Escolar Documentos
Profissional Documentos
Cultura Documentos
2009
COMMUNICATION design faculty ( GRAPHIC design)
Chairman
Members :
Registrar(Academics)
A Proposal
This project was conceived at theIdeaWorks and will be proposed to the
Grewal Sports Association as a Visual Identity system for the Kila Raipur
Festival in February 2010.
NID for laying the foundations to my professional life and for the ineffable four
year roller-coaster ride.
Shyam for helping me understand the event from his experiences at the event.
Neelakash, Priyankar, Tripathi and Akhila for their inputs, suggestions and
feedback.
All my friends and graphic design batchmates for all the learning and fun through
the years.
contents
08 The Project Brief
09 The Client
09 About theIdeaWorks
10 Why this Project
Identity Elements
40 Logo and Logotype Explorations
48 Final Logo
50 Final Logotype
56 Exploration Process Timeline
58 Logo and Logotype Matrix
59 Final Identity
60 Colour Moodboard
62 Final Colour Palette
64 Final Identity in Colour
66 Identity Typeface
68 Photography Styles for Reportage and Promotions
72 Identity Collaterals
73 Tone of Voice for Written Materials
74 In Retrospect
76 Brand Glossary
77 Bibliography
The Project Brief
Background
In 1933, philanthropist Inder Singh Grewal visualized an annual recreational meet
where farmers from areas surrounding Kila Raipur could get together and test
their corporal endurance. The idea gave birth to Kila Raipur Sports Festival, the
undisputed “Rural Olympics”.
In over six decades, the festival has grown from a toddler to a prancing, energetic
and youthful organization. This pioneer rural sports festival has become an annual
international event, which is normally held in the first weekend of February.
Today this festival of rustics attracts more than 4,000 sportsmen and women,
both of recognized and traditional sports. The three-day festival is witnessed by
more than a million people. Besides, several million others watch it on television,
read about it in newspapers and magazines. No other rural sports meet can even
come near the Kila Raipur Sports Festival, either in organization or in size.
It remains the biggest and the most prestigious one of its type.
The Project
To develop a brand identity for this event so that it can be marketed in an effective
manner.
The Identity will entail developing the following:
Application of Collaterals
• Basic Stationery for the Event Organizers
• Event Literature: leaflet, brochure
• Print Advertising Template
• Event Schedule
• Website Templates
Target Audience
Foreigners. To entice them to come and witness this unique event.
Local Punjabis. To elevate the event to a professionally run event to instill a sense
of pride amongst them.
Others in India. To inform and bring this event to their notice as THE event that
happens in their country.
About
theIdeaWorks
theIdeaWorks was co-founded as a communication design firm based out of New
Delhi in 2006 by Amit Shahi, alumnus of Delhi School of Economics along with
Sudhir John Horo, alumnus of National Institute of Design.
theIdeaWorks has played an active role in the development of the Business Brand
of India as the Fastest Growing Free Market Democracy with its noteworthy
campaigns in Davos against the backdrop of the Annual Meeting of the World
Economic Forum and other important events in Hanover, London, Cannes and
Singapore. theIdeaWorks has also been working with Incredible India, the tourism
brand of India and has developed communication for various global markets
including the Incredible India@60 campaign, at New York in 2007 against the
backdrop of the UN General Assembly.
have a positive social, I had consciously chosen to avoid Branding and Identity Design Projects at the
developmental and/or Classroom level as they tend to dominate the professional life of a Graphic
Designer. I felt that I could maximize my learning by exploring other less-trodden
cultural impact on people.”
areas. But as I began my first steps out into the industry, I thought it wise to try
my hands at a Branding and Identity project.
Another attraction to this project was the fact that it allowed me to explore a
culture to which my forefathers belong, but one that I haven’t grown up in. Being
a Punjabi with limited exposure to my roots, this seemed like an interesting way
of exploring my culture of origin. A personal distaste for a culture perceived as
loud and aggressive had also prevented me from developing an interest in it. This
was a chance to change my notions that had been defined by the popular culture
definition of Punjab.
10
RESEARCH AND INFORMATION
COLLECTION
Brand identity
design
What is a brand?
Brand is the promise, the big idea and the expectations that reside in the
customers’ minds about a product, a service or a company. Branding is about
making an emotional connection. People fall in love with brands - they trust them,
develop strong loyalties, buy them and believe in their superiority.
Content / words are third in the sequence behind shape and colour as the brain
takes more time to process language.
Brand Building
According to Kevin Keller (author of Strategic Brand Management ) what
distinguishes a brand from its unbranded counterparts is the consumers’
perception and feelings about the product’s attributes and how they perform.
