Prasun Mazumdar Design

The Great Himalayan Exploration: Art & Installation

This project with RE and UNESCO, has been done in two layers. Layer 01: Design: Branding and Communication of the project TGHE, which can be viewed here. Layer 2. The Art installation and Art done on 6 Royal Enfield Bike Tanks and 9 Helmets? This humongous amount of Planning & illustrating was done in a record 15 days’ time.

We would like to share a bit of a back story to this exciting journey we had.
As part of its ongoing program in India, UNESCO is focusing on documenting and promoting the country’s vast and diverse Intangible Cultural Heritage (ICH) practices. This is one of the key tenets of developing sustainable, community-based tourism, which has been severely impacted by the COVID-19 pandemic, which is expected to last until 2020. Royal Enfield is working in the Himalayan region to promote sustainable tourism and build resilient communities as part of its CSR-based Social Mission- Responsible Travel. Royal Enfield is deeply committed to collaborating with Himalayan communities in the preservation of culture, knowledge, and traditions that are compatible with just and regenerative living, as well as ensuring that these communities have the vision and knowledge to make decisions that support their resilience in the face of change.

We were approached to do the identity for this very special project. Our research helped us know our country & its diversity better. We looked deeper into the whole project and the fineness of our intangible cultural heritage.
To express it best in the form of the overall installation, which we named “Winds of Change ” the form was inspired by a boomerang, a natural form that flies and also travels back to its source. Each helmet and tanks were illustrated individually with themes coming from the valley that the project is talking about. We covered the whole stretch from the top of Hanley till the deepest jungles of Sikkim. Taking folklore and cultural stories into the context and depicting each design with detailed handwork. A couple of our designs are also inspired by the nature that flourished around those areas, be it the beautiful contour mapping the hills produce to the beautiful starry night sky that very few places on earth really enjoy.

ISEE Assessment – UNESCO MGIEP

The International Science and Evidence-based Education (ISEE) Assessment is an initiative of the UNESCO Mahatma Gandhi Institute of Education for Peace and Sustainable Development (MGIEP), conceived as its contribution to the Futures of Education process launched by UNESCO Paris in September 2019. In order to contribute to re-envisioning the future of education with a science and evidence-based report, UNESCO MGIEP embarked on an ambitious project of the first-ever large-scale assessment of the knowledge on education.”Reimagining Education The International Science and Evidence-based Education (ISEE) Assessment”

A couple of years back, we were approached by the UNESCO MGIEP team to do the logo/ identity for ISEE, which was done and in use. Last year we were approached to share the whole thought process of “Reimagining Education The International Science and Evidence-based Education (ISEE) Assessment ” and how the documentation of this huge thesis can be put across to its audience.
After much discussion and thorough understanding, we devised two key things which were apportioned and used in the process of designing this publication. A. to divide the whole research and evidence into 4 subgroups. and B. They need to have more than just the textural description, each one of them must have a visual depiction, an abstract scene of a process, a story that reflects the same energy, freedom of thought and also the

For, A. The Division of the full publication into four was a major step. The four divisions then stand as 1. Education & Human Flourishing, 2. Education & Context, 3. Education & the Learning Experience and 4. Education – Data and Evidence. They were colour-coded and also have a visual narration of the idea in an abstract way, which brings us to part B. which was to illustrate the 4 stages into 4 very complete structures in themselves, but just like the whole concept of ISEE, we kept the visual narration not too cliche and took a more meditative and mind journey kind of narration.

The four parts of the story as described below:
Artwork 01: Exploring the possibilities, from your ecosystem.
The Being is excited and happily surprised to receive so much positive energy and learn from its surroundings. All it concentrates on is to receive it. And slowly all of it starts making sense// forming shape. Still lucid, but now a form, A form that is ever-evolving and the being is discovering new nuances every moment in it.

