Women of Gen Z - Your Next Big Consumer

Women of Gen Z - Your Next Big Consumer

Rachita Gondhali 

Associate Graphic Designer 

If you know someone who gets their daily news off Instagram and calls you ‘BRO’ once in a while, you are probably interacting with a species of the Gen Z. They at times, might seem so alien to you, choosing between being perplexed and in awe isn’t a choice. 

To help decode them a little better, Gen Z, the next big consumers for our brands to obsess over are between 10 to 24 years of age as of this day. Yes, the ones that would text you from across the room instead of talking to you and consider Google as their best friend are the ones deciding a brand’s lifecycle.

If you know how to connect with this creative generation then you have a cat in the bag since it accounts for 40% of consumers in 2020 with India having the world’s largest young population. This highly analytical and pragmatic generation that shares an ever evolving intuitive relationship with social platforms is primarily an offspring of liberalisation. 

Interestingly, one of the happiest Gen Z comes out of India among other countries. Indian individuals are defying linear ambitions to reach high with a mindset that doesn’t close off unconventional options. While wealth and travelling the world is a priority, marriage and religion tend to be less important in comparison to its predecessors. 

What can make the parental generations anxious is how this hyper-cognitive generation consumes information in real time by integrating virtual and offline experiences. Being digital natives, even when they shop in-store, they get real-time feedback via whatsapp. Amazon has turned this into an opportunity and added a “you might also like” section under the product title along with ratings and reviews. We wouldn’t expect any less, would we? 

It might be overstated but the Gen Zs live in a space of multiplicity, even with their identities.Their inclination towards unisex and unbiased products raises a question to many brands driven by gender about how long they can continue to make sense to the consumer. How should companies market clothes, cars or jewellery for that matter? 

Since this generation has blossomed during economic prosperity, it wouldn’t be wrong to call them optimistic and driven by passion. They made self actualisation look cool, translating in a need of a fulfilling work environment. This in turn, makes the generation a huge contributor to the ‘gig economy’. What about the women of this generation, though?

After years of downplaying a woman’s role in society, with the likes of Aranya Johar and Naina Jaiswal, we can proudly say that females have more power and a stronger voice in society today.

Understanding this vivacious group of Gen Z females as consumers and what their need of the hour is can be a key for the brands to come. 

Since the women of Gen Z are born with heavy social influence, social values play a big role in their decision making and purchase patterns. Reports suggest more than sixty percent of women expect brands to take a stance on social issues, inclusivity being one of the biggest concerns. Better late then never, maybe? American Eagle’s sub-brand, Aerie, has upped its game by adopting the no photoshop method and including models who are physically handicapped or have vitiligo, while Bumble has sneakily made room for itself in the lives of our Indian hearts by giving women a choice of quality. 

If you don’t see a Gen Z woman scream about authenticity, you probably haven’t met one. It cannot be emphasised any more. This generation sees through the celebrity marketing that has been around for ages. Celebrities are no longer the trusted word of mouth. What these women are looking for are authentic influencers that aren’t aspirational but more grounded and relatable. Youtubers are their most trusted source. One of the most famous ‘influenza’ women are going crazy about is the hilarious Bhuvan Bam from BB ki Vines or Prajakta Koli, popularly known as MostlySane who subtly breaks stereotypes with a hint of humour. 

No matter how much we label them as tech babies, Gen Z women are becoming skeptical about its benefits. This overwhelming constant connection has caused ‘technology fatigue’ and raised doubts about digital safety and security, though this fatigue hasn’t stopped the dependancy. Women are now worried about their personal details getting in the wrong hands, also a result of gender based harassment that women face online. The most common but rarely spoken about example is the usage of deepfakes to make non-consensual pornography.  

So how do you break through this generation? If you are a marketer, you now know how enormously important it is for brands to please this generation since over ninety percent of household purchases are influenced by Gen Z, especially when it is regarding travel, food, lifestyle and furniture. One way to look at it is to rethink the value creation models. This pragmatic generation analyses not only what they buy, but also the very act of consuming. Redefining consumption as having access rather than owning them is the key. Unlimited access to products and services creates value and connects to the Gen Z, a model Uber and many other subscription based services follow. As the offline and online becomes one, the need to consume products or services at any time any place has become a norm, developing a need for omnichannel marketing to get creative. 

All anchored in one element, essentially what Gen Z is saying is, ‘give me the truth and excite me at the same time’. If you still have any doubts, you can leave them at the door considering this is coming from a Gen Z herself.

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References :

- https://www.mckinsey.com/industries/consumer-packaged-goods/our-insights/true-gen-generation-z-and-its-implications-for-companies

- https://informaconnect.com/marketing-to-gen-z-women-understanding-the-next-consumers/

- https://www.businessinsider.in/tech/news/gen-z-women-are-less-likely-than-millennial-women-to-want-to-be-reachable-at-all-times-and-it-might-be-a-sign-of-tech-fatigue/articleshow/71603034.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

- https://www.engarde.net/introducing-generation-z/#.Xly0gZMzZyo

- https://www.dnaindia.com/india/report-10-things-you-should-know-about-generation-z-2328949

- https://www.livemint.com/news/india/a-new-generation-takes-charge-of-our-destiny-11577806125528.html

- Liberalisation’s Children - by Ritty A. Lukose

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Sustainable Retail Design By Ashish Deshpande - VMRD Cover Story

Sustainability & responsibility are the DNA of Design

Ashish Deshpande, Director, Elephant Design, tells VM&RD why sustainability is the essence of store design and explains with an example how it can be realistically made part of a store design project.

How do you define sustainability in the context of retail design?

Answer to sustainability in retail lies in the ability of the effort to survive scale, time & connect with the customers. Sustainability is not a new concept. Every retail business has known this for the last 200 years or even more. Those who  survived  followed it and those who did not were lost in the quantum of time. Stores like Maratha Cooperative in Mumbai or Macy's in the US of A, survived over a century purely because they were able to sustain their relevance and engagement with customers. Store elements were always optimal and met up with aspirations of the customers. These stores big or small, stretched the rupee, dollar or pound invested, across decades. That to me is sustainability in retail.

Good sustainable retail is the one that is optimum in terms of  elements and use  of material, is locally sourced & serviced, predominantly uses natural light & climate control, supports business with value to remain relevant to customers over years.

It lends itself to evolution over time, behaving current without a necessity to overhaul the core fabric of the store.

Sustainability & Responsibility are two core values that every designer must imbibe deep in her mind. It is the very DNA of every design exercise. Every other thought and function must revolve around these core values. Design has to be sustainable. Even a pop-up store would align to these core values.

Can you share a recent example of store design where sustainability as a design concept was used?

Classic Legends promoted Jawa Motorcycle stores are sustainable as a concept.

These stores were not designed based on an overt & emphasised brief, "let there be sustainability". The store is visualised on commonsense concepts of survival and longevity. These two basic intents have ensured a sustainable approach.

