SEMESTER DOC 1_final

Study of a typeface
Using A3 size format, we had to Design a structure for a layout
and make a display piece
(a formal composition) that includes:
The character set of the Regular style
A short description about its design, designer, year of launch,
Class of the typeface. Main characteristics of letterforms.
Available variations within the typeface (font family)
Distinctive letterforms (selected characters) in larger size.

I choose to study the typeface Didot

Exercise 4a : Comparison of typefaces.
I choose to work on two typefaces which belong to the
geometric sans serif . I always thought they both the same
Until I did a detailed study on each of them and realized
How different they are and also where to use which.

G E O M E T R I Csans serif

type face comparison

Futura CentGuorthyic

is a typeface which was is a geometric sans serif font that
designed to be purely functional, was created for Mono type Imaging
in 1991.
with no ornamentation or
individual characteristic. A spacious, modern version of a
classic mid-century font, the
This followed the Bauhaus Century Gothic design embodies
design philosophy of Form the digital age with its sleek sans
serif style, but still retains the
follows Function. graceful geometric look common to
Paul Renner created the Futura early 20th-century typefaces.

typeface between It is supported by all major
1924 and 1926. browsers on the web and is
Paul Renner believed in the therefore considered a “safe” font
Bauhaus' design beliefs and to use for web design as it will
suggested that the modern translate well across multiple
typeface should express modern platforms
models rather than be a rival of
previous designs.
Futura was commercially
released in 1927 and was
commissioned by the Bauer type

foundry.

Contrary to popular thinking, the Futura Century A spacious, modern version of a
Futura typeface was neither conceived designed by Paul Renner between 1924 and 1926 Gothic classic mid-century font, the
at Germany's Bauhaus nor decreed as Century Gothic design
the quintessence of the design school's embodies the digital age with its
teaching.

Paul Renner, Futura's designer, had no designed by Sol Hess between 1937 and 1947.

sleek sans serif style, but still
retains the graceful geometric
look common to early 20th-
century typefaces. It is supported
by all major browsers on the
Bauhaus afliation, although his sharp Apex

original sketches embodied the f lat Apex

ideologies of the Bauhaus movement. stroke is uniform
throughout
His work was translated into fonts of
ABCDEFGHIJKLM ABCDEFGHIJKLM 90o terminals
metal type by The Bauer Type Foundry NOPQRSTUVWXYZ
NOPQRSTUVWXYZ
of Frankfurt, which made considerable abcdefghijklm
nopqrstuvwxyz abcdefghijklm
changes to his Futura. nopqrstuvwxyz
1234567890
The end result was a melding of !@#$%^&*()_+ 1234567890
`}{:”?><,./;’[]~ !@#$%^&*()_+
Renner's philosophy with proven `}{:”?><,./;’[]~
futura normal
typeface design precepts. futura normal italic

A Ajlookslikeanextendedi futura bold
the dots of the futura bold italic
i and j have
optically the
same weight as
ij Qthestems
qq Lpqlookslikeareversedp
%O%ORatioof Capital‘O’heightwithrespectto‘O’width century gothic normal round
century gothic normal italic dot
century gothic bold
century gothic bold italic

M Ratio comparisoMnRatio of Capital ‘M’ height with respect to ‘M’ width 74.81 points
79.50 points
M
M 84.19 points
81.94 points

Ratio of Capital ‘M’ height with respect to ‘M’ width

Typeface : Futura Typeface : Century Gothic
Size : 103.67 pt
M-height : 79.50 pt Size : 103.67 pt
M-width : 81.94 pt
Ratio : 1 : 0.97 M-height : 74.81 pt

M-width : 84.19 pt

Ratio : 1 : 0.88

O
O
77.34 points 78.17 points
79.21 points 78.17 points

Ratio of Capital ‘O’ height with respect to ‘O’ width

Typeface : Adobe Caslon Pro (regular) Typeface : Century Gothic
Size : 103.67 pt Size : 103.67 pt
O-height : 77.3 pt M-height : 78.17pt
O-width : 79.21 pt M-width : 78.17pt
Ratio : 1 : 0.97 Ratio : 1 : 0.99

%Tbcx TbcxRatioof x-heightwithrespecttoCapitalheight
bcdxRatio comparibson cdxRatioof x-heightwithrespecttoAscendersheight%Typeface comparison through paragra%ghRatio
79.03 points 46.35 points 55.50 points
76.50 points