Artwork 02: The Need to take it to a Better space, to throw light to more people, to share.
The being, take it this newly achieved knowledge to places, in the process the being evolves itself and while it is growing the form grows further as well. The being realises, Sharing is always two ways, when you give, you get something in return if you are open and accepting.

Artwork 03: The idea to make it a process, After all, process is what matters, It needs to be part of a “structure”
The being reaches the pool of knowledge and looks for the Meta Lotus. Lotus represents art, design, mathematics, structural genius and methodology
Thousands of luminations leave the lotus, after being enlightened with some or other kind of knowledge. The Being gentle slides the evolving ball of knowledge into the meta lotus.
The Lotus and the ball of knowledge becomes a seamless force to the awakening of knowledge.

Artwork 04: The idea of “when you give// you also receive”, the universe is watching. comes into play.
The being transforms into a MetaBeing. All wisdom, all acceptance. A new beginning a new source of knowledge.

The rest of the publication and layout design was taken care of with various visual tools of publication design that help us create a great system design for the layouts to adapt to change and also communicate in the best possible way. We also designed a case to keep all four books together, along with the summery and highlights. We also designed a few promotional collaterals, like standees, leaflets and flyers, for the international launch of the publication.

The Great Himalayan Exploration

As part of its ongoing program in India, UNESCO is focusing on documenting and promoting the country’s vast and diverse Intangible Cultural Heritage (ICH) practices. This is one of the key tenets of developing sustainable, community-based tourism, which has been severely impacted by the COVID-19 pandemic, which is expected to last until 2020. Royal Enfield is working in the Himalayan region to promote sustainable tourism and build resilient communities as part of its CSR-based Social Mission- Responsible Travel. Royal Enfield is deeply committed to collaborating with Himalayan communities in the preservation of culture, knowledge, and traditions that are compatible with just and regenerative living, as well as ensuring that these communities have the vision and knowledge to make decisions that support their resilience in the face of change.

We were approached to do the identity for this very special project. Our research helped us know our country & its diversity better. We looked deeper into the whole project and the fineness of our intangible cultural heritage.
After making a record of the types of colours, forms, patterns and the overall visual treasure that it produced. We designed the whole pallet for the project. We started with the form, then the logotype and then the rest of the communication.

The idea was to keep it all very simple and very organically and visually connected to the space and its emotion. From colour to form the balance of each creative is a reflection of the space we have represented.

We are fortunate to also help the brands with the launch of the project, for which several communication pieces were made and we consulted for the whole setup. It was our privilege to also create an Art installation for the same, the full view of the installation and the 9 helmets + 6 tanks that were painted can be seen here.

The project after launch has already gained. a lot of love, attention and most importantly knowledge for all.

Flow

Brand concept: The idea of the word “flow” is universal and ever-existing. The only constant that we understand is the change, and all the change that happens organically has a FLOW.
Flow’s visual language has to be very new yet not too aligned to any style, in particular, We want the Logotype to adapt all features we want in the brand personality We have to look different than anything the TG has seen in the post covid world The fear, that pushes the TG to go “only to known” places shall break The Branding needs to create that curiosity and “happiness” It just can’t look run of the mill The flow needs to look not just flowing, but also need to inspire “the idea of flow”

Logo concept: The idea is to make something that not just visually flows through, but also makes the overall adaptation really easy and fluid. One key aspect is that it is not just “running handwriting” it is a continuous and one single line. No need to mention, it is a 100% hand-lettered logotype. This idea is planned, keeping the overall promotion of the brand, and what will attract the TG to our space.
A quirky copy, or a brilliant artwork, might not generate the kind of curiosity this could. As we will simply be putting the brand name (with other smaller information), in various styles to generate curiosity, excitement and its own niche. Something not very unique.

