A student and his mentor recall the making and the evolution of Doordarshan's iconic symbol, now set for a redesign
On April 1, 1976, Devashis Bhattacharyya, then a student of mass communication at the National Institute of Design (NID), Ahmedabad, saw a classroom assignment gain the kind of mileage that few could only dream of back in the day. We are talking about a decade when retweets and reposts were part of a non-existent lingo. Yet, Bhattacharyya's student project, a logo shaped like an eye, went viral in a world of analogue.
Doordarshan, India's public broadcasting service under Prasar Bharati, had been in existence since 1959. It was only as late as 1976, when Doordarshan separated from All India Radio, that it got its independent brand identity and chose Bhattacharyya's logo to lead with. "The logo was designed around the concept of harmony. To see something in totality, you need a balance of principles, a balance of masculine and feminine, of yin and yang," says Bhattacharyya, who now runs a design firm in New Delhi.
Whether we still tune in to Doordarshan or not, it is likely that most of us have grown up in the familiarity of the logo. On July 25, Shashi Shekhar Vempati, the newly appointed CEO of Prasar Bharati, announced a revamp of the logo through a public call for entries. The redesign is an attempt to woo an under-30 crowd, which largely does not share the memory of Doordarshan as earlier generations did. In an attempt to keep DD relevant and worthy of the millennials' attention span, the state-owned network, which operates 23 channels across the country, has called for applications for a new logo to recall the strong nostalgia associated with DD. The last date for submissions is on August 13 — there are 2,059 submissions so far — and the winner will be awarded Rs 1 lakh.
An eye for everyone
So, how did a student's logo design end up on a national broadcasting network? We turned to Vikas Satwalekar, a former faculty member and former executive director of NID. "The original symbols — these were not logos yet — were taken up as a classroom assignment in my symbol design class with the first batch of graphics students. It was in keeping with NID's design education philosophy of "learning by doing"," says Satwalekar, who now runs a design consulting firm in Mumbai.
Bhattacharyya, then 24, was one among the batch of students that Satwalekar taught, and worked on the symbol for nearly two months. Satwalekar presented symbols designed by six faculty members and 10 students to then Prime Minister Indira Gandhi and VP Krishnamoorthy, Doordarshan's first director general.
Once his symbol was selected, Bhattacharyya provided the drawings that became part of the animation in which swirls of wispy cloud-like formations condensed to become the Doordarshan logo. The animation played to the tune of a piece composed by Ustad Ali Ahmed Hussain Khan and Pandit Ravi Shankar in 1974.
The words, "Satyam Shivam Sundaram" that accompanied the logo, says Bhattacharyya, had to do with a directive from Doordarshan. "In those years, we must remember that Doordarshan's national broadcast had Krishi Darshan for educating farmers and the news service. If you see it that way, having the tagline of 'Satyam Shivam Sundaram' made sense. It was all part of a socialistic Nehruvian legacy that had just been handed down to Mrs Gandhi," he says.
He explains that the logo was designed make sure that it overcame technical glitches and potential distortions. "The channel was not meant to be elitist and had to be homogenised for a huge diverse target base. The solution, for me, seemed to be an all-seeing eye," he recalls.
The revamp announcement sparked off a fair amount of debate earlier this week. Actor Ayushmann Khurrana evoked the sentiment of the masses by tweeting, "Please don't change the Doordarshan logo. It represents my childhood." However, this is not the first time that a revamp has been sought for the logo. In 1998-99, Satwalekar modified it to encompass the channels that Doordarshan launched, such as DD Sports and DD News.
About the current revamp, however, Satwalekar believes that while it is Prasar Bharti's prerogative to do so, the strategy needs to be spelt out far more clearly. "Identities are created based on a well-articulated brand strategy, of which the symbol or the logo is just the starting point," he says, while denouncing the prize amount of R1 lakh as paltry. Bhattacharyya wisely adds that if Doordarshan wishes to appeal to the young, they will have to look inwards, at the very programming of their content, and not just at logos designed by young professionals.
Following Doordarshan's brief, mid-day got five young graphic designers in the under-30 category, exactly the bunch that the public broadcaster hopes to woo, to rethink the logo. Will you go for these?
Sajid Wajid Shaikh, 28, creative director, Fortysix & two, Sewri
As a kid, I remember watching Shaktimaan and Captain Vyom! Doordarshan's melancholic signature tune was a little scary, like the opening of a horror flick. The logo was also a perfect yin and yang, which tells you about the thought gone into the design.
When you think of Doordarshan, you think of something pan-Indian and appealing to masses that struggle with literacy. Furthermore, Doordarshan has long been known as DD. In my younger days, when I used to live in Aurangabad, it was quite normal to hear people saying, "DD pe yeh laga hai."
I have connected this inherent simplicity of this humble and friendly moniker, DD, to the fast-forward symbol that we saw in walkmans. Based on the sky blue colour that the original logo has, I have used a more striking electric blue to give a young fresh look for the revamp.
Mayur Mengle, 27, co-founder, Bunxpav Studio, Dombivli
Growing up in the '90s, I vividly remember Doordarshan's logo and the test card colours that used to appear on screen where there was no programme playing. While the logo may have been contemporary for its time, it's certainly not in keeping with today's branding exercises. However, it has a big nostalgia draw and can be kept as is.
In my re-imagining of the logo, I thought it was important to keep the essence. I have, therefore, retained the elliptical form that was conveyed by the two comma-shaped forms. I have given it a more contemporary look through bolder lines and intersecting circles that give it a psychedelic feel, like an endless swirl.
Avantika Amladi, 27, senior designer at Thought Over Design, Lower Parel
I did not watch DD too much while growing up since I was more of a reader. All the same, television was something that was just taken for granted at home. As a graphic designer, I am sensitive to the fact that India has a unique cultural milieu and there are several factors that go into the logo design.
This was also at a time when the number of viewing devices was limited. The brief that DD has given has to do with how Indians value things but simultaneously move forward. My approach is not exactly typographic but I have taken the nomenclature 'DD', which is used interchangeably with Doordarshan.
I use it as a starting point, this colloquial manner of referring to the channel, to develop a classical form with lesser ornamentation. This also allows it more scalability. With the use of colours and patterns, it is reflective of the dynamic, vibrant Indian community.
Tirtha Gandhi, 24, graphic designer at Anugraha, Ghatkopar
When my grandparents and parents heard about the revamp, one of the things that they said was, "That was my childhood." While I wonder what will happen if the logo gets a revamp — will the public accept it or just hate it?
I studied the original form —the focusing of the eye — and the word that came to mind is "shift". Doordarshan is shifting, from the past to the future. So, I also chose two colours — grey and orange — the former to denote the past and the latter to communicate a sense of urgency in the present.
The font I have used is called Khand, designed by Indian Type Foundry. Doordarshan has always embodied Indian arts and traditions, and it seemed fitting to use a font from an Indian type designer. After all, Doordarshan is a platform for culture.
Goodbye, line work
Tanya Eden, 25, freelance graphic designer and illustrator, Vasai
I remember Doordarshan playing endlessly at my granny's place in Ganeshpuri. I was really young then and Doordarshan's signature tune and granny watching the mythology serials was routine at her place.
The original logo approaches the design in a very basic manner, characteristic of Indian design then — flat, vector-based with the type in the middle. We have now evolved out of those design approaches.
My revamp uses the central portion of the logo with the colours reversed. Instead of the old line work, the logo is now 3D, and can be used in apps as well. I have also played with gradients and fresher colours. I wanted to give the logo minimalism and refinement.
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