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TAKSHAKA
BRANDING + IDENTITY.
DOCUMENTATION OF
CLASSROOM PROJECT 2.
SEMESTER 7 OF
GRAPHIC DESIGN.
NATIONAL INSTITUTE OF DESIGN.
TAKSHAKA
BRANDING + IDENTITY.
PROJECT GUIDE:
DR. TRIDHA GAJJAR
FACULTY, FACULTY IN
COMMUNICATION
DESIGN
ABHIJITH K R
S0700031
GDPD Graphic Design
Joining Batch 2007
Semester 6
[email protected]
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Contents.
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Contents.
Client.
Sponsor.
Why Brand a Company That Has
Been There, Done That for Years?
Getting to know Takshaka.
Session 1.
Session 2.
Session 3.
Ideation.
Concept 1.
Concept 2.
Concept 3.
Concept 4.
Concept 5.
Concept 6.
Concept 7.
Concept 8.
Concept 9.
Concept 10.
Concept 11.
Concept 12.
Concept 13.
Concept 14.
Client Presentation 1.
The Logotype.
Abhijith KR / Project 2 / Takshaka Branding+Identity
22 Primary Corporate Typeface.
23 Corporate Typeface for
On-screen/Within Application Use.
24 Developing a Visual Language
Around the Wordmark.
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Concept 1.
25
Concept 2.
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Concept 3.
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Concept 4.
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Concept 5.
27
Concept 6.
28 Presented concepts.
28
Concept 1
29
Concept 2
30
Concept 3
31 Brand Colours.
32 Business Cards.
33 Letterheads.
34 Employee Uniform.
35 Employee Transport.
36 Extensions to the Visual Identity.
37 Brochure and Photography Guidelines.
38 Working in a Studio Environment.
41 Appendix 1: References.
42 Appendix 2: Colophon and credits.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Sponsor: Codesign
Client: Takshaka Interiors Private Limited.
The studio specialises in Brand Communication,
design research and documentation. Located in
Gurgaon, the studio is run by NID graduates
Rajesh Dahiya and Mohor Ray.
Takshaka is a caterer of high quality design solutions
in the interior and furnishing industry. The have grown
from a provider of high quality end products
based on design specifications of their clients to an
entity that reviews, validates and optimises the
design while ensuring industry standard production
and installation finesse. The company is run by NID
graduates Arvind and Suman Panwar, who see to it
that Takshaka’s design decisions are based on
sound principles of form and function.
Takshaka has plans to venture in to the retail sector,
backed with the years of experience in service to
the hospitality and real estate sector.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Why Brand a Company That Has
Been There, Done That for Years?
Getting to Know Takshaka.
Session 1.
Takshaka is at the crossroads to an unprecedented
diversification, while the sector is seeing the emergence
of new players who claim to produce results at lowered
costs, albeit forgoing the quality and attention to detail
that Takshaka swears by. Also, the company never
had a strategic approach to branding itself, owing to
the lack of competition so far. Infrastructure changes,
including acquiring of a new studio-cum-factory
space in Manesar, the industrial township in Gurgaon,
presented itself as a fitting opportunity in formulating
a coherent identity for the company.
This was a three-tier process. A basic analysis of
the sector amongst the design group laid down
the basic structure of what needs to be asked on
meeting the client representatives for the first
time. This, in addition to contributing to our own
understanding of the company, helped understand
the client’s views on the visual part of the identity
better. For example, the reason why an Audi wouldn’t
be acceptable as a style statement while a Lamy in
one’s pocket could be an asset that reflects the
company’s mind set was something a first-time look
at a fabricator wouldn’t have helped yield.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Session 2.
Session 3.
The second level of interaction was with the
Managing Partners, who laid down the current
Strength-Weakness-Opportunities-Threats scenario
in a nutshell, in addition to mentioning what
they expect out of their employees in quantifiable form
after the proposed re-brand. This session also explored
the employer-employee dynamic from an employer’s
point of view.
The third session was organized at the factory site,
where the construction was still in progress in sync
with business activities and design research. Here, the
interaction was with the employees and site managers,
who are the key people that interact with the clients on
a day-to-day basis. They are the face of Takshaka.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
At the studio, we prepared slides explaining the design
process they could expect, outlining the basic brand
terminology, explaining the essence of a brand and
the ways brand values can manifest themselves in the
actions of persons associated with the brand.
