diploma project

KILA RAIPUR FESTIVAL

Brand Identity Design
Sponsor : theIdeaWorks, New Delhi

student : MRIDU mEHTA

programme : Graduate diploma programme

guide : ANIL SINHA

2009
COMMUNICATION design faculty ( GRAPHIC design)

National Institute of Design

Ahmedabad
 The Evaluation Jury recommends MRIDU MEHTA for the

Diploma of the National Institute of Design

IN COMMUNICATION DESIGN (GRAPHIC DESIGN)
herewith, for the project titled "BRAND IDENTITY DESIGN FOR KILA RAIPUR FESTIVAL"
on fulfilling the further requirements by *

Chairman

Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)
 A Proposal
This project was conceived at theIdeaWorks and will be proposed to the
Grewal Sports Association as a Visual Identity system for the Kila Raipur
Festival in February 2010.

Research and Information Collection 81

 Acknowledgements

I am indebted to theIdeaWorks for giving me the opportunity to do this project.

I am grateful to Sudhir for constantly guiding and pushing me, as also for patiently
allowing me to fumble through the project.

I thank my guide, Anil Sinha for his guidance and help.

NID for laying the foundations to my professional life and for the ineffable four
year roller-coaster ride.

Shyam for helping me understand the event from his experiences at the event.

SM Shah, Chakradhar, and Andy for their encouragement and feedback.

Neelakash, Priyankar, Tripathi and Akhila for their inputs, suggestions and
feedback.

Prashant for all the discussions, exchange and criticism.

My family, for their constant support.

All my friends and graphic design batchmates for all the learning and fun through
the years.
contents
08  The Project Brief
09  The Client
09  About theIdeaWorks
10  Why this Project

Research and Information Collection

12  Brand Identity Design
16  Place Branding
17  Case Study, Sydney Olympics 2000
19  Benefits to Kila Raipur
20  About Kila Raipur Sports Festival
25  About Grewal Sports Association
26   Brainstorming

Brand Kila Raipur

32  Brand Kila Raipur Festival
33  Brand Touchpoints
34  Mascot Design
36  Case Study, Mascot Design for the London 2012 Olympics

Identity Elements
40  Logo and Logotype Explorations
48  Final Logo
50  Final Logotype
56  Exploration Process Timeline
58  Logo and Logotype Matrix
59  Final Identity
60  Colour Moodboard
62  Final Colour Palette
64  Final Identity in Colour
66  Identity Typeface
68  Photography Styles for Reportage and Promotions
72  Identity Collaterals
73   Tone of Voice for Written Materials

74  In Retrospect
76  Brand Glossary
77  Bibliography
The Project Brief

Background
In 1933, philanthropist Inder Singh Grewal visualized an annual recreational meet
where farmers from areas surrounding Kila Raipur could get together and test
their corporal endurance. The idea gave birth to Kila Raipur Sports Festival, the
undisputed “Rural Olympics”.

In over six decades, the festival has grown from a toddler to a prancing, energetic
and youthful organization. This pioneer rural sports festival has become an annual
international event, which is normally held in the first weekend of February.

Today this festival of rustics attracts more than 4,000 sportsmen and women,
both of recognized and traditional sports. The three-day festival is witnessed by
more than a million people. Besides, several million others watch it on television,
read about it in newspapers and magazines. No other rural sports meet can even
come near the Kila Raipur Sports Festival, either in organization or in size.
It remains the biggest and the most prestigious one of its type.

The Project
To develop a brand identity for this event so that it can be marketed in an effective
manner.
The Identity will entail developing the following:

The Basic Identity Elements:

• Event Logo/Logotype
• Event Colour
• Event Typeface
• Event Graphic Elements
• Tone of Voice for Written Materials
• Photography style for Reportage and Promotions

Application of Collaterals
• Basic Stationery for the Event Organizers
• Event Literature: leaflet, brochure
• Print Advertising Template
• Event Schedule
• Website Templates

Raw materials in hand for the project:

• High-resolution library of images
• HD video footage

Target Audience
Foreigners. To entice them to come and witness this unique event.
Local Punjabis. To elevate the event to a professionally run event to instill a sense
of pride amongst them.
Others in India. To inform and bring this event to their notice as THE event that
happens in their country.

8 Research and Information Collection

 The client
This project has been conceived at theIdeaWorks, a communication design firm
based in New Delhi. The Brand Identity will be pitched by the agency to the
Grewal Sports Association and/or Punjab Tourism for promotion of the Event.
The Grewal Sports Association is a body comprising of locals who organize the
Kila Raipur Sports Festival annually. They have been discussed in detail in the
pages ahead.



About
theIdeaWorks
theIdeaWorks was co-founded as a communication design firm based out of New
Delhi in 2006 by Amit Shahi, alumnus of Delhi School of Economics along with
Sudhir John Horo, alumnus of National Institute of Design.

The firm’s communication design focuses on these broad areas:

Countries, Regions, Cities and Governments
Business and Markets
People and Communities

theIdeaWorks has played an active role in the development of the Business Brand
of India as the Fastest Growing Free Market Democracy with its noteworthy
campaigns in Davos against the backdrop of the Annual Meeting of the World
Economic Forum and other important events in Hanover, London, Cannes and
Singapore. theIdeaWorks has also been working with Incredible India, the tourism
brand of India and has developed communication for various global markets
including the Incredible India@60 campaign, at New York in 2007 against the
backdrop of the UN General Assembly.

theIdeaWorks also works with the governments of other countries to

position themselves in India. One such notable project is the development
of communication for the Public Diplomacy Initiative in India for the British
High Commission in India. It is currently engaged in a similar exercise for
CulturesFrance and the Embassy of France in India.

More information can be accessed from the web site -

www.theideaworks.in

Research and Information Collection 9

Why this project

“I hope to be continuously
involved in projects which
have a positive social,
developmental and/or
cultural impact on people.”
10
My choice for my Diploma Project was regulated by two criteria. Firstly it had
to reflect my ideological bent, and secondly the Diploma Project was the last
opportunity in my academic life to learn all that I felt I lacked or had missed out in
my education as a student of Graphic Design. When I was offered this project, it
fell into place perfectly with my criteria. Time spent at NID has shaped my beliefs
in the type of projects I wish to pursue professionally. I hope to be continuously
involved in projects which have a positive Social, Developmental and/or Cultural
impact on people. This Project had Cultural and Social relevance as it helped
promote and preserve local lifestyle, culture and tradition. I later found out that
it could have developmental impact in the form of an economic impetus to the
local economy and infrastructure (this will be discussed in the section on Place
branding in the following pages). 

I had consciously chosen to avoid Branding and Identity Design Projects at the
Classroom level as they tend to dominate the professional life of a Graphic
Designer. I felt that I could maximize my learning by exploring other less-trodden
areas. But as I began my first steps out into the industry, I thought it wise to try
my hands at a Branding and Identity project.
Another attraction to this project was the fact that it allowed me to explore a
culture to which my forefathers belong, but one that I haven’t grown up in. Being
a Punjabi with limited exposure to my roots, this seemed like an interesting way
of exploring my culture of origin. A personal distaste for a culture perceived as
loud and aggressive had also prevented me from developing an interest in it. This
was a chance to change my notions that had been defined by the popular culture
definition of Punjab.
RESEARCH AND INFORMATION
COLLECTION
Brand identity
design

What is a brand?
Brand is the promise, the big idea and the expectations that reside in the
customers’ minds about a product, a service or a company. Branding is about
making an emotional connection. People fall in love with brands - they trust them,
develop strong loyalties, buy them and believe in their superiority.

Why have brands become so important?

“A good logo, provides the
pleasure of recognition and
the promise of meaning.”
- Paul Rand
As products and services become indistinguishable, as competition creates
infinite choices, differentiation is imperative. In the world of identity design, very
few designs mean anything when they’re brand new. A good logo, according to
Paul Rand, provides the “pleasure of recognition and the promise of meaning.”
The promise, of course, is only fulfilled over time. “It is only by association with
a product, a service, a business, or a corporation that a logo takes on any real
meaning,” Rand wrote in 1991. “It derives its meaning and usefulness from the
quality of that which it symbolizes.”

What is Brand identity?