Ultimately a brand resides in the minds of the consumers. Scott Davis (author
of Brand Asset Management: Driving Profitable Growth Through Your Brands)
suggests visualizing a brand pyramid in constructing the brand. At the lowest level
are the brand’s attributes, at the next level are the brand’s benefits, and at the top
are the brand’s beliefs and values.
An Example
The marketeer of Dove soap can talk about its attributes of one-quarter cleansing
cream, or its benefit of softer skin, or its value of making the consumer more
attractive. The attribute is the least desirable level. First the buyer is more
interested in its benefits. Second, competitors can easily copy attributes. Thirdly,
the current attributes may become less desirable.
A brand can be better positioned by associating its name with a desirable benefit.
If the brand evokes a strong set of beliefs and values, it should be careful not to
stray away from these core values. A brand is a promise to deliver a specific set
of features, benefits and services consistently to the buyers. It is necessary to
establish a vision for what the brand must be and do.
The Kila Raipur Festival has the advantage of involving all the senses into an
interactive and memorable experience. Its raw and inclusive nature adds to the
appeal. Being an event organized by the community, for the community, the main
challenge for branding Kila Raipur lies in pulling outsiders to the event once they
know of its existence.
Event branding has the benefit of no-extra cost publicity before and after
the event through reports in Newspapers, Television and the Internet. The
disadvantages of this can be a negative report if the brand does not deliver an
honest representation of the event or if it is surrounded by controversies. These
media can therefore backfire.
While this project traditionally falls under the category of event branding, it would
be better addressed through the concept of Place Branding as its purview is wider.
All concerns related to the Kila Raipur Sports Festival will now be addressed
through the definitions of a place brand model. All the brand efforts will be
understood in context of both the event and the resulting benefits to the village
of Kila Raipur.
Intangible Benefits
• Giving an identity to the event and hence create a sense of pride in the
participants.
• Create an opportunity for locals and participants to showcase their culture to
the rest of the world.
• This event is an iconic festival for rural festivals and can set an example for
other events across the country. This will become a necessary way of helping
sustain the diversity in India.
• Facilitate hidden sporting talent and create a platform for them to showcase
their sporting abilities to the world and in turn open doors to national and
international sport competitions.
4000 participants. Over 500,000 spectators. 4 days. Man, beast and farm
equipment. The chivalry of dare devil sports. Cut throat competition. World
record weight lifting and endurance tests that would shy the Guinness records.
Tractors, mule carts, bullock carts, dogs; man and his beasts race through a
grassy 400 metre patch stuffed between two stands in the middle of the lush
green fields in rural Punjab for a prize money of US$ 2!
Men and women from villages far and near converge here not for the prize
money. Nobody endorses brands. No television beams their images across the
world. It’s the sheer burst of adrenalin for the zest of life. It’s the joie de vivre.
This is Kila Raipur, seventeen kilometers away from Ludhiana in Punjab. Here at
the annual festival, you meet Olympians of yesteryears. Competitors varying in
age from nine to ninety five converge here to test their skills and compare their
drives. Its not an Olympics. Its not commercial at the least. They do not build
large stadiums to display their love for sports. Yet as soon as the harvest is
complete, small clearings in the farms turn into football and hockey academies.
They charge no fee. For these people, sport is in their genes. No other civilization
can boast such love for sports. It’s passed on from generation to generation.
In 1933, the village Kila Raipur sent its hockey team to Jalandhar for a
tournament and they won the gold cup. It was not unusual in Punjab for the
village teams to win. Yet, this humble trophy ignited the passion of a few men
– the Grewals to establish a rural game in their own village. No telephones, no
faxes, no news papers had reached this remote village yet. Depending on word
of mouth publicity, the first game was organized in the same year. Many people
came to see and participate. A village kitchen was erected to serve the meals.
From then on, there was no looking back. New events were added every year
and in 1940, a 440 yard track was laid and in 1944 began the cart race – the
world’s only existing one.
In 1950 came another revolutionary move. Braving criticisms from all quarters,
the Grewals introduced outdoor games for women. They were trained in all the
sports that men could participate in, and had their own competitions. Today,
the village is known for its ‘Rural Olympics’ and villagers take care to see that
Yet it’s sports of a different kind. There are no Nike shoes, no Adidas wrist bands,
no high-precision clocks to measure success and no million dollar awards to
mark achievements. Villagers pool in money and grain to cover their expenses.
Chance sponsors trickle in small booties. And passion takes care of the rest.
A lot of these programmes are fillers between games to allow time required to
organize the next sport.
The bullock cart race is the biggest draw at the event.
Accommodation
People put up within houses in the village itself. Participants are put up in the
school. Outsiders can choose to stay in Ludhiana which is 17 kms form the village.
