial pages of the brochure - NIFT information, messages from Director and Director General, etc.


Selecting the template and gathering info.

4Out of the ideated design directions conventional direction which talked about overcoming the problems faced by the last year’s brochure was selected. It actually suited the budget. I pushed forward the direction and presented several dummies of inner pages, including messages of Director and Director General, introductionofdepartments,introductionoftheinstitute,anddifferenttemplatesforthestudents’pages.Inthefirstmeetingofpresentation,fewideaswereclubbedtoformmoreappealingoutcomesandtheselectednewonesundergonetheprocessofrefinement.

Two seperate layouts were produced to meet the need of textile design students who work in both fields; Garmet production as well as home -furnishing.


Selecting the template and gathering info.

4

A screen shot to present how did we proceed forward to collect the brochure information individually from the students of departments of fashion technology, fashion communication, design space and fashion management.To see the screenshots of mails forwarded to the students of other departments refer the Appendix-III section page no. 88


Refinement

5The decided limitations of words and images were not received in the desired way from each student, so each page was customized again according to the provided information.

Thecolordifferentiationtodefineeachdepartmentfromtheedge ease the user experience. VIsualization of the final brochure.

7. Invitation

1. Brief

2.Design Directions

3. Value

4. Presenting

5. Refinement

67



Aim: To create an invitation which speaks the best aspect of event and creates a curiosity in the minds of audience.

To produce an Invitation which may have short life but longer recall value.

Money involved: 40.00/invitation card

Target audience:As mentioned in the complete event brief (page - 20) .

Brief

1


Design Directions

2

During initial ideation, I experimented with materials like OHP sheet to enhance the look of envelop. It was rejected by client due to eco-friendly constrain.Somedifferentstylesoffoldsand cuts were part of the next presentation.


Design Directions

2


Value

3

Refernces of pearl papers, lazer cut techniques were triggers to add value in design , but later the budget limited the client to choose these value added directions.


Refinement

4

Thiswashowinvitationcardlookedatthefinalstageofrefining.

8. Exhibition

1. Brief

2. Ideation

3. Design directions

4. Presenting

5. Overcoming hurdles

6. Finalizing


73


Aim: To utilize the space managing client’s and venue limitations in the best possible way of focusing the works.

To maintain the elements of theme while dividing and beautifying the space and avoid distractive noise in communication.

To keep in mind the Medias consumed by target group and implementing the secondary findingsasexperiencingthespaceistouchandfeelexperience.

Target audience:As mentioned in the complete event brief.

Photographs of Space

Brief

1


Ideation

2

Duringthefirststageafterdefiningthebrief of exhibition design, I went through many triggers. I t helped me get a general senceoffixturesanddisplays,includingtheergonomics.


Design Directions

3

Thiswasoneofthefirstdesigndirectionideated.Ithangsthedisplayboardsfromthemetalframe. To focus on the works on boards, I suggested to use translucent acrylic sheet for the student’s information.


Design Directions

3

The innovative use of clay pots to hold the panels attached on the wooden rod, grabbed client’s attentionandthisideatookshapetoformfinalconcepts.


Design Directions

3

This was the most basic, but expensive concept. - to display the work on 3’ X 6’ sunboards.


Overcoming hurdles

4

This stand was suggested by the client after noticing the pot concept. There were 20 stands availablewiththeclient.Thefirsthurdleoflessstandsbutmorestudentswasovercamebythisidea. The angular display gave enough space for the viewers to observe the work comfortably from enough breathing space.


Overcoming hurdles

4

If we would have taken the earlier concept of angular displays, the wire used for the lights arragement could have cluttered the gound, as the regulations strictly limit damaging the carpet. This concept was derived so that the lights can be placed near by the wall, avoiding the clutter.


Finalizing

5

Thereasonbehindideatingaconceptlikethiswasthepassagehasonefire-exitlimitingtheearlierzig-zagconcept.Asifincasefirecatchesthevenue,peoplewillfinddifficulttoescapefrom the earlier arrangement.

9. Learning

1. Analyze and manage the inputs

2. Go leftfield

3. Document

4. Be disciplined

5. Set aside some time for play

6. Ask for more time if the budget is less

7. Finally, it’s all about how I directed my energy!



1. Analyze and manage the inputs

2. Go leftfield

1,2&3Officiallyreceivetheconfirmedinformationfromtheclientbeforedecidingthelayout.Itwasfoolishtoproducealayoutbeforethecontentwasproperlyfinalized.Duringdesignprocessofinvitation,Iproducessomeoptionsusingtheinitialinformationwhichwasnotfinalizedproperlyby the client, due to this variable information the entire design was reworked thrice because of the frequent changes in the input.

‘To work on the event of the NIFT itself as my Graduation Project’ was the original and unusual idea. Realizing this fact boosted my enthusiasm during unfavorable situations faced with client andduringthedesignprocess.Facultyandstaffhappilymotivatedmetopushthisunusualconcept towards completion. My contribution relieved the half of their workload. So, going left fieldandresistingtheurgeofplayingitsafehasreallystolenthemarch.