While brands speak to the mind and heart, brand identity is tangible and appeals
to the senses. It is the visual and verbal expression of a brand. It is the shortest,
fastest, most ubiquitous form of communication available. It applies to business
cards, websites, advertising campaigns and signage. Brand identity increases
awareness and builds the brand. It is an asset that is a constant reminder of the
meaning of a brand.

Why does it work?

Building awareness and recognition of a brand is facilitated by a visual identity
that is easy to remember and immediately recognizable. Visual identity triggers
perception and unlocks association of the brand. Vision, more that any other
sense informs a person about the world. Identity designers need to manage
perception thought the integration of meaning and distinctive visual form.

12 Research and Information Collection

Logotype
A logotype is a word(s) in a determined font which may be standard, modified or
entirely redrawn. Legibility at various scales and in a range of media is imperative.
The best logotypes are the result of careful typographic exploration. One needs
to consider the attributes of each letterform as well as the relationship between
letterforms.

The sequence of cognition

Understanding the sequence of visual perception and cognition provides insight
to the designer into what will work best.
The brain acknowledges and remembers “A logo is the point of
shapes first. Visual images can be remembered and recognized directly, while
entry to the brand.”
words have to be decoded into meaning. Reading is not necessary to be able to
identify shapes, but identifying shapes is necessary to be able to read. Since a - Milton Glaser.
distinctive shape makes a faster imprint on memory, the importance of designing a
distinctive shape is imperative in identity design.

Colour is the second in sequence. Colour can trigger an emotion, express

personality and evoke a brand association. Distinctive colours need to be chosen
carefully, not only to build brand awareness but also to express differentiation.
Choosing a colour needs a core understanding of colour theory, a clear vision
of how the brand needs to be perceived and differentiated, and an ability to
master consistency and meaning over a broad range of mediums. It can be used
to build brand meaning and expand connotation. It also needs to have a positive
connotation in the cultures it will be applied into.

Content / words are third in the sequence behind shape and colour as the brain
takes more time to process language.

Research and Information Collection 13

 Strategic brand identity works across diverse audiences and cultures to build an
awareness and understanding of a product/service and its strengths. By making
intelligence visible, effective identity seeks to clearly communicate the product/
service’s unique value proposition. The coherence of communication across
various media repetitively and directly connects the target groups to the brand.

Brand Building
According to Kevin Keller (author of Strategic Brand Management ) what
distinguishes a brand from its unbranded counterparts is the consumers’
perception and feelings about the product’s attributes and how they perform.
Ultimately a brand resides in the minds of the consumers. Scott Davis (author
of Brand Asset Management: Driving Profitable Growth Through Your Brands)
suggests visualizing a brand pyramid in constructing the brand. At the lowest level
are the brand’s attributes, at the next level are the brand’s benefits, and at the top
are the brand’s beliefs and values.

An Example
The marketeer of Dove soap can talk about its attributes of one-quarter cleansing
cream, or its benefit of softer skin, or its value of making the consumer more
attractive. The attribute is the least desirable level. First the buyer is more
interested in its benefits. Second, competitors can easily copy attributes. Thirdly,
the current attributes may become less desirable.

A brand can be better positioned by associating its name with a desirable benefit.
If the brand evokes a strong set of beliefs and values, it should be careful not to
stray away from these core values. A brand is a promise to deliver a specific set
of features, benefits and services consistently to the buyers. It is necessary to
establish a vision for what the brand must be and do.

14 Research and Information Collection

Event Branding
The Kila Raipur Sports Festival is a unique experience for both outsiders and
locals. Word-of mouth has been the traditional medium for the publicity of this
festival. In the purview of Event Branding, this type of publicity provides the
advantage of higher brand recall value for the event and the place as it lingers on
for a long time after the event.

The Kila Raipur Festival has the advantage of involving all the senses into an
interactive and memorable experience. Its raw and inclusive nature adds to the
appeal. Being an event organized by the community, for the community, the main
challenge for branding Kila Raipur lies in pulling outsiders to the event once they
know of its existence.

The advantage of a live event is that it provides a massive collection of feedback

instantly at the event to judge the influence of the brand from the audience
turnout and reactions.

Event branding has the benefit of no-extra cost publicity before and after
the event through reports in Newspapers, Television and the Internet. The
disadvantages of this can be a negative report if the brand does not deliver an
honest representation of the event or if it is surrounded by controversies. These
media can therefore backfire.

Research and Information Collection 15

Place Branding

The implementation of a
place branding strategy
has impact and relevance
locally and globally. It
can be used by developing
countries to contribute
to sustainable local
development by harnessing
the potential of their
diverse cultures.
16 Research and Information Collection
Wikipedia defines Place branding (also known as destination branding, place
marketing or place promotion) as a relatively new umbrella term encompassing
nation branding, region branding and city branding. The term “place branding”
could refer to a city, country or a tourist destination, and to their competition for
tourists, visitors, investors, residents and other resources. Place branding is based
on a strategic approach to public relations, stating that a change of image is an
ongoing, holistic, interactive and wide-scale process, requiring much more than
a logo or slogan. Rather than being advertising-based, this brand effort focuses
on delivering an exceptional experience that was memorable and emotional. It is
based on a long-term vision which leverages the features of that place to provide
a relevant and compelling promise to a target audience. The brand development
requires a commitment to a community-wide strategy on what distinguishes that
particular community from others, as well as an effort from the community itself
to effectively communicate and create that unique destination experience for the
visitor/customer. 


What is the function of a Place brand model?
• It can leverage the features of a place to influence a positive perception.
• Helps shed unfavourable stereotypes associated with the place among both
locals and outsiders.
• Enhance its local and/or global recognition, position and recall.
• Stimulates economic growth by attracting businesses, investors and tourists.
• It will also create a common vision for the future of the community and its
potential by providing a consistent representation of the place.
Place Branding in today’s context

The implementation of a place branding strategy has impact and relevance not
only locally but also globally. It can be used by developing countries to contribute
to sustainable local development by harnessing the potential of their diverse
cultures.
Thanks to globalization and the proliferation of the internet, cultures are
getting homogenized the world over. It has saturated audiences and consumers
who are constantly looking for something new or different. This has lead to an
increase in the value of local cultures. Place brand efforts will therefore help
preserve, promote and sustain local cultures and diversity.
While this project traditionally falls under the category of event branding, it would
be better addressed through the concept of Place Branding as its purview is wider.
All concerns related to the Kila Raipur Sports Festival will now be addressed
through the definitions of a place brand model. All the brand efforts will be
understood in context of both the event and the resulting benefits to the village
of Kila Raipur. 
 Case Study
Sydney Olympics 2000
Objectives of the Olympic Games 

Source: Business and Economic Benefits of the Sydney 2000 Olympic Games
– A collation of evidence April 2002 by PriceWaterHouseCoopers


Benefits delivered to Sydney and to Australia

• $600million in new business investment
• $ 288 million in new business under the Australian Technology Showcase

• Almost $2 billion in post-games sports infrastructure and service contracts

• Injection of over $6 billion in infrastructure developments
• Over $6billion in inbound tourism spending during 2001 (the year after the
Olympics)

• Greatly enhanced business profile for Australia
• Greater expertise and confidence in tendering on large-scale projects
• New and improved business programs including strong collaboration
with the private sector

The Australian government played a pivotal role in delivering many of these

Olympics related benefits. Beyond its games specific agenda, the government
committed to an unprecedented program of business development and
investment attraction to leverage the games and their global audience. The
Australian government delivered the games with a high level of public/private
sector cooperation with a highly effective network of State, Commonwealth and
Corporate entities. 


Business and economic benefits


• Networking event

• Media, broadcasting - Image building

• Post-games business strategies



Facility Development And Supporting Infrastructure

• Major transport and construction projects which enhanced Sydney and
Australia as a business location and added to the general quality of life of the
city inhabitants and also provided employment


• Development of sports infrastructure for the games – is beneficial after the
games too
• Communication infrastructure



Tourism And Retail

• Improvement in international perception, customer service, reliability etc.

• International publicity

• Substantial visitor numbers before, during and after the Olympics

• Tourist expenditure 



Research and Information Collection 17

 Olympic Activity

• Sponsorship revenues

• Ticket sales

• Sale of broadcasting rights

• Up-skilling the equipment, training and know-how


• Put country on the map -
Spotlight on city/state/region
or political system

• Attract investment,
boost tourism,
create jobs for
local suppliers
• Investments in urban renewal projects - housing, commercial, roads and other
infrastructure.