Theme

The store theme builds around the classic Jawa motorcycle & brand. The store evokes the warm ambience of a curated Book Cafe, expresses Jawa's legacy and echoes the nostalgic zeitgeist of that era. It resurrects the inherited authenticity of this legendary motorcycle. This creates a timeless longing and association making the space ageless.

Layout

The layout is open with the floor  kept free for motorcycle models.  The  layout is simple and lends full visibility of the store interiors. This openness optimises movements and enables a low prop store. Jawa motorcycles are positioned upfront for quick browse & feel. One can either head towards the Book Cafe corner or to the merchandise area, to have queries addressed. There's always the comfortable high table nearby, for a bit of privacy or a quick chat.

Materials

Non VOC Polished veneer and regrown wood elements evoke simple, honest warmth. Rough textured wall finish adds another dimension,  appealing  to   visual & tactile senses, while serving as an ideal backdrop for all wall-mounted features. Low maintenance flooring with warm, rustic feel and colour variation complements the rugged appeal of the  bikes and  brings  in a quaint personality to the space. Classic Chesterfield sofa dressed in 70's vintage oxblood upholstery helps one relax. Offbeat arrangement of classic tin art - Jawa Clock and posters inspired by tinplate lithography intrinsic to that period, help create the right mood.

Furniture is designed for local manufacture making sourcing easy and hence sustainable. The ceiling is left open and exposed and no gypsum base cladding is used to minimise unnecessary use of additional materials.

Elements

Simple elements like Book Cafe corner is where one can leisurely browse through a collection of retro paperbacks, collectibles or perhaps just sit around the Community table sharing biking stories with other friendly bikers over a steaming cup. Check the Jawa side panel colour variants or, maybe chalk one's thoughts on the 'Jawa Life' chalkboard. The writing's on the wall - series of posters gently inspire to inherit and become one of those Jawa legends.

Use of books that are actually reading worthy, use of chalkboard to communicate, use of tin instead of vinyl posters and engaging theme are part of a common sense sustenance approach to design.

Energy

The store layout makes use of the large window facade to draw in natural light through the day for bike display. The motorcycles colours look rich in natural day light.

Simple, unpretentious dome lights merge into the background and bathe the store in warm hues. Track light sources were precisely calculated to enhance and reflect correct colours of motorcycle body & trimmings. Entire lighting through the store uses LED power saving fittings with carefully planned zone-wise switching to ensure efficient utilisation and spread. Suspended retro lights in gunmetal grey cast a warm glow across the Community table while 2 large rustic silver dome lights crown show­ stopper bikes.

Fans have been introduced in the ceiling to avoid running of air conditioning, saving energy and money.

Life

The store is designed for a life span of 10 years and beyond requiring minimal upkeep of imagery & communication. The store is designed on a low per square foot cost making it sustainable as a business proposition. 

This cover story interview appeared in VMRD Retail Design magazine in December 2019 issue.

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2019: Year of Actions for Sustainable Development Goals

We believe United Nation’s Sustainable Development Goals need to become a way of life. Elephant has always believed in Gender Equality (SDG 5). We are quite proud of our 50-50 ratio and equal pay policy that was in place since the company’s inception in 1989. 

Elephant has been a zero wet waste company since 2016. We replaced plastic plates & cutlery with sustainable alternatives since 2017. However, this year we took some more steps. We reduced the use of paper cups by 90% and also managed to completely do away with single use plastic water bottles. All these actions align with SDG 11 - Sustainable Cities & Communities and we hope more companies join us in making better choices. 

We are also EcoVadis certified for 2019, a global sustainability compliance framework which covers 21 criteria across four themes of environment, fair labour & human rights, ethics, and sustainable procurement. 

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2019: Year of Knowledge Sharing

As President of National Executive Committee of Association of Designers of India (ADI), Ashish Deshpande led several design awareness initiatives and knowledge partnerships through the year besides leading the product innovation & retail experience design teams at Elephant. He presided over the Lexus Design Awards India 2019 jury and was also on the jury panels of VMRD Retail Design Awards & Kyoorius Design Awards. He was a speaker at TISDC event in Taiwan & at NASSCOM Design4India conference. 

Apart from an active role at Elephant, Ashwini Deshpande has had a busy year. Once again she made it to Campaign India’s A List, Impact 50 Most Influential Women in Media & Advertising list, served as Design Jury President at D&AD London besides being on jury panels of C2A - USA, Gerety Awards - France & TISDC - Taiwan. Audiogyan & Designed This Way recorded her interviews for their podcasts and her Josh Talks video has had more than 24K views in 2019. Some of the significant events where Ashwini was a guest speaker included Women in Data Science Conference, UN Global Compact Network Leadership Summit and Hello Taichung at Taiwan. 

In the third successive year, Partho Guha mentored student start-ups participating in the Smart India Hackathon organised by Ministry of HRD, Government of India. 

Anand Palsodkar delivered talks at Siemens Designathon and at a seminar by the SME Center in Singapore. He was also on the jury for Taiwan International Student Design Competition. 

Mayuri Nikumbh was on Printweek Awards jury. She was invited to inaugurate the Communication Design Graduate Show at National Institute of Fashion Technology (NIFT) Mumbai as a chief guest. Mayuri featured in the list of Impact 40 under 40 Achievers from media & advertising.

Gerard Rebello was invited to join the Afaqs Foxglove Awards jury. He also delivered a talk at Unitedworld Institute of Design Ahmedabad. 

Swapnil Joshi delivered a talk at National Institute of Technology (NIT) Rourkela. 

Kedar Parundekar & Reema Mehta conducted a brand workshop for start-ups at the Entrepreneurship & Incubation Centre of FLAME University. 

We had 45 Monday Morning Meetings where we discussed ideas, thoughts, concepts, vision and basically learnt about and from each other. Our teams attended ADI Pune Design Festival, Kyoorius Designyatra, NASSCOM design4india conference, Bangalore Design Week, TiECon Pune besides the learning sessions that took place at our own Learning Centre. We also initiated online learning this year and will be taking it ahead as part of the next year's learning plans. 

We are because we learn. 

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2019: Year of Winning

Bringing home ‘No 1 Design Agency’ title by The Economic Times Brand Equity again, followed by prestigious awards App Design for Asian Paints Colour Pro, Digital Product Design for Plezmo Play Blocks, Packaging Design for &me and Tasty Tales and Retail Experience Design for Jawa Motorcycles, Elephant has won big this year.

Every vertical at Elephant brought in an award proving our knowledge, experience & creative quotient leading to outstanding solutions for our clients. This was topped up by ‘Specialist Agency of the Year’ award at Indian Agency Awards and shortlist as ‘South Asia Consultancy of The Year’ by Campaign Asia. While awards don’t define us (impact of our work does), they definitely encourage us to do better with each year, one solution at a time.

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Sustainable Furniture

Furniture Design is a complex equation between Human Interactions, Material, Technology & Technique, Form and Function. There is a strong overlay of character and quality of build. Each piece is a product of time and at the same strives to be timeless. Each piece complements the space is sits within and yet holds a conversation on its own. The design of the table and stool is an interplay of all the above.