The audience
The rural audience comes in from Punjab, Haryana, Rajasthan and
Himachal. People come in for specific events according to their interest. A lot of
people from urban areas have also started pouring in both for participation and
for viewing. The sitting area in the stadium is divided and one whole block is for
women to sit.
Existing infrastructure
Include a basic stadium, a basketball court, athletic track, hockey ground, 8-10
rooms where a permanent hockey academy is functioning. There is a hall, which
is to be converted into a museum, and right now is functioning as a photo gallery.
This hall functions as the media centre during the games.
The village mess is setup in the school and cooks are employed. It caters from
morning to night and the food is free for everyone. The school has hockey
grounds and also doubles up to house participants.
The media
The event is occasionally carried by the international media. This time PTC, a
local television channel covered the event live.
The event is publicized through
posters and newspapers with all the details about the event. Posters are put up
in surrounding villages and on bus stops etc. It is publicized in many newspapers
including English newspapers. The posters are made in Ludhiana. They are
released about a month before the event.
The Grewal Sports Association is a local body that organizes the event every year.
They are a registered body with about 150 members, who are sports persons and/
or donors, who have excelled in different walks of life.
They belong to Kila Raipur
and surrounding villages. The Grewal clan is dominant in about 50 villages around
here and the association draws from them.
The President and the Executive Committee is selected by the all the members in
a democratic way. The Executive Committee consists of 31 members. There is a
President, 4 Vice-presidents, Grewal Chief Organizer (mukh prabandh), General their vision
Secretary, Treasurer, 2 Joint Secretaries, 1 Assistant Secretary and the rest are
Through the festival, the
executive members. The current president is Gurpinder Grewal. Mr. Sukhvir
Grewal is the Chief Organiser and looks after the media and publicity. association hopes to help
preserve the culture and
Some members are active sportsmen, or have been involved in sports in the
past. Mr. Sukhvir Grewal, chief organizer of the event, who I met in Chandigarh
heritage of Punjab and also
during my visit to the field, has been actively helping the event to grow in scale. encourage sports which
When asked about the funding for the event, he said “This event can grow to they do by engaging with
accommodate the crafts and arts (including street plays) of Punjab. The ultimate
aim could be to make this into 7-8 day event, which can showcase all aspects of their community.
Punjabi culture. With more money we can invite more sports people from all over
India and the world, which will take the standards of competition even higher. The
event can be better organized. The event is run mostly through donations. It is to
exhibit rural strength and colour which is the driving force behind this voluntary
exercise. There is hardly any support from the government. The government has
given the occasional grant of 2 lakhs or 5 lakhs, which has helped to build some
sporting infrastructure, but there has been no steady annual support or grants.
We would like the government to take over the event itself. For our association to
upgrade to include arts and crafts would take a lot of time and money to be able
to sustain it. Right now our transport and food and the mess is free and money is
required for prizes. Even with volunteers and donations the present costs run up
to 18-20 lakh and to raise this much money is becoming difficult. We therefore
need government support. Or a corporate house should cover us for 5-10 years.”
He felt the need to bring in corporate sponsors which helped the event organise
on a larger scale. Presently, Haywards 5000 and Ambuja cement are the primary
sponsors. Other sponsors in the past have included Coca Cola, JK Tyre, Indian Oil,
Hindustan Lever.
MOODBOARD
31
Brand Kila Raipur Festival
BRAND OBJECTIVES
• To entice tourists and sports enthusiasts to come for the event.
• To let others in India notice this as THE event that happens in their country.
• To instill a sense of pride in the participants and the local village audience.
• Influence other parts of rural India to develop pride in their own local culture
and traditions.
BRAND ATTRIBUTES
These were defined on the basis of the categorisation of words that was created
after the brainstorming process.
CULTURAL AND FESTIVE
SPORTS
RURAL OR LOCAL
ENERGY AND PASSION
COMMUNITY
BRAND NAME
The festival will henceforth be named KILA RAIPUR FESTIVAL instead of Kila
Raipur Sports Festival in keeping with the newly stated Brand Positioning of
Sporting and Cultural Festival of Punjab, so that the name is representative of the
entire gamut of activities at the event.
Advertisements
BRAND Mascots
TOUCHPOINTS
Locals
Word of Mouth
Telephone
As part of the brand strategy, I proposed a mascot design for the festival.
As this was beyond the scope of my brief, the mascot design has been allotted to
an expert on mascot design. Below is the brief where I have laid down guidelines
for the Mascot Designer.
The aim is to develop a mascot(s) that represents the spirit of the people at Kila
raipur Festival. The Mascot will be an important point to build the brand of the
Kila raipur Festival. It will be used extensively across all promotional material. This
mascot will function as a brand ambassador and should speak to the entire target
audience.