Mascot Concept: When we started brainstorming about the mascot, the first question was “what explains the idea of flow naturally?” The first set of ideas are shapeless, not characters but forms that express the idea of flow. Like, as the flow of water, drapes, lines to show airflow, etc. These might be poetic in nature but we need something that the audience can connect to, easily. The second sets were forms and shapes that have names, but even they are not as memorable and easy for the audience to just see and know, and connect to. Like: A golden spiral or a Sign of infinity. Then we finally came to the very defined space for the mascot, maybe an animal, a bird, a flower, or an object. We Choose “Octopus” Why Octopus? Well, it is the most adaptable, intelligent, shapeshifter, there is a sense of mystery to it and yet most of us know about it. As a mascot it is unique and if can be presented in a unique quirky way, can look really likeable the best thing is It changes itself, with time & feel, just like FLOW

Artworks: Understanding the requirements of the space, in terms of visual aesthetics and interior design, we developed a line of artwork for two stretches of walls.
One leads the audience inside and the other stretch leads the audience towards the outer seating area. The idea was to create something that looks like art/painting but also communicates the brand in a modern way, which helped us come up with something edgy and new.

Beer Labels: For the first time in Delhi+NCR, Flow offers its consumers eight different types of curated flavours. These eight flavours were curated, in collaboration with The brewmaster with Flow team and our core team for a long period of 6 months to understand and estimate the likeness with the audience’s likes and dislikes, The supply of ingredients, brew time, and then of course the yeast, and finally, we came up with these 8 beers to offer.

Panchamrit

Panchamrit is an ayurvedic supplement company that seeks to bring the benefits of active ayurveda into everyday life.

The Brand came up with a clear motive for their branding and overall communication structure, for panchamrit, we wanted to go more than the idea of 5 (since the name is Pancha-Amrit) or symbolise with just a “nature representation”, like a leaf. We wanted to churn the idea of the product. which strongly speaks about the “science of nature” The core concept of Amrit. A shape or form that will collaborate with the idea of nature and how significantly it can be reinterred or reimagined.

After much brainstorming, we based our idea on the idea of CYMATICS. To combine nature and science and churn the Amrit.

With the understanding of the usage of the branding elements, we understood that the logotype holds a lot of importance. The hand-drawn logotype was designed keeping the overall concept in mind. Later we also developed the Hindi letter “p” which was done to make a bridge between the two major client types.

The brand planned to develop various lines of products. The idea is to make “the scientific knowledge of the natural world available easy to you” literally on your tabletop. In the form of ready-to-use delectables, like teas, herbal infusions, effervescent tablets, gummies and melting strips. The design language was developed keeping in mind this dynamic range and the kind of communication we wanted to put across.

Since the product is a D2C product with the market opening back after covid, also forced the brand to think in B2C and Retail. The moment it turns out to be an FMCG product the packaging was something very important to be seen from all sides and also how to translate the message in the retail environment and the safe to reflect through our website. The website design was a step-wise process with each factor being tested through the lens of retail experience as well as the D2C adaptability of the same.

With the Brand taking newer steps and working on structuring a bigger and more holistic product architecture, we are helping them make a design system to adapt all new verticals and products under each of them.

Stubbs

STUBBS is India’s first 5X filtered vodka by Craftsmith and it was supposed to be given the kind of positioning in the segment of vodka brands like none other, yet make it personable to the targeted customer segment.

To create a storyline of being explorative to bring in the vibe of vodka consumption, Stubbs Vodka was given a backstory of being blended with the highest quality aged spirits made from the pure grains from the foothills of the Himalayas thus making it one of the finest in the market. Crafted by the master distillers at Craftsmith, the unique taste, and character of our spirit makes Stubbs a celebration of impeccable craftsmanship, unique storytelling, and intense self passion.

Using the major selling point of Stubbs Vodka as it is the first brand to be three times distilled and goes through a 5x platinum filtration process making it the smoothest and finest premium vodka. The colossal flavor simplicity owes to the uncomplicated & simple union of aged grain spirit and purified Himalayan water thus making Stubbs the most extraordinary vodka of distinct taste and character.

