The Gyaan Project

4 amazing initiatives by Maharashtra Government to help rickshaw drivers to speak Marathi.

The Gyaan Project — Wed, 22 Apr 2026 13:30:24 GMT

Welcome to SamaChar - A newsletter from The Gyaan Project podcast that brings you char (4) insightful Q&A from the past episodes. But this SamaChar is a little different.

We discuss four bold initiatives the Maharashtra government to help non-Marathi rickshaw drivers learn to read and speak Marathi.

Recently, Maharashtra Transport Minister Pratap Sarnaik announced that starting May 1, 2026 (Maharashtra Day) every licensed rickshaw and taxi driver in the state must be able to read, write, and speak Marathi. If they fail the test at one of the state's 59 Regional Transport Offices, and they will lose their permit.

That’s roughly 5 lakh drivers across the Mumbai Metropolitan Region and about 15 lakh permits statewide who now have to demonstrate proficiency in a classical language with gendered nouns, postpositions, and a script.

Please ignore the media narrative and headlines that threatens the livelihoods of migrant workers. Media has conveniently ignored the extraordinary ecosystem and support the government has built to help these drivers succeed. The coaching. The subsidies. The digital infrastructure. You just haven't heard about it because it's all been done in stealth mode.

Here are 4 pillars to make this happen smoothly honouring all rickshaw drivers of our free and independent India. (actually Maharashtra for now)

Pillar 1: A Free Duolingo-for-Drivers Partnership

Every registered non-Marathi rickshaw driver will have Duolingo pre-installed on their device, with the full Marathi course unlocked.

Duolingo doesn’t actually offer a Marathi course. Marathi is the 19th most-spoken language in the world with over 83 million native speakers, but Duolingo shut down its volunteer Incubator program. So there is no course.

But not to worry. Since Marathi was granted Classical Language status by the Union Cabinet on October 3, 2024, the Maharashtra government is just now in “active negotiations” with Duolingo HQ in Pittsburgh to have a full course built, tested, and deployed before May 1, 2026.

Drivers will be required to practice five minutes a day, with compliance monitored via the Sanchar Saathi app — the government’s telecom fraud-tracking platform. This is part of Skill India Mission.

Pillar 2: One Marathi Play Every Weekend, On the House

The average Mumbai rickshaw driver, after CNG and permit fees, takes home roughly ₹500–600 a day for driving ~75 km over a 12-hour shift. A ticket to a any local theatre play costs more than that. So the state will organise 52 free Marathi plays per year.

Drivers must photograph their ticket stubs and upload them to DigiLocker. Twelve plays minimum to qualify as “Marathi-speaking.” This will also boost local culture, and Marathi asmita. A rickshaw driver who works 12-hour shifts will now entertain and learn in one go.

Pillar 3: ₹500 Ladki Bahin Top-Up for Female Drivers Who Pass the Marathi Test

Women rickshaw drivers who clear a basic Marathi examination; conducted weekly at schools and colleges across the state will receive a ₹500 top-up to their existing Ladki Bahin Yojana payout of ₹1,500/month.

The promised hike from ₹1,500 to ₹2,100 announced in the 2025–26 budget still hasn’t materialised as of April 2026. Also nearly 25 lakh women were recently purged from the beneficiary list for being “ineligible.” But I am sure ₹500 more for passing a Marathi promise will be fulfilled. A small price for cultural assimilation.

Pillar 4: AI-Translated IPL Commentary in Marathi

India AI Summit was a roaring success and we are Digital Bharat now. This 4th pillars is called “entertainment as education.” The government has commissioned an AI team to work on auto-translating all IPL commentary and all songs on YouTube, and radio into Marathi for the drivers’ real time on the device. These new SDKs will be installed just like Sanchar Saathi App.

While these drivers ride in scorching sun, polluted air, and crazy rainfall on bad roads, these moments of relaxations are converted in to learning opportunities.

This is not the first time the state has tried this. In early 2016, the government issued an almost identical circular. It was challenged by driver unions. In March 2017, the Bombay High Court quashed it as illegal, noting that Mumbai’s ~2 lakh rickshaw drivers are overwhelmingly migrants from Bihar and UP and that the rule effectively deprived them of a livelihood.