The diversity of Brand touch points will need the mascot to be represented in both
2 and 3 dimensions across all media. The desirability of the mascot will need to
not only communicate and demonstrate the brand values, but must lead to the
purchase of products. It is therefore essential that the mascot works across a
multitude of applications and be commercially viable.
2. International and Indian Urban tourists looking for a cultural and rural
experience.
The mascot will play a crucial role in setting the tone and style for the event in a
multi-dimensional way. It is a direct and literal way of communicating the brand
and will connect directly with the target audience, especially the rural audiences.
Brand Positioning
Sporting and Cultural Festival of Punjab
Brand Value
Community Event
Brand Objectives
• To entice tourists and sports enthusiasts to come for the event.
• To let others in India notice this as THE event that happens in their country.
• To instill a sense of pride in the participants and the local village audience.
• Influence other parts of rural India to develop pride in their own local culture
and traditions.
Brand Attributes
Cultural/Festive
Sports
Rural/Local
Energy/Passion/Zeal
Community
The introduction of a mascot is one of the highlights in the journey to the Games.
It is an important opportunity to build the brand of London 2012 and in turn add
increasing value to the Olympic and Paralympic Committees.
Past mascots have shown great ingenuity, imagination and artistry. Early mascots
were based on animals unique to the host country. More recent examples have
been a variety based on humans, animals and creatures, both mystical and
invented. Creativity and personality are always the hallmark of an Olympic and
Paralympic Mascot.
In summary:
• Mascots play an important role in raising revenue via licensing.
• They provide a warm welcome to athletes and visitors from around the world
and spark excitement and laughter
• Having your photo taken with a mascot is a must have Games souvenir!
London 2012’s vision is to use the power of the Games to inspire change.
London 2012’s mascot needs to be more than just a cuddly toy. It needs to capture
the imagination of young people, it must be loved and help to create a sense of
excitement and pride about the London 2012 brand.
Our aim is to develop mascots that help build London 2012 into a much loved
brand. To be successful the mascot (s) will need to demonstrate wit and humour
that reflects London and the UK. They need to be accessible and appropriate
in a tone of voice that is understood by children and young people, as well as
reflecting the culture and people of the host city/country.
The Fuwa literally “good-luck dolls” were the mascots of the 2008 Summer
Olympics in Beijing. The designs were created by Han Meilin, a famous Chinese
artist. There are five fuwa: Beibei, Jingjing, Huanhuan, Yingying, and Nini.
Together, the names form the sentence “Beijing huanying ni,” which means
“Beijing welcomes you”.
I am rating the Fuwa the worst mascot because, while others have been
unpopular, confusing or silly, these bad luck dolls of Beijing are becoming
downright ominous. Fuwa translates to the ‘good-luck dolls’ but you be the
judge. First, the famous Chinese artist, Han Meilin, had two heart attacks while
he was designing them. And now, each of the five characters that make up the
Fuwa have been linked to events which have led to the superstitious term ‘the
Curse of the Fuwa’. Nini (swallow/kite/locust figure) is linked to the Weifang
T195 (“kite city”) train accident in April 2008 and the locust infestation in Inner
Mongolia in June 2008. Yingying (the Tibetan antelope) is an obvious choice for
association with the Tibetan unrest. Huanhuan, representing the Olympic flame,
is being linked to the torch relay protests. Also, the Sichuan area, which suffered
a catastrophic earthquake on May 12, 2008 is well known for its pandas and the
fourth mascot, Jing Jing, is a panda character. The fifth and final Fuwa mascot
is Beibei, a fish who is representing the element water in the group. He is being
associated to the floods in South China as well as an algal bloom in the Olympic
sailing course.
According to Wikipedia, some people are now calling the characters “Wuwa”
(witch dolls) instead of Fuwa and “online criticism of the dolls has frequently
been censored”. Personally, I think they are cute but I wonder how souvenir sales
are doing? Are people reluctant to bring the bad mojo of these Fuwa/Wuwa into
their homes?
As I read about the Fuwa and other mascots that have been criticized, I realized
that Mascots being the human face of the brand attract a lot of attention. This
particular characteristic makes them endearing for branding an event but it also
makes them vulnerable to criticism in public media and in the press. Very well
designed mascots can also attract negative attention as is the case with the Fuwa.
Mascots as a brand strategy should therefore be handled with care.
39
Logo and Logotype
Explorations
This first exploration was a graphic representation of the horns of the bullocks.
The bullock cart races are the most popular sport at this festival and draw the
largest crowds. These bullocks are kept by the participants for the sole purpose of
competing in the races every year. They are not used as draught animals and are
fed on a special diet to give them strength and speed. The horns are a symbolic
representation of the fighting spirit of all the participants at the event.
