Abhinit Tiwari is a designer and a programmer who has been building digital products for past 14 years. He is currently Heading the design team at Gojek. He founded Leftshift technologies where in he built products for BookMyShow, Airtel, Citrus, NH7 and many more. Leftshift was then acquired in 2016 by GO-JEK Indonesia. For those are not aware of Gojek is, it is Southeast Asia’s leading on-demand, multi-service tech platform providing access to a wide range of services including transport, payments, food delivery, logistics, and many more. Abhinit is here with us today to share his insights and learnings while building Asphalt; Gojek’s design system;
What is a design system? How is it different from a brand guidelines or Sticker sheet or pattern library or Front end framework?
How did the name Asphalt come about? What is the story behind “Salam satu aspal”?
Is asphalt based on Brad Frost atomic theory? Are there any other such theories? Did you hunt for more such theories?
Why did you feel the need of building a design system? What were the challenges before that triggered it?
What are building blocks of Asphalt? How long did it take to build it and what was the strategy before taking it on?
It is generally said that design system is a breathing document so when do you take out the ventilator? There have also been articles strongly recommending that it is not a side gig but a full time investment & commitment. How would you respond to that? One important myth associated with Design Systems is that it kills creatively. We have to work in a lot of constraints - How do you look at it?
How big is the team that handles Asphalt and how deeply front end is involved in this ongoing vertical? How big or small this team should be for a fast growing startup? Can you tell us the importance of making all organisms and molecules to be living things with code and not just static sketch or figma files?
Can you briefly tell us how did you build it? What were the key milestones and checks which gave the confidence of you going in the right direction? What was the process of validating your components to be modular and scalable?
Can you share details of any medium size project which got shipped effortlessly at Gojek because of Asphalt?
How critical is a buy-in from the top management and how did you go about doing it?
You can follow Abhinit on Twitter @abhinitial and me on @nimkarkedar and Audiogyan on @audiogyan
Oh, BTW, Gojek is hiring. Visit Gojek.io to know more.

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Today I have Harikrishna Katragadda with us on Audiogyan. Hari is a Mumbai based photographer whose work explores communities, environment and personal memories. He uses long-term documentary approach (which is very new to me). he works with alternative photographic methods to incorporate found materials in images.  He graduated with a Masters degree from the University of Texas at Austin and started his career as a photojournalist in New Delhi. Today we are here to know more about his work practice, his philosophy and most importantly how has he recourse his work for social change. 
How do you define your work of painting? What style is it? Any early life influencers? Any other legends who have played with cyanotype and your style of abstract paintings?
We will start with a more relatable question and then we will go abstract further. In one of your interviews, you have mentioned "Art is an inner exploration as well as a way to address social concerns” - Can you start by telling us what do u mean by that? Any particular artwork series like “Effluence” which enabled you to address social concerns?
What according to you is important while creating an artwork. Be it taking a photo or painting on a canvas? Style, medium, content, context, artists journey? Why?
In your case, you are both a photographer and a painter. What’s your definition of patience? 
From whatever your artworks which i have seen, you expression is abstract in nature. Do you find it difficult to express that in photography?

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Mohini is a self-taught designer and illustrator from Mumbai and now based in Bangalore. She runs Indian Gig Poster Archive - a repository of posters created to promote independent music in India. She has been an exclusive artist with Kultureshop. Her work is affectionately dismissive of pop culture and its common visual tropes and motifs. Today we are here to document a case study of her project, “Indian Gig Poster Archive”
What is Indian Gig Poster Archive?
How did this idea come about? Why did you start it?
How do you source these posters? Where are you getting these from? How far do these collections go?
What makes these artist share their artwork?
What happens to these posters when the gig is over?
Can you share any worth noting incident / case study which revived the band because it was rediscovered through your project? Any story / anecdote 
Do you follow any archiving practice of documenting based on year, genre, artist geography etc…?
Are there any other domains apart from Indie Music which you have discovered while logging these?
What do these posters tell you? Have you found any pattern of how the graphic scene has been evolving in the last few decades?
How has this side project helped you as a designer and as a music lover?
What is the long term future of Indian Gig Poster Archive? Till when do you plan to keep discovering and journaling them?
What is the feeling when you find a pile of old or new posters all at once?
You can follow her on Instagram @mohinimukherjee and the project @indiangigposterarchive. In my case, @nimkarkedar and @audiogyan on Twitter

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Vijay Dhondopant Tendulkar
Born on 6 January 1928 and passed away on 19 May 2008. Tendulkar Sahab was or should I call is an unarguably a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).
Welcome to Audiogyan Biographies. Today we will be documenting Vijay Tendulkar with a bit of help from Ramu Ramanathan.
Ramu is an Indian playwright-director with acclaimed plays to his credit. Ramu has previously been a guest on Episode Number 29 of Season 1. He spoke about Stagelife Characters. Ramu is my go to person to understand tidbits about Indian Theatre.

