“Samay ka prabhav” is a visual communication project by Abhishek Chandra (Batch 2016–2020, IDC, IIT Bombay). Positioned in the domain of visual storytelling, the project uses the medium of video (mp4) to explore the effect of time (“samay”) and its influence on people, contexts, or perceptions. Through moving imagery, the work investigates how time’s passage shapes identities, narratives, and transformations—seeking to give form to the invisible, subtle, and shifting forces that time exerts on life and memory.

Over the decades as society evolved, certain family systems stayed the same throughout. In India, considered a third-world nation, this is more true than the western parts of the world. Most parts of India have been following a men-forward system. The men being the breadwinners of the house and their wives the homemakers and carers of their children is a structure seen in almost every married household. Even though Indian society is complex and diverse across states and communities, certain gender biases and stereotypes have been found in every state. Gender segregation starts in the school, where boys and girls are differently taught and asked to take up particular subjects. “More than a third of Indian women (both urban and rural) primarily engaged in housework report wanting to work for pay if a job were available.” The burden of leaving their private sphere to reinforce the monetary needs has always been bestowed upon the men, leading to their absence in fatherly life. The gender stereotype that women should be the primary carers is carved into the fundamental structure of people’s everyday lives. makes the fathers mainly the discipline givers. and this bias is carved into the fundamental structure of people’s everyday lives.

Malayalam cinema has undergone what is now known as a new wave after 2010. The end of the 20th century Malayalam film industry witnessed majorly non-adultery content, like coming-of-age romance (Niram-1999), unemployment (Nadodikkattu-1987, Ramji Rao Speaking-1989), political satire (Sandesham-1991, Varavelpu-1989), etc., keeping in mind the large family audience. In the following decade (2000–2010), the popularity of the films depended heavily on the star value of the cast. In the years that followed, numerous films were stripped of their cinematic glamour. Traffic (2011), directed by Rajesh Pillai, is one of the initial movies that marked the beginning of the New Wave in Malayalam cinema. The non linear narrative of a real-life incident that happened in Chennai was critically acclaimed and celebrated. A lot of new directors came forward with fresh perspectives and styles of filmmaking. In this paper, I attempted to understand the visual storytelling in the light of mise en scène, reading one movie each from the different genres and styles I could identify in the said period. Why mise en scene? There are multiple techniques to analyse movies. As an illustrator, I am more interested in understanding how the setting, colours, lighting, composition, style of costumes, frames, camera angles, and POVs could contribute to the visual story telling. The objective is to employ the observations of the study in my future projects and thereby become a more informed illustrator and storyteller.

This visual communication project by Aarcha Suresh (Batch 2016–2020, IDC, IIT Bombay) explores the subtle, often unspoken, beliefs surrounding parenting through a comic-based narrative medium. The project utilizes personal memories, cultural stories, and metaphorical parallels to illustrate the gradual internalization of parenting ideas. The ideation process involves selecting narratives from old journals and sketchbooks, finding linking metaphors, and experimenting with paper folds and spatial storytelling as part of the narrative itself.

In a country like India where family values and cultural beliefs are held high, at a time when questioning the years old traditions in any way brings out violent riots, I find it important to talk about certain toxic, unhealthy traits of parenting that are widely normalised. I can only assume the immense challenges and difficulties that accompany the excitement of birthing and nurturing a human being. Especially when the world around is so rapidly changing, keeping up with the unfamiliar environment to bridge the gap between having grown up as a human being and having to cater to the growth of another human being must be extremely daring. Indian mythology has taught us to consider parents to be godlike. But in the whole act of trying to teach values of respect towards our nurturers, the very fact that they are also fellow humans who are entitled to make mistakes and learn from them as they pave their way through parenting is often forgotten to emphasise. Painting unrealistic, godly pictures of an ideal parent who cannot and does not go wrong is equally unhealthy and stressful.