40 Identity Elements
I also unsusccessfully tried to think of visuals for popular Punjabi expressions
like Chak-De-Phatte! or Sher-e-Punjab! or Jo Bole so Nihaal! These expressions
are expressive of the spirit of the Punjabi's general outlook to life and is also
manifested in the vigor and essence of this event.
Sher-e-punjab can be very literally translated into a lion, but the lion was rejected
outright as it is too common a symbol with too many other connotations, which
could create a confusing image in the minds of the target audience.
Sher-e-Punjab or the Lion of Punjab was a term used for Maharaja Ranjit Singh,
the first Maharaja of the Sikh Empire. He was known as a great warrior, fearless
soldier, able administrator, and a merciful and secular ruler. He managed to protect
Punjab's borders against invaders from Afghanistan and Central Asia, and had an
army that had Sikh, Muslim, Hindu and European soldiers fighting side by side.
Now the term has come to symbolize bravery, fearlessness and a fighting spirit.
Identity Elements 41
Here, I decided to take a completely different approach and try to embody the
spirit, energy, the raw and spontaneous nature of the games in a form exploration.
This exploration was of course rejected, for it was hardly representative of the
event, the village, its culture or be of connection or relevance to the people and
the community.
This was also a form exploration where I tried to embody the rawness and crude
flavour of a rural event in a logotype in Gurmukhi script. The logotype reads Kila
Raipur in Punjabi. As mentioned earlier, the event was to derive its name from the
village of its origin.
42 Identity Elements
Next, I looked extensively at Sikh iconography especially weapons, as they are
intrinsic to the Sikh religion and could symbolise the martial traditions that are
reflected in this event. The Kirpan is supposed to be worn at all times by a Sikh.
This was an article of defence which together with the other 4 Kakars or five ar-
ticles of faith (Kaccha, Kesh, Kanga, Kada) formed the external visible symbols to
outwardly display ones commitment to their religion and culture.
This concept allowed me to create a dynamic and energetic form that represented
the spirit in its form also. Additionally, the kirpan could be played around with in
a number of ways to create a number of such similar forms which could function
as extended identity elements for the event. This form was however not unique
enough, and was therefore rejected.
Identity Elements 43
Another approach was to create a symbol library of images from the initial brain-
storming to create a visual representation of the event in the hope that I would be
able to derive some ideas or concepts for the identity.
44 Identity Elements
The sling is a weapon used by the Nihangs during the displays at the festival.
This weapon was graphically abstracted and carried various levels of meaning as
compared to the other explorations. For one, this festival holds immense value as
a community event. This symbol is composed of many different parts which can
be interpreted as the coming together of the community for the event. Further-
more, it is derived form the local culture and therefore carries most of the brand
attributes in one logo itself. This logo was a serious contender for the final logo,
but was rejected as it is not distinctive enough to represent the event.
Identity Elements 45
1 Silhouette trace from photographic
reference.
46 Identity Elements
4 Introduction of the second bull and
playing with foreground and back-
ground space.
Identity Elements 47
Final Logo
While some people may argue that this identity is practically not as sound as the
others, my final vote for this concept was dictated by the appropriateness of the
identity and whether it best represented the event and the village community.
I took the liberty of choosing an iconic image which was figurative - an approach
generally avoided in identity design. The reasons are that the recall value and
recognition of simpler forms is better as compared to more complicated or
illustrative forms. However, in the world of identity design, there is a certain level
of saturation that has been reached in this particular approach. Additionally, there
have been similar examples which have worked successfully as brand identities.
In those cases, the brands have been managed well and the associations in the
mind of the consumer have been well ingrained. Brands and identities need to be
well designed and go hand in hand to work successfully.
Another argument in favour of this identity was the difference in visual literacy of
the average villager who forms a large part of the target audience for this event.
Designers who have studied visual literacy of rural communities in India have
found that illustrative forms are better understood and communicated as opposed
to geometric forms or symbols. To achieve better recall of the logo, the form was
simplified. Villages in Punjab are exposed to television and the media and there-
fore, it was possible to use abstraction in the form. Also, for an external audience,
a logo like this would be a truer representation and association as compared to a
geometric or symbolic form like the sling.
48 Identity Elements
Logo refined for use at large sizes
Identity Elements 49
Final Logotype
The final logotype says Kila Raipur Mela (i.e. Festival) in Gurmukhi and is com-
posed using Akaash Bold. The logotype in English is a custom designed logotype
which simulates the Gurmukhi script in its form. The decision to make logotypes in
two different languages arose from the two diverse sets of target audiences.