Games can be funded by the state, by private industry or both.
The challenge

after the games exists in continuing to capitalize on the opportunity created by
the games by pursuing business leads, maintaining an international profile, using
trade mission and official visits to build on the confidence and competitiveness
gained during the games.
The expertise and know how developed was offered and
used at the Beijing Olympics too, which added to business opportunities at Sydney
for creating infrastructure.
The games were a unique opportunity for building skills
and capabilities in Australian businesses and for showcasing their talent, skill and
creativity to the rest of the world.

18 Research and Information Collection

 Benefits to Kila Raipur

What can Branding do for Kila Raipur

Branding will give the event an identity, a face which will be used by all
stakeholders and target groups to recognize and connect with the event.
If projected properly it can add value to the event in the following ways.


Business And Economic Benefits


• The event will create income through tourism for both Kila Raipur and Punjab.
• Attract investment and businesses thereby contributing to the local economy.
This will serve as a good example of local features being leveraged to decrease
the urban-rural divide that India is currently plagued by.
• The event can expect increased sponsorship also. This is a good opportunity
for sponsors targeting the rural markets to increase their visibility.

Facility Development And Supporting Infrastructure

Create opportunity for further development of local infrastructure in the form of
transportation systems, communication infrastructure and construction projects
such as sports facilities and recreational areas. This adds to the general quality of
life of the local inhabitants and provides employment. Case in point is the build
up to the Commonwealth Games to be held in New Delhi 2010. New Delhi has
undergone a massive overhaul in its infrastructure to facilitate the games as also
to project a positive image of New Delhi and India.

Development of sports infrastructure is beneficial after the games too. Rural

sporting academies which have been set-up across Punjab to hone talent can
benefit from this infrastructure.

Intangible Benefits
• Giving an identity to the event and hence create a sense of pride in the
participants.

• Create an opportunity for locals and participants to showcase their culture to
the rest of the world.

• This event is an iconic festival for rural festivals and can set an example for
other events across the country. This will become a necessary way of helping
sustain the diversity in India.

• Facilitate hidden sporting talent and create a platform for them to showcase
their sporting abilities to the world and in turn open doors to national and
international sport competitions.

Research and Information Collection 19

About Kila Raipur
Sports Festival

Below is an article I was provided at thIdeaWorks by Shyam Vasudevan who

visited the games in 2008. It summarizes the madness and the spirit of this unique
event.

4000 participants. Over 500,000 spectators. 4 days. Man, beast and farm
equipment. The chivalry of dare devil sports. Cut throat competition. World
record weight lifting and endurance tests that would shy the Guinness records.
Tractors, mule carts, bullock carts, dogs; man and his beasts race through a
grassy 400 metre patch stuffed between two stands in the middle of the lush
green fields in rural Punjab for a prize money of US$ 2!

Men and women from villages far and near converge here not for the prize
money. Nobody endorses brands. No television beams their images across the
world. It’s the sheer burst of adrenalin for the zest of life. It’s the joie de vivre.
This is Kila Raipur, seventeen kilometers away from Ludhiana in Punjab. Here at
the annual festival, you meet Olympians of yesteryears. Competitors varying in
age from nine to ninety five converge here to test their skills and compare their
drives. Its not an Olympics. Its not commercial at the least. They do not build
large stadiums to display their love for sports. Yet as soon as the harvest is
complete, small clearings in the farms turn into football and hockey academies.
They charge no fee. For these people, sport is in their genes. No other civilization
can boast such love for sports. It’s passed on from generation to generation.

In 1933, the village Kila Raipur sent its hockey team to Jalandhar for a
tournament and they won the gold cup. It was not unusual in Punjab for the
village teams to win. Yet, this humble trophy ignited the passion of a few men
– the Grewals to establish a rural game in their own village. No telephones, no
faxes, no news papers had reached this remote village yet. Depending on word
of mouth publicity, the first game was organized in the same year. Many people
came to see and participate. A village kitchen was erected to serve the meals.
From then on, there was no looking back. New events were added every year
and in 1940, a 440 yard track was laid and in 1944 began the cart race – the
world’s only existing one.

In 1950 came another revolutionary move. Braving criticisms from all quarters,
the Grewals introduced outdoor games for women. They were trained in all the
sports that men could participate in, and had their own competitions. Today,
the village is known for its ‘Rural Olympics’ and villagers take care to see that

20 Research and Information Collection

their weddings and festivities don’t come in the way of this festival. But not all
these are competitive. About one half of the event is a mere show of strength.
The Nihangs (Guru ki Fauj) are the cynosure of all eyes as they display their
superhuman feats in tent pegging, horse riding and martial arts. Maghar Singh,
the most senior Nihang, displays his unique ability to ride two horses at a time
with one leg on each. The crowd cheers as he flies through the stadium at
amazing speeds. Soon others fall in line by bending two, twenty millimeter thick
iron rods between their tummies; an enthusiast body builder balances a bicycle
stuck atop a pole on his jaws; body builders lie flat on the ground while loaded
tractors pass over them; some lift heavy farm equipment with their teeth, pull
heavy tractors and cars with their hair and ears; and eighty year-old men lift
over eighty kilograms in weight lifting… one must see it to believe it.

Yet it’s sports of a different kind. There are no Nike shoes, no Adidas wrist bands,
no high-precision clocks to measure success and no million dollar awards to
mark achievements. Villagers pool in money and grain to cover their expenses.
Chance sponsors trickle in small booties. And passion takes care of the rest.

Research and Information Collection 21

 This pioneer rural sports festival has become an annual international event, which
is normally held in the first weekend of February. This time is perfect for the
villagers, as they have finished sowing their crops for the winter months leaving
the crop to grow. Free from the requirements of their fields, they engage in the
revelry of the sports festival. The festival attracts participants and audiences
from about 50 villages surrounding Kila Raipur. Its participants come from all
over the globe. NRIs actively participate in this event by competing and also
declaring monetary prizes for winners. The games are known for their inclusive,
community-centric nature. People of all age groups, regardless of gender and
capability participate in the games. There are no tickets to view the games and
no police to control the excited crowds. The Sikhs are known for their binding

22 Research and Information Collection

sense of community, which has played a major role in the growth of the games
to the present scale. The games have value in the fact that they provide the local
communities with leisure and recreation options.
It has been declared a National Festival in 1998 and has been mentioned in the
tourism calendar. It also represented Punjab at the Republic Day Parade in 1997 in
the form of tableau.



Traditional Games Olympic level games Displays and Shows

These were an intrinsic part of Punjabi India’s best sportsmen are also brought
culture and are now out-dated, so keep to the games to participate. Aero Modeling Show

these alive, they are an important part Para Gliding Show

of the games. Tent Pegging

Gatka (Martial Arts)

Bullock Cart Race
 Athletics 
 Nihangs Riding Skills
Mule Cart Race
 Hockey
 Bazigars - Stunts
Dog Race
 Kabaddi 
 Feats of Strength -
Tractor Race Tug Of War 

Weight-training exercises - Weight Cycle Race

Lifting, Loading, Off-loading of trolley Archery
 Cultural programmes
of paddy,
Lifting of Sack (in pairs) Shot Put

Javelin Throw
 Folk singing and folk tales
High Jump Tadd Barasi –mimicry/stand-up
Long jump
 comedians
Wrestling
 Marwai Gidda – music and dance
Basket Ball (Bhangra and gidda)
Volley ball

Events for disabled - Handicapped
Tricycle race, Races for deaf and dumb
Events for Senior Citizens - Veteran
Races, Shot Put veteran men
Events for children

Clay Pigeon Shooting

Air Pistol

A lot of these programmes are fillers between games to allow time required to
organize the next sport.
The bullock cart race is the biggest draw at the event. 


Research and Information Collection 23

 The organization of the event
There are no tickets for the games. This makes the games inclusive allowing the
lowest rung to also have fun. The games are allowed to be disorganized so that
the audience feels that they are a part of the community and the event.
This maintains the flavor of the event.

