D&AD Annual: Design section openers
Opening pages, Design section
Each opening on the left of the spread tries to capture the essence of every sub-category of design, in a day-to-day Indian Context. A magazine and newspaper stall exhibiting it’s chaos in full glory, a local book shop with books stacked like a castle for knowledge, products hung for every Indian home, a tree loaded with clay pots full of prayers at a mosque, the over-load of banners at a local market to challenge all branding principles ever practiced or the train time-table at New Delhi railway station—they all just work.
Let’s intersect some India with the International
During my tenure (Dec’12–Jan’15) at Codesign brand Consultants Pvt. Ltd, I was very lucky to work for the esteemed D&AD Annual, 2014. D&AD approached 5 design practices from across the globe to contribute to the design of their 2014 annual that showcases world’s best design and advertising work. Codesign was one of the 5, with the task to design the opening pages for the Design section and it’s sub-categories. We decided to use photography as a tool to show how every category of design contexts itself in practical scenarios of India. That context, interacting with a grid that formulates the design itself, was the idea that ran through all the design section openers.
I photographed and designed all the pages, with unmatched guidance on the work from Mr. Rajesh Dahiya and Mrs. Mohor Ray Dahiya. They helped me rejuvenate my love for street photography by giving me an opportunity to place it as part of a renowned global publication, the D&AD Annual.
Organized thought in a chaotic practice
These close-ups show how we interacted the grids with the final product category, like a designer must have used while designing the work seen in the category itself. These grids attempt to bind a meaning to the design in ever beautifully chaotic India.