Aft 157 design process project -i

AFT157-DESIGN PROCESS PROJECT -I
COURSE COORDINATOR :- KRISHN VERMA -20194)

COURSE DESCRIPTION:
• “AFT57- Design Process Project” is a basic foundation for project course in clubbed project form
• These fundamental concepts provide a basis for all the design/art disciplines as they are applied by the
students regardless of their major area of interest.
• This course is foundational in content and provides the students of Design/art with methodologies for
composition and quality performance in two-dimensional presentations.

COURSE OBJECTIVE
• Observe the design making process
• Develop creative concepts during design development
• Analyze strategically and creatively as an designer practitioner across all aspects of the
creative/design process
• Analyze the requirements for client products or services and develop entrepreneurship
skill in the form Indie game and Animation and graphic designer

COURSE OUTCOME
• You will get an overview on the course content and understand meaning of design in maximum aspect
area
• You will get an overview of steps for process of design in case study form either in the form brand
design form and its campaign ad , game design or animation film design
• You will get how to pitch and start your project
• You will get an overview of steps for making the animation film design means get knowledge of pre-
production ,production, publishing ,its pipeline and will get ability to implement that knowledge in forth
coming animation project
• You will get an overview of steps for process of the game development and game structure , production
pipeline ,how is different from software design and will get ability to implement that knowledge in forth
coming game project
• You will get knowledge of basic management skill, PMBOK (project management body of knowledge)
and knowledge transfer guide , and will be able implement him in forth coming project
• You will understand their leadership and team management for group project

COURSE CONTENT
• CREATIVE INDUSTRY AND ITS DEVELOPMENT PROCESS
• COPYRIGHT RULES AND ITS PROCESS
• DESIGN PROCESS IN GRAPHIC DESIGN
• DESIGN PROCESS IN ANIMATION FILM DESIGN
• DESIGN PROCESS IN GAME DESIGN
• PROJECT MANAGEMENT CONCEPT
• LEADERSHIP SKILL AND TEAM WORK
• CASE STUDY PROJECT IN THE THREE DIFFERENT ASPECTS MEANS BRAND DESIGN,GAME DESIGN AND
ANIMATION FILM DESIGN

GUIDE LINE OF PRACTICAL PMR REPORT OF ANY BRAND
DESIGN /SELF CREATED BRAND (PROJECT 1)
PHASE -1
1.INTRODUCTION (Brand History, founder, Ownership ,global head quarter, Background, what they do, who is consumer )
2.IDENTITY DESIGN (Logo design , message /tag line , Style guide , mood color etc )
3.STRUCTURE OF COMPANY / BRAND ( Deiter Ramas Principle )
4. TYPE OF INDUSTRY ( Service industry , entertainment industry , production )
5. INVESTORS ( investor company, subscribers, associate company)
6. INTELLECTUAL PRORERTY ( IP means like lands, Money , infrastructure etc)
7.SWOT ANALYSIS OF COMPANY /BRAND ( Strength, Weakness, Opportunity and threat)
8.MARKETING STREGITY ( Poster, magazine design, packaging design )

PHAGE 2– SELF BRANDING OF YOUR OWNSELF / MODDING DESIGN OF BRAND
1.IDENTITY DESIGN /LOGO DESIGN (Manual /Digital Print)
2.POSTER DESIGN (Manual / Digital Print)
3.VISITING CARD (Manual / Digital Print)
4.YOUR USP (Unique Selling Point )
GUIDE LINE OF PRACTICAL PMR REPORT OF ANY BRAND
DESIGN /SELF CREATED BRAND (PROJECT -2)