3. Ask for more time if the budget is less.Thislessonwaslearntwhiledesigningtheexhibition,theonlyreasontokeepclientsatisfiedtheenough time spent on managing the client’s resources and budget with the existing ideas.


4. Document

4I. KISSKeep it short and simple, is a modern acronym but it employs the same tenets as Ockham’s razor, which has been around for several hundred years. The idea is to pare back a design to its essential elements, something that requires the clear understanding of the message that has to be communicated and the audience is to be directed towards.

II. FocusSelect the key message or elements as the focus for design. A company may have many products or projects but the design should focus on the most important ones. Information about other aspects of the company can be provided via other communications such as printed materials, brochures or the web page. III. Ockham’s razorOckham’s razor is a principle attributed to the fourteenth-century English logician andFranciscanfriar,WilliamofOckham,and it forms the basis of methodological reductionism. The principle states that elements that are not really needed should be pared back to produce something simpler and in doing so, the risk of introducing inconsistencies, ambiguities and redundancies will be reduced. Ockham’s razor is also referred to as the principal of parsimony or law of economy.

IV. Python philosophyDerived from ideas presented by Tim Peters in The Zen of Python, these tends include: beautiful is better than ugly; simple is better than complex; sparse is better than dense; readability counts; practicality beats purity; and refuse the temptation to guess.

V. White spaceSome believe that white space allows key design elements to breathe and be easily seen. It also helps the viewer to focus attention on them, giving them greater impact.

VI. Text minimizationThis tenet suggests that text should be kept to minimum, with sentences pared back to short, sharp phrases that have a meaningful impact.

VII. Graphic ImpactAccording to many designers, graphics should create visual impact that grabs the attention and reinforces text communication. However, graphics that go overboard and are too large, complicated or numerous are distracting. VIII. ScaleDesigners need to think about scale, an easily forgotten aspect when designing on screen. Designproofingneedstoincludeanactualscale proof for small- or large scale items such as stamps or posters to ensure that text and graphicsaresufficientscaletobecomfortablyread.

It also enhanced my quality of looking at my own project through the eyes of third person and illuminated the mistakes in the project. Project documentation increases the impact of learning fromtheproject.Whichwillsurelyplayimportantroleinthefutureprojects.Following concepts were referred while documenting this project-


5. Be disciplined

5,6&7Completing each step in design process sequentially and fully can possibly be the smartest way tousetimeefficiently.Ensuringthatnothingisleftout,keptjobmovingtowardscompletion.

6. Set aside some time for play.

7. Finally, it’s all about how I directed my energy!

Settingasideatimewithoutbeingdirectedtowardsanyspecificprojectstimulatedandupdatedmy creativity which helped to be always at the leading edge. It was just getting information from the world around; such as looking at photos, attending exhibitions, plays, art shows, visiting a mall orflickeringthroughmagazinesandbooks.

The vital and unique learning which is derived from the copy of project itself, the thought of Aristotle – “The energy of mind is the essence of life.”

Appendix-I

There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this expression is unique.Martha Graham

Passion is energy. Feel the power that comes from focusing on what excites you.OprahWinfrey

The energy of the mind is the essence of life.Aristotle

Creativity is the natural order of life. Life is energy: pure creative energy. Julia Cameron

You will recognize your own path when you come upon it, because you will suddenly have all the energy and imagination you will ever need. Jerry Gillies

See where your own energy wants to go, not where you think it should go. Do something because it feels right, not because it makes sense. Follow the spiritual impulse. Mary Hayes-Grieco

To change, you must face the dragon of your appetites with another dragon: the life-energy of the soul. Rumi

These three options for the metal badges were produced for volunteers of the convocation ceremony, the reason behind preferring the metal badge was to connect with youths in the familiar way so that they will preserve the badge.


Appendix-II


Appendix-III


Initially it was decided the event will take place at thefirstfloorofthe NIFT campus construction site; this visual was developed from the above photograph to present an idea of space modification.

10. Bibliography

Books, documents and presentations-Introduction to Event management academic presentations - by Sunil Pereira.Invitation card and brochure of NIFT Mumbai Graduation Show 2012OfficialdocumentationfileofNIFTMumbaiGraduation Show 2012Top Ten Tips for Sponsorship Seekers - by Kim Skildum-ReidBasic Design 08 ‘Design Thinking’ – by Gavin Ambrose and Paul HarrisConfessions of typoholic - XOXdesign

Websites and blogs-www.nift.ac.inpracticalsponsorshipideas.comwww.designacademy.nlwww.ncpamumbai.com/www.thelalit.comwww.marriott.comwww.brainyquote.comwww.royaltulip-navimumbai.comwww.rwitc.comflavorwire.comjoshuarousen.comaustralianinfront.com.au10and5.comcargocollective.comjohannabasford.comljmu.ac.ukfontsquirrel.comthegraphicmac.comdesignmodo.comlove-egypt.comfanpop.comblog.thefolderstore.com

Videos-http://www.youtube.com/watch?v=PobDpVqny3Ihttp://www.youtube.com/watch?v=zRe1NHYudjIwww.book-as-art.info


Design Inputs for NIFT Mumbai Graduation Show 2013

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