In its entirety, Stubbs Vodka could be summarized as the austere neutrality of something as pure as a snowflake is what adds to the distinctive character of this 5X platinum filtered premium Vodka. With balanced notes of smoothness on the palate, unburdened by the alcoholic heat, it is a classic spirit for connoisseurs of drinks on the rock and cocktail lovers alike.

For a brand like STUBBS, mockup generation was crucial. We had to create a digital representation of what the product meant and stood for. We teamed up with @rohitbhong and his team for a combined effort to generate 3D art of the bottles, which were created with a vision to stand out from the rest of the products available in the market.

We also created their website to round off the brand experience as it was ideated for the customer to experience the brand and the product.

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Alofrut

Alo Frut is a well-known Indian brand that makes a variety of FMCG products. The brand defines itself with the usage of aloe vera in its products, which is their USP. They approached us for the packaging design of a new product line called Alo Frut Mocktails, a 0% alcohol beverage with four different exciting flavors. At first, the packaging design of the can was created in isolation. But as the project grew, we were offered to redesign the brand language for communication as well. As we worked upon the visual language of the can, we started figuring out the elements that will help us create a varied, exciting and an adaptable brand language. The design language for Alo Frut Mocktails was created keeping in mind the natural fruits and freshness aspect of the brand. We created a logotype for the product verticals as well. The challenge was to communicate and focus upon the versatility of the drink, which could be had as a refreshment during the day, or also as a beverage for social gatherings like parties at night. As a solution, we came up with an idea of the usage of a 2 colour system which represents the daytime and nighttime consumption of the drink. This language translated into their online as well as offline communication to promote the drinks.

Since the creation of the visual language for Mocktails perfectly fits their brand, they approached us to do the same for their famous Juices product line. A similar system was created, with the focus on the USP of Aloe Vera in the juices. This system has allowed us to create a seamless transition of the design language from the Mocktails to the Juices brand. While we worked on the project, Alo Frut roped in Shikhar Dhawan and Parineeta Chopra as the brand ambassadors for both the product ranges, for the entire 360-degree media experience which translated into online, offline and brand communication.

Indie 18

The Indie18 team did their initial market research about the product type, placement, ways of distribution, brand name, and the overall brand arch when Rahul Singh, one of the key promoters of the brand and also the owner of Beer Cafe, approached us to create a holistic branding for Indie18. What was missing was a Brand Story and an overall Brand Philosophy.

In the current times where the country is densely populated with craft beer. Rahul envisioned an industrial product, with the right ingredients and “consistency”. A proper brand with designer flavors, with the macro understanding of each Flavour’s own Target Group. This vision then helped us create the visuals and vocabulary for the brand, and 360-degree brand identity was created for Indie18. We started with the identity and extended the brand language to how the brand would like to represent itself in Rock shows or any such collaborations. The Client wanted a Modern-Classic approach to the branding, which has a youthful look and yet can appeal to a wide age range audience. The design is minimalist and modern.

After numerous brainstorming sessions, we finally came with the overall Brand Purpose & Philosophy: Indie18 is a celebration of You- Independent and Unaffiliated. At 18 you make your own indie – to relate, bond, and share. Release your bounds from what was given to you, and Redefine Your Spirit of 18, then and forever. 18 for Life!

The hexagonal shapes that are a part of the language, represent the ‘bond’ or ‘group’ which represents the communal bonding that takes place over a drink. Each type/flavor of the beer is represented by hexagonal icons, with hexagonal elements that are inspired by nature. The design for the label is created to best suit the limits of the dimension that has been provided by the factories. The branding is also present on the cap, which is biodegradable. We went through the process of the beer till it is served, which also made us think of the design of the Tap structure, and how the tap/draft will be served. We added a special ink, embossed brand tagline, “18 for life”(a unit was developed for the same) to the base of the beer mug. It’s a way to prick the specially made, industrial consistent smooth quality beer to emit bubbles while you consume it.