Also included were a selection of Indian and
international brands that were active in the Indian
visual intertext. The reactions to various existing
approaches to brand identity in India were discussed.
The response was aided by inputs from Mohor and
Dahiya, who insisted the participants talk about
experiences in terms of physical or quantifiable aspects.
A bank employee at a nationalized bank was, in their
point of view, expected to eat lunch at the transactions
table, while a respectable and professional banking
experience should save you from haldi smeared notes.
Abhijith KR / Project 2 / Takshaka Branding+Identity
This boiling down of stuff to human terms helped
a lot in later stages where the look and feel of the
products were to be decided. The session also dealt
with the aspiration of the employees as to what
Takshaka should mean, in contrast to what it is.
The flaws in the internal structure were discussed,
generating ideas on course correction and projecting
a coherent image of the company when it comes to
touch points.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Ideation.
Concept 1.
Clients of Takshaka are people exposed to an
exemplary design aesthetic on a daily basis.
Attention to the minutest detail at every touch point
was required. The visual language, thus, could be
exploited to present intelligent details in production
and execution.
The reasons why the ideas weren’t explored further
are discussed at the end of each example. Some of the
feedback was from the first presentation with the
client, details of which are discussed further ahead in
the concepts section of this document, are referred in
places as and when found fit.
Takshaka is the Sanskrit word for master craftsman.
This exploration treats the word as an object with
direct relation to what the company deals with.
The initial ‘Ta’ is stylised to reference furniture and
spaces, also giving a hint of geometric perfection.
Such a direction would also help create additional
graphic elements that follow the same visual structure
in later applications. While this approach addressed
the aspects of modernity and sophistication very well,
it failed in terms of standing apart from similarly
themed identities in the service sector.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Concept 2.
Concept 3.
This attempted to visually represent the precision
aspect of Takshaka’s services. The crop-marks, apart
from demarcating the wordmark, were a graphic
element that could be used to extent the visual
language as and when applied to collaterals, the
downside being incompatibility issues with
different media and a possible lack of familiarity
in the audience concerned.
The ideas were, from the very beginning, crafted
considering the ease of extension into a visual
language in final stages. This one attempted an obvious
formal direction, where the initial is visualised in three
dimensions, employing an interplay of forms and
negative spaces. The blocks themselves were to be used
as building blocks for visuals in publications and ads.
The idea seemed to be in use, albeit with much less
attention to detail. The clients responded to the idea
saying every other interior fabricator in the business
uses some variation of three dimensional forms in their
identity material, and would be difficult for Takshaka
to stand out from the proverbial crowd.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Concept 4.
Concept 5.
Most of the ideas dealt with a wordmark, since it
spoke of the structural aspect a lot better, as it
leads with language — the building blocks of
communicating ideas. Later, I figured most ideas
can be represented with visual quirks in text.
While symbols as such depend too much on subjective
visual cues, letterforms act like a much more effective
carrier for ideas. Though this particular exploration
was not used later in the final stages, ideas from the
structure were taken forward and refined to arrive at
the finalised wordmark.
A regular tetrahedron is the most stable complex
structure in the universe, with each of its vertices
connected to each other. The analogy applies almost
perfectly to the image Takshaka wishes to project.
Dependability, trustworthiness, value engineering
and timelessness. The visual representation of the
geometric structure could very well allude to the
relationship to spaces and structures too. But, as a
symbol, the tetrahedron was somewhat an obvious
choice and incited little interest in the clients.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Concept 6.
Concept 7.
A jigsaw-puzzle-like approach emphasized on
the smartness aspect and the sense of completion
that Takshaka brings into a project. While the
visual presented endless opportunities for further
diversification, the overall tone of seriousness was lost
in the process. This perhaps lead to using absence as a
visual cue in the final wordmark.
The upward arrow simultaneously referred to ‘T’
in Takshaka and the sense of upward growth. The
form also worked well as an indicator to interiors of a
structure, with a hint of perceived folding of space.
An arrow has the added advantage of being
structurally close to other typographic elements,
which in turn, are the best building blocks to deal
with architecture and spaces. Further discussion with
the clients brought up a concern that the mark made
Takshaka look like they have already ‘arrived’ rather
than the intended association to an evolving entity.
However, this form reflects in the final mark. The effect
is subdued, but doesn’t lose the strong visual qualities
of strength and coherence.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Concept 8.
Concept 9.