GUIDE LINE OF PRACTICAL PMR REPORT OF ANY ANIMATION FILM
DESIGN /SELF CREATED IDEA ANIMATED SHORT FILM
PHASE 1– SELECTION OF BENCHMARK ANIMATED FILM > MAKE PPT PRESENTATION OF CLIP VEDIO > MENTION WHY
YOU HAVE SELECTED THIS FILM > PROCESS OF DEVELOPMENT OF VERTICAL SLICE OF PROJECT TERM FILM >
YOUR PROJECT SCOPE OF YOUR FILM
PAHSE 2- CUT THE CLIP VEDIO AROUND 3-5 SECOND OF THAT FILM > CONVERT IT INTO SEQUENCE IMAGE FORM >
COPY OR DRAW THE IMAGES SEQUENCE IN PHOTOSHOP > ANALYSE THE PROCESS OF REMAKING > ITS BACKGROUND > ITS
CHARACTER > ITS PROPS AND ASSETS
PAHSE 3 – MAKE BIBLE OF THAT CLIP VIDEO WITH CHARACTERS SKETCH , BACKGROUND AND ASSETS , ITS ANATOMY ,ITS
SILENT FEATURES > ASSETS DRAWING
PHA SE 4- DRAW REQUIRED DRAWING FRAME BY FRAME ,EITHER TRACE OR CREATE FRAME BY FRAME >CONVERT IT INTO LINE
TEST SHOT > AFTER GEETING THE REQUIRED QUALITY ANIMATION > MATCH WITH COLORED BACKGROUND AS REFENCE >
THEN COLORED THE ANIMATED CHRACTER FRAME BY FRAME
PHASE 5- EXPORT IT INTO VEDIO FORM AND PRESENT IT PPT FILE THAT HOW MANY HOURS YOU HAVE SPEND TO COMPLETE
THE VIDEO CLIP .

GUIDE LINE OF PRACTICAL PMR REPORT OF ANY VERTICAL SLICE
OF GAME DESIGN (PROJECT -3)
PHASE 1– SELECTION ANY GAME EITHER PHYSICAL GAME ,CASUAL GAME, HYPER CASUAL GAME, DS CONSOLE GAME, Wii
CONSOLE , X –BOX ,PS2 /PS3 GAME, PC GAME AS BENCH MARK OF YOUR VERTICAL SLICE OF GAME PROJECT .
PAHSE 2- WRITE THE GDD DOCUMENT OF THAT GAME AND MAKE VERTICAL SLICE OF GAME PROJECT(PREFERENCE WILL BE
GIVEN FOR PHYSICAL GAME PROJECT. EXAMPLE -PAPER PROTOTYPE OF YOUR VERTICAL SLICE PROJECT.
OR
PHASE 3- CONSOLE ROOM DESIGN FOR VEDIO GAME PARLOUR
.

THEORITICAL PART OF GRAPHIC DESIGN PROJECT
❖DESIGN OF COMMUNICATION
❖DESSIGN PROCESS
❖PAGE LAYOUT AND DESIGN
❖CORPORATE IDENTITY
❖BRANDING
.

THEORITICAL PART OF GRAPHIC DESIGN PROJECT
DESIGN OF COMMUNICATION
➢GRAPHIC DESIGN IS NOT AN ART
➢GRAPHIC DESIGN IS NOT AS COMMERCIAL ART
➢GRAPHIC DESIGN IS VISUAL COMMUNICATION
➢SEMIOTIC
➢DEPTH OF MEANING
PERCEIVING VISUAL COMMUNICATION
➢THE COMMULATIVE QULAITY OF COLOR
➢ROLE OF DESIGN IN EVERY DAY LIFE

GRAPHIC DESIGN INTRODUCTION
According to Paul Round (One of the most influenced graphic designer of all time )
In Graphic Designing profession
•There is many unique and exciting challenge that wait the practicing professional .
•Including opportunity to work on variety of project , helping growing client business
through provoking.
•Design that connects their target audience
•And making a creative impact on how people perceive the world around them.

GRAPHIC DESIGN INTRODUCTION
According to Paul Round (One of the most influenced graphic designer of all time )
There are three personal traits that inherent in the complete graphic designer
➢PASSION (- is what ignites and fuels the same desire to create and it is reason why
we get up in the morning and go to work –means love what you do
➢PERSEVERANCE (power to overcome many obstacles and challenges means ability
to solve the need of client )
➢PROFESSIONALISM ( the ways in which you communicate with and treats clients
and in how to react to criticism.
(Design is relationship business built on trust ,respect , ethical conduct and integrity .
Egos are best left at the door , never assume that you are better than client .)