Ratio of x-height with respect to Ascenders height

Typeface : Futura Typeface : Century Gothic

Size : 103.67 pt Size : 103.67 pt

x- height : 46.35 pt x- height : 55.50 pt

Ascender : 79.03 pt Ascender : 76.50 pt

Ratio : 1 : 0.58 Ratio : 1 : 7.25

72.71 points 46.09 points 54.71 points
74.21 points

Ratio of x-height with respect to Capital height

Typeface : Futura Typeface : Century Gothic

Size : 103.67 pt Size : 103.67 pt

x- height : 46.09 pt x- height : 54.71pt

Ascender : 72.71 pt Ascender : 74.21 pt

: 1 : 0.63 Ratio : 1 : 0.73

Typeface: Futura Typeface: Century Gothic

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Number of characters that fit: 139
Number of characters that fit: 136
Typeface : Futura
Size : 10 pt Typeface : Century Gothic
Line space : 11 pt Size : 10 pt
Line space : 11 pt

Redesign food packaging label.
We had to select any processed food ready to eat food
and redesign the packaging.
This assignment introduced us to the limitation
we have while designing and placing text on packages.
making sure each aspect from readability to , color and also
composition.

actual

The redesign

PIRIPIRI Ingredients: Iodized salt,
dehydrated
vegetable powder(tamarind,

is a famous garlic, onion),mixed spices and

African avour. herbs

The word piri (chilli, pepper, parsley,

means pepper oregano),sugar

in Swahili. DATE OF MANUFACTURE: PIRIPIRI Nutrition facts Typical Value
Originally it is BATCH NO : Energy per 100g
a very spicy MRP (INCLUSIVE OF TAXES): पर पर Protein
sauce made NET WEIGHT : Carbohydrates 238kcal
with distinct Sugers 7.0g
peppers. 49g
KEYA brings 26g

the Piri Piri, Fat 6.0g

made Store in a cool and dry place
especially for NO color or preservatives added

Indian kitchens. Best Before 12 months
So get ready to from manufacture
bring the Product of India
international Manufactured by :
avour to your Keya Foods International Pvt.Ltd ,
meals and Thuravoor 688532,
impress Alleppey Dist, Kerela
Customer Care: 022 40074747
PIRI PIRIeveryone. www.keyafoods.com
8906066202476 the new exciting flavour

SOUTH ASIA Asian Short & Documentary

THROUGH THE DAY1 Film Festival 2016
4th-8th October 2016
SOUTH ASIAN
EYE OPENING DAY2 DAY 3 alpavirama