A spin-off of the previous idea, the form takes a more
symbolic approach and tries to visually represent
a room with floor, wall and the ceiling — the areas
Takshaka works on. The idea of offering all services
under one roof — being a turnkey services provider.
This idea had the drawback of banking on too much
three dimensionality and too direct an association to
spaces. The idea did present a possibilty to look further
into developing signage pictograms, etc.
Based on the word ‘turnkey’, these explorations threw
some light on the cumulative effect of Takshaka’s
activities on the clients per se. The aspect of covering
all the client’s needs at all possible levels of completing
the project lent itself to the idea of enclosure as a
visual device. The visuals still retain the typographic
approach. While the mark would be an appropriate
appropriation of a building/product plan, it lacked
enough energy and enthusiasm a re-branding is
expected to bring.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Concept 10.
Concept 11.
A refinement on the earlier exploration of the upward
arrow ‘T’, an element of third dimension is added.
This went on to be corrected and presented to the client
during the first presentation. Colour and gradient
variations were tried too.
This was one of the more exciting explorations. Since
the client was also open to bringing smartness into
the visual with the introduction of a puzzle within the
mark, variations with modular elements were tried.
The goal was to emulate the expression of ZEN logo.
A number of iterations later, a modular element that
does justice to all letter-forms was figured out. This
was also one of the ideas presented to the client.
I found out (the hard way) that too much puzzle is
not a good thing in identities.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Concept 12.
Concept 13.
This one had very simple beginnings. But the ‘T Taking
Flight’ was incorporated into the finalised wordmark.
This represented everything the client wanted the
identity to look like. It was a new beginning, growing
and had enough visual quirks to stand out from the
crowd — it had character.
Some other explorations included constructing the
‘T’ out of calligraphic strokes. This was based on the
interpretation of Takshaka as an exponent of highest
standards of craftsmanship. The resulting visuals
looked promising until they were put together
in context, with the kind of work Takshaka has
completed. The interplay of strokes were explored
further to understand the form better, not as an aid to
the resultant identity. Number and angle of strokes
were also tried and tested.
This basic idea went through a multitude of style
explorations, including the ones that employed actual
wings on both sides. The efforts to make the wings
less comic-like and more strong resulted in completely
jeopardising the concept.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Concept 14.
These involved simple exercises in semiotics rather
than a serious identity exploration. They were
conceived at the extremes of trying in vain to arrive at
plausible forms with my usual methods of ideation.
These, while adding quirkiness to the idea of Takshaka
as a living organisation, failed to convey the hard-core
business side of their operations. They provided the
fun element in the whole project conception stage.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Client Presentation 1.
These concepts were presented to the client for an
initial reaction on the kind of work they expected and
felt right to go ahead with. This is one stage where a
real client presentation hit me with its newness. The
marks alone were supplemented with mock-ups of
usage in most probable touch points. The mock-ups
were also chosen after reflecting on what the
company’s most visible communication material
would be.
Based on the feedback, the ‘T Taking flight’ was chosen
as a base to develop the visual identity of Takshaka.
The form was put through a number of refinements to
arrive at a balanced and well weighted logotype.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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The Logotype.
The following paragraphs could have been placed
before the client discussion section, but it made more
sense to keep them separate, as they demanded
a detailed discussion to explain the journey that
culminated in the distinct structure of letters seen in
the final design.
While based on the typeface Klavika, the terminals and
wights have been modified to create a coherent visual
language throughout the wordmark.
The form of ‘T’ presented an interesting characteristic
to the horizontal stroke, which could be mirrored
in the letter ‘K’. A spin-off from the seventh concept
sketch, which attempted a typographic solution similar
in structure. The angular element became a basis
for developing a consistent visual language for the
collateral material and the physical applications.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
The mark attempts to stay true to Takshaka’s brand
values through its formal peculiarities. The solid
structure and the contrasting basic shapes together
project the image of a trustworthy company. The choice
of a sans serif face brings an overall contemporary feel
to the wordmark. Possibilities of using the customised
‘T’ as a separate element were also considered, but the
integration into a wordmark turned out to be logically
relevant to the overall understated and sophisticated
feel that the client was after. The little visual quirks
Abhijith KR / Project 2 / Takshaka Branding+Identity
with the missing vertical strokes of the ‘K’s and the
angular horizontal stroke of the ‘T’ refers to the value
engineering Takshaka injects into the projects that
come its way. At a basic visual level, it creates interest,
demanding a second look as you read through without
realising the missing parts. The ‘A-K’ pair demanded a
lot of kerning and visual corrections. The entire mark
has not been redrawn for extremely small usage, but
the characteristic ‘T’ seemed to work well as a favicon.