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Vijay Dhondopant Tendulkar
Born on 6 January 1928 and passed away on 19 May 2008. Tendulkar Sahab was or should I call is an unarguably a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).
Welcome to Audiogyan Biographies. Today we will be documenting Vijay Tendulkar with a bit of help from Ramu Ramanathan.
Ramu is an Indian playwright-director with acclaimed plays to his credit. Ramu has previously been a guest on Episode Number 29 of Season 1. He spoke about Stagelife Characters. Ramu is my go to person to understand tidbits about Indian Theatre.
I am very curious to know, who were Tendulakar Sahab’s influencers? I am asking this because I was reading, Manus Navache Bait (Man is An Island), one of his first plays, was remarkable. People had never heard such dialogues before. Theatre at that time used very stylised acting and long sentences with very flowery language; it was distanced from reality. Something similar to which you spoke in the Episode 29 about Samuel Beckett and other playwrights trying to bring court room dramas to dining rooms. So do you have any insights what made him start this way?
What was happening in from 1960 to 1990s that Tendulkar wanted to express his thoughts through violence; because according to my limited knowledge, he said, that he lived in a simple middle class family which was doing fine.
What do you think; what made Vijay Tendulkar show violence to create awareness about violence, rather than showing something morally good or ethically sound? What is this style of showing real? Where does this form stem from?
What was his trajectory of him expressing violence throughout his plays? Did it increase due to ongoing unrest or it decreased? From Gidhade to Kamala?
Some of his plays were censored. What made him write so boldly in his new plays, despite being censored?
What is the one thing which young generation playwrights should learn from Tendulkar and what is that one should avoid considering the current times?
https://www.dnaindia.com/analysis/report-vijay-tendulkar-is-a-scathing-interpreter-of-maladies-4810
https://web.archive.org/web/20081201033510/http://www.indianexpress.com/res/web/pIe/ie/daily/19991020/ile20071.html
https://www.youtube.com/watch?v=rTqj3GVs6bM
https://www.youtube.com/watch?v=2bF3GLjn1iI (Part 1 to 6)
https://www.indiatoday.in/magazine/society-the-arts/story/19801231-vijay-tendulkar-indian-theatre-only-complete-philosopher-773665-2013-12-02

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

तुका म्हणे बरवे जाण ।
व्हावे लहानाहून लहान . This is an important line by Tukaram, since it illustrates something universal. I am from design background and swear by a line which says, "Less is more”. Having some bent towards listening or understanding poetry, I also loosely interpret this couplet as “realise that, the shorter the better”. In the 100th episode os Audiogyan with Balkrsihna Doshi, I asked him why do all architecture look the same. To which he replied because architects are no longer poets. In my 33rd Episode with Gangadharan Menon, even he said, "The moment we rediscover our poetry, that will be our renaissance.”
On that backdrop, today I have 3 guests on Audiogyan. Rochelle Potkar, Pooja Bhatia and Sanket Mhatre; all, stewards of an upcoming generations of great poets.
Importance of short form poetry?
Rochelle: What are the short form poetries that you have explore? What is a Hiaku?
Sanket: In Marathi we have Charoli? Are there any other forms? What are those?
Pooja: Can you tell what’s the difference between a Gazhal, Sher and Nazm? How have they evolved over time and why is sher so well known versus other forms for layman?
What are the constructs and why? Have they being broken in it’s journey? Art has always been transient. How have these short forms evolved?
Why is haiku only 6 syllables?
Why don’t we have Paacholi? Is it the meter or some other constraint?
Is there conscious effort by poets to keep every Sher integrated in the bigger narrative and yet independent in nature?
Who are the big names who have redefined trajectories? Like Kumar Gandharava in Music.
Who are the Haiku makers who have propagated this form? Is Tanka as famous as haiku?
Chandrakant Gokhale is all time favourite of the youth. Who all have made such impact on different sections of the society through short form poetry?
Sher has been glamourised by Bollywood and also abused? Where is the real substance and how Bollywood got influenced? Any insight there? How did the word Irshad come about?
Topics of Short form poems
In haiku, what are the topics which are explored and yet to be explored?
In Charoli?
In Sher? Is it always about love or passion? Have there been writers writing shre about social awareness like Rahat Indori?
Future
You all have been to various parts of the country talking about poetry and reciting your poetry, what has been your observations?
How is Poetry perceived by a middle class layman?
Where do you see poetry 100 years out in India and other parts of the world?