CEREMONY FILM SCREENING

09:30 AM 10:30 AM

FILM SCREENING

10:30 AM

Vande Mataram Shaheedo Tum FILM SCREENING DAY4 DAY5
FVC (India) Kahan Ho FILM SCREENING
At the Film & Video Documentary 29:00 VFF (Pakistan) 10:00 AM MASTER CLASS
Communication department Documentary 27:25 10:00 AM Editing the
in the National The Stowaway Gaathi documentary
Institute of Design, FOA (HK) Nidhiche Ajoba CSA (India) Majhe Maher
Ahmedabad, India we have Fiction 15:00 FVC (India) Documentary 30:00 Pandhari 10:30 PM
been promoting short Fiction 10:25 CSA (India)
filmakingforover Hotate Shijimi Soup Naina Documentary 21:05 LUNCH BREAK
quarter of a century. FOA (Japan) My Leg CSA (India) 12:30 PM
Through these years our Documentary 06:00 CSA (Myanmar) Fiction 22:00 Saatvin Khwahish
students and faculty have Documentary 10:05 CSA (India) SEMINAR
created numerous short Pottu Channan Peer Documentary 27:00 Video on the edge
fictionanddocumentary CSA (India) Amma VFF ( Pakistan)
Fiction 06:00 FVC (India) Documentary 10:35 Goonj 3:00 PM
films,andtheartistic Fiction 12:50 FVC (India)
quality and social Tea Break 11:30 AM Bepurdah Documentary 18:05 SPONSORS
relevance of these ms FILM SCREENING Songs of the Synagogue FVC (India)
have been recognized the CSA (India) Documentary 20:10 Time Vampires Alpavirama 2016 Cash
world over. Our alumni 12:00 PM Documentary 14:00 CSA (India) Awards sponsored by the
occupy important creative Tea Break 11:30 AM Documentary 27:20
positions in the moving Life of Sailors Donated Life FILM SCREENING following NID Film &
image industry, in India VIFF (Pakistan) FVC (India) Tea Break 11:30 AM Video alumni /alumnae:
and abroad. Thus it’s Documentary 08:35 Fiction 11:55 12:00 PM FILM SCREENING
natural that we play an Udayraj PJ
active role in establishing a Maach Bhajaa Tea Break 11:30 AM Madarsa 12:00 PM Akhila Krishnan
credible exhibition CSA (India) CSA (India)
platform for short ms – Fiction 16:50 FILM SCREENING Documentary 27:50 Multani Khussa Manish Saini
especially those given life VFF (Pakistan) Satchith Paulose
by the under-30 youth, in The Manliest Man 12:30 PM An Unusual Summer Documentary 09:30
these disparate yet CSA (India) FOA (China) Sherna Dastur
uniquely alike lands of Asia. Fiction 23:00 Imaging Bombay Documentary 29:00 Kaisi Ho Laila Soumitra Bhattacharya
CSA (India) CSA (India)
SPEAKING / ARTISTS Lunch 01:00 PM Documentary 26:35 Lunch 01:00 PM Fiction 23:30 Shayar Gandhi
FILM SCREENING FILM SCREENING Aloke Shetty
Mithilesh Sarode Habitable Mountains Sankrail Superstars
Amardeep Yadav 02:30 PM FOA (Japan) 02:30 PM CSA (India) Mahan J Dutta
Manasi Agarwal Documentary 29:30 Documentary 14:00 Prahlad Gopakumar
Jyoti Narayan Where's the Head? A Political Life
Ashish Dubey FOA (HK) Lunch 01:00 PM CSA (Myanmar) Birds Shrinkhala Aren
Nikhil Joshi Fiction 24:20 Documentary 19:35 FOA (China) Amitesh Singhal
Abhinav Mishra FILM SCREENING Fiction 14:00
Vinay Hasija Nugli and the Tunes News From Jafna Bharat Parmar
Tushar Saigal of Yore 02:30 PM FSA (Sri Lanka) Lunch 01:00 PM Anoodha Kunnath
Mochu FVC (India) Documentary 26:20
Prateek Sethi Documentary 24:05 The Journey Within FILM SCREENING Hitesh Kewalya
FSA( Pakistan) Vaarsa Shraddha Sakhalkar
JURY Drawing the Tiger Documentary 77:55 CSA (India) 02:30 PM
FSA (Nepal) Fiction 14:40 Chinmayi Arakali
Sonal Dabral Documentary 98:05 Broken Chord The Impasse Arun Gupta
Parthiv Shah FVC (India) Gavhankur CSA (India)
Binod Paudel Tea Break 05:00 Fiction 20:20 CSA (India) Fiction 19:30 Junuka Deshpande
Bishwadeep Chatterjee FILM SCREENING Fiction 07:00 Aditi Banerjee
Shilpa Das Kong Rice Two Women and a
Karan Bali 06:00 PM FOA (HK) The Ferryman Camera Anupam Mishra
Documentary 14:15 FVC (India) VFF (Pakistan) Prachi Mokashi
Kamuki Documentary 14:55 Documentary 32:25 Anish Cherian
CSA (India) E-thil Annie Napolean
Fiction 24:00 CSA (India) My Son, Pankaj Kalyani Muhammed Rubais
Fiction 22:00 FVC (India) FVC (India) Shoumini Ghosh Roy
Sagar Manav Documentary 19:20 Fiction 12:00
FVC (India) Tea Break 05:00 PM Vineeta Misra
Documentary 21:00 FILM SCREENING The Barber Baghwa Anoop Sathyan
CSA (Myanmar) CSA (India) Aniruddha Sen
A Time to Say, A 06:00 PM Documentary 25:30 Fiction 29:45 Ujjwal Utkarsh
Time to Leave Prachee Bajania
FOA (HK) The Mountain Bird Quila Aparajit Panneerselvam
Documentary 30:00 LCP (China/SRFTI) CSA (India) CSA (India) Ananya Roy
Documentary 11:15 Documentary 23:40 Documentary 05:40 Divya Gopalan
Bilori Samridhi Dasot
FVC (India) Roots Tea Break 05:00 PM Edpa Kana
Fiction 20:50 LCP (China/SRFTI) FILM SCREENING CSA (India) Geetika Juyal
Documentary 11:40 Fiction 25:20 Ahona Datta Gupta
Limited passes available 06:00 PM
Contact: Long Hair Song Yathawat Ruth Lobo
079 2662 9500 LCP (China/SRFTI) That Girl CSA (India) Aeshna Roy
079 2662 9600 Documentary 12:45 FOA (HK) Fiction 22:00 Sarah Dacosta
Email: [email protected] Fiction 08:40 Partha Chakraborty
Kam Grand Choir Face It Averi Banerjee
LCP (China/SRFTI) Maal CSA (India)
Documentary 10:10 CSA (India) Fiction 22:00 Ahsam KR
Documentary 19:00 Aashini Shah
The Moon Fairy of Tea Break 05:00 PM Kadhai (Hari Prasad,
Yangshuo Sarus FILM SCREENING George Antoney, Farooq
LCP (China/SRFTI) CSA (India)
Documentary 10:15 Fiction 20:00 06:00 PM Mohamed)
Tajdar Ahmad Khan
Dept. of Film & Video Aina Anjaan Rastay
Communication CSA (Bangladesh) CSA (Pakistan) Aditya Ranade
National Institute of Design Fiction 19:00 Documentary 24:00 Basim Abu NP
Paldi, Ahmedabad 380 007.
India Angangaba Lei CLOSING
CSA (India) AWARD
Documentary 13:20 CEREMONY