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Primary Corporate Typeface.
Apex Sans from Village Type Foundry.
From the Type specimen PDF: “Apex Sans was
conceived as the answer to a need for a fresh, elegant,
intelligent multipurpose letter-form for the new
decade. It is a modern sans design, forward-looking
but not futuristic, precise but not cold and geometric,
consistent but not soulless.”
The typeface needed to be contemporary while not
lacking in character. Apex sans has formal similarities
to the modified typeface used in the wordmark, while
being different enough to keep the hierarchy intact in
a design language based primarily on typography and
the grid system. Apex has very open counters, straight
terminals like the modified ‘S’ in the wordmark and
an array of OpenType features. In addition, there is a
Serif version in case of future extensions. Other faces
like Guardian(Commercial), Graphik(Commerical),
National(Village), Frank(Newlyn), Stag(Village) and
Square Sans(Parachute) were also considered.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Corporate Typeface for
On-screen/Within Application Use.
Verdana from Microsoft Corporation.
Chosen primarily based on the availability across
platforms. Availability across machines ensures the
documents shared online appear the same on different
users’ screens.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Developing a Visual Language
Around the Wordmark.
Concept 1.
The wordmark presented me with lot of strong visual
cues as to how a coherent identity could be developed
around it.
The visual attributes of the letter ‘K’ in the wordmark,
the angle in particular was exploited as a device for
framing objects throughout the scheme. Annual rings
as a device that relates both to the furniture and the
act of growing was an obvious first choice. The idea
looked quite pleasing and appeared to complement the
idea of Takshaka well. Dahiya then talked about how
good work is no longer worth what it used to be. The
rings, he said, were a good ‘Safe Zone’ to fall back into,
not what he would expect out of an energetic company
open to experimentation.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Concept 2.
Conceept 3.
The second (obvious, on contemplation) idea was
to use drafts/drawings of the furniture and interior
projects Takshaka has worked on and modernist
and contemporary masterpieces as a pattern on all
communication material. This idea had the inherent
drawback of projecting Takshaka as just a fabricator
while they are actively involved in testing, value
addition and are looking at a phase of unprecedented
growth internally as well as in operations.
A rather ambitious trick on how the company is
as good as a benchmark for its competitors, the idea
to use a scale device on collaterals seemed to be a
quirky enough twist to the otherwise rigid identity
programme I had in mind. The idea, while rich
in meaning, was too over the top to be part of an
understated communication scheme.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Concept 4.
Concept 5.
More on the lines of growth and diversification, this
model was a proposal to utilise code to imitate organic
growth and use the resulting forms as building blocks
of the identity. Visually very simulating, they lacked
symbolic depth when it came to easy associations.
They even threw me back a few decades in time to the
era of windows screen savers.
Growth was something I felt Takshaka should be
able to push further in its communication material.
The typographic grid seemed like a perfect point to
start with. This approach banks on the negative spaces
in text as a device to repeat all over the collaterals.
The bands thus formed, were a representation
of networking, with the additional architectural
undertones. This could also be integrated with the
angular device from the wordmark.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Concept 6.
The idea of replicating Takshaka’s production process
in code and applying it to basic forms to generate
visuals was also considered. Alarmingly direct, the
prototypes were not as interesting in terms of meaning
as the thought process they banked on.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Presented Concepts.
Taking the angle of letter ‘K’ to a physical level, this
attempted to bring the collaterals together with a
cut that mimicked the angle. This was backed by a
strict grid born off the same angle. The ‘K’ angle,
however, had to be adjusted so that a horizontal line
of symmetry could be established. More function was
added to this form, using it as a pointing device in
some collaterals and possibly, on signage. The visuals
were dynamic, but the clients demanded something
more ‘visual’. Within the studio, we drew examples
from marketing strategies of entities like Apple, who
seem to not employ no more visual devices than the
very products that they are selling, coupled with
strong guidelines to use of typography. Perhaps the
Indian market had a different reaction such details.