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Treetem Pole - Honouring a Memory

“Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.”

— Herman Hess

We planted our happiness way back in the early 2000’s and started listening to trees. Both, the trees, and us were in our formative stages. We’d moved into this new space and wanted to make it our own and one of them was a 2 feet tall Silver Oak right near our entrance on the south east side of the lot. The silver oak grew more than 45 feet tall, and as it grew, it became the essence of our workspace. We’d sit underneath its shade for impromptu meetings and chats over coffee. All our photos featured this tree, just like it was a part of our family. It was tall, majestic and every now and then dropped a few leaves, lending an autumn character to our staircase. 
At some point last year, our silver oak became sick. It was taken over by a disease and had started showing signs of giving up. We tried a lot of remedies, but nothing seemed to work. Once it ran dry, we decided to pull the tree down ourselves, before it fell and accidentally hurt someone. We kept a portion of the trunk intact at the bottom, as a way of preserving its presence. 

It was never the same. Our space felt hollow without the Silver Oak’s charming aura. We were itching to pay homage to the tree that had given all of us so many memories. After much thought, our Design team came up with the concept of a Totem Pole installation. 

Traditionally, totem poles are a significant part of Native American culture. They’re carved out of large trees and serve many purposes beyond their beauty. Some of them represent stories or important event or pay respect to the departed. With these poles, each figure represents a part of the story. These are not worshipped, or even considered to be God. Instead, they represent traits or characteristics of the tribe or story. 

We decided to adapt this concept to honour our fallen tree, and thus was born the Tree-tem pole. This Tree-tem pole would celebrate the memories of our tree, and overlay with values shaping us for the future. 

At Elephant, we pride ourselves on a strong set of values which we abide by in our lives and work. Each figure engraved on our Tree-tem pole would embody a value that we stand by today. The face of a human being at the top depicts Empathy, something we strive to incorporate into all of our actions. The bee represents Expertise, as we endeavour to offer the same level of proficiency as she does while constructing honeycombs. An Eagle personifies its exploratory nature, and Honesty mirrors the kind face of a dog. We chose a cow to depict Value Addition, considering how selflessly she gives to our mankind. The Tree-tem pole is interfaced near the top by a large Elephant head, crafted with a sheet of aluminium, embodying the spirit of Design at Elephant. 

Life sprouts on to this inanimate structure through creepers planted at the base of the pole, which now have started winding their way upward. The old Silver Oak trunk stays visible through the mesh at the base allowing each one of us to get a glimpse of the original tree. 

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Startups are the best!

Another year. Our 30th actually. 

We were a startup once. And in a sense we still are. Because almost every challenge that lands on our laps feels like a fresh start. Old constraints ready to be busted with new ideas. 

Honestly, ever since paper boat happened in 2013, startups and established brands alike reach out and ask us to work up the same magic for their brands. But being a notoriously stubborn team that we are, we start with a strong refusal. We refuse to repeat. We are against “same same”.  But we promise to match your passion & appetite for “new” if you have it. We believe brilliance of our work is directly proportionate to the faith you place in us. It always works that way. 

In 2018, we saw brands being far more inclined towards health & sustainability. What’s in it became a bigger concern for the consumer and food thus became more engaging even before it got consumed. 

Some of them are taking their first steps as you read this and some have spread their wings rather wide. 

So here is a list of five fresh brands we helped build in 2018.

Swing 

A fresh, fun & approachable fruit juice for the joy of its pure & unadulterated taste is how we would describe swing from paper boat! Packaged in signature doy packs, swing promises to bring alive the wind in your hair & spring in your step with its juicy fruity beat. 

On the Run 

As they say, there is only one life! Our big insight? We need to maximize and shine through every role we play. Be it work or relationships, travel or entertainment, we need to be able to give our best. Because life is a sport and we can all be winners. On The Run packaging is a reflection of multiplicity of our lives and how to stay positive through it all by consuming food made with conventional wisdom & goodness.

Epigamia Smoothies

After the stupendous success of epigamia greek yogurts, it was time for smoothies on popular demand. What makes these greek yogurt smoothies remarkable? They are all natural, lactose free & above it all, very very tasty! The bottles are designed to practically twirl & emulate churning of smoothies. Globular shoulder & wider mouth makes it easy to grip & gulp from, whereas loaded fruit visual does justice to what’s inside the bottle. So if you are looking for a tasty protein boost, you know what to reach out for. 

&me 

51% of Indian women are anemic and 70% risk getting osteoporosis due to various deficiencies! This happens because women always put others’ needs before their own & land up neglecting their health. Sad but true. 

&me as the name suggests, is a trigger to remind women that with everything else that is important in life, they need to give themselves equal priority. &me is a brand of Bio-active Beverages for Women. Developed with ancient Ayurveda and modern science to meet the fast-paced lifestyle of modern women, these beverages focus on specific needs. &me professes self-love & self-care. With strong imagery and stories, we intend to start a conversation and help break stereotype.

hydron 

Its clear that functional nutrition needs of men & women are different. Here was our opportunity to turn that into a powerful hydration brand that helps men unleash their potential to the fullest in a healthy way. Hydron as we named it is not your regular thirst quenching water. It is hydrogen rich, anti-oxidant and and simply put, hydrates seven times faster. A highly functional beverage, Hydron alkaline water helps one recover from strenuous activity like workouts or sports very quickly. This is exactly what we brought to life on its packaging. Potency & science. 

Notes from Future: When Nobody Dies

(“P” and “N” are kind of long-distance friends residing in two time zones 30 years apart. “P” stays at year 2050 and “N” at 2018. These are few of the many notes '“P” wrote to ‘N”: )

Warning - PURE FICTION 

Inspired from the book "Homo Deus" by Yuval Noah Harari

IIn the past, war used to be a big killer but in last few decades there is no big war. The chance of a real war is only getting slimmer as time passes. In the past, hunger used to be a cause of death. Today we already have enough food for all and in future there will not be any death due to famine. In the past, disease was a big cause of death. Today we already have knowhow and mechanism to control any deadly outbreak. Disease is no more a cause of large-scale death.  

In future, we will live a very long life, may be we will have no compulsion to die.

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Hey N,

You seem to be curious about how life seems at 2050. I will try and describe some of the things happening around here. Future is nothing like you see in Sci-Fi films but there is a rapid change happening. Let me try and describe few of the interesting things, which are noticeable. 

Today let me tell you few examples of things happening because human beings are almost not dying anymore.  At 2050 we can extend our old bodies to the maximum. Most people these days live beyond 100 years. There are no diseases or other external factors, which endanger health. Our body does become old and frail but there is no suffering due to sickness. 

Scientists are now doing research for keeping the body young at very old age. In few years, we will see our mind maturing with time, but the body remaining at 20 years only. 

Now let me quickly tell you some of the interesting things, which I see around myself. 