Yahin Kahin Nahi
CSA (India)
Fiction 26:50

Sanctuary
FOA (Japan)
Fiction 10:45





Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Design Process module was for a period
of 2 weeks. It was anchored by Mr. Vijai Singh Katiyar
and was supported by Mr. Anupam Jain and Mr. Amar Gargesh.
The course comprised of lectures and assignments simultaneously.

The Design Process module was carried on for a period of two weeks
It was anchored by Mr. Vijai Singh Katiyar and was supported by two other
visiting faculties, Mr. Anupam Jain and Mr. Amar Gargesh
respectively. This course gave us an overview of the process of design.
design process and methods. The course was initially started with lectures
and assignments simultanously.
The entire M.Des batch was divided into 8 groups members
each and every group was given an assignment of taking a
product and studying it, tangibly and intangibly and follow it
with a presentation. The assignment continued further where we had to
come up with the problems and opportunities regarding the product and
come up with propositions and a design brief and present it.
A Safety pin is what we choose : we begun with
brainstorming with all the group members
We had used the Double Daimond approach to solve this.

during this assignment we learnt how to make design briefs
how to use the double diamond approach , how important it
is to brainstorm before any design and also learnt ideation techniques.

The second
assignment was keeping the same group together but now we were given
a space in the city to study, and figure out its problems and come up with
solutions and concepts under the three following grounds:
1. An easily implimentable solution
2. An innovative solution
3. A futuristic solution.

We took Maneckchowk as a to work on, to see what problems actually
people (customers) and the stall owners had. Afet a detailed discussion
we came up with a few major concerns.

CONCERN 1
The vendors spend
approximately an hour to set
up the stalls at Manek chowk.
They carry their stalls to the chowk from
the workshops which are 2 kms away.
It involves a lot of labour and it’s an
inconvenient process.
CONCERN 2
Use of disposable thermocol
food plates and bowls.
Earlier, metal food plates were being
used by food vendors. After a survey
by AMC, they’ve started using
disposable thermocol plates to ensure
hygiene for customers.
But it has lead to other environment
hazards in the process.

CONCERN 3
O cial parking space for
the consumers.

Manek chowk eateries observe a huge
crowd. Being a very small area, the
customers do not have any facilities for
parking their vehicles.

Currently, customers park in the nearby
lanes that result in road blocks.

CONCERN 4
No shelter for rainy season.

The eateries do not have any
infrastructure for rainy season.

The arrangements they currently provide
are highly inconvenient and non-reliable.

CONCERN 5
Congestion or over crowding.