This concept dealt with the physical.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Based on typographic grids, the second visual
resembled architectural features and finesse in terms of
attention to detail. The grid became a visible presence
at times in the visual language proposed, with the
guidelines being printed in a light grey or silver
colour. The grids themselves can be looked at as fertile
ground to grow ideas on, while its restraint makes
sure a system remains in place. Each of these concepts
were made into mock-ups, which required me to pay
attention to the production detailing.
Abhijith KR / Project 2 / Takshaka Branding+Identity
So, by the end of this stage, there were three sets of
basic brand collaterals, finished and ready to print.
This idea did take the ‘visual’ aspect a bit further, but
had still not incarnated as something that stood out
from the rest of the elements. I had a personal liking
to this concept too, given the possible grid-based
explorations it seemed to open up. The studio did
want to push this concept forward, but the client had
reasonable apprehensions about it being visually so
understated. I was also reading modernist masters at
the time, who emphasised on the favourableness of a
strictly grid based approach to corporate identity.
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Since the identity had the dual purpose of bringing
freshness in-house and making a mark in the business
environment, the need for additional visual elements
was stressed upon. These had to remain based on
a grid and still embody the aspect of growth. The
diamond grid proposal combined the positive aspects
of the first and second concepts and packaged them
in a visually stimulating way. The grid works in two
levels. On a basic formal note, sans the details, together
with the surface it is printed on, the device brings in a
sense of revelation, three dimensionality in a surface’s
basic incarnation — a flipped corner. The details are
designed to evoke a sense of progression, employing
size and quantity. This progression also brings in an
added perception of depth. The angles between the
diagonal lines are based on the improvised angle
of strokes of the ‘K’. This also helped anchor the
wordmark in any given environment. The number and
positioning of this combined element was based on
formal logic wherever possible. The curve where the
flap joins the material underneath also went through
a lot of refinements, even considering drop shadows
at stages. When used as a building block, the diamond
pattern behaves differently, opening up opportunities
to create visuals, should a need arise in the future.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Brand Colours.
Primary Brand Colour
Pantone
504 C
CMYK
65 100 100 35
RGB
87 28 31
HEX
#571C1F
Secondary Brand Colour
Pantone
Warm Grey 5 C
CMYK
055 5
RGB
191 182 173
HEX
#BFB6AD
Understated was the norm. Louis Vuitton handbags
and leather accessories from Wallpaper magazine
were a basic source material to start with. The identity,
we felt, should be limited to black and white, but the
craftsmanship aspect could be brought to light easier
with an addition of colours. Many trips through the
Pantone colours, in different lighting environments
later, Takshaka brown was chosen as the primary
brand colour. This colour had the advantage of being
brown while not easily associating itself with the
colour of wood, which, the client also feared, might
evoke negative associations regarding the firm’s
green credentials.
Abhijith KR / Project 2 / Takshaka Branding+Identity
Accent Colour 1
CMYK
0 50 100 0
RGB
245 130 32
HEX
#F58220
Accent Colour 2
Pantone
Process Cyan C
CMYK
100 0 0 0
RGB
0 174 239
HEX
#00AEEF
The identity program needed accent colours to
usher in a vibe of youth and growth. The almost
complimentary colours were decided upon after a
multitude of discussions with the studio-mates and
referring material specifications from signage and print
material vendors. The orange and cyan were sparingly
used across the collaterals. There were no false claims
to being eco-friendly (which I think the clients later
regretted) nor were there any vestiges of flamboyance.
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Business Cards.
The business cards constitute Takshaka’s secondary
level of touch-points after the letterheads. (Which
meant these had to work real hard.) The business
cards also went through the three levels of concept
alterations before being finalised. These follow rigid
typographic grid in contrast to being one of the
most ‘colourful’ of the brand’s collateral material.
The variables like email address and names are
given enough fail-safe spacing to accommodate all
the firm’s employees’ information. The cards, given
the importance, are to be printed in three colours,
using fine screen printing. The thin lines of the grid
are deliberately thinner than usual screen prints can
achieve, which stresses the craftsmanship the company
puts into its painstakingly detailed furnishings and
interiors. The secondary brand colour (Warm Grey)
is replaced with silver to add that hint of class to an
otherwise understatedly modern aesthetic.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Letterheads.
The starting point in developing business stationery
for Takshaka, considering the role they play in the
firm’s business practice. Based again on a wellconstructed grid, the letterhead employs the diamond
grid device on its top corner, driving attention to itself
in a pile of such letters when in a day-to day scenario.