GRAPHIC DESIGN IS NOT AN ART
Graphic Design is not same as FINE ART . It is true that designer use the same tools as
painter , sculptor, and photographer in the creation of their work and they have include
many piece of art within the composition.
➢Both Fine art and design are creative endeavors ,however purpose will be completely different.
➢Fine art is typically serving personally motivated and expressive ,true artist explore social issues ,
make statement , or presents viewers with images of the world around them. Most artist sell their
work on an emotional and visual level created for personal reason rather than specific buyers.
➢On the other hand Graphic design is vocation involving the creation of visual communication on
the behalf of paying client with very specific needs
Graphic design is the combine form of art and visual communication following to
desire of the client first.

GRAPHIC DESIGN IS NOT AS COMMERCIAL ART
COMMERCIAL ART

GRAPHIC DESIGN IS VISUAL COMMUNICATION DESIGN

SEMIOTICS
Semiotic is the study of sign and symbols and their impact on communication and
language .
1st introduced by American philosopher CHARLS SANDERS PIERCES as result of their
work in linguistics and categories signs into three basic type icons , symbols and indexs
ICONS –are realistic representation of objects and things in the form of simplified
illustration or photograph that communicate easily.
SYMBOLS– are arbitrary signs with no apparent resemblance to the objects or thongs
that represents that require use of common or shared language or cultural experience .
INDEXS – where readers can look to quickly find the more information about the
particular subjects.

DEPTH OF MEANING
•Message must connect with viewers at many levels beyond mere aesthetics in order to
resonate and be remembered by viewers
•The more the audience views the message that speaks to them on an emotional levels , the
more likely they are to comprehended and remember the work
•There are seven layers of depth of meaning in visual
Communication.
A) Perception
B) Sensation
C) Emotion
D) Intellect
E) Identification
F) Reverberation
G) Spirituality

• PERCEPTION:
• The aspects of visual solution that makes us look at piece
• Visual Hierarchy , contrast , color, and imagery are all format quality that grab the viewers
attention and draw him into the work .
• Multilayered imagery and graphics as well as other looking visual eye-candy may pique the viewers
interest but fail to communicate
• SENSATION :
• Images with tactile quality causes viewers to experiences gut reaction to the work .
• Such images have the power to either repulse or arouse the audience curiosity.
• EMOTION :
• Appealing to the viewers emotions rather than his reason has enormous power of persuasion
• Positive and negative such as LOVE , TRUST ,CONFIDENCE and FEAR all are employed heavily by
advertising to sell the product or lifestyles.

A LOGO LESS COMPANY IS A FACELESS MAN
• Types Of LOGO:
• 1. Emblem
• 2. Logotype or Wordmark
• 3. Monogram or Lettermark
• 4. Brand Mark or Pictorial Mark
• 5. Abstract Logo Mark
• 6. Mascot
• 7. Combination Mark

• Symbols transcend boundaries
• international branding and design agency Bunch. Its designers used a seven-pointed
star inspired by
• the Star of Bethlehem to brand a new two-story club, Star of Bethnal Green (SoBG),
which opened in the heart of Bethnal
• Green in London in 2008. The hard-working star symbol, which is a play on the name
of the club and its owner, Rob Star, was used on everything from note cards to pint
glasses.