Experience at Manek chowk eateries,
is not a pleasant one. Though it offers
a wide range of cuisines, the atmosphere
is very congested and noisy.

Limited access to the space, haphazard
arrangement of table and chairs, tra c
of two-wheelers and pedestrians add
to the congestion.

CHALLENGE

• To create a comfortable and enjoyable experience
for the customers eating at Manek chowk eateries.

• To give them an individual experience and not the
feeling of being a part of the crowd.

• To give better access of the space available.

INNOVATIVE SOLUTIONS
• Brainstorming for compact and viable solutions

in a given space to increase footfall.
• Taking into consideration the comfort of the user.
• Exploring different objects or products customer

interacts with and trying to improve the quality of
this interaction.
• Exploring sitting arrangement i.e. table-chair unit
for better experience.

FUTURISTIC SOLUTIONS
• Exploring space usage in changed contexts.
• Using modern techniques to simplify the system

maintaining the gist of the place.

Mr Amar Gargesh took a special session on
Lateral Thinking and Creative Thinking.

Lateral thinking is solving problems through an indirect and
creative approach. using reasoning that is not immediately
and involving ideas that may not be obtainable by using only
traditional step-by-step logic. Lateral thinking, is the ability 10
think creatively. Or 'Out Side the box' as it is sometimes referred
toin business, to use your inspiration and imagination to solve
problems by looking at them from unexpected perspectives.
Lateral thinking involves discarding the obvious. Leaving behind
traditional modes of thought and throwing away preconception.

Creative Thinking

One of the most useful of all thinking modes in creative problem
solving is visual thinking. It is especially effective in solving
problems where shapes, forms, or patterns are concerned. To
improve our powers of visualizatan concentrate on the
accompanying illustration creativity is the ability to bring
Something into existence that was not there before.
Creativity is the connecting and rearranging of knowledge in the
minds of people. who allow themselves to think flexible to generate
new. Often surprising ideas that other judges to be useful.



Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Image Making module was for a period
of 3 weeks. It was held by Dr. Tridha Gajjar
The course comprised of lectures and assignments simultaneously.

The Image Making module extended for 3 weeks. It was headed by
Mrs. Tridha Gajjar. The course comprised of a few lectures and
multiple assignments. We learned about Graphic Design and how is
used in communicating. We learned about sustainable Graphic
Design, we also learned about how the communication cycle works
where the sender sends an information and it is received by the
receiver and a response is returned back to the sender. We learned
about simplification and abstraction. We learned about Signs and
Image, the various ways of representing an Image.

The course had assignments dealing with letter integrations, to
simplifying an image or a photograph, creating posters to convey a
message. Pictograms defining an instruction or an alert.

ASSIGNMENT 1:
This Assignment was to take two letters preferably the initials of
your name and print those letters in different typefaces and sizes
according to ones need and requirement and then use different
letters of different typefaces and integrate the two chosen letters to
come up with a singular form which is balanced and is read as two
different letters together even in the composed form.

The chosen letters for the assignment were B and P.
Steps to create the final design:

• The letters were printed from different typefaces, which included
regular, bold and italic versions of them.

• After having printed them the letters were then traced onto a
tracing sheet and we tried to integrate them.

• We tried to work with the positive and negative spaces to compose
the forms.

• Readability of both the letters were considered while designing
the forms and also the typography hierarchy.

• After a chosen form was selected we further refined the form to
reach to the final output.

The ini al forms using the le ers B and P
the highlighted forms where chossen to be digitalized

Font : Geometric - Sans serifs are constructed of
straight monolinear lines and circular square
shapes this makes them very cold and clinical
but also quiet simple.

The le er B represen ng myself and P represen ng
my family- play a major role in my life.

Separa ng it and standing independently is quiet difficult.
This le er integra on some mes will give you a feel of
B in front of the P and vise-a-versa

THE FINAL FORM

Letter and Image

Integration

This assignment was to select one object
(man made or natural) which can represent
dominant characteristic in your personality.
We have to simplify this object with minimal
representation and integrate with initial
letter of your name.

I begun with brainstorming on which
object could re ect my personality

Taking into consideration my birth date -11 March
I fall under the zodiac sign Pisces which directly
makes one visualize the two shes.

However after a detailed research I came across
12 other such animals that could re ect the
characteristics a Piscen could have .