50 Identity Elements
Development of the logotype in English
Identity Elements 51
The painti in Gurmukhi is the Punjabi
alphabet. Characters of the script
which have been simulated in the logo-
type are marked.
52 Identity Elements
Identity Elements 53
54 Identity Elements
Identity Elements 55
Explorations
Process Timeline
Chak-De-Phatte!
Sher-e-Punjab!
Jo Bole so Nihaal!
Iconic Symbol
56 Identity Elements
Symbol Library Logotype Iconic Image of the event
Identity Elements 57
Logo and Logotype
Matrix
A matrix to evaluate the identity explorations and decide which option works the
best. On the basis of six criteria that define a good identity, each option was con-
sidered and options that met most criteria was chosen.
Distinctive
The event itself is unique, and so the idea
should communicate that uniqueness.
The design idea need not be unique in the
world, just distinctive enough.
Practical
Can be printed small, in ink or pixels; works Works, but not
in black on white as well as in colors; works as well as the
in reverse too, white on black. others.
Graphic
Communicates purely in visual terms; doesn’t
depend on verbal, intellectual interpretation.
If it is a logotype, it can be recognized by
form alone.
Simple in form
Contains only one graphic idea. Thus if there’s
a symbol, the accompanying name is plain
and unadorned. And if it is a logotype, one
idea or device makes it special.
One message
In content, great designs try to express no
more than one attribute (such as competition
or strength or spirit) and support a single
aspect of positioning.
Appropriate
The content needs to be a true representa-
tion of the event and its spirit.
58 Identity Elements
Final Identity
Identity Elements 59
Colour Moodboard
60 Identity Elements
Some questions I asked myself while choosing the colour palette:
Does it comprehensively represent the spirit of the event?
Is the colour palette distinctive? Will the colours facilitate recognition and
recall?
Are the colours aligned with the brand strategy?
What meanings are assigned to the colours in the local culture and across the
target audiences?
Do the colours have positive connotations individually and as a whole?
Do the colours work on white?
How will scale affect the colour?
How will the brand identity work in one colour applications?
Will the colours be available across different mediums earmarked for brand
applications?
CULTURAL FESTIVE
Identity Elements 61
62
Identity
Identity Elements
Colour Palette
RGB 255:0:0
CMYK 0,99,100,0
Online FF3333
IDENTITY COLOURS
RGB 255:200:0
CMYK 0,19,100,0
Online FFCC00
RGB 51:51:153
CMYK 95,95,0,0
Online 333399
RGB 0:204:255
CMYK 60,0,0,0
SUPPORTING COLOURS
Online 00CCFF
RGB 255:102:51
CMYK 0,75,85,0
Online FF6633
RGB 0:153:51
CMYK 85,13,100,2
Online 009933
RGB 102:51:0
CMYK 38,75,100,48
Online 663300
RGB 255:0:153
CMYK 0,95,0,0
Online FF0099
Identity Elements
63
Final Identity in Colour
Punjabi
66 Identity Elements
Identity Elements 67
Identity Typeface
Punjabi
Akaash is a Unicode The lack of quality typefaces in Gurmukhi has dictated my choice of Akaash for
use in Gurmukhi. Out of the Gurmukhi fonts available online for sale or download,
Gurmukhi font available this typeface was the closest in legibility to the script and has a passable grey val-
in 2 weights, regular and ue which takes care of the readability for text use. The Latin typeface family was
bold. chosen as it had the closest grey value to Akaash. It also has sufficient variations
available for application across all media. Additionally FF Scala Face has sharp and
edgy serifs and endings which goes with the spirit of the event.
68 Identity Elements
Identity Typeface
English
Identity Elements 69
Photography style for
reportage and promotions
70 Identity Elements
6ISIT +ILA2AIPUR A VILLAGE IN 0UNJAB THAT HOSTS ONE
OF
A
KIND
RURAL OLYMPICS WITH BULL RACES AND THE BHANGRALOREM IPSUM
Identity Elements 71
6ISIT +ILA2AIPUR A VILLAGE IN 0UNJAB THAT HOSTS ONE
OF
A
KIND RURAL OLYMPICS
WITH BULL RACES AND THE BHANGRA
72 Identity Elements
Identity Elements 73
Identity Applications
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74 Identity Elements
Explorations
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Tone of Voice
for Written Materials
Like the villager out on the sports fields, the tone of voice will be
passionate, adventurous, fearless, raw and spontaneous.
Identity Elements 75
In Retrospect
Some observations, some introspection and
some random musings
My sense of form has never been great and I have covered some ground with the
bullock cart race logo. I approached it like a BGD assignment and it encroached
upon a large portion of my time schedule - the only major hitch in my project
which prevented me from completing the identity applications in the given
time schedule. This was also the first time that I had worked on a logotype so
intensively and from scratch. Type design had never excited me greatly, and so,
I found simulating another script into Latin script daunting and challenging.