Identity design as part of our language

ELEMENTS OF ICONIC DESIGN
• Anyone can design a logo, but not everyone can design the right logo.
• A successful design may meet the goals set in your design brief, but a truly enviable iconic design will also be simple,
relevant, enduring, distinctive, memorable, and adaptable
• Keep it simple
• Make it relevant
• Incorporate tradition
• Aim for distinction
• Commit to memory
• Think small
• Focus on one thing

• Keep it simple.
The simplest solution is often the most effective. Why? Because a simple logo helps meet most of the other
requirements of iconic design.
• Make it relevant.
Any logo you design must be appropriate for the business it identifies. For example, as much as you might
want to use a fun design that makes everyone smile, this approach is not ideal for businesses like the local
crematorium.
• Incorporate tradition.
Trends come and go like the wind. With brand identity, the last thing you want is to invest a significant
amount of your time and your client’s money in a design direction that looks dated almost overnight.
• Aim for distinction.
Begin by focusing on a design that is recognizable. So recognizable, in fact, that just its shape or outline gives
it away.

Commit to memory
Quite often, one quick glance is all the time you get to make an impression. You want your viewers’
experience to be such that your logo is remembered the instant they see it the next time.
Think small
Your design should ideally work at a minimum of around one inch in size without loss of detail so that it can
be put to use for many different applications.
Focus on one thing
Incorporate just one feature to help your designs stand out. That’s it. Just one. Not two, three, or four.

PROCESS OF DESIGN
• Shaking out the jitters
• It’s all in the design brief
• Gathering preliminary information
• The organization’s name
• Its location
• Number of years in business
• Number of employees
• The product or service sold
• The challenges faced
• Who the competitors are

PROCESS OF DESIGN
• Asking the tougher questions
• What does your audience care about?
• How do people learn about your product, organization, or service?
• Why does your audience need a new brand identity?
• What words do you want people to associate with your company?
• Generally, what logos do you think will appeal to your customers, and why?
• How many people are responsible for use of the brand identity?
• Give your client time and space
• But maintain the focus
• Homework time
• Assembling the design brief
• A mission and some objectives hold the key
• Field research to the rescue

FROM PENCIL TO PDF
• Mind-mapping is particularly useful in the design
profession because it’s very effective for working
through these important
Steps of the design process:
• 1. Collecting your thoughts by mind map
• 2. Generating ideas through brainstorming with help
of a creative groove.
• 3. Associating words with images
• 4.Priotise or make hierarchy the elements of design
• 5. Apply different principle of design
• 6. Start thumbnailing
• 7.Execute in well manner and take Bose tasted

The Gutenberg Principle is a lesser-known design principle that describes the general
movement of the eyes when looking at a design in which elements are evenly distributed.
It’s also known as the Gutenberg Rule or the Z pattern of processing.
Gutenberg Principle

PIET MONDRIAN
• Piet Mondrian, one of the founders of the Dutch modern
movement De Stijl, is recognized for the purity of his
abstractions and methodical practice by which he arrived at
them. He radically simplified the elements of his paintings to
reflect what he saw as the spiritual order underlying the visible
world, creating a clear, universal aesthetic language within his
canvases.
• Mondrian's development of Neo-Plasticism became one of the
key documents of abstract art. In the movement he detailed his
vision of artistic expression in which "plasticism" referred to the
action of forms and colors on the surface of the canvas as a new
method for representing modern reality.
• Mondrian's singular vision for modern art is clearly
demonstrated in the methodical progression of his artistic style
from traditional representation to complete abstraction. His
paintings evolve in a logical manner, and clearly convey the
influence of various modern art movements such
as Luminism, Impressionism, and most importantly, Cubism.

The Gray Tree (1912)
The Gray Tree exemplifies Mondrian's
early transition toward abstraction, and
his application of Cubist principles to
represent the landscape. The three-
dimensional tree has been reduced to
lines and planes using a limited palette of
grays and black. This painting is one in a
series of works Mondrian created, in
which the early trees are naturalistically
represented, while the later works have
become progressively more abstract.

Composition with Color Planes (1917)
Artwork description & Analysis: While still in Holland
during World War I, Mondrian helped found the group of
artists and architects called De Stijl, and it was during this
period he refined his style of abstraction even further.
Composition with Color Planes shows his break with
Analytic Cubism and exemplifies the principles he
expressed in his essay "The New Plastic in Painting." Here,
Mondrian has moved away from the Cubist palette of
ochres, grays, and browns, opting instead for muted reds,
yellows and blues - a clear precursor to his mature palette
that focused on primary colors. The blocks of color float on
a white ground and no longer reference a physical object in
nature such as a tree or building, while all reference to
illusionistic depth has been eliminated. The composition is
based on color and balance and gives even weight to all
areas of the picture surface, moving toward the precise
balance of his mature canvases.