The current attempt is built to strengthened language norms. Worth also noting that the man whose complaint triggered the entire verification drive is BJP MLA Narendra Mehta of Mira-Bhayandar from Pali district, Rajasthan, is demanding stricter scrutiny of migrant rickshaw permits.

He pointed out significant inconsistencies in the issuance of permits, badges, and licences in his Mira-Bhayandar constituency. Newly arrived migrants were allegedly being granted permits too quickly, without proper checks.

Keeping all of that into account, the government decided to not ask the license-issuing authorities any questions, but decided to audit the drivers instead. I think Mr. Mehta is inspired by Albert Einstein’s famous quote:

“We cannot solve problems with the same thinking that created them”

Leaders chosen by the people have to serve the people, and they are doing that most diligently. Please ignore the noise and see the intent of the government, as the Honourable Prime Minister himself reminded us recently. Intent is everything.

I wish all non-Marathi drivers the very best of luck in passing these exams. There are, as we've seen, so many wonderful initiatives rolled out by the government to ensure you learn peacefully, without ever feeling threatened of losing your livelihood. Take it easy. Download that Duolingo course. Book your Marathi play. I'm sure you'll learn Marathi by May 1.

Ep. 325 - The secret to designing for India’s plurality with Amit Das

The Gyaan Project — Wed, 08 Apr 2026 00:01:10 GMT

Summary

Amit Das, SVP of design at Urban Company, has spent years understanding how Indians actually live with their appliances. In this episode, he breaks down what designing for India's plurality really means, from durability and shared usage to what premium looks like across different households. He also challenges the popular idea of smart living and makes a case for convenience over complexity.

About the guest

SVP of design and native products at Urban Company, Amit Das is a software and hardware designer, blogger and hobby artist. He has previously worked at Housing.com, FusionCharts and Fab.com, and has co-founded two startups.

Who should listen

Product and industrial designers who want to understand what designing for India’s real and diverse user base actually looks like on the ground.
Founders and product teams building consumer hardware or home appliances for the Indian market.
Anyone curious about how culture, affordability and everyday behaviour shape the products we live with.
Design students and early career professionals looking for honest, practical perspective on what the field demands beyond aesthetics and trends.

Topics discussed in the episode

Rapid fire round: one appliance Indians buy more for hope than utility, buttons or dials, one everyday object that teaches good design, one button you would delete, your favourite industrial product and why, which product has the most emotional value, should products behave like tools or companions, the most over designed product in Indian homes, and manuals or no manuals?
You write about designing for moments rather than steps. How do you see household appliances in daily lives, and does this philosophy apply to digital products too?
India has many Indias. What are the most defining differences you observe in how people use products across different economic and social contexts?
What framework does Urban Company use to understand these diverse user dynamics, and how do you conduct ground level research including in home visits and shadowing?
Why did Urban Company venture into building native hardware products like RO water purifiers, and what was the origin story behind that decision?
How do different Indias define premiumness, and what does premium actually mean across social strata, geographies and product categories?
How should designers think about CMF for durable appliances that sit in a home for many years, compared to trend driven shorter shelf life products?
What does smart living actually mean for Indian homes, and why does the current definition of smartness often increase cognitive load rather than solve for convenience?
How do you balance aspiration versus affordability at scale, and what are the hardest trade offs between design aspiration, cost, reliability and repairability?
How did you transition from digital to hardware design, and what skills, mindsets and experiences should young designers build if they want to get into industrial design?

Reference links

The Gyaan Project is labour of love since 2016. Please share this episode in your network. It will mean a lot to me.

What is one appliance in your home that you think is badly designed for how you actually use it?

Ep. 324 – Why boredom is your best creative tool ft. Artist Vishwa Shroff

The Gyaan Project — Wed, 25 Mar 2026 00:59:42 GMT

Summary

Mumbai artist Vishwa Shroff reveals how drawing and not painting captures urban memory through cracks, stains & architecture. A deep dive into slow observation, creative discipline, boredom as a tool, and sustaining an art practice from Baroda, Basel, Tokyo to Mumbai.