The Explorations As follows :



Letter and Image
Integration

The endless explorations got me down to
the seagull which could represent me .

THE SEAGULL

They y high above the sky with the ability to
see many miles away . Pisces should ride the
seagull to help them move away from living too
much in the fantasy world .

I took Images Photographed By Russell Munson
- Published in the book
Jonathan Livingstone Seagull a story .

THE FINAL

Image Simpli cation:

This assignment was to select one object which
can depict a particular message under that theme.
We had to Observe it from different angles with
play of light and shadow on the object.

Select a particular angle in speci c light condition
Simplify it understanding the basic structure
of the object The object I choose to Simplify
was a scissors.

An instrument used for cutting cloth, paper, and
other material, consisting of two blades laid one
on top of the other and fastened in the middle so
as to allow them to be opened and closed by a
thumb and nger inserted through rings on the
end of their handles.

Simplifying various posi ons to see which one would be best to highlight each detail

1
2

3
The Simplied Object

Poster with

Simpli ed object :

With the simpli ed object we had to work on a
particular theme.
I choose to relate the scissors to Gender Inequality.

Gender inequality refers to unequal treatment or perceptions
of individuals based on their gender. It arises from differences
in socially constructed gender roles.

The Scissors alone can’t cut with one side, each blade
is equally important. Similarly both women and men should
be equally valued.

G ERE N D
INEQUALITY

Gender inequality refers to unequal treatment or percep ons of individuals based on their gender.
It arises from differences in socially constructed gender roles.

Poster with
Simplified object :

Using the same element chosen,
another poster was to be created which using
the same theme however the way of communication
could change.

Coming together is a Beginning;
Keeping together is Progress;
Working together is Success.
- Henry Ford

Pictogram :

A pictogram, also called a pictogramme, pictograph, or
simply picto, and in computer usage an icon, is an
ideogram that conveys its meaning through its pictorial
resemblance to a physical object. Pictographs are often used
in writing and graphic systems in which the characters
are to a considerable extent pictorial in appearance.

Using the same object selected we had to simplify it and create
a Pictogram.

The Simpli cation

Pictogram :

NO

DANGEROUS GOODS ON AIRCRAFT

DECLARE IT



Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Production Process Module
was conducted over a period of one week.
Anchored by Dr. Tridha Gajjar and Mr. Bharat Suthar.
The course comprised of lectures and assignments simultaneously

The course proceeded gradually from the history of printing to the
conventional and non conventional methods of printing. We learnt about
offset printing, screen printing, gravure printing,etc.

We studied about pre and post processing. We were shown various examples
of the types of printing that happen. We studied about color, the way color is
printed. Then we moved to paper and the types of paper according to the
grain size and direction.

The course also included an industry visit to see commercial offset printing
taking place. We then learnt about the types of binding that exists and then we
bounded our own notebooks to understand it better. The assignments that we
did included making of a poster which was to printed via screen printing and
offset printing simultaneously.

Types of Printing

We studied printing under of two types, conventional and non-conventional
printing. Under conventional printing we have studied about screen printing,
linotype, letter press priniting, gravure printing, flexogrpahy and offset
printing.

Under non conventional methods we studied xeroxography,
electrophotography and collotype printing.

RGB CMYK

Color
Under color we studied the RG8 and CMVK color
model. We studied about spot colors and
hexachorome printing. We also learnt about color
separation and desktop publishing. We were also
taught colorbars and registration marks.

Binding

Under binding we learnt about the different kinds of
binding that is used like wire stitching, perfect
binding, spiral binding and side sewn binding.

Poster created with two print meathods single color offset and screen
printing. This made us experience both the print methods.

cmyk

100 0 0 00
0 100 0 0
0 0 100 100
00 00

We visited ‘Art O Print” a printing press, Based in Bavla, Ahmedabad.
during this course and observed the process of Printing, die cutting
and packaging. We also saw the process of letter press Printing and
the interesting procedure of its plate making.

The Press had 4 colors and 5 colour off-set machines. we also got a chance of
observing the way the machines work. I was interesting to see how
mass printing takes place , how each detail of color and accuracy is

taken care of. The varities of corrugated ,itsproduction and making diffrent
kinds of boxes from it formed an important part of learning from this visit.

We also got to see the different kinds of inks, materials and tools used
for these processes.





The journey has just begun...