There are lots of Exoskeleton shops in the city these days.  There is even one at Bavdhan. This Exoskeleton centre make interesting attachable smart mechanisms which are attached to the hands and legs. They help frail bodies to increase strength of their limbs for heavy lifting and speed walking for long distance.  These are individually customizable depending upon the specific weakness. It is a very helpful service, which keeps elderly people active so that they are able to take care of themselves quite well.  Most of the elderly are now working and have very active life.  These Exoskeleton parts come with various colours and styles. They are now considered fashion accessories. Even young people are using them, so that they can enhance their physical abilities considerably. 

Next, let me tell you about Gene Therapy Clinics.  

Most of the older hospitals have transformed into these clinics. They ensure long-term wellness and provide whatever medical help we need.  Treatments these days are focused on gene issues.

Looking for Right companion for elderly has become a big business. Dating, live-in, changing partners is a need these days.  People experiment living in various kind of relationships, as time is not a constraint any more. Relationships like commune, robo-companion, contract relationship are norms these days. Marriage is a forgotten practice now. 

Now I need to go and change my body Exoskeleton. It needs more strength to keep up with my adventures world-tour journey I am planning. 

With love 

P

Elephant had three Interesting outings this October!

TiE Pune Healthcare Summit

Anand Palsodkar delivered a talk on Design with Empathy for Patients at the TiE Pune Healthcare Summit that took place on 27 October 2018. 

TiE is world’s largest network of entrepreneurs that works towards fostering growth. The purpose of this Summit is to bring together like minded experts to promote thought leadership and exchange of ideas and to position Pune as the Healthcare hot-spot.

Organised by Pune Chapter of TiE, this annual Healthcare Summit was well attended by healthcare eco-system including Industry bodies, Incubators, Government and Public Policy experts as well as Investors. 

Anand Palsodkar is Design Director at Elephant and heads Product Innovation vertical.

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Ladies Wine & Design

Mayuri Nikumbh shared her experiences as a Woman in Creative Profession at the Ladies Wine & Design Pune kick-off event on 27 October 2018 organised by a group of young designers & design students. 

LW&D is an initiative started by designer Jessica Walsh to empower creative ladies around the world after she realised that only a small percent of creative directors are women, and she would like to help change this through mentorship circles, portfolio reviews & talks. 

Mayuri Nikumbh is Design Director at Elephant and heads Product Innovation vertical.

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DesignUp

Ashish Deshpande participated in a panel discussion on Leading Design at the DesignUp conference that took place in Bangalore on 25-27 October 2018. This annual conference is focussed on Design-intech & Design-for-tech. 

The panel also included Jurgen Spangi (Atlassian), Anjali Desai (Intuit), Amy Huang (RedMart) and Daniel Burka (Google Ventures). Discussions revolved around Ux, Product Innovation, Emergent Tech & more.

DesignUp started in 2016 with the idea of raising the design agenda within tech companies and tech-led businesses. 

Ashish Deshpande is Co-founder, Director at Elephant and leads Product Design & Retail Experience verticals.

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We are in an Interesting Era of Creating Multi-sensorial, Multi-media Experiences

Printweek India talks to the co-founder of Elephant, a design led innovation company that’s been around for three decades

2019 would mark the 30th birthday of Pune based Elephant which laid its foundation in 1989 with three NID (National Institute of Design) graduates as its co-founders– Ashwini Deshpande, Ashish Deshpande and Partho Guha. Elephant has had a truly phenomenal journey, marked by its work for some of the biggest brands in the country, various awards, and presence in some of the biggest forums about design across the world. 

For this month’s Design Dialogue, we have a conversation with Ashwini Deshpande about Elephant’s trajectory so far, some of their key projects including their recent branding and packaging work for Kurkure and Witlinger, their experience of working with start-ups, the benefits of having interns from different countries, and their Singapore operation. 

Edited excerpts:

Q :

Elephant has been in the Indian design landscape for three decades now. What are some of the most crucial changes you have seen over the years? 

It has been a long and exciting journey, every step of the way. We started Elephant with a dream to create the ‘big picture’ of design in India. 

When we started out in 1989, the Indian creative industry was limited to advertising agencies. The most challenging task was to demonstrate a genuine professional design practice that helps businesses grow. 

There was no organised, scalable, and professionally managed design consulting at that point. There were just two design schools (NID Ahmedabad and IIT-IDC Mumbai). The fact that ‘design’ and ‘design thinking’ could add value to a bottom-line was not experienced by any business house. 

I believe there are over 75 established design schools in India now and the number is growing as we speak. Every global media network has brought their design consulting arm to India; some of them have been around for over ten years now. Every communication agency has an in-house design team, all IT giants have large in-house design teams, and many conglomerates have design teams as part of their R&D set ups. There are hundreds of boutique design agencies mushrooming all around. However, even after 29 years since the start of Elephant, there are only a handful of design practices with any scale. So despite all our consistent efforts to demonstrate the value of design intervention for business growth, design is yet to become a mandatory, nation-wide phenomenon. 

I remember the fascinating lessons in blocks, typesetting and letterpress printing at NID in the 80s. A lot of the stationery used to be screen printed in the early days. Even short run brochures or exhibition panels used to be screen printed. Then came the large format digital printing in the mid-90s. From the time of cut and paste artworks to limited editions to personalised print-runs, one has seen a complete transformation of the print business. With digital distribution replacing a lot of print communication, we are in an interesting era of creating multi-sensorial, multi-media experiences. 

Q :

As the studio finishes its 30th year next year, what has been the biggest achievement of Elephant so far according to you? 

I think our consistent efforts to establish the business of design in India for a sustained period is an achievement in itself. The large economic changes, liberalisation, recessions, presence of global agencies, mushrooming of boutique agencies, and rapid changes in technology and media – we have made the most of all these and have managed to create a positive impact through design in almost every business domain we have worked in. 

Q :

How do you choose brands/projects to work for? Are there any particular criteria you follow? 

We have a very simple method. Earning, learning and excitement form the three most important principles for selection. When we get a project or an engagement query, there must be a resounding nod against at least two of the three principles. Because we are a ‘learning’ organisation and we believe feeling excited about solving a certain problem directly reflects on the creative quotient of the solution. 

Q :

Packaging design has always been a very strong part of Elephant's portfolio. This year too, you did some interesting packaging design revamp for Witlinger beer and Kurkure. Tell us a bit about both these projects. 

To rebrand a craft beer was like a dream project for the creative team. While many craft beers try to keep their origins ambiguous, Witlinger wanted to convey its British origin unabashedly. We decided to leave the clichéd British iconography of the Tower Bridge or Big Ben and found a true hero in the British bulldog. To highlight the distinct personality of each crafted brew, we decided to bring various facets of the Bulldog's persona to life. The new design with British bulldog as a mascot characterises Witlinger's true British origin and conveys a message of being bold - with a lot of attitude and honest fun. 