This episode is part of a series of conversations with Matter. Matter is an architecture, design and curatorial practice with a deep interest in design discourse in India.

About the guest

Vishwa Shroff is a Mumbai-based artist represented by TARQ Gallery and co-founder of SQW Lab. Rooted in urban drawing and observation, her work explores memory and built space, and has been exhibited in London, Basel, and Tokyo.

Why and who should listen

Vishwa Shroff offers rare insight into sustaining a drawing practice, seeing architecture differently, and using slow observation as a creative method. Whether you sketch, design, or simply want to see the world more intentionally, this conversation delivers. This is a must listen for artists, architects, urban sketchers, designers & curious creatives interested in contemporary Indian art, observational drawing, creative process, and building a disciplined art practice. If you want to see the world differently, this episode is for you.

Topics discussed in this episode

What is drawing — really? Vishwa unpacks how she defines drawing not by medium but by mindset, and why she draws a sharp distinction between drawing and painting in the post-camera age.
How did you arrive at architecture and urban spaces as your subject matter? From drawing pigeons in Baroda to noticing where they roost — and how a family home transition sparked a lifelong interest in memory, space, and the traces left in built environments.
What do cracks, stains, and scars in buildings tell us? Vishwa explains how she reads the details of urban surfaces as time capsules of human presence — and why drawing, unlike photography, lets her edit and focus on only what matters.
How does your sketchbook and daily practice actually work? A practical look at her note-taking process, how photographs feed into finished works, and why her sketchbook functions as a living database of observations, spirals, and discoveries.
What advice do you have for young artists and creatives? On discipline as a daily non-negotiable, embracing boredom as the gateway to creativity, finding gallery representation, and why the act of making is an addiction with no exit strategy.

Reference links

If this conversation sparked something in you, I would love to hear your thoughts. What resonated with you the most? Let us keep the conversation going in the comments.

Thanks for reading! This post is public so feel free to share it.

Pick a name for The Gyaan Project's first book (2-min survey)

The Gyaan Project — Thu, 19 Mar 2026 01:01:40 GMT

I've been working on something for the last 8 months. Would really appreciate if you fill up this short 2 minute survey.

This book from The Gyaan Project needs a name

I'm curating 101 questions and answers from over 300 conversations on The Gyaan Project Podcast. It argues to change how you see Design.

What this book hopes to do - Expand your definition of design through a series of 101 questions and answers.
Who this book is for - Curious minds and creative souls from any background. Those who desire to see design in places they’ve never seen before

The book is still taking shape. No launch date yet. But you're seeing this first.

A short survey. Your vote goes directly on the cover. It will take 2 mins and will really mean a lot to me.

The survey has a few more fields if you wish to follow the journey.

More soon. And thank you.

Kedar

P.S. The manuscript is 99% ready. Permissions, typesetting, cover design and more to go. If you have suggestions or feedback, comment below or email me at thegyaanprojectpodcast.

Ep. 323 - How to measure success of a Design school and students? with Dineshwar S

The Gyaan Project — Wed, 04 Mar 2026 00:00:44 GMT

Summary

What does it really mean to teach design in India today? In this powerful conversation, Dinesh S, an architect with 35 years of practice and founder of Bangalore School of Design and Technology, challenges everything we think we know about design education. From the factory-like classrooms stuffing 90 students together to architecture syllabi unchanged since the 1980s, Dinesh unpacks the uncomfortable truths holding back Indian design innovation. This episode is for students, educators, and anyone who believes India can do better with how we teach creativity, curiosity, and aspirational design thinking.

Topics we discussed

How do you define design, education, and design education in general?
Would you differentiate between education in general versus design education and if so, how?
Could you explain what is aspirational design?
What are the building blocks or framework that you use to make an aspirational designer?
What are the gaps that you see when students are entering into the market and getting a job?
How do you explain to break the rules before knowing the rules?
How can a well rounded multidisciplinary learning experience happen if a design student is wanting to learn design?
Is curiosity diminishing in students and what is stopping innovation in design at a radical level?
If a design school has to have some measure or metric of success, what would be the measure of it?
How do you see the future of design education in India?