But once I started, I was hooked.
When I look back, I also find that my initial concept explorations were naive
and limited in their understanding of identities and their application in the given
context. I had to constantly remind myself to detach from the influences of
contemporary graphic design. Towards the end I feel that I have developed a more
professional approach to symbol and identity design. I am a lot more confident in
all these areas now.
I also realized that my design process wasn’t rigorous enough and the exposure
at the studio has strengthened it. I have always been aware of my tendency to
get stuck on a problem and take too much time to resolve it. This issue has also
been addressed. When I look back at my classroom projects and compare this
project with them, I find that the process I undertook was a lot more intensive as
I also had the leisure of time. The challenge that lies ahead for me is to distill this
process effectively into projects I will undertake henceforth, while balancing time
and client constraints.
I have mentioned earlier the lack of real-world industry challenges with clients
and deadlines as this identity was conceived at the studio and still needs to be
pitched. I was initially apprehensive about not being exposed to such experiences,
but now I am grateful for the lack of these. They could have limited my learning
from this project, which I realize were essential to my learning as a graphic design
student from NID.
Branding as a concept and its workings don’t seem all that intimidating anymore.
As this subject overlaps with the marketeer, I would get carried away trying to
understand and apply it as a graphic designer. But a basic understanding has been
built.
76
tight-knit community with a fierce loyalty to their religion, its beliefs, values and
guiding principles whether in Kila Raipur or in any other part of the world. Sikhs
the world over are very active online in endeavors related to their community
and take an active interest in keeping their traditions and its values intact. Taking
the idea of identity and associations to the culture of this community, I was
wondering about the role the Sikh symbols and iconography (example, the 5
K’s - Kesh, Kirpan, Kara, Kachcha, and Kanga) play in keeping this community
together. The Sikhs have very prominent characteristics that distinguish them from
other communities. Does this physical manifestation increase the loyalty of this
community to its beliefs and traditions? This could be an interesting case study
for branding experts, sociologists and related academicians to understand how
communities identify themselves and the function as a result of this identification.
Can marginalized communities benefit from such a study wherein their identities
can be used to instill pride in them ? These are some thoughts I had aside from my
project.
The rural context, an often used term in design and at NID was a very crucial
challenge throughout this project. One had to depend on the odd study done by
marketeer in rural India and designers working in the NGO sector to understand
the minds and lives of the rural folk. The field visit to the village helped on
that front. It was like E.P again, except a lot shorter and not as extensive. To
understand the local culture, I have also depended on my own exposure to
Punjabi relatives in villages and towns through all the vacations and visits since
childhood. The great urban-rural divide that plagues India today is a lot lesser in
Punjab and its villages, thanks to the green revolution and the enterprising Punjabi
NRI who has brought back lots of money to the average punjabi village. In terms
of aesthetics, I consciously steered clear of the notion of Indian aesthetics that
is dictated by the Western perception. While I was hoping to explore regional
aesthetic sensibilities more extensively at the beginning of the project, I found
that the communication aspect of identity design took fore-front in my project.
The challenge that lies ahead for me is to see this project through all possible
applications and then to the final implementation. My real learning will only start
after the event when I get to see the effectiveness of the brand identity. Before,
it gets applied, I need to conduct a user study to understand whether the identity
works and to what extent for the local audiences.
When one begins to make the first steps out into the industry, there are so many
doubts about one’s future. My diploma project has been a smooth ride unlike
many other experiences I have heard of. I feel lucky to have had a good start and I
still have a lot to learn.
77
and people. Intangibles are therefore market segmentation are often based on
managed via the manipulation of identity, demographic data.
communication and people skills.
A Glossary on Branding
Market Segment
Brand Personality
A group of customers who (a) share the
Brand The attribution of human personality same needs and values, (b) can be expected
A brand is a mixture of attributes, tangible traits (seriousness, warmth, imagination, to respond in much the same way to a
and intangible, symbolised in a trademark, etc.) to a brand as a way to achieve company’s offering, and (c) command
which, if managed properly, creates value differentiation. Usually done through enough purchasing power to be of strategic
and influence. long-term above-the-line advertising and importance to the company.
appropriate packaging and graphics. These
“Value” has different interpretations: traits inform brand behavior through both Names
from a marketing or consumer perspective prepared communication/packaging, etc., There are three basic categories of brand
it is “the promise and delivery of an and through the people who represent the (or corporate) name:
experience”; from a business perspective brand - its employees. * Descriptive name
A name which
it is “the security of future earnings”; from describes the product or service for which it
a legal perspective it is “a separable piece Brand Platform
is intended, e.g., TALKING PAGES.
of intellectual property.” Brands offer The Brand Platform consists of the following * Associative name
A name which
customers a means to choose and enable elements: alludes to an aspect or benefit of the
recognition within cluttered markets. * Brand Vision The brand’s guiding product or service, often by means of an
insight into its world. original or striking image or idea, e.g., VISA.