Indie18 is brewed using the iconic Columbus hops from Orbigo River Valley in Spain. It features a punchy hoppiness and deep, pensive aroma with undertoned citrusy notes. Indie18’s brewery is a member of associations such as ANFABRA (National Association of Refreshing Alcoholic Beverages Manufacturers) and APCV (Portuguese Association of Beer Manufacturers). Indie18 uses the purest water from the Iberian Peninsula.

UI

Ultra Internation Limited is one of the pioneers of the business of Flavours and Fragrances in India. It is one of the oldest brands across the globe to establish its success story, known across the fragrance and flavor world, where every chapter is marked by innovation. No wonder, that their innovative approach to meet customers and expectations has won them national as well as international business accolades.

It is nearly a 100 years old brand and it was a prestigious project for us to handle. Especially since we were changing the indeed & brand language of a brand well established.

Understanding the sentiments and alignment to their earlier ideas and the logotype, we came up with something that the decision-makers at UI really liked, then we went on to expand the visual language across all communication.

other than working with the graphical elements, colors, fonts for communication, we also stretched ourselves to draw a few illustrations expressing the love for the work they do for all the three major categories of Fragrances, flavors, and essential oils.s The illustrations were made using the ingredients of each section and to fit into the logo form, replacing the leaf with the artwork.

Royal Enfield_Playing Cards

The main aim was to create playing card decks for Royal Enfield. The concept revolved around the different dynasties and eras and the characters for each suite are further created.

Spades is inspired from Rajput period, Clubs from Maratha, Hearts from Mughal and Diamonds from British. Each character is researched upon extensively in terms of the accessories. It was imperative to keep the illustrated style cohesive and still have variations in terms of the eras.

Each illustration of the bullet is taken into consideration in regard to the dynasty, the style , the kind of machinery involved.

The design for the packaging was inspired from the vintage design of matchboxes from the 50’s. The packaging brings about a collaboration of all dynasties and how they come together as one unit

Each illustration of the bike is taken into consideration in regard to the dynasty, the style , the kind of machinery involved. When the first Royal Enfield motorcycle rolled out in 1901, it was the beginning of an endearing story that would turn into a legend by the turn of the century. Aptly christened – Made Like a Gun – the phrase epitomize the simple, resilient and dependable machines that have stood the test of time and terrain. It continues to be one of the key inspirations for everything that Royal Enfield builds.

Harvest Room

The Harvest Room is a premium vegan home- styled meal delivery service which caters to the authentic vegans in Delhi. The aim is to bring curated plant-based menus to our customer’s tables.

The Illustrations give softness and warmth to brand Language. The illustration along with the soothing and organic color palette has been used dynamically to form the design language. This infused with elegant layout and minimal approach makes the the Brand identity – Easy, Modern, Cozy and Welcoming.

The colors used in Illustration and other elements throughout the brand are also Indicative of naturally occurring process and gives the overall brand a homely feel to it. This further suggest the homegrown ingredients and other natural things associated with the brand. This makes the Brand image – Chic, Warm and Delightful.

The Illustrations are digitally hand drawn on Photoshop. The feel and the image of the brand has been taken into consideration so it’s better suited to fit the overall brand language.

Jawa

After a gap of decades, when Mahindra decided to get JAWA back, it was huge news both in and outside of the rider’s community. We were approached to work on the design & strategy of the launch that eventually grew to design a line of merchandise for the brand.

We started with t-shirts as the easier marketing tool, as of merchandise. The jackets and other functional gears were to be derived via a more factional & performance-based approach. The brief was to create a collection model of SS and AW, with several ‘lines’ within the collection such as The Legacy Line, Brand Stories Since 1929, Machinery (bike parts), Minimalism. We gave a special space to the 42, as it is the first indigenously designed Jawa bike in India. The collection design model also led us to add pullovers and sweatshirts in the AW collection.