Reference reading

If this conversation sparked something in you, I would love to hear your thoughts. What resonated with you the most? Let us keep the conversation going in the comments. Design is a language.

Thanks for reading! This post is public so feel free to share it.

30 learnings for artists from a Poet; Mohammad Muneem Nazir (Alif)

The Gyaan Project — Wed, 25 Feb 2026 00:01:14 GMT

If Ghalib had gone to a therapist in BKC - Will he be healed? The therapist would have fixed the man and killed the poet.

This week’s SamaChar is slightly different. Instead of sharing 4 Q&A from past episodes, I am sharing my 30 learnings from a Poet - Mohammad Muneem Nazir (Alif). We spoke about poetry, pain, philosophy and art in episode 265 (Feb 2023). The episode ends with a beautiful recital from him. Do tune and listen to the amazing conversation.

Mohammad Muneem Nazir (Alif) is a singer, songwriter and poet who sings and writes in the Kashmiri, Urdu and Hindi languages.

Micro Gyaan (from a poet to all artists).

A poet is anyone who can transport you from one state to another. If a thing has that capacity, it is poetry for you.
Ghalib could have gone to a therapist in BKC. What you do with your pain is your choice.
If you decode the magic, it is not magic anymore.
Do not try to control what your art does to other people. If you try to control that, you will have a lot of anxiety.
As a creator, the choice is only yours. You can create to be liked by the audience, to express a piece of yourself, or a bit of both. It is your choice and there is nothing wrong with any of it.
It does not give you any high if you cannot take risks.
Fans get hooked on a certain version of you. When you change your style, you face rejection. That is the cost of growth.
You are not born an artist. You get comfortable in the skin of an artist because you choose it.
A prerequisite for any artist is the comfort in wanting to express yourself.
Experience is the biggest thing to acquire. Experience of making mistakes, experience of doing things, experience of riyaz.
Creativity is a feeling, but there are tangible ways and rules to express it. If you know the rules, you can break them.
If you do not know the rules, you are lost. You have to know how to sing in key to be able to sing anything.
Even poetry has mathematical balance. If it does not have that balance, it cannot be called a ghazal.
Sometimes the masters will not tell you how to crack it. That hustle to figure it out yourself is part of the learning.
Music and words are something people can take back home.
Presenting your work is like serving a meal. When do you put the dessert cup, when do you put the tea cup. That sense comes from the experience of making mistakes.
Sometimes your work makes people uncomfortable. Sometimes people may leave. That is part of sharing what you believe.
Ishq-e-Majazi (worldly love) is often the doorway to Ishq-e-Hakiki (love for the divine). Your earthly passions and desires are the path.
How you react to things is the most beautiful thing. That comes with training.
Be okay with not being okay.
If you decide today you are an artist, you are an artist. The journey from one person to 15 lakh people liking your work is a matter of time.
You do not know who you are, you decide who you are. You do not have to take permission to be yourself.
The greats - Muhammad Ali, Steve Jobs, or Virat Kohli - They were already that thing in their minds before they became it in reality. Identity precedes achievement.
We often do not do things because we are scared to fail. Imagine what magic would happen if you and the universe decide to take this decision together.
Allow yourself to be nothing and to be everything.
Everybody has a different process to find their muse. Some run, some need dim lights. As you grow, you figure out what your muse is.
What you think in a language, it is very easy to express in that language. The ring of a language cannot be explained in another language.
What you cannot express in words, you show visually. What you cannot express visually, you say in words. Where one stops, the other takes it forward.
You aspire to be inspired daily. The day you do not feel like doing your work, force yourself to do five minutes more. That is when you understand your strength and passion.
If you cannot explain it simply, you have not understood it enough.

Mohammad Muneem Nazir (Alif) ends by saying, I’m learning from wrongs. What I have to say may not work for you. Sometimes it worked, sometimes it didn’t.