Pier and Ocean (Composition No. 10) (1915)
Oil on canvas - State Museum Kroller-Muller, Otterlo
Artwork description & Analysis:
Pier and Ocean marks a definitive step in Mondrian's path
toward pure abstraction. Here he has eliminated diagonal and
curved lines as well as color; the only true reference to nature
is found within the title and the horizontal lines that allude to
the horizon and the verticals that evoke the pilings of the pier.
The rhythms created by the alternating lines and their varying
lengths presages Mondrian's mature dynamic, depicting an
asymmetrical balance as well as the pulse of the ocean waves.
Reviewing this work, Theo van Doesburg wrote: "Spiritually,
this work is more important than the others. It conveys the
impression of peace; the stillness of the soul." Mondrian had
begun to translate what he saw as the underlying ordered
patterns of nature into a pure abstract language.

Composition with Large Red Plane, Yellow, Black, Gray, and Blue (1921)
Artwork description & Analysis: In the 1920s, Mondrian began to create
the definitive abstract paintings for which he is best known. He limited
his palette to white, black, gray, and the three primary colors, with the
composition constructed from thick, black horizontal and vertical lines
that delineated the outlines of the various rectangles of color or reserve.
The simplification of the pictorial elements was essential for Mondrian's
creation of a new abstract art, distinct from Cubism and Futurism. The
assorted blocks of color and lines of differing width create rhythms that
ebb and flow across the surface of the canvas, echoing the varied rhythm
of modern life. The composition is asymmetrical, as in all of his mature
paintings, with one large dominant block of color, here red, balanced by
distribution of the smaller blocks of yellow, blue gray, and white around
it. This style has been quoted by many artists and designers in all aspects
of culture since the 1920s.Oil on canvas - Gemeentemuseum, The Hague

Artwork description & Analysis:
This canvas presents the viewer with the culmination in Mondrian's life-
long pursuit of conveying the order that underlies the natural world
through purely abstract forms on a flat picture plane. Broadening the use
of his basic pictorial vocabulary of lines, squares and primary colors, the
black grid has been replaced by lines of color interspersed with blocks of
solid color. This, and his other late abstract paintings, show a new,
revitalized energy that was directly inspired by the vitality of New York
City and the tempo of jazz music. The asymmetrical distribution of the
brightly colored squares within the yellow lines echoes the varied pace of
life in the bustling metropolis, one can almost see the people hurrying
down the sidewalk as taxi cabs hustle from stop-light to stop-
light. Broadway Boogie-Woogie not only alludes to life within the city,
but also heralds New York's developing role as the new center of modern
art after World War II. Mondrian's last complete painting demonstrates
his continued stylistic innovation while remaining true to his theories and
format.
Broadway Boogie-Woogie (1942-43)

PRICING DESIGN
The age-old question of, “How much should I charge my clients for identity design?”
The design pricing formula
Pricing generally varies depending on a number of factors:
• Your level of expertise
• Project specification
• Expected turnaround time
• Additional service and support
• Level of demand
• Current economy

YOUR LEVEL OF EXPERTISE
• Main goal is to make sure you’re adequately compensated for your
level of experience and education; your reputation; the overhead
you incur for office space, equipment, electricity and heating,
health care, and living costs; and the expenses you will incur as a
result of working through the design project with your client
(travel costs, your time, and so on)

PROJECT SPECIFICATION
• Let’s say we’re working with two clients at the same time. One is a local shoe store owner
who is just launching his first business, and the other is a 500-person-strong multinational
company that has been in business for 50 years and needs a rebrand.
• You won’t need to research the shoe store’s company history. Nor will you need to draft
an identity style guide, since most likely just the owner will be dealing with the application
of your design. And you won’t be booking international flights for brand meetings.
• So the shoe store project will obviously cost you and your client less than the
multinational company project.
• As much as I’d love to give you specific figures, only you can determine how much less.