The output of this P2 project is a book describing and explaining what cityside bird photography is like and how one could get started in the same. Bird photography is an activity subsection of wild life photography where one clicks photographs of birds. However, unlike wildlife photography, bird photography can be engaged in in the cities relatively more comfortably. The city in question is Kolkata, my hometown.

The town of Palani, best known for Murugan temples (Karthikeya), also hosts a lot of artists who are very good at sculpting stone, making temples, flower crafts, and other small pooja goods makers. When the sculptors make the marvellous stone sculptures, there exists another group of marvellous artists without whom the endless circuits of temples in and around Palani are incomplete. Stapathis are artisans who design, plan and build, carve, and paint temples. The craft was practiced in Chennai initially. As the devasthanam in Palani wanted to renovate the Karthikeya temple. They had invited Chellakannu Stapathi from Chennai to lead the renovation. After his lead, his nephew Ganapati sthapati came to lead the works in Palani. Ram was initially a potter from Vedikarampatti in Tiruchirapalli and settled in Palani. He learned of this craft from Ganapati sthapati, and he also wanted to become a master sthapathi. Following that, he joined for practice and got a degree from the government college of architecture and sculpture in Mahabalipuram. actor Ganapathi Stapathi Ram has been leading the temple work in and around Palani. After his initial times, he has worked in numerous places across Tamil Nadu and even in Kolar Gold Field. He himself trained multiple stapathies. Now Ram sthapathi is around ninety-eight years old, and his son Shiva has followed his lead and has become a sthapathi himself and leads in making temples.

The objective of the research is to understand the major changes that have occurred during the 20th century to the Indian contemporary society and understand the roots of all sorts of disorder, and based on the findings, figure out what is the current state of the society today and if there is a way in which the society can be improved. Agriculture in India is still the primary source of livelihood in India today. The percentage of the workforce in the agriculture sector, which includes forestry and fishing, is about 43.21%. The Indian food and grocery market is the 6th largest in the world, with retail contributing 70% of the sales. The second largest source of livelihood in India is the service sector. The percentage of the workforce in the service sector is 31.9%. This service sector is the key to the economic growth of India. The manufacturing sector is the third source of livelihood in India. The percentage of the workforce in the manufacturing industry is 24.89%. India is expected to become the fifth largest manufacturing country in the world by the end of 2020.

An attempt to understand how more regional and basic problems like availability of drinking water, sustainable farming practices, and other similar kinds of problems can be solved where resources and involvement of large institutions are not available and what role design can play in that kind of situation.

Sanitation workers provide an essential public service around the world. But did you know the hazardous conditions threaten the lives of sanitation workers in low- or middle-income countries? In India, one sanitation worker dies every 5 days. Without them, we would neither be able to live peacefully nor healthy. But we barely even notice them. Are we not used to closing our mouth and nose when we cross a sewer? Then, how are we comfortable letting men work barefoot in there? Is that not turning a blind eye towards our fellow citizens? Globally, 673 million people openly defecate, while a further 881 million have toilets that do not “hygienically separate human waste from contact with people.” 2 Known as “frogmen,” “sweepers,” or “scavengers,” sanitation workers provide an essential public service by emptying septic tanks, unblocking sewers, and cleaning toilets. Ragpickers might not always enter the sewer and unclog drains, but they face a whole other range of issues. Be it picking up a human’s faeces, a dog’s, an orphaned human dead body, or a cat’s, they are responsible for cleaning them up to provide a clean city for us. While they do that every day, they do not have an identity of their own. They are not being provided ID cards, nor do they have a contract signed to claim any benefits. They are being labelled as a Dalit sanitation worker or someone who cleans the toilet. These identities stay with them all through their lives. And this is why they cannot escape this life; once you get in, there’s no way anyone can get out. Being labelled for life also has many consequences apart from the eminent danger of death. Even if you get out seeking another job to run their family, not many people are considerate enough to give jobs to people who once cleaned our streets and common toilets in our cities.