Transport to the event

Villagers walk down or truck down in hordes to the stadium. There is a Railway
station in the village and some buses also ply from here. They organize some
transport for the participants and keep extra vehicles for use and for emergency.


Accommodation
People put up within houses in the village itself. Participants are put up in the
school. Outsiders can choose to stay in Ludhiana which is 17 kms form the village.
The audience
The rural audience comes in from Punjab, Haryana, Rajasthan and
Himachal. People come in for specific events according to their interest. A lot of
people from urban areas have also started pouring in both for participation and
for viewing. The sitting area in the stadium is divided and one whole block is for
women to sit.


Existing infrastructure
Include a basic stadium, a basketball court, athletic track, hockey ground, 8-10
rooms where a permanent hockey academy is functioning. There is a hall, which
is to be converted into a museum, and right now is functioning as a photo gallery.
This hall functions as the media centre during the games.
The village mess is setup in the school and cooks are employed. It caters from
morning to night and the food is free for everyone. The school has hockey
grounds and also doubles up to house participants.

The media

The event is occasionally carried by the international media. This time PTC, a
local television channel covered the event live.
The event is publicized through
posters and newspapers with all the details about the event. Posters are put up
in surrounding villages and on bus stops etc. It is publicized in many newspapers
including English newspapers. The posters are made in Ludhiana. They are
released about a month before the event.

24 Research and Information Collection

 About Grewal
Sports Association

The Grewal Sports Association is a local body that organizes the event every year.
They are a registered body with about 150 members, who are sports persons and/
or donors, who have excelled in different walks of life.
They belong to Kila Raipur
and surrounding villages. The Grewal clan is dominant in about 50 villages around
here and the association draws from them. 


The President and the Executive Committee is selected by the all the members in
a democratic way. The Executive Committee consists of 31 members. There is a
President, 4 Vice-presidents, Grewal Chief Organizer (mukh prabandh), General their vision
Secretary, Treasurer, 2 Joint Secretaries, 1 Assistant Secretary and the rest are
Through the festival, the
executive members. The current president is Gurpinder Grewal. Mr. Sukhvir
Grewal is the Chief Organiser and looks after the media and publicity. association hopes to help
preserve the culture and
Some members are active sportsmen, or have been involved in sports in the
past. Mr. Sukhvir Grewal, chief organizer of the event, who I met in Chandigarh
heritage of Punjab and also
during my visit to the field, has been actively helping the event to grow in scale. encourage sports which
When asked about the funding for the event, he said “This event can grow to they do by engaging with
accommodate the crafts and arts (including street plays) of Punjab. The ultimate
aim could be to make this into 7-8 day event, which can showcase all aspects of their community.
Punjabi culture. With more money we can invite more sports people from all over
India and the world, which will take the standards of competition even higher. The
event can be better organized. The event is run mostly through donations. It is to
exhibit rural strength and colour which is the driving force behind this voluntary
exercise. There is hardly any support from the government. The government has
given the occasional grant of 2 lakhs or 5 lakhs, which has helped to build some
sporting infrastructure, but there has been no steady annual support or grants.
We would like the government to take over the event itself. For our association to
upgrade to include arts and crafts would take a lot of time and money to be able
to sustain it. Right now our transport and food and the mess is free and money is
required for prizes. Even with volunteers and donations the present costs run up
to 18-20 lakh and to raise this much money is becoming difficult. We therefore
need government support. Or a corporate house should cover us for 5-10 years.”
He felt the need to bring in corporate sponsors which helped the event organise
on a larger scale. Presently, Haywards 5000 and Ambuja cement are the primary
sponsors. Other sponsors in the past have included Coca Cola, JK Tyre, Indian Oil,
Hindustan Lever.

Research and Information Collection 25

Brainstorming

26 Research and Information Collection

The brainstorming process was done after the field visit to Kila Raipur where I
spoke to the organisers of the event and some villagers about their impression
of the event. On the basis of information collected during the visit, some reading
on the internet and with the help of Shyam, the brainstorm chart was created. The
words have been categorised for reference on the next spread.

Research and Information Collection 27

RURAL SPORTS CULTURAL AND FESTIVE

Farm produce Health diet Jute bags

Tractor tyre Prize money Cycles
Tractors Riding gear Milk cans
Threshers Paragliding Lassi
Winter Micro light planes Juice
Foggy Kabaddi matches Fruits
Milk Stamina Ethnic wear
Brick kiln Trophy/honours/medals Handicraft
Cycles Hockey Textiles
Village pond Basketball Gurudwaras
Village elders sitting Football Sikhs
around Athletics Nihangs
‘Dera’ - congregation for Volleyball Slings
wandering saints Nets, goalposts Martial art
Farm equipment Tent pegging Bhaang
Grass and greenery Horse riding Night camps
Cows Dog races Team fiestas
Buffaloes Tractor races Whistles
Cow Dung Sports shoe Cheers
Wheat Spikes Cosmetics
Mud caked walls Demonstration sports Bangles
Camel carts Aerobics Cuisine
Bullock carts Paragliding Bhangra Dancers
Granary - Dana Mandi Muscle power Punjabi folk/pop Singers
Trucks Strength Langar
Farm workers/mazdoor Sports medicine Paranda
Poplar trees NRI Participants Jutis
Brick roads Sponsorship Religion
Hand pump NRIs Sponsorship Feasts
Tube well Sports gear Arms and ammunition
Vegetables Track suits Local Photo gallery
Agricultural exports Jockeys Colour
Animal stock breeding Army displays
Jockeys

28 Research and Information Collection

EVENT COMMUNITY

Street vendors Badges Arrest Immigration of

Communication equipment Signage labour
Stationery Construction Rural employment
Consumer goods Taxis/Public transport Community markets
Tourism Live telecasts Better maintenance of
Flags GIS/GPS implementation stadiums and facilities
Fitness equipment Labour services Increase literacy
Tourism Camera Sports for disabled and old
Shopping festivals Sports for development
Web site Sports for empowerment
NRI visits Empowerment of Women
Cinema Rural Sports academies
Kids playing all around Schools
Spirit of Punjab Training the young
Passion Political messaging
Public address systems Social mobilisation
Hoardings Higher education
Health and sanitation Interaction with NRIs
Veterinary doctors Exchange of perspectives
Medical equipment Learn new sports
Doping test A model for community
Public administration development
Security Railway tracks and over
Telecom connectivity bridges
Better mobile network Better roads
Diplomatic invites Safe drinking water
Empower local Community Kitchen
administration Communal amity and
Guests from government harmony
Army
Power and Electricity
TV Crews
Media

Research and Information Collection 29

 BRAND KILA RAIPUR

MOODBOARD
31
Brand Kila Raipur Festival

THE TARGET AUDIENCE
 
1. SPORTS ENTHUSIASTS

Includes both visitors and television audiences that will follow the event live. 

•  Participants from Punjab including NRI Punjabis. Will grow to include
   participants from all over the world. 

•  Village audiences from Punjab and around Punjab.
•  Urban audience from India. 

•  International audience

2. INTERNATIONAL AND INDIAN URBAN TOURISTS looking for a cultural and

rural experience. 



BRAND POSITIONING Sporting and Cultural Festival of Punjab



BRAND VALUE
 Community Event

BRAND OBJECTIVES
 • To entice tourists and sports enthusiasts to come for the event.

• To let others in India notice this as THE event that happens in their country.
• To instill a sense of pride in the participants and the local village audience.

• Influence other parts of rural India to develop pride in their own local culture
and traditions.


BRAND ATTRIBUTES
 These were defined on the basis of the categorisation of words that was created
after the brainstorming process.
CULTURAL AND FESTIVE
SPORTS

RURAL OR LOCAL

ENERGY AND PASSION

COMMUNITY

BRAND NAME
 The festival will henceforth be named KILA RAIPUR FESTIVAL instead of Kila
Raipur Sports Festival in keeping with the newly stated Brand Positioning of
Sporting and Cultural Festival of Punjab, so that the name is representative of the
entire gamut of activities at the event.

32 Brand Kila Raipur

 Brand Touchpoints

Every brand touch-point is an opportunity to strengthen a

Internet - E-mails,
brand and communicate its essence. A brand touchpoint is Websites and Web banners
all of the various ways that a brand interacts with and makes
an impression on customers, employees, media and other
stakeholders. Reportage and
Live Coverage of the Event
The choice of media for promotional activities is decided by
the target groups. Rural Areas in Punjab are well connected
by mass media, therefore, this demographic can be targeted Newspapers and Publications
using both traditional and mass media.