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Rajdeepgiri is a Graphic Designer from Bangalore with over 11 years of experience. He has worked in the various fields of design, like type design, branding, packaging and advertising. Today we are here to discuss a case study with him called Tenpoints braille which is his passion project and he has been working on it for past 5 years.
What is Ten Points Braille?
How did it come about? What made you think about it? You also have other type design projects like Baboo, RupeeRaj, Singlanguage A. Can you tell us about these briefly?
If one has to use this for typing the required text, why do we have you use on 10pt size font and line height 30? How did you arrive at these numbers?
There is a beautiful video of how can one use it. But can you walk us through it orally as well?
Can you share your journey from the first cut of the font, experiments and iterations till you now have arrived at it? How did you keep on validating?
Why Tenpoints braille? How do you think it will help the visually impaired and others? With just 34% Internet penetration in India, one side we have invisible UI, speech to text, image recognition technology developing, What made you think of this idea?
In your research, what were the learnings, especially with visually impaired and hearing impaired people? How do they perceive fonts? Are they aware of serif and san-serif typefaces? What are your thoughts on bringing in revolution; can braille also have serif ans san-serif?
What was the process of making it 13 scripts?
What next? How do you plan to make it accessible?
How can people collaborate with you to make it bigger?

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this wide-ranging conversation, Appupen discusses the subtext in comics as a powerful tool of resistance. From his beginnings in advertising to his dark, ironic universe of Halahala, he critiques the manipulation of desire, hero worship, and media propaganda. Through works like Rashtraman and characters like Propagandhi, he reflects on India's obsession with godmen, political narratives, and the commodification of dreams. Appupen shares why art must disturb, why satire matters, and how comic art can gently push people to question dominant stories—even in an age of numbed outrage. The episode is a deep dive into the politics of visual storytelling, freedom of expression, and making dissent accessible.

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Ranjit Dahiya is an artist, entrepreneur, motivational speaker and an arts & design professor all rolled into one. Founder artist of BAP, Ranjit Dahiya is originally from a small town named Sonipat in Haryana. He did his Bachelor's Degree in Fine Art from College of Art, Chandigarh and further went on to do his Post Graduate in Graphic Design from the National Institute of Design, Ahmedabad. Today we are here to discuss his love for Bollywood, murals and documenting a case study of BAP, Bollywood Art project.
Can you start by telling us what is BAP and some background story behind it?
Can share some brief historical background about murals as an art form in India? Which all other Indian cities do have murals or graffiti going on? What according to you is role of mural in society?
India has 2 religions. Cricket and Bollywood. You picked Bollywood. The first ever mural made is a poster from a 1953 film Anarkali. What makes you draw stuff which is pre-2000’s? Do you consider drawing anything apart from Bollywood if not commissioned?
How different it is to detail out the nuances of the subject being painted when you draw on big walls? You have rough strokes or also show the smaller details? How do you decide the level of detailing you wish to achieve? Can you quickly walk us through the process?
What sort of colours are used to keep the painting fresh for some time? With the heat and rains in Mumbai - Have you experimented with colour mixtures to keep those murals long lasting? Mixing acrylic, with emulsion paint or simply oil paints?
When you travel across India, especially in highways and country side, You see lot of walls painted with either Tele-com providers or tractors… in a way actual advertising, which seems to be a paid job. From where do you think your motivation comes for painting old Bollywood stuff?
Can you take a particular example and tell how do you respond to the surface and how does surface responds to your artwork. For eg: If you are painting a Bollywood heroin, can her eyes be 2 windows which are nicely designed? Do you expect the building owners and keep their windows open or closed all the time based on your artwork?
I saw few of your videos online where you draw a rough sketch and then probably a complete artwork on canvas to envision, why can’t or don’t you just draw on huge canvases and hang them? What is the difference in drawing on huge canvas versus actual walls?
With Flex and other mediums emerging to promote films and TV series, what is your one hope and one disappointment when you look at these?

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Arthur G. Doughty a dominion activist once said, "Of all our national assets, Archives are the most precious; they are the gift of one generation to another and the extent of our care of them marks the extent of our civilisation.” Today I have Ruturaj Parikh with us on Audiogyan.
Ruturaj is an Architect & Partner at Matter. an architecture, design and content firm based in Goa. He has been involved in architecture, urban design, planning, curatorial and social projects. Ruturaj regularly writes about contemporary works and ideas on architecture relevant to India and its subcontinent. I stumbled upon him when i visited an architecture conference called Frame Conclave this year.  Ruturaj designs and writes from Goa.
What is Matter. ? Why do you think Archiving thought / documentation is important & required? Especially post Independence thought?
With so much noise, how do you decipher signal? How do you decide what to archive? What qualifies to be worth archiving?
What are your thoughts on “reflecting on your own work”?
As per my experience, very few professionals are reflective about their work; while academicians, authors & researchers have a more broader vision. Is it true and if yes, why?
Classic work always has a pull and need not be pushed. But it can take really long for people to understand the value. What keeps you going and doing this?

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com