We took the production part into consideration and developed a team to take care of the R&D for the material procurement, execution, production, dispatching to the retailers and warehousing. We had complete conviction in the idea that the material used for T-shirts has to be 100% cotton. There were 2 processes incorporated in the manufacturing of the fabric; one is simple plain flat colours, the other is a melange. We decided a palette that would work as constants & variables across collections every 6 months. We developed Jawa’s Melange palette that would work best with the Minimalism and The Brand Stories line. We also worked out the finished and stitching details for the season 2 collection. We are working on a more widespread SKU with the JAWA Team, that would hit the retail in the coming season.

Thank you!

Little Shelf

The idea of Little Shelf has its inception from the ‘little shelf’ that families have at their home for kids. Kids, when introduced to books, can develop a love for reading at a very early age. This implies growth in curiosity and that further leads to growth in the collection on that little shelf. To make sure your little one’s collection is delightful, ‘Little Shelf’ was created to show them the bright and colourful world that exists within the pages of a book and lose oneself for a while in a beautiful, imaginary and wonderful place before getting back to reality. There is always a lot to learn from books – words, language, thoughts, experiences. Through the curated box by ‘Little Shelf,’ all these can be shared with future generation in the hope of making the world an extension of a little shelf – a cheerful place that holds wonderful thoughts.

Little Shelf’s brand language is light, fun and playful. Using primary colours, along with some vibrant colour variations, we built a brand that looks playful and also evokes curiosity among the kids. It also appeals to parents as Little Shelf provide quality books that are not easy to find. Since ‘Little Shelf’ doesn’t support the use and throw attitude towards children’s books, the brand language helps to make the collection memorable and make both parents and kids to keep the books forever.

The boxes are divided into the following categories :

0-3years: board, cloth books, toys

3-5years: storybooks to be enjoyed with parents

5+years: Books kids can read on their own

Little shelf is serviceable as a subscription model which offer different options for the customer to choose from. The constant communication and feedback from the consumer help the brand understand the requirement for the child to give them a more personalised experience during the time period of the subscription. The contents of the kit are then curated using the understanding of the possible progression of cognitive skills and emotional understanding of the child.

The box contains things like books, puzzle games, sudoku, action figures, toys and so on.

Thank You!

Art of Motorcycling

A series of artwork & installation – An ongoing project to explore the expressions of most abstract human emotion alongside in the form of a machine which is literal and scientific. Encompassing both and relating it to a space or different kind of terrains to come up with various forms and expressions of art.

The intensity and intricacy with which each Royal Enfield Bullet is made are perfectly represented by a simmering journey through the vast valleys of the Himalayas. The bike stays true to its promise of stability even in the harshest terrain of the unforgiving mountains – ensuring that the beauty and serenity of your journey remain uninterrupted.

This artwork was an exploration – a test to see what can be achieved beyond just a basic exact representation of the bike. It was made entirely using a .005 Micron. Each and every detail is meticulously done using the method of stippling – from the tiny grass sections to the vast rocky mountains. The aim was to immerse the viewer into space where they could even begin to imagine themselves traversing the hilly streets of Shimla or staring at a waterfall nearby while feeling the cool mountain breeze on their face.

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Being one of the only motorcycle brands that have stuck to a similar appearance as what they launched initially, Royal Enfield almost makes one feel like they’re riding in the retro golden era of motorcycling. This, combined with the brand colours and general look and feel, inspired the steampunk style in this artwork.

KLAY

Klay is an upmarket interior and tiling company based in Gurgaon, India. We created a visual identity for the brand, which was then introduced into their showroom interiors, along with other print collaterals.

The idea behind the logo is simple – a reference to the common practice of stacking tiles. This concept was extremely well received by the client, as it has great potential to be translated into multiple mediums, and expressed through architecture, interior design, etc. The colour palette was made to keep a hint of a corporate brand, while the visual language of the lines breaks away from any ideas of rigidity.

The Klay showroom also displays a 12×8 foot tile print of an illustration of Ram, made by Prasun Mazumdar under the Sparrow banner. The piece adds a new dimension to the showroom, successfully hooking customers as it is the first thing they see as they walk through the door.