Brand Equity
* Brand Mission How the brand will act * Freestanding name
A name which
The sum of all distinguishing qualities of a on its insight. has no link to the product or service but
brand, drawn from all relevant stakeholders, * Brand Values The code by which which might have meaning of its own, e.g.,
that results in personal commitment to and the brand lives. The brand values act as PENGUIN.
demand for the brand; these differentiating a benchmark to measure behaviors and
thoughts and feelings make the brand performance. The following are also helpful:
valued and valuable. * Brand Personality The brand’s * Abstract name
A name which is
personality traits (See also definition for entirely invented and has no meaning of its
Brand Experience
Brand Personality). own, e.g., ZENECA. Abstract names are a
The means by which a brand is created * Brand Tone of Voice How the brand sub-set of freestanding names because they
in the mind of a stakeholder. Some speaks to its audiences. also have no link to the product of service.
experiences are controlled such as retail * Coined name
Any name which is in
environments, advertising, products/ Brand Positioning
some way invented. Coined names can
services, websites, etc. Some are The distinctive position that a brand adopts be descriptive (CO-CREATE), associative
uncontrolled like journalistic comment and in its competitive environment to ensure (IMATION) and freestanding/abstract
word of mouth. Strong brands arise from that individuals in its target market can tell (ZENECA).
consistent experiences which combine to the brand apart from others. Positioning
form a clear, differentiated overall brand involves the careful manipulation of every Niche Marketing
experience. element of the marketing mix. Marketing adapted to the needs, wishes
and expectations of small, precisely
Brand Identity
Brand Strategy
defined groups of individuals. A form
The outward expression of the brand, A plan for the systematic development of market segmentation, but aimed at
including its name and visual appearance. of a brand to enable it to meet its agreed very small segments. Niche marketing
The brand’s identity is its fundamental objectives. The strategy should be rooted characteristically uses selective media.
means of consumer recognition and in the brand’s vision and driven by the
symbolizes the brand’s differentiation from principles of differentiation and sustained Positioning Statement
competitors. consumer appeal. The brand strategy should A written description of the position that
influence the total operation of a business a company wishes itself, its product or its
Brand Management
to ensure consistent brand behaviors and brand to occupy in the minds of a defined
Practically this involves managing the brand experiences. target audience.
tangible and intangible aspects of the
brand. For product brands the tangibles Brand Values
Target Market
are the product itself, the packaging, The code by which the brand lives. The The market segment or group of customers
the price, etc. For service brands (see brand values act as a benchmark to that a company has decided to serve, and
Service Brands), the tangibles are to do measure behaviors and performance. (See at which it consequently aims its marketing
with the customer experience - the retail also Brand Platform.) activities.
environment, interface with salespeople,
overall satisfaction, etc. For product, Demographics
Visual Identity
service and corporate brands, the The description of outward traits that What a brand looks like - including, among
intangibles are the same and refer to the characterize a group of people, such as age, other things, its logo, typography, packaging
emotional connections derived as a result sex, nationality, marital status, education, and literature systems.
of experience, identity, communication occupation or income. Decisions on
78
Bibliography
Websites
http://www.creativeclass.com/10 April 09
http://www.culture.gov.uk/ 13 April 09
www.brandchannel.com 14 April 2009
www.sikhwiki.org 5 May 2009
www.sikhchic.com 8May 2009
http://en.beijing2008.cn/ 9 May 2009
http://www.olympic.org/ 9 May 2009
http://punjabgovt.nic.in/ 14 May 2009
http://www.toptenz.net/top-10-worst-olympic-mascots.php June 7 2009
http://www.aldaver.com/other.html#comgames June 8 2009
http://www.sikhnet.com/Gurmukhi-Fonts 10 July 2009
http://www.gurbanifiles.org/unicode/ 10 July 2009
Business and Economic Benefits of the Sydney 2000 Olympic Games – A collation
of evidence April 2002 by PriceWaterHouseCoopers
PDF Documents
Place Branding: Promoting a Nation teaching Marketing. China Case study
by Alex Mari
http://www.scribd.com/doc/10864509/Place-Branding-Promoting-a-Nation-
teaching-Marketing-China-Case-study-by-Alex-Mari- 30 April 09
Diploma Documents
Concept Presentation of ‘The Look of the City’ for CWYG 2008, Gauri Barve
79