Kurkure team handed us three significant tasks through the packaging revamp exercise. The first one was to enhance brand leadership, relevance and distinctiveness. The second was to build an architecture that can create a strong differentiation for categories. The last one was to help consumers navigate the shelf and pick the right snack of their choice. When you are working on one of India’s most loved brands, you have to listen to the fan base and understand the degree of shift possible. You also have to understand the nuances involved in designing for a very large print run at multiple locations with varying infrastructures. 

The concept was built around focusing on the ingredients to enhance the taste appeal with a larger than life shape of the product, providing the backdrop for a play between products and ingredients. Every variant is called out in custom designed typography that also makes it own-able. The back of the packs are brought to life with custom drawn illustrations about turning mundane encounters into fun moments by sharing the snack. Such large impact exercises become more interesting as we get to interact and learn from global brand custodians. 

Q :

Could you tell us a bit about your Singapore operations? What kind of brands do you work with there? 

Our business model in Singapore is very different. In India, we have a mix of design research, brand and design consulting, product design and innovation consulting. In Singapore, however, we mostly take up consulting projects around insights farming leading to innovation strategy. Many of them don’t require pure design input. And the ones that do culminate into design projects are handled at our Pune studios.

(L-R) Partho Guha, Ashwini Deshpande & Ashish Deshpande

Q :

You were recently announced as a jury member of the Young Guns 16 competition. What are you most looking forward to while judging? Also, in general, what are some of the key qualities you look for in the work of young designers/interns who approach Elephant for mentorship? 

I am always curious to know what young designers are thinking or doing. While judging any work, I am more focused on the idea. Is it outstanding, aligned to brief, original, and feasible? Once I am satisfied with these, I look for the degree of detailing and the quality of execution. 

While looking at portfolios of young designers, I like to find passion bordering on obsession to convey the idea in its most powerful form. If I find someone with extraordinary skills, I may get impressed, but I rarely hire anyone for just their skill. 

Q :

Elephant has interns from different countries. In what specific ways, is that beneficial?

Yes. We have had interns from France, The Netherlands, USA, Singapore, Mexico, Turkey, and of course every Indian state. The interns bring immense positive energy and manage to enliven the entire team. They also bring a taste of their culture, their educational ethos, and a sense of exploration. 

In turn, we believe that Elephant is like an institution that changes the way they think about the profession and creativity. Going forward, we offer full-time positions to some of our brightest interns once they complete their education as there is a familiarity that reduces their adjustment time.

Q :

Elephant also works with a lot of startups. How is the experience different from working with established brands? Personally, which one do you enjoy more? 

The Indian start-up landscape is very vibrant at the moment. And the founders who understand ‘design’ as a crucial differentiating factor tend to approach design consultants at an early stage. We have worked with quite a few start-ups in the past four to five years, including Paper boat beverages, Fingerlix ready-to-eat foods, Too Yumm snacks, Epigamia Greek Yogurt, ASAP Bars, Witlinger Beer, Plezmo intelligent play-blocks, SynPhNe stroke recovery system, and Healthcube Diagnostics. 

Start-ups are nimble, so they take quick decisions and are not worried about failing and starting again. On the other hand, established businesses tend to think in a linear but robust way; they take fewer risks and have long launch cycles. Both are rewarding learning experiences in their own way and we tend to transfer our knowledge to both sides as well.

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Rebranding a business with hundred years of legacy!

Incorporated in the year 1917 as a composite textile mill, Ruby Mills wanted to enter the next century with clear brand positioning, well defined values and a refreshed visual identity.

Ruby Mills teamed with Elephant to showcase its transformation with a new brand identity system.

Rebranding a legacy that has been a significant part of India’s journey from fighting for #Swadeshi to proudly #MakeInIndia for over a century was a huge responsibility. We were tasked with realigning the brand for today’s progressive aspirations while keeping the heritage & dignity intact. We drew inspiration from the brand’s core values of innovation, sustainability, ethical and responsible manufacturing and excellence in quality to build an ownable palette of visual expressions for various online & offline communication needs.

We designed a dynamic and vibrant brand-mark that was rooted in heritage yet had a very ownable & contemporary flair. The red heart in the logo stands for passion, one of the brand’s core principles. As per our advice, the brandmark retains only the name ‘Ruby’ while doing away with the full form “The Ruby Mills Ltd” that was present in the earlier visual identity.

New brand-mark and visual language were recently launched at a trade event. Ruby team is in the process of implementing the newly designed language throughout their portfolio and intends to complete the transformation in 2018.

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Brand Makeover

Kurkure has a vast portfolio of multiple categories, flavours & sizes with varying preferences of tastes & shapes across the country. 

As some of the innovations in shapes & flavours had happened organically, this hugely popular brand needed a cohesive brand architecture and visual language. Indian snacks had added to the complexity of portfolio even further.  

There were 3 significant tasks for this redesigning exercise: 

• Enhance brand leadership, relevance & distinctiveness.
• Build an architecture that is able to create strong differentiation for categories 
• And most importantly, help consumers navigate the shelf & pick the right snack of their choice

As echoed by consumers everywhere, Kurkure being the brand of abundance, crunch & quirk, design team decided to highlight these three axes on the packs. 

The concept was built around getting the ingredients in focus to enhance taste appeal with a larger than life shape of the product providing backdrop for play between products & ingredients. Every variant is called out in custom designed typography that also makes it ownable. Back of packs are brought to life with custom drawn illustrations of turning mundane encounters into fun moments by sharing the tasty crunchy snack. 

While harmonising the entire portfolio in terms of messaging, tone of voice and visual language the team was successful in creating clear distinction within categories of collets, puffcorns, trangles and Indian savoury snacks; taking the shelf visibility & excitement to next level. 

Time to grab India’s favourite Masala Munch! 

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Is ‘Empathy’ really that difficult?

While Design Thinking (DT) creating a buzz across industries or domains, there is a lot of overwhelming content on popular business magazines like Forbes, HBR, FastCo. etc. reinforcing its importance in businesses. However, there is one common element which everyone wants to stress in Design Thinking is ‘Human Centricity’ or ‘User Centricity’ or a more conclusivily ‘User EMPATHY’. This excites me to write on this topic that whether ‘Empathy’ as an emotion or as an act, really that difficult to inherent Design Led Innovation? 

To begin with I tried to build up a scale on Human Emotions + Attitude (Emotitude*) with a scenario around a person who is trying to interact or approach another person. 

By ‘interaction’ I mean ‘Talking - setting up a conversation’ or ‘Observing - looking at other’s activities’ or ‘Immersing – participating in his/her activities’. 

Emotitude* scale

Please note* - This scale is fixed up on a broader emotions along with commonly known acts/attitude which one use in daily lives. 

    Emotitude scale ranges from a “Don’t bother me” attitude i.e. ‘Ignorant’ emotion to almost feeling helpless for someone (like crying) which could be showing up extreme ‘Sympathy’. As one progresses from being ‘Ignorant’ towards ‘Sympathy’ there is some transition that takes place from being ‘Rational’ to getting ‘Involved in deeper care’.  This transition might be extensive with further varied layers, however, I feel this is where ‘Empathy’ lies or takes place broadly. 