Marketing and Public Relations

Advertisements

BRAND Mascots
TOUCHPOINTS

The Event itself

Locals

Word of Mouth

Banners, Hoardings and Signage

Identity Collaterals and Stationery

Tourism Department Inititatives

Telephone

Brand Kila Raipur 33

Mascot Design


As part of the brand strategy, I proposed a mascot design for the festival.
As this was beyond the scope of my brief, the mascot design has been allotted to
an expert on mascot design. Below is the brief where I have laid down guidelines
for the Mascot Designer.

MASCOT DESIGN BRIEF FOR KILA RAIPUR FESTIVAL


The aim is to develop a mascot(s) that represents the spirit of the people at Kila
raipur Festival. The Mascot will be an important point to build the brand of the
Kila raipur Festival. It will be used extensively across all promotional material. This
mascot will function as a brand ambassador and should speak to the entire target
audience.
 


The Face Of The Brand


Unlike other mascots, which are a part of the branding strategy, this mascot will
be the face of the brand. It will be seen everywhere, and should have enough
presence to be able to function independently of the logo/logotype.

The Brand Mascot Touch Points

•  Animated Promos and Advertisements for Television, digital media and the
   web

•  Television Scrawlers 

•  Print Advertisements and Collaterals

•  Walls/public spaces painted in the village(s)
•  Caricatures/Cartoons

•  Mascot collectibles and merchandise (T-shirts, puppets, toys, stationery etc.)

•  Live mascot at the event (in case of an animal mascot)

•  People dressed up in mascot costume at the event 

•  Puppet shows



The diversity of Brand touch points will need the mascot to be represented in both
2 and 3 dimensions across all media. The desirability of the mascot will need to
not only communicate and demonstrate the brand values, but must lead to the
purchase of products. It is therefore essential that the mascot works across a
multitude of applications and be commercially viable.



34 Brand Kila Raipur

The Target Audience

1. SPORTS ENTHUSIASTS
Includes both visitors and Television audiences that will follow the event live. 

•  Participants from Punjab including NRI Punjabis. Will grow to include
   participants from all over the world. 

•  Village audiences from Punjab and around Punjab.
•  Urban audience from India. 

•  International audience

2. International and Indian Urban tourists looking for a cultural and rural
experience. 



The mascot will play a crucial role in setting the tone and style for the event in a
multi-dimensional way. It is a direct and literal way of communicating the brand
and will connect directly with the target audience, especially the rural audiences.



Brand Positioning

Sporting and Cultural Festival of Punjab



Brand Value
Community Event

Brand Objectives

•  To entice tourists and sports enthusiasts to come for the event.

•  To let others in India notice this as THE event that happens in their country.
•  To instill a sense of pride in the participants and the local village audience.

•  Influence other parts of rural India to develop pride in their own local culture
   and traditions.


Brand Attributes

Cultural/Festive
Sports
Rural/Local

Energy/Passion/Zeal

Community

Brand Kila Raipur 35

Case Study
Mascot Design for the London 2012 Olympics
Excerpts from Design Brief for the Mascot Design for the London
2012 Olympics

The introduction of a mascot is one of the highlights in the journey to the Games.
It is an important opportunity to build the brand of London 2012 and in turn add
increasing value to the Olympic and Paralympic Committees.

Past mascots have shown great ingenuity, imagination and artistry. Early mascots
were based on animals unique to the host country. More recent examples have
been a variety based on humans, animals and creatures, both mystical and
invented. Creativity and personality are always the hallmark of an Olympic and
Paralympic Mascot.

In summary:
• Mascots play an important role in raising revenue via licensing.
• They provide a warm welcome to athletes and visitors from around the world
  and spark excitement and laughter
• Having your photo taken with a mascot is a must have Games souvenir!

London 2012’s vision is to use the power of the Games to inspire change.

London 2012’s mascot needs to be more than just a cuddly toy. It needs to capture
the imagination of young people, it must be loved and help to create a sense of
excitement and pride about the London 2012 brand.

Our aim is to develop mascots that help build London 2012 into a much loved
brand. To be successful the mascot (s) will need to demonstrate wit and humour
that reflects London and the UK. They need to be accessible and appropriate
in a tone of voice that is understood by children and young people, as well as
reflecting the culture and people of the host city/country.

36 Brand Kila Raipur

While researching on Mascot designs I found that mascots are often heavily
criticized by the media and the public. Here’s what I found about the Fuwa
generating negative publicity. The following is an excerpt from Tanya Bennett’s
(Global Business Director at JWT, London) post on http://www.toptenz.net/top-
10-worst-olympic-mascots.php about top 10 worst Olympic mascots.

The Fuwa literally “good-luck dolls” were the mascots of the 2008 Summer
Olympics in Beijing. The designs were created by Han Meilin, a famous Chinese
artist. There are five fuwa: Beibei, Jingjing, Huanhuan, Yingying, and Nini.
Together, the names form the sentence “Beijing huanying ni,” which means
“Beijing welcomes you”.

I am rating the Fuwa the worst mascot because, while others have been
unpopular, confusing or silly, these bad luck dolls of Beijing are becoming
downright ominous. Fuwa translates to the ‘good-luck dolls’ but you be the
judge. First, the famous Chinese artist, Han Meilin, had two heart attacks while
he was designing them. And now, each of the five characters that make up the
Fuwa have been linked to events which have led to the superstitious term ‘the
Curse of the Fuwa’. Nini (swallow/kite/locust figure) is linked to the Weifang
T195 (“kite city”) train accident in April 2008 and the locust infestation in Inner
Mongolia in June 2008. Yingying (the Tibetan antelope) is an obvious choice for
association with the Tibetan unrest. Huanhuan, representing the Olympic flame,
is being linked to the torch relay protests. Also, the Sichuan area, which suffered
a catastrophic earthquake on May 12, 2008 is well known for its pandas and the
fourth mascot, Jing Jing, is a panda character. The fifth and final Fuwa mascot
is Beibei, a fish who is representing the element water in the group. He is being
associated to the floods in South China as well as an algal bloom in the Olympic
sailing course.

According to Wikipedia, some people are now calling the characters “Wuwa”
(witch dolls) instead of Fuwa and “online criticism of the dolls has frequently
been censored”. Personally, I think they are cute but I wonder how souvenir sales
are doing? Are people reluctant to bring the bad mojo of these Fuwa/Wuwa into
their homes?


As I read about the Fuwa and other mascots that have been criticized, I realized
that Mascots being the human face of the brand attract a lot of attention. This
particular characteristic makes them endearing for branding an event but it also
makes them vulnerable to criticism in public media and in the press. Very well
designed mascots can also attract negative attention as is the case with the Fuwa.
Mascots as a brand strategy should therefore be handled with care.

Brand Kila Raipur 37

IDENTITY ELEMENTS

39
Logo and Logotype
Explorations
This first exploration was a graphic representation of the horns of the bullocks.
The bullock cart races are the most popular sport at this festival and draw the
largest crowds. These bullocks are kept by the participants for the sole purpose of
competing in the races every year. They are not used as draught animals and are
fed on a special diet to give them strength and speed. The horns are a symbolic
representation of the fighting spirit of all the participants at the event.

40 Identity Elements
I also unsusccessfully tried to think of visuals for popular Punjabi expressions
like Chak-De-Phatte! or Sher-e-Punjab! or Jo Bole so Nihaal! These expressions
are expressive of the spirit of the Punjabi's general outlook to life and is also
manifested in the vigor and essence of this event.
Sher-e-punjab can be very literally translated into a lion, but the lion was rejected
outright as it is too common a symbol with too many other connotations, which
could create a confusing image in the minds of the target audience.

Chak De Phatte - loosely translated as pick up the floorboards, is a war cry.