Details like fold and punch marks went through
dozens of revisions, as they, if noticed by a potential
client, could add the lion’s share to the overall
impression Takshaka would be able to make.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Employee Uniform.
In profusion the identity might become an eyesore.
It was with this presumption that the employee
uniform was deigned. A simple ‘T’ complemented the
pared down aesthetic. The house colour served the
dual purpose of marketing and remaining presentable
even after a day’s job in the dust of a construction
site. More ambitious variations were tried, which
would have made the production a nightmare. The
construction hats, on the other hand, carried the
wordmark up front.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Employee Transport.
Yet another major point of interaction, these were
also based on the angle device. The production
specifications were optimised. A dynamic visual
presence could be arrived at with the use of these bold
lines. I have also tried to visually align the typographic
elements to the formal elements of the vehicles.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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Extensions to the Visual Identity.
In addition to the basic stationery and applications
mentioned above, templates for slide presentations and
headers for bills and forms were developed. These bills
and forms employ a band that contains the wordmark,
with the angle device that brings attention to the
respective items.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Brochure and Photography Guidelines.
Based on a four by six field grid, the brochure template
was designed taking into consideration the number,
frequency and nature of projects Takshaka regularly
deals with. The easy-to-extend modular layout has
elements borrowed from the wordmark and the visual
identity system utilised throughout.
Abhijith KR / Project 2 / Takshaka Branding+Identity
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The inside pages feature an image numbering system
that uses the diamond device to highlight images.
The same technique marks the page numbers at the
corners. A custom made Fontstruction provides three
weights of the angle device.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Guidelines were also introduced for photographs.
These, however are limited to the overall presentation
of the products/environments shown, rather than
specifying the mood of the photographs, which is not
easy to follow in an under-construction building.
Abhijith KR / Project 2 / Takshaka Branding+Identity
For example, there are two wide angle images
per project, three or four images that feature
particular points of interest, two or three images of
furniture products and close ups/details of furniture
products on a white background, emphasising the
craftsmanship aspect.
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Working in a Studio Environment.
Real clients mean reality checks throughout the
creative process, value propositions based on
production and practical limitations and possibilities.
A studio environment has its own pace and dynamics.
Unlike a classroom project that usually involves a
lot of pragmatic inputs and errors therewith, the
studio-sponsored project aligns itself with logic and
reasoning even when it comes to sketching for ideas.
I guess there is an element of responsibility too, that
stems from the fact that the time you are spending is
not exclusively yours. The project also exposed me
very fine detailing, which often involved printing out
samples every five minutes and checking the form for
possible refinements.
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Abhijith KR / Project 2 / Takshaka Branding+Identity
References.
Print.
The Art of Looking Sideways Alen Fletcher
Graphic Design New Basics Ellen Lupton,
Jennifer Cole Philips
Grid Systems Joseph Muller Brockmann
The Graphic Artist and his Design Problems
Joseph Muller Brockmann
Designing Type Karen Cheng
No Logo Naomi Klein
Just My Type Simon Garfield
The Brand Handbook Wally Olins
Abhijith KR / Project 2 / Takshaka Branding+Identity
Online.
www.experimentaljetset.nl
www.kuler.adobe.com
www.thegridsystem.org
www.typophile.org
www.underconsideration.com/brandnew
www.wolffollins.com
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Colophon.
Credits.
Typeface.
Palatino LT Std 10 pt. on a 14 pt. baseline.
Faculty, Staff and Friends at National Institute of
Design Ahmedabad.
Printing.
Digital Offset.
Codesign, Gurgaon.
Takshaka Interiors Private Limited, Manesar.
Binding.
Saddle Stitch
Photograph on page 7 from vintageprintable.com
Paper.
100 GSM Matt inside.
300 GSM Matt Art on the cover.
Download a PDF of this document online at:
http://keyaar.in/classroom/takshaka_branding_
abhijithkeyaar.pdf
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Abhijith KR / Project 2 / Takshaka Branding+Identity
Takshaka Branding + Identity.
Documentation of Classroom Project 2 at Codesign,
Gurgaon, developed for Takshaka Interiors Private
Limited, Manesar.
Completed in 2011 by Abhijith K R, undergraduate
Graphic Design student at National Institute of Design,
Ahmedabad, under the guidance of Dr. Tridha Gajjar,
Faculty of Communication Design.
All three project documents can be downloaded from:
http://keyaar.in/classroom
http://keyaar.in