    ‘Empathy’ might roughly start from “I understand you” and spread across to a more involved or an immersive emotion of “I can completely imagine your situation”. During this transition one person is trying to rationalise the other person’s situation and at the same time trying to get involved in his/her emotions to ‘Imagine’ or ‘Immerse’.  To elaborate this thought, I will further share some regular stories of User research on how ‘Empathy’ played a role from understanding a person to initiate imagination in his / her situation.

Story 1  - Role Play

Background – While carrying out a home visit, I was interacting with a lady who was obstinate in answering my questions. She remained inconspicuous throughout the conversation. Though it was a paid recruitment, she was unable to talk and she only had objective answers. Eventually, I was loosing my patience and had no hopes to get any fruitful insights from this visit.  One thing I realised, that she was unwilling to allow me to enter her kitchen for my study purpose. 

I somehow got inside and looked around to dig into the scene of her cluttered and messed up kitchen, to know why she was suspiciously reluctant. Here, I tried to put myself in her situation and started imagining why one would have such behaviour. I realised, any woman would have the tendency to hide a messy space in her home! And why? Because the tendency is to avoid getting judged on portraying bad picture of a sacrosanct space like kitchen even if the woman is getting paid for it. 

I guess ‘I was right!’. When I started the conversation around her kitchen, she expressed her concern about the muddle and slightly opened up talking about her experiences. 

Well, a long story, but few deep dive learning was about user behaviour and how ‘Empathy’ helped to break the barricade of hesitancy. 

• Here, I tried to question ‘Why’ to a obvious behaviour, instead of assuming loosely. 
• The only way to find the answer was to be like the other person (atleast do a short role play in your mind) and then self analyse.
• Later part was to validate that analysis by probing those questions to the user. 

Story 2 - Attentive

Background – Meeting a Quadraplegic Cerebral palacy (Specially abled) girl who was diabetic. To learn how she uses her blood glucose monitoring device on her own. 

We tried observing her interaction with the product. We also discussed with her Mother about her experince as a care taker.  For a long amount of time we were failing to understand that if at all there was any issue with the device. It is tough to do a role play in such case. We eventually, video recorded this meeting for our later analysis. While repeatedly looking at the video we realised that affordance of her thumb to operate few buttons on the screen was problematic to her, which she was unable to communicate. 

We learnt that not always a ‘role play’ or ‘putting yourself in other person’s shoe’ is going to be helpful. Here, ‘being attentive’ or ‘keen’ towards even minor observations can help ‘Empathise’ with the user. 

Story 3 – Decode Imagination

Background – In most of communication design projects, we want to learn from user their perception about colors or symbols associated with the brand and it’s attributes. 

Such exercises are usually tough to crack. ‘Color’ itself has a lot of individualistic perspective. One person might be in favor of something and the other may have differing opinion. 

However, colors or visuals are natural catalyst to grow fruitful conversation with the User.  As humans we are visually literate species. Human eye reads a word as picture and sound. Our saccadic vision help in scanning words, recognise them as pictures and immediately trigger its meaning to our brain. And all this happens in fraction of a second. Therefore, the challenge here is to learn what is triggering recognition in the User’s mind. 

A set of colors or cards or symbols can help in decoding User’s imagination as User’s tend to talk more what they recognize. 

Trick here is to study the pattern of comments made against choices and not the  pattern of preferences. 

The spectrum of ‘Empathy’ scale itself, has many shades of emotions and attitude one can use towards the User to understand him/her better. Yet, it is a natural asset to everyone of us to simply empathise and learn from the obvious.

Going back to my question “Is Empathy really difficult?” Well, my answer will be it is NOT! But it is Challenging, Demanding and Immersive! Almost like scanning one hundred thousand nuerons sitting inside human neuro system. One has to be extensively passionate to deep dive in the User’s world to really empathise and learn his/her latent needs or wants. 

People or organizations who are eager to weave in Design Thinking must learn ‘To Empathise” with their User or collaborate with people who are already fanatical about this subject.

Emotitude* term is coined, for this blog purpose

Please note* - Emotitude scale is completely based on author’s personal hypothesis and may not have a scientific / psychological relevance.

KRANTI VANJARI is a Manager & Subject Expert of Strategy & Design Research at Elephant. She has a graduate diploma in Mechanical Engineering, WCE and a Post Graduate Diploma in Strategic Design for Business, MIT Institute of Design, Pune, India.

Bibliography:

https://think360studio.com/what-is-design-thinking-and-design-thinking-process/

https://www.creativityatwork.com/design-thinking-strategy-for-innovation/

https://www.ideou.com/pages/design-thinking

https://hbr.org/2008/06/design-thinking

https://www.forbes.com/sites/reuvencohen/2014/03/31/design-thinking-a-unified-framework-for-innovation/#7b5e8ba38c11

https://www.seeker.com/our-brains-see-words-as-pictures-1769641068.html

https://www.scientificamerican.com/article/when-we-read-we-recognize-words-as-pictures-and-hear-them-spoken-aloud/

https://www.childbirthinjuries.com/cerebral-palsy/types/quadriplegic-cerebral-palsy/

Settling in a new ‘fun’ place

Its my first month at Elephant and I’m still finding my way around. As a new face in the crowd, you tend to get swept away. In the midst of trying to find a rooting, I have been amusing myself with the little things at Elephant. The little things are quirky, fun and add an element of happiness to my dullness of solitude while I attempt to make new alliances. 

On my first day, within the first hour, I am showered with goodies. A well illustrated coffee mug, a t-shirt, and a diary (there are a set of cool stamps which can be used to personalise your diary!). I am also given a little pink diary (yes, pink) which gives me contacts and guidelines that I may need while settling in. It also allows me to set goals to be achieved in the first few months. All this using unique comic-book type illustrations.

As I wander around the premises, I notice these little signages which add to my amusement. The conference rooms have names such as ‘Idea Bar’, ‘Think Tank’, and ‘Chat Box’: (REALLY cute displays). While going down the stairs in one of the buildings, the ceiling is a bit low towards the landing and here comes a little sign saying ‘Oops!’. That truly does put a smile on my face. There are coffee and lunch breaks at the ‘Palm Beach Cafe’ and it rightly holds true to its name. It is an open wide space giving you plenty of opportunities to mingle with the rest of the crowd. Even the disposable cups have been personalised by Elephant and have cute illustrations.

It is still my first month and as time passes, I am sure to discover more little things at this institute that believes in the power of magic!

Reema Mehta

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Change is the only Constant !

We have seen business of design change over years. Initial years ( late 1980's to 1995 ), we struggled hard to educate businesses about design. Subsequent years ( 1996 to  2010 ) we focussed our communication around strong thought and strategic importance of Design that Elephant brought to the forefront. Post 2010, the message was geared towards reinforcing our thought leadership in the field as well as revealing the bandwidth of tackling complex design challenges.