EXPECTED TURNAROUND TIME
• If a client is under pressure to have a job completed within a tight time
frame, you should consider applying a “rush job” markup to the project.
Accepting the request means that you, too, will be under increased
pressure to get the job done, and might result in a rescheduling of your
existing projects.
• We should recommend a markup of 20 percent to 50 percent, depending
on the urgency of the deadline.

ADDITIONAL SERVICE AND SUPPORT
• When a client needs a new website to go along with her new logo, consider it an
opportunity, even if such a service falls outside your skill set.
• It’s situations like these that allow you to provide that extra level of service and
support that is most useful to your client.
• You can approach other designers—those who specialize in web design and
development—to see if they might be able to provide the needed service.
• Then negotiate a finder’s fee with the designer, whereby each project you send his
way equates to a percentage of the total bill.
• Your subcontractors and you shuold find that 10 or 15 percent is a fair cut.

LEVEL OF DEMAND
• Let’s say you’re snowed under with work. Your project calendar is filled for the next six months with a
steady stream of clients, yet you still receive new inquiries and are reluctant to turn them away.
• This is your opportunity to significantly raise your rates.
• If the client says no, it’s not hurting your bottom line, but if the client says yes, you’re happy to put in
some overtime because you’re being adequately compensated and can look forward to rewarding
yourself when the project is complete.
• Put simply, if lots of clients are demanding your design services, it’s time to charge more, because this is
a sign that you’re worth it.

CURRENT ECONOMY
• During an economic downturn, so you might discover there are less inquiries about hiring you. Some
designers will lower their rates as a result, but my advice is to charge what you normally do, because
there will be smart clients out there who wisely see the downturn as an ideal time to spend on
branding.
• When competitors are cutting back, there’s a great opportunity to increase market share by attracting
new customers.
• If you will find business hard to come by in tougher economic times, don’t take it as a prompt to lower
your rates. Instead, use it as an opportunity to improve your own marketing methods.
• Why not give your portfolio a more professional edge? Draft a list of potential companies you can target
with a sales drive? That way, when the market swings, you’ll be in a much stronger position to take
advantage of it.

HOURLY RATES OR A SET FEE?
• I, too, normally ask for a 50 percent deposit of the total fee prior
to starting the project.
• Getting this payment up front helps in two ways:
• First, I’m ensured that my time is compensated for, and
• Second, the client has that additional source of motivation to see the
project through to completion.

• Copyright is a branch of Intellectual Property Rights and an exclusive legal right
given by the judiciary to the creator on his creation.
• Copyright is one of the branches or aspects of Intellectual Property Rights
(IPR).
• IPR has been defined by World Intellectual Property Organization (WIPO), as
“Intellectual Property, very broadly, means the legal rights which result from
intellectual activity in the industrial, scientific, literary and artistic fields.
• Countries have laws to protect intellectual property for two main reasons.
• One is to give statutory expression to the moral and economic rights of creators for their
creations and the rights of the public in access to those creations.
• The second is to promote, as a deliberate act of Government policy, creativity and the
dissemination and application of its results and to encourage fair trading which would
contribute to economic and social development”1.

Intellectual property has been categorized in to many branches
IPR
Utility
Model or
Design
Plant
Breeders
and Right
Copyright
Trademark
Patent
Geographical
Identification
Trade
Secret