The origins of the phrase lie in the times when the Khalsa i.e. the original warrior
Sikhs would cross canals and attack Mughal camps in a blitzkrieg attack and then
just as they came, they would retreat leaving the enemy helpless. While escaping
back to their base the Khalsa warriors would dismantle any temporary bridges
constructed by them (made out of “Phatte”) to prevent the Mughals from chasing
them and sometimes to prevent the enemy from escaping, hence the cry “Chak
De Phatte”. The sport of tent pegging also evolved from this camp raiding where
the riders would remove the pegs of the tents trapping the occupants under, what
then used to be a very heavy fabric. The phrase is now used to mean “Bring the
house down!”

Sher-e-Punjab or the Lion of Punjab was a term used for Maharaja Ranjit Singh,
the first Maharaja of the Sikh Empire. He was known as a great warrior, fearless
soldier, able administrator, and a merciful and secular ruler. He managed to protect
Punjab's borders against invaders from Afghanistan and Central Asia, and had an
army that had Sikh, Muslim, Hindu and European soldiers fighting side by side.
Now the term has come to symbolize bravery, fearlessness and a fighting spirit.

Identity Elements 41
 Here, I decided to take a completely different approach and try to embody the
spirit, energy, the raw and spontaneous nature of the games in a form exploration.
This exploration was of course rejected, for it was hardly representative of the
event, the village, its culture or be of connection or relevance to the people and
the community.

the brand attributes -

local or rural
cultural and festive
sports
passion, energy, rawness
community or gathering
these were the guides for
the explorations. all the ex-
plorations embody at least
one of these criteria.

This was also a form exploration where I tried to embody the rawness and crude
flavour of a rural event in a logotype in Gurmukhi script. The logotype reads Kila
Raipur in Punjabi. As mentioned earlier, the event was to derive its name from the
village of its origin.

42 Identity Elements
Next, I looked extensively at Sikh iconography especially weapons, as they are
intrinsic to the Sikh religion and could symbolise the martial traditions that are
reflected in this event. The Kirpan is supposed to be worn at all times by a Sikh.
This was an article of defence which together with the other 4 Kakars or five ar-
ticles of faith (Kaccha, Kesh, Kanga, Kada) formed the external visible symbols to
outwardly display ones commitment to their religion and culture.

This concept allowed me to create a dynamic and energetic form that represented
the spirit in its form also. Additionally, the kirpan could be played around with in
a number of ways to create a number of such similar forms which could function
as extended identity elements for the event. This form was however not unique
enough, and was therefore rejected.

The kirpan has both a physical func-

tion of a defence weapon, as well as
a symbolic function representing the
power of truth. Physically it is an in-
strument of “Ahimsa” or non-violence.
The principle of ahimsa is to actively
prevent violence, not to simply stand
by idly whilst violence is being done.
To that end, the kirpan is a tool to be
used to prevent violence from being
done to a defenseless person when
all other means to do so have failed.
Symbolically, the kirpan represents the
power of truth to cut through untruth.
It is the cutting edge of the enlightened
mind.

Identity Elements 43
 Another approach was to create a symbol library of images from the initial brain-
storming to create a visual representation of the event in the hope that I would be
able to derive some ideas or concepts for the identity.

44 Identity Elements
The sling is a weapon used by the Nihangs during the displays at the festival.
This weapon was graphically abstracted and carried various levels of meaning as
compared to the other explorations. For one, this festival holds immense value as
a community event. This symbol is composed of many different parts which can
be interpreted as the coming together of the community for the event. Further-
more, it is derived form the local culture and therefore carries most of the brand
attributes in one logo itself. This logo was a serious contender for the final logo,
but was rejected as it is not distinctive enough to represent the event.

Identity Elements 45
 1 Silhouette trace from photographic
reference.

2 Line drawing the bullocks according

to proportions and anatomy while try-
ing to understand the overall form and
movement of the animal’s parts with
respect to each other.

3 Refinement of form after stage 2 into

a solid mass.

46 Identity Elements
 4 Introduction of the second bull and
playing with foreground and back-
ground space.

5 Form correction and refinement of

previous stage. The man was treated as
a silhouette to aid recognition at small
sizes but it went against the overall
form. This approach was abandoned
in favour of a single bull, single colour
logo to keep the form as simple as
possible.

6 The final form was redrawn as a sil-

houette as the previous approach was
running into too many problems both
in terms of form and practical applica-
bility. Here the anatomy was redrawn
as it was getting lost in the stylization
that was being attempted in the
previous form.

Identity Elements 47
Final Logo

While some people may argue that this identity is practically not as sound as the
others, my final vote for this concept was dictated by the appropriateness of the
identity and whether it best represented the event and the village community.
I took the liberty of choosing an iconic image which was figurative - an approach
generally avoided in identity design. The reasons are that the recall value and
recognition of simpler forms is better as compared to more complicated or
illustrative forms. However, in the world of identity design, there is a certain level
of saturation that has been reached in this particular approach. Additionally, there
have been similar examples which have worked successfully as brand identities.
In those cases, the brands have been managed well and the associations in the
mind of the consumer have been well ingrained. Brands and identities need to be
well designed and go hand in hand to work successfully.

Another argument in favour of this identity was the difference in visual literacy of
the average villager who forms a large part of the target audience for this event.
Designers who have studied visual literacy of rural communities in India have
found that illustrative forms are better understood and communicated as opposed
to geometric forms or symbols. To achieve better recall of the logo, the form was
simplified. Villages in Punjab are exposed to television and the media and there-
fore, it was possible to use abstraction in the form. Also, for an external audience,
a logo like this would be a truer representation and association as compared to a
geometric or symbolic form like the sling.

48 Identity Elements
Logo refined for use at large sizes

Logo refined for use at small sizes

Form for use at

large sizes

Form for use at

smaller sizes

Identity Elements 49
Final Logotype

The final logotype says Kila Raipur Mela (i.e. Festival) in Gurmukhi and is com-
posed using Akaash Bold. The logotype in English is a custom designed logotype
which simulates the Gurmukhi script in its form. The decision to make logotypes in
two different languages arose from the two diverse sets of target audiences.

Minimum Clearance area

50 Identity Elements
Development of the logotype in English

Development of letters in the logotype

Identity Elements 51
The painti in Gurmukhi is the Punjabi
alphabet. Characters of the script
which have been simulated in the logo-
type are marked.

52 Identity Elements
Identity Elements 53
54 Identity Elements
Identity Elements 55
Explorations
Process Timeline

Chak-De-Phatte!
Sher-e-Punjab!
Jo Bole so Nihaal!

Words and Images

Expressive Form Exploration Cultural or Religious Symbols

Iconic Symbol

56 Identity Elements
Symbol Library Logotype Iconic Image of the event

Identity Elements 57
Logo and Logotype
Matrix
A matrix to evaluate the identity explorations and decide which option works the
best. On the basis of six criteria that define a good identity, each option was con-
sidered and options that met most criteria was chosen.

Distinctive
The event itself is unique, and so the idea
should communicate that uniqueness.
The design idea need not be unique in the
world, just distinctive enough.

Practical
Can be printed small, in ink or pixels; works Works, but not
in black on white as well as in colors; works as well as the
in reverse too, white on black. others.

Graphic
Communicates purely in visual terms; doesn’t
depend on verbal, intellectual interpretation.
If it is a logotype, it can be recognized by
form alone.

Simple in form
Contains only one graphic idea. Thus if there’s
a symbol, the accompanying name is plain
and unadorned. And if it is a logotype, one
idea or device makes it special.

One message
In content, great designs try to express no
more than one attribute (such as competition
or strength or spirit) and support a single
aspect of positioning.

Appropriate
The content needs to be a true representa-
tion of the event and its spirit.

58 Identity Elements
 Final Identity

Minimum Clearance area

Identity Elements 59
Colour Moodboard

colour palette explored

on the basis of the brand
attributes
local or rural
cultural and festive
sports
passion, energy, rawness
community or gathering

SPORTS, PASSION, ENERGY RURAL

60 Identity Elements
Some questions I asked myself while choosing the colour palette:
Does it comprehensively represent the spirit of the event?
Is the colour palette distinctive? Will the colours facilitate recognition and
recall?
Are the colours aligned with the brand strategy?
What meanings are assigned to the colours in the local culture and across the
target audiences?
Do the colours have positive connotations individually and as a whole?
Do the colours work on white?
How will scale affect the colour?
How will the brand identity work in one colour applications?
Will the colours be available across different mediums earmarked for brand
applications?