Last five years, we have seen change taking place at a tremendous pace. Be is technology at one end or people at the other end. Our clients are younger, smarter and global in vision. As every now & then, we regrouped as a team and rejigged our business processes, skills & resources to meet the challenges as we head towards 2025.

"This is a kind of rebranding & alignment with our key partners. It is the most relevant way to be in touch and was long due. This effort has made us much more accessible and approachable than before. Our communication through the refreshed website reflects the informality of our internal culture and our approach to inside & outside is on the same plane." - Ashwini Deshpande, co-founder, Elephant.

In 2015, team at Elephant identified a series of touch points & processes that needed change. This is of such effort at its launch phase. We will keep publishing each change. Keep a watch and meanwhile, do check out, www.elephantdesign.co

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Anthropometry for wearables

Anthropometry for wearables

Lack of consolidated Indian & Asian anthropometric data for limbs, head and other body parts presents unique challenges. How does a design team get around to tackle such a challenge?

By ANAND PALSODKAR

Understanding of human anthropometry  is a crucial part of a design process. This is especially true with products like watches, helmets and new age wearable gadgets. These products behave as an extension to a human body and any use of these products resulting in discomfort would lead to a quick failure of the product itself.

‘’ The products we design are going to be ridden in, sat upon, looked at, talked into, activated, operated, or in some way used by people individually or en masse. If the point of contact between the product and the people becomes a point of friction, then the industrial designer has failed. If, on the other hand, people are made safer, more comfortable, more eager to purchase, more efficient-or just plain happier-the industrial designer has succeeded.’’ – Legendary American Designer, Henry Dreyfuss

Globally, designers & engineers rely on anthropometric data studied and compiled by Henry Dreyfuss Associates2. Dreyfuss’s contribution to the field of human factors is seminal, however data points related to specific ethnicities and for new age applications like wearables3 are not comprehensive & at times non existent. Pioneering anthropometric work by Dr. G G Ray4 & Dr. Deb Kumar Chakravarty5 on Indian population does not cover wearable physiological zones in the published version and that creates a large vacuum when dealing with wearable products. The design team working on one such project at Elephant6, came across this chasm and had to modify its approach during the design phase while working for Singapore based technology firm, SynPhNe7.

Undertaking the challenge

The design team embarked upon developing a system of wearable devices for stroke rehabilitation that included an arm gear and a head gear to record the muscle & brain response. The challenges were multifold, the devices had to be used by people suffering from partial paralysis with one of the sides of their body non-functional. The device had to fit arm and head sizes, shapes of population from Indian subcontinents, south-east Asia & China. 

The geometry of Arm and the Head had implications since functioning of the device depended on effective sensor contacts to arm skin and head scalp. Available anthropometric data captures only the dimensions of extremities & body parts, however it was important to study the shapes & specific dimensions of arm and the head to determine the profiles of arm and head gear. Such anthropometric data is not available readily. This momentarily stemmed the development work and subsequently led to carrying out anthropometric study of arm and head of a sample population.

Anthropometric study

In-depth user study revealed certain physical realities about the people who would be using such devices. Women wearing bangles, necklaces and those maintaining plaited hair, tight curly hair and people with baldheads & loose skin, all these added to the complexities. Anthropometric research was planned for a sample population of 50 in India & Singapore each. This sample population included men, women and children above the age of 14.

The study included measurements of arm features, circumference at specific points on arm, thumb & palm measurement. Features like circumference, nasion to inion distance, ear-to-ear distance above head were measured for study of the head anthropometry. 

The anthropometry data was classified based on 95th, 50th & 5th percentile male and female. For effective therapy it was imperative to have accurate locations of sensors for both arm & head gear. Sensor point variations were plotted both for arm & the head based on the profiles derived from this study. This helped the team to design the devices with adequate adjustability built in for the sensors that covered a larger part of the population.

Head shape profiles were studied to design the head gear to ensure positive contact of sensors with scalp. Arm gear profiles at elbow, mid and wrist location led to the design of common set of arm straps for 3 sizes of arm gear; small, medium & large.

Pain gain

Lack of data led the development team on an anthropometric hunt. A critical realization was the requirement of wearable data and its access while undertaking such development work. The design team acquired body part profiles & surfaces that helped design contact elements & affordances in the product system. This critical metric research led to numerous insights for innovative development work. After 4 stages of prototype testing, clinical trials of the beta version of this product system is underway in the US, India and Singapore.

Notes:

1.       Anthropometry is the scientific study of the measurements and proportions of the human body.

2.       Henry Dreyfuss Associates, LLC is one of the oldest & most esteemed industrial design consultancy firms in the      United States, known for their work in human Factors and a series of iconic products.

3.       Wearables is common reference to wearable technology.

4.       Dr. G. G. Ray, Professor, IDC, IIT-Powai, Mumbai & Ramakrishna Bajaj Chair, Honorary Professor, School of Biomedical Engineering, IIT Mumbai.

5.       Dr. Deb KumarChakraborty, Professor & Dean, IIT-Guwahati, author of Indian Anthropometric Dimensions For Ergonomic Design Practice.

6.       Elephant, is a design consulting practice operating in India & Singapore.

7.       SynPhNe, is a technology platform, incubated in Singapore, http://www.synphne.org

ANAND PALSODKAR is a mechanical engineer & post graduate Industrial Designer, Design Director, Product Innovation at Elephant. A post grad alumnus of IIT-Powai, Industrial Design Center, Mumbai, he leads the product development vertical. He has worked on several design programs, notably CEAT Tyres, Nirlep Appliances, Thermax Ltd., Symphony Coolers, Paperboat and works on medical & healthcare devices amongst others.  

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Client is ...

There are more things that happen between a client and a design team than what meets the eye. A great design outcome is only possible when some magic happens, some happiness blooms.

By Partho Guha    Co Founder  Director     elephantdesign.com

Client is a person

A client represents a business and wants to leverage design for its growth & success. That is just the starting point. A client is also a person gearing to do something awesome, to leave a mark, to sleep in satisfaction, at the end of a hard day.

Relationship

Like any relationship, it is a two way exchange and to make it work we need to accept the other as they are. Often we want to change the other and that destroys the trust.

In a relationship, some times we forget that the only one whom we can change is oneself. When we focus and change self to accommodate the other, the seed of a great project is sown. It is not easy to give away the pride of earlier success, the creative ego, the superiority of intelligence and be humble to make space for others. Different attitude, skill-sets, experience is a must for a project, but conflict never makes a great project. 

Invent the future

Clients and design team are the collaborators ready to take that tandem jump for the unknown scary future. To gain the confidence of sticking one's neck out and feel that the other will cover your back is a gradual process. The confidence grows based on small evidences happening at the early stages of the relationship. Most likely, these are soft and emotional responses. Dating time has serious impact on the project outcome. 