WHAT IS COPYRIGHT LAW?
• Copyright is an exclusive legal right given to the creator or a group of individuals to protect their work or creativity
from reproduction, adaption, translation, distribution and public performance by others without prior permission
from the creator/person responsible for the existence of the work.
• The purpose of the copyright is to secure and reward the general benefits i.e. labor of authors on the produced
work. It encourages the authors to produce and proceed with more works on continual basis.
• To get protection from the copyright law the work should possess the following3;
a) The work must be an original one (Original means, the work has been created from inspiration and not copied from any other
existing sources. The work must have been created for the first time)
b) It must be fixed in any tangible form
❖ The presentation of the work must be in the expressible and physical form and should be capable of being to identified in a
fixed form/identified in its existence or tangible form such as paper, recordings on optical media, paintings, documents, web
servers etc.
c) Must be First publication :An original work, should not be published before
d) Work published after the death of author, at the time of death author must own the citizenship in India
e) In case, work published out of India, at that time author must be citizen of India

• ● Literary works
• ● Musical works
• ● Dramatic works
• ● Artistic works
• ● Cinematograph films
• ● Architectural works
• ● Sound recordings
• ● Computer program/software
Copyright protection is not provided for;
1. Works not fixed in tangible form
2. Titles, names, short phrases, slogans, methods, factual information, symbols or designs – however trademark law may
provide some protections to these works
3. Ideas or concepts, procedures, process, plans, principles, discoveries, and guidelines – however in such cases patent or
trade secret law may provide protections to these works
4. Works that are already in public domain and original authorship is not traceable are not covered under copyright law.
5. Copyright works that are already expired

• Copyright is a bundle of rights given to the author by the judiciary. As per the Indian Copyright act Section 14 of chapter III and 57 of chapter XI,
author has been conferred with some exclusive and special rights; these rights can be divided into 3 categories and as follows;
• 1. Statutory Rights or Negative rights
Copyright law provides an exclusive legal or statutory right to the original author on his creation of work. It imposes a ‘negative duty’ on others that
prohibits from using or getting benefit from the work without the consent of the author.
• 2. Economic Rights
The economic right provides author to enjoy the financial benefits. The creator can earn royalty by assigning rights to others either fully or partially.
• As per the international conventions, generally every national copyright statute provides following exclusive rights to the copyright holder.
● Adaption rights
● Distribution rights
● Public performance rights
● Public display of works rights
● Rental rights
● Reproduction rights
● Translation rights
• 3. Moral Rights.
Copyright law always protects the creator even after the assignment of copyright work to others either fully or partially. Moral rights grant an
author the right to have his name kept on the work forever and protects from any distortion or modification of the work, or other offensive action
in relation to the work, which would be damaging to the author’s reputation.

Normally current copyright doesn’t require any kind of registration for its protection.
Once the work created in tangible form, an author automatically gets the copyright on his creation.
The term of the copyright protection on different works has described in section 22-29 of chapter V of Indian
copyright act.
The term of the copyright protection is as mentioned below.
1. The copyright term in respect to published literary, dramatic, musical and artistic works is lifetime of
the author plus 60 years from the death of the author. In case of multiple authors the term is 60 years
from the death of last author.
2. In case of anonymous and pseudonymous works, the copyright term is 60 years from the date
publication.
3. Copyright protection for photographs, cinematograph films, and sound recordings is 60 years from the
date of publication.

➢Violation of a copyright law by any person without a license or permission by the owner of the creation is
called as infringement of copyright.
➢Copyright law provides exclusive legal rights to an author to get all kind of benefits on his creation.
➢As per the section 51 of chapter XI of Indian copyright act, using any copyrighted work without the
permission of a copyright owner is an infringement of copyright law and the following instances could be
considered as infringement of copyright. Any person who does the infringement of a copyright is solely
held responsible for his misconduct.
i. Performing publicly without any consent of the owner
ii. Using copyrighted work for any kind of business which brings financial benefit
iii. Distributing for the purpose of trade or import
iv. Reproduction of substantial part of copyrighted work in any material form
v. Circulating among the unauthorized persons
vi. Adoption or translation of copyright work without any permission
vii. Resale or renting of copyrighted material to others