Do tune into the full conversation:

What do you think of today’s SamaChar? Please let me know in the comments if these takeaway are helpful and please share in your network.

Ram Mandir’s two design issues and four insights on temple architecture with architect A. Srivathsan.

The Gyaan Project — Wed, 18 Feb 2026 00:00:26 GMT

Welcome to SamaChar - A newsletter from The Gyaan Project podcast that brings you char (4) insightful Q&A from the past episodes. This week we revisit our episode 201 with Architect A Srivathsan released in Nov 2020 - Designing temples.

Dr. A. Srivathsan is an architectural scholar with more than twenty-five years of experience. Before joining his role as the Executive Director of CAU, Srivathsan served as the Academic Director of CEPT University for five years. He holds a Ph.D. from the Indian Institute of Technology along with a Master’s degree in Urban Design, School of Planning and Architecture, New Delhi.

We spoke about Ram Mandir’s architecture in Ayodhya. There are 2 main issues with it’s architecture. First, it’s more of a political project than a religious project. Thats why we see South Indian, Eastern and Northern styles fused together in the architecture. This is to appeal to larger national group of Hindus - so there is nothing new or inspiring in the design. Second, it’s built on a problematic site where you can not erase the history of demolition and fights. Even if you ignore the politics and look at it purely as design, much better could have to done.

Following are 4 Q&A from my conversation with him around design of contemporary sacred spaces, mainly the Hindu temples. This is a must read for architects and anybody interested in design.

1️⃣ If temples are public spaces, why exclude certain people?

Short answer:
Open doors, closed minds.

Long answer:
Theoretically, all temples are public spaces and open to everyone. That is the common perception. But the reality on the ground is very different. The Travancore temple was among the first to open temples for various castes, and that was only in 1936. In Vaikom (Kerala), it was a struggle to get even the streets around the temple open for people. Gandhi accepted to inaugurate the Lakshmi Narayan temple in Delhi in 1939 on a condition that it will be open to everyone, including Dalits. But the architecture itself didn’t have physical blocks. These prohibitions are social prohibitions, which are far more powerful. The upper castes having complete control on lower castes, men having control on women, that is the most effective restriction. Architecturally speaking, there were no devices. The walls were inside people’s heads. And that struggle continues even today.

Is it good to ban non-Hindus from entering temples? Let me know what do you think in the comments section.

2️⃣ Why are temples so ornamental?

Short answer:
To tell stories.

Long answer:
Ornament is not to be viewed as we now view it, as some extra thing, some excess that is embellished after building and can be removed if you don’t need it. Ornament traditionally is very much part of completion. Without the ornament, a building will not be complete. It plays multiple roles. At a simple level, it helps you tell a story. It is part of the narrative. But at another level, these are not only symbols of prosperity, they are that itself. Even in a traditional residence, at the entrance you would find elements which to an ignorant eye will look like ornamentation. But those are the ones which produce a sense of wellbeing into that house. They are not superfluous. So in traditional temples, ornaments are not decoration. They complete the building. Remove the ornament and the temple is incomplete.

Out of 7,50,000 registered temples in India, which is your favourite?

3️⃣ Which is the most sacred material to build temples?

Short answer:
Stone was for the dead.

Long answer:
There is a very interesting history here. The most preferred material according to traditional texts is not stone as we now think of it as the best and most expensive material. The most preferred material is wood. Then followed by stucco, brick and stucco. Stone comes later. In fact, some archaeologists think stone was actually a taboo. At least in South India (which I am more familiar with), stone was associated with funeral rites. For a long time it was not used. Much later, post sixth or seventh century, stone became a preferred material. Same goes with the deity’s idol as well. So materials have changed over time. This pattern was certainly prevalent in South India, but since some of the original texts trace their origin to Kashmir and the north, it would have had a wider prevalence. Currently, for various reasons, concrete is the most common material in temple construction.

Praveen Mohan’s Youtube Channel is great in decoding ancient religious architecture.

4️⃣ How are contemporary architects innovating in temple design?

Short answer:
Perforated walls, radical temples.

Long answer:
I have looked at eight to nine temples built