CULTURAL FESTIVE

Identity Elements 61
62
Identity

Identity Elements
Colour Palette

RGB 255:0:0
CMYK 0,99,100,0
Online FF3333

IDENTITY COLOURS

RGB 255:200:0
CMYK 0,19,100,0
Online FFCC00
 RGB 51:51:153
CMYK 95,95,0,0
Online 333399

RGB 0:204:255
CMYK 60,0,0,0

SUPPORTING COLOURS
Online 00CCFF

RGB 255:102:51
CMYK 0,75,85,0
Online FF6633

RGB 0:153:51
CMYK 85,13,100,2
Online 009933

RGB 102:51:0
CMYK 38,75,100,48
Online 663300

RGB 255:0:153
CMYK 0,95,0,0
Online FF0099

Identity Elements
63
Final Identity in Colour
Punjabi

64 Research and Information Collection

Research and Information Collection 65
Final Identity in Colour
English

66 Identity Elements
Identity Elements 67
Identity Typeface
Punjabi

Akaash is a Unicode The lack of quality typefaces in Gurmukhi has dictated my choice of Akaash for
use in Gurmukhi. Out of the Gurmukhi fonts available online for sale or download,
Gurmukhi font available this typeface was the closest in legibility to the script and has a passable grey val-
in 2 weights, regular and ue which takes care of the readability for text use. The Latin typeface family was
bold. chosen as it had the closest grey value to Akaash. It also has sufficient variations
available for application across all media. Additionally FF Scala Face has sharp and
edgy serifs and endings which goes with the spirit of the event.

68 Identity Elements
 Identity Typeface
English

Dance to the Bhangra!

FF Scala is an old style, neohumanist, serif typeface designed by Dutch type-
face designer Martin Majoor in 1990. It is a complete typeface family with true
small capitals, ligatures, lining, and non-lining (old style figures). A companion
sans-serif version, FF Scala Sans was released in 1992. The FF Scala face and its
related faces are widely used in publishing.

Scala Sans Regular Scala Plain

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
1234567890 1234567890

Scala Italic Scala Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
1234567890 1234567890

Scala Bold Scala Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
1234567890 1234567890

Scala Sans Caps Scala Caps

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
1234567890 1234567890

Identity Elements 69
Photography style for
reportage and promotions

6ISIT+ILA2AIPURAVILLAGEIN0UNJABTHATHOSTSONE OF A KINDRURALOLYMPICS

WITHBULLRACESANDTHEBHANGRA

6ISIT+ILA2AIPURAVILLAGEIN0UNJABTHATHOSTSONE OF A KINDRURALOLYMPICS

WITHBULLRACESANDTHEBHANGRA

70 Identity Elements
6ISIT+ILA2AIPURAVILLAGEIN0UNJABTHATHOSTSONE OF A KIND
RURALOLYMPICSWITHBULLRACESANDTHEBHANGRALOREMIPSUM

Identity Elements 71
 6ISIT+ILA2AIPURAVILLAGEIN0UNJABTHATHOSTSONE OF A KINDRURALOLYMPICS
WITHBULLRACESANDTHEBHANGRA

72 Identity Elements
Identity Elements 73
Identity Applications

1BSBNKJU
4
(SFXBM /:-?)4;87:<;);;7+1)<176
2YXY\K\c
=OM\O^K\c ,JMB
3BJQVS
-VEIJBOB
1VOKBC
*OEJB
5WJ

XXXSVSBMPMZNQJDTOFU

Visiting Card and Letterhead

4VLIWJS
4JOHI
(SFXBM /:-?)4;87:<;);;7+1)<176
,JMB
3BJQVS
-VEIJBOB
1VOKBC
*OEJB
-RSOP
9\QKXS]O\ 5WJ


aaa\_\KVYVcWZSM]XO^

74 Identity Elements
 Explorations
4VLIWJS
4JOHI
(SFXBM /:-?)4;87:<;);;7+1)<176
,JMB
3BJQVS
-VEIJBOB
1VOKBC
*OEJB
-RSOP
9\QKXS]O\ 5WJ


1BSBNKJU
4
(SFXBM /:-?)4;87:<;);;7+1)<176
2YXY\K\c
=OM\O^K\c ,JMB
3BJQVS
-VEIJBOB
1VOKBC
*OEJB
5WJ

XXXSVSBMPMZNQJDTOFU

1BSBNKJU
4
(SFXBM /:-?)4;87:<;);;7+1)<176
2YXY\K\c
=OM\O^K\c ,JMB
3BJQVS
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Identity Elements 74A

Costing

POSTERS FOR KILA RAIPUR FESTIVAL

4 COLOR OFFSET PRINTING

Quantity 5000 copies

Finished Size A1 (23.4” X 33.1”)
Paper stock 220gsm Sinar art paper

Cost per poster Rs 16.00/

Total Cost (Inclusive Of all taxes) Rs. 80,000/-

This Quotation has been tentatively provided by ThomsonPress, the

printers that theIdeaWorks associates with and will be approved by
the clients at a later stage.

74B
 Tone of Voice
for Written Materials

Brand Kila Raipur will be direct, expressive and energetic.

Like the villager out on the sports fields, the tone of voice will be
passionate, adventurous, fearless, raw and spontaneous.

Wherever possible, the voice will speak through the colloquial

tongue, using common expressions and references from Punjabi
lifestyle and culture.

Identity Elements 75
In Retrospect
Some observations, some introspection and
some random musings

My sense of form has never been great and I have covered some ground with the
bullock cart race logo. I approached it like a BGD assignment and it encroached
upon a large portion of my time schedule - the only major hitch in my project
which prevented me from completing the identity applications in the given
time schedule. This was also the first time that I had worked on a logotype so
intensively and from scratch. Type design had never excited me greatly, and so,
I found simulating another script into Latin script daunting and challenging.
But once I started, I was hooked.

When I look back, I also find that my initial concept explorations were naive
and limited in their understanding of identities and their application in the given
context. I had to constantly remind myself to detach from the influences of
contemporary graphic design. Towards the end I feel that I have developed a more
professional approach to symbol and identity design. I am a lot more confident in
all these areas now.

I also realized that my design process wasn’t rigorous enough and the exposure
at the studio has strengthened it. I have always been aware of my tendency to
get stuck on a problem and take too much time to resolve it. This issue has also
been addressed. When I look back at my classroom projects and compare this
project with them, I find that the process I undertook was a lot more intensive as
I also had the leisure of time. The challenge that lies ahead for me is to distill this
process effectively into projects I will undertake henceforth, while balancing time
and client constraints.

I have mentioned earlier the lack of real-world industry challenges with clients
and deadlines as this identity was conceived at the studio and still needs to be
pitched. I was initially apprehensive about not being exposed to such experiences,
but now I am grateful for the lack of these. They could have limited my learning
from this project, which I realize were essential to my learning as a graphic design
student from NID.

Branding as a concept and its workings don’t seem all that intimidating anymore.
As this subject overlaps with the marketeer, I would get carried away trying to
understand and apply it as a graphic designer. But a basic understanding has been
built.

Parallel to understanding Branding and Identity design, I was also researching

extensively on the Sikh Community, its history, culture and traditions as they
dominate the village of Kila Raipur. From all my observations, they are a very

76
tight-knit community with a fierce loyalty to their religion, its beliefs, values and
guiding principles whether in Kila Raipur or in any other part of the world. Sikhs
the world over are very active online in endeavors related to their community
and take an active interest in keeping their traditions and its values intact. Taking
the idea of identity and associations to the culture of this community, I was
wondering about the role the Sikh symbols and iconography (example, the 5
K’s - Kesh, Kirpan, Kara, Kachcha, and Kanga) play in keeping this community
together. The Sikhs have very prominent characteristics that distinguish them from
other communities. Does this physical manifestation increase the loyalty of this
community to its beliefs and traditions? This could be an interesting case study
for branding experts, sociologists and related academicians to understand how
communities identify themselves and the function as a result of this identification.
Can marginalized communities benefit from such a study wherein their identities
can be used to instill pride in them ? These are some thoughts I had aside from my
project.