• Fair use is an essential part of copyright law which permits to reproduce the copyrighted work in a manner that could be only used for
following purpose which is not considered as infringement. Fair use is a key factor that encourages the growth of knowledge and motivates
people for fair utilitarian.
1. Purely for private use, including research work
2. To criticize or review the work of others
3. For any kind of judicial proceedings
4. In order to protect damage or loss of work, copyrighted work could be archived
5. Reporting of current events and news in, such as periodicals, magazines
6. Making not more than three copies of a Book which is not available for sale in India, by the public libraries under the direction of
person in charge
7. Using for class instructions by a teacher to his students
8. for the purpose of examination and as part of questions, work can be used for writing answers
9. Can be performed or used in course activities of an educational institution by the staff and students. In such case audience must
be limited to staff and students of the institution.
10. Unpublished works which are kept in libraries or any institutions can be reproduced for the purpose of research or private study
11. Reproduction of copyrighted work for disabled persons for non-profit purpose but the institute should ensure that the copies
are accessed only by them.

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with
your credentials
Stage 3- Now you are Logged In, click on “e-Filing of Application” in left menu. You will see screen as below-
Stage 4- Click on the link “Click here for online Copyright Registration”
With effect from August 01, 2014, the physical Copyright Counter for filing copyright applications
has been closed in order to popularise the online filing.

Stage 5- The online “Copyright Registration Form” is to be filled-up in four steps-

a. Complete the Form XIV, then press SAVE button. Now click Step 2 to move to the Next Step.

b. Fill-up the Statement of Particulars, then press SAVE button and press Step 3 to move to the Next Step.
c. In Step 3, fill-up the Statement of Further particulars and then press SAVE button to Save
entered details, press Step 4 to move to Step 4.

d. Make the payment through Debit Card/ Credit Card/ Net Banking or Postal Order or Demand Draft.
After successful submission of the form, Diary Number will be generated. Take printout of “Acknowledgement Slip” and
“Copyright Registration Report.”

Offline Filing Process:
a) Application for registration is to be made on Form XIV. Form can be downloaded from here-
http://copyright.gov.in/frmformsDownload.aspx
b) Separate applications should be made for registration of each work.
c) Each application should be accompanied by the requisite fee.
d) The applications should be signed by the applicant or the advocate in whose favor a Power of Attorney has been
executed. The Power of Attorney should also be enclosed.
e) Each and every column of the Statement of Particulars and Statement of Further Particulars should be replied
specifically.
Send the documents by post to Copyright Division, Department of Higher Education, Ministry of Human Resource
Development, 4th Floor, Jeevan Deep Building, Parliament Street, New Delhi : 110001

(ii) APPROVAL PROCESS:
❖ After you file your application and receive diary number you have to wait for a mandatory period of 30 days so that no
objection is filed in the Copyright office against your claim that particular work is created by you.
❖ If such objection is filed it may take another one month time to decide as to whether the work could be registered by the
Registrar of Copyrights after giving an opportunity of hearing the matter from both the parties.
❖ If no objection is filed the application goes for scrutiny from the examiners.
❖ If any discrepancy is found the applicant is given 30 days time to remove the same. Therefore, it may take 2 to 3 months
time for registration of any work in the normal course. The cooperation of the applicant in providing necessary
information is the key for speedy disposal the matter.
❖ As per the Principles of Natural Justice’, no one can be punished without being heard. As per the rule 27 of the Copyright
Rules, 1958 no application is rejected without giving an opportunity to be heard. The applicant himself or his/her pleader
may appear in the hearing.
❖ As per section 72 of the Copyright Act, 1957 any person aggrieved by the final decision or order of the Registrar of
Copyrights may, within three months from the date of the order or decision, appeal to the Copyright Board.

(iii) LIST OF DOCUMENTS REQUIRED:
List of Documents required to be submitted by Post along with application form.
Refer to the document list based on Type of Work. Click here for list-
http://copyright.gov.in/Documents/Check_List-WorkWise.pdf
(iv) REQUISITE FEE:
Fee can by paid either through Online mode or Postal Order or Demand Draft. List of
Documents required to be submitted by Hand/ By Post along with application form.
Please refer to the document listed below for fee details-

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