Success

Design projects mostly do not have a sharp target. The success of a project gets revealed with passing of time. The initial response from market, analysis of statistic & data, the pat from the boss, admiring glances from the peers, all contribute to the success of a project. When the client feels the personal success, the project is on a good path. It mostly takes some time before design team feels the glory of the project success. In a way, the success of the client as person is the first leaf of a healthy blooming plant.

Spread the word

When a client speaks about the project he/she is proud of, the design team is always glorified. Those good words are the real indicators of how the project has fared. It takes patience and humility, to wait seemingly infinite time for client to talk. 

Then at the right time, all the good words come. It not only energises the design team but also brings in new clients. 

Well... what is a success, if it does not bring new clients!

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Typefacets: My life measured in fonts

Typefacets: My life measured in fonts

Nayantara Pande, Graphic Designer, www.elephantdesign.com

People associate certain things from the past with a particular fragrance, or a place, sometimes food. You taste something and it reminds you of your mother and your childhood, get a whiff of some perfume that reminds you of your long lost love. My love for typography makes me associate my past with fonts.

I have always had a keen interest for Type. Even as a kid, unknowingly, I used to sit on MS Word browsing through fonts, exploring. Typing out some of my story books on Word using these fonts thinking I was doing some extremely important work.

Confession: Comic Sans was my preferred choice for a greeting card or something fancy. Papyrus and Chiller were my go-to fonts for something “exotic”. Precisely the fonts that I cringe at if I see them used somewhere in a poster now, thinking to myself ‘Oh God! What were these people thinking?’ 

So what changed that made me realise the good from bad, the beautiful from ugly, the wrong from right? Going to Design School being the most obvious answer, the gruelling assignments, research, books and sharing knowledge played a big roll.

Which brings me to my first love,

1. Helvetica : The Clichéd Choice

How unoriginal of me to like something that every designer is “supposed to like”. But my first ever type assignment was working with Helvetica - The back breaking job of tracing the font in a sentence to understand mechanical and optical kerning, that too from a Typolog. Which means tracing each and every alphabet separately to form a word and then a sentence. That is tedious!

But I loved it. It is then when I realised typography is what I want to be associated with in future, in one way or the other. When you’re working on something so intensely, you do predominantly tend to notice things related to that in your surrounding. So I started noticing Helvetica used in posters, hoardings, ads, logos. I learnt how to recognise a typeface! One achievement unlocked! That thrill of being able to recognise a typeface is kind of addictive. Gives you an ego boost. So I started digging deeper and reading more, observing more using the typeface more and at the same time exploring new typefaces.

This is when I met my muse,

2. Baskerville : The Classic Beauty

This memory is synonymous with my mentor and teacher Manasi Keni, who realised my love for typography right from the beginning of my first year. Very strict but equally rewarding, I was very lucky to have such a dedicated teacher who went out of her way to help and strive for our betterment. Out of the many fun assignments she gave us, one of them was to present our favourite font. 

I had moved on from Helvetica by then and fallen in love with Baskerville. It’s beautiful curves, contrast and it’s elegance. A serif font with gentle transitions. The serifs gliding into the stems was a treat for the eye. Two of my favourite letters were the uppercase ‘Q’ because of the unapologetically bold yet elegant backward slash and the lowercase ‘G’ for it’s ear and loop. 

This was the first presentation I ever gave in college. I have a very bad stage fright. I was absolutely dreading the day even though I had to present in front my own classmates and friends. I was thinking, why did my teacher put me through this task?! I’d rather go through the agony of tracing the entire Typolog than do a presentation! It is when my knees were shaking and heart pounding that I remembered, while researching for the presentation I found out that John Baskerville, the creator of this font was illiterate. His knack for calligraphy and penmanship and a strong urge to learn about type made him quit his job and start his own press which ultimately gave birth to the first transitional typeface which later was an inspiration for Bodoni and Didot. 

I thought to myself, if an illiterate could achieve such a feat and design his own font, I can most certainly give a presentation. It gave me courage and I got through it. I still get scared to present in front of people, but now I know that, I can do it anyway. This font taught me that where there is passion and dedication, nothing seems impossible. All the qualities that got me through design school and to where I am now. Constantly evolving, constantly searching.

3. Museo and Brandon Grotesque: My 3AM Friends

Your first job is like finally diving into the ocean after swimming in the pool for four years. It is when you find out that most of the things you learnt in college do not apply in “real life”. The basic design sense is there, aesthetics and principles apply, but the rest? In that moment you realise you have SO much to learn still. 

All that ego about being one of the brightest students in class is shattered by the slap of reality that life gives you. Everything is unclear again. But that’s okay! Remember what Baskerville taught you? Perseverance and dedication! Also, some good friends are just what you need! It is here where I came across Museo and Brandon Grostesque. I was aware of Museo back in college but never really got to explore it. These two fonts have proved to be my pillars in tricky situations like a creative block a day before a deadline. 

The have made my logos look sleek and my packaging clean and contemporary. Museo is like a flexible companion providing solutions to all your problems with its Serif, Sans, Cyrillic and Slab Family. Brandon Grotesque is a total hunk with it’s strong yet friendly appearance sitting next to you saying encouraging words while you burn the midnight lamp.

On this quest of life I look forward to many more adventures with my Type friends. I thank those which have taught me important life lessons, some which have disappointed me and some which have supported me.   :)

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1% inspiration 99% perspiration

By Partho Guha Co founder Elephant Design, elephantdesign.com

1% inspiration 99% perspiration

In any project where the outcome is something new, we think it is driven by inspiration. The ideas which leads to big shift in our life, which really takes us to the future are the domain of few gifted individuals who can think up these great ideas. 

In today's time, this is a mistaken presumption.

Inspiration

Most people can join some few dots and come up with next best idea. The ‘eureka’ moments are way too common than we believe. If we ask around, it will be really hard to find a person who has no great idea. Idea is always in abundance and overflows at our will. This is way too over rated.

Perspiration

Getting an idea from ‘thought to thing’, is completely a different capability. Very few people have the gift to commit for an idea and spend half a life to realise. This is the true magic of creation.

1% inspiration is actually enough to get an idea to start with, but one does need 99% perspiration to keep at the idea and make it come alive.

Most of our education system is focused around this 1%. We learn to become good in thinking and communicating ideas. Our hero is a person who can speak beautifully about a life changing big idea. We are not really bothered about those people who will actually work on the idea and implement it. They mostly stay in the fringe and are forgotten as ordinary.

To inculcate the culture of innovation and doing never before things, it is time to we start celebrating the perspiration. 

Perspiration demands meticulous planning, ingenuity to do with less of everything, patience to endure ridicule and maybe failure every-day for next ten years. That is the kind of time it takes, to make a new idea work for users successfully. 

Perspiration may seem ridiculously painful, but it is the true joy for many invisible, adventure loving, excellence seeking working folks around us. 

What is a journey if it is not really scary!

Scientist at NASA experienced 20 failures in its 28 attempts to send rockets to space. 

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