The rural context, an often used term in design and at NID was a very crucial
challenge throughout this project. One had to depend on the odd study done by
marketeer in rural India and designers working in the NGO sector to understand
the minds and lives of the rural folk. The field visit to the village helped on
that front. It was like E.P again, except a lot shorter and not as extensive. To
understand the local culture, I have also depended on my own exposure to
Punjabi relatives in villages and towns through all the vacations and visits since
childhood. The great urban-rural divide that plagues India today is a lot lesser in
Punjab and its villages, thanks to the green revolution and the enterprising Punjabi
NRI who has brought back lots of money to the average punjabi village. In terms
of aesthetics, I consciously steered clear of the notion of Indian aesthetics that
is dictated by the Western perception. While I was hoping to explore regional
aesthetic sensibilities more extensively at the beginning of the project, I found
that the communication aspect of identity design took fore-front in my project.

The challenge that lies ahead for me is to see this project through all possible
applications and then to the final implementation. My real learning will only start
after the event when I get to see the effectiveness of the brand identity. Before,
it gets applied, I need to conduct a user study to understand whether the identity
works and to what extent for the local audiences.

I am personally interested in seeing the effect of this project on the locals. It

would be fair to say that such an exercise would be amongst the first to be done
in India, and it remains to be seen whether it can be applied to similar events to
promote and popularize the diversity in our country. In the face of globalization
many local tradition and cultures are getting diluted or lost. Ironically, this has
led to people seeking experiences very different from their own, in turn helping
events like this festival to remain relevant to its place of origin and its people.

When one begins to make the first steps out into the industry, there are so many
doubts about one’s future. My diploma project has been a smooth ride unlike
many other experiences I have heard of. I feel lucky to have had a good start and I
still have a lot to learn.
77

A Glossary on Branding
 Market Segment
Brand

A brand is a mixture of attributes, tangible
and intangible, symbolised in a trademark,
which, if managed properly, creates value
and influence.
“Value” has different interpretations:
from a marketing or consumer perspective
it is “the promise and delivery of an
experience”; from a business perspective
it is “the security of future earnings”; from
a legal perspective it is “a separable piece
of intellectual property.” Brands offer
customers a means to choose and enable
recognition within cluttered markets.
Brand Equity 
 * Brand Mission How the brand will act
The sum of all distinguishing qualities of a
brand, drawn from all relevant stakeholders,
that results in personal commitment to and
demand for the brand; these differentiating
thoughts and feelings make the brand
valued and valuable.
Brand Experience 
 Brand Personality).
The means by which a brand is created
in the mind of a stakeholder. Some
experiences are controlled such as retail
environments, advertising, products/
services, websites, etc. Some are
uncontrolled like journalistic comment and
word of mouth. Strong brands arise from
consistent experiences which combine to
form a clear, differentiated overall brand
experience.
Brand Identity 
 Brand Strategy 
 defined groups of individuals. A form
The outward expression of the brand,
including its name and visual appearance.
The brand’s identity is its fundamental
means of consumer recognition and
symbolizes the brand’s differentiation from
competitors.
Brand Management 
 to ensure consistent brand behaviors and
Practically this involves managing the
tangible and intangible aspects of the
brand. For product brands the tangibles
are the product itself, the packaging,
the price, etc. For service brands (see
Service Brands), the tangibles are to do
with the customer experience - the retail
environment, interface with salespeople,
overall satisfaction, etc. For product,
service and corporate brands, the
intangibles are the same and refer to the
emotional connections derived as a result
of experience, identity, communication
78
and people. Intangibles are therefore
managed via the manipulation of identity,
communication and people skills.
Brand Personality 
 A group of customers who (a) share the
The attribution of human personality
traits (seriousness, warmth, imagination,
etc.) to a brand as a way to achieve
differentiation. Usually done through
long-term above-the-line advertising and
appropriate packaging and graphics. These
traits inform brand behavior through both
prepared communication/packaging, etc.,
and through the people who represent the
brand - its employees.
Brand Platform 
 is intended, e.g., TALKING PAGES.
The Brand Platform consists of the following
elements:
* Brand Vision The brand’s guiding
insight into its world.
on its insight.
* Brand Values The code by which
the brand lives. The brand values act as
a benchmark to measure behaviors and
performance.
* Brand Personality The brand’s
personality traits (See also definition for
* Brand Tone of Voice How the brand
speaks to its audiences.
Brand Positioning 
 some way invented. Coined names can
The distinctive position that a brand adopts
in its competitive environment to ensure
that individuals in its target market can tell
the brand apart from others. Positioning
involves the careful manipulation of every
element of the marketing mix.
A plan for the systematic development
of a brand to enable it to meet its agreed
objectives. The strategy should be rooted
in the brand’s vision and driven by the
principles of differentiation and sustained
consumer appeal. The brand strategy should
influence the total operation of a business
brand experiences.
Brand Values
 Target Market
The code by which the brand lives. The
brand values act as a benchmark to
measure behaviors and performance. (See
also Brand Platform.)
Demographics 
 Visual Identity
The description of outward traits that
characterize a group of people, such as age,
sex, nationality, marital status, education,
occupation or income. Decisions on
market segmentation are often based on
demographic data.
same needs and values, (b) can be expected
to respond in much the same way to a
company’s offering, and (c) command
enough purchasing power to be of strategic
importance to the company.
Names
There are three basic categories of brand
(or corporate) name:
* Descriptive name 
A name which
describes the product or service for which it
* Associative name 
A name which
alludes to an aspect or benefit of the
product or service, often by means of an
original or striking image or idea, e.g., VISA.
* Freestanding name 
A name which
has no link to the product or service but
which might have meaning of its own, e.g.,
PENGUIN.
The following are also helpful:
* Abstract name 
A name which is
entirely invented and has no meaning of its
own, e.g., ZENECA. Abstract names are a
sub-set of freestanding names because they
also have no link to the product of service.
* Coined name 
Any name which is in
be descriptive (CO-CREATE), associative
(IMATION) and freestanding/abstract
(ZENECA).
Niche Marketing 

Marketing adapted to the needs, wishes
and expectations of small, precisely
of market segmentation, but aimed at
very small segments. Niche marketing
characteristically uses selective media.
Positioning Statement 

A written description of the position that
a company wishes itself, its product or its
brand to occupy in the minds of a defined
target audience.


The market segment or group of customers
that a company has decided to serve, and
at which it consequently aims its marketing
activities.


What a brand looks like - including, among
other things, its logo, typography, packaging
and literature systems.
 Bibliography
Websites
http://www.creativeclass.com/10 April 09
http://www.culture.gov.uk/ 13 April 09
www.brandchannel.com 14 April 2009
www.sikhwiki.org 5 May 2009
www.sikhchic.com 8May 2009
http://en.beijing2008.cn/ 9 May 2009
http://www.olympic.org/ 9 May 2009
http://punjabgovt.nic.in/ 14 May 2009
http://www.toptenz.net/top-10-worst-olympic-mascots.php June 7 2009
http://www.aldaver.com/other.html#comgames June 8 2009
http://www.sikhnet.com/Gurmukhi-Fonts 10 July 2009
http://www.gurbanifiles.org/unicode/ 10 July 2009

Books and Reports

Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining
Strong Brands by Alina Wheeler
John Wiley & Sons, Inc.

Business and Economic Benefits of the Sydney 2000 Olympic Games – A collation
of evidence April 2002 by PriceWaterHouseCoopers

Abu Dhabi, Brand Standards Manual

PDF Documents
Place Branding: Promoting a Nation teaching Marketing. China Case study
by Alex Mari
http://www.scribd.com/doc/10864509/Place-Branding-Promoting-a-Nation-
teaching-Marketing-China-Case-study-by-Alex-Mari- 30 April 09

I Love New York, Brand Guidelines November 2008

http://www.scribd.com/doc/8278452/I-Love-New-York-Brand-Guidelines-
November-2008

Commonwealth Games Federation,

Brand Standards Manual 2008

Choosing Amsterdam - Brand, concept and organisation of the city marketing

Survey conducted by Berenschot

Diploma Documents
Concept Presentation of ‘The Look of the City’ for CWYG 2008, Gauri Barve

Concept Representation of Environmental Graphics for the Look of the Stadium

for Commonwealth Youth Games 2008, Pune, Tanya Thomas

An Approach to City Branding, Vrishali Kekre

Grameen Bharat - Ek Khoj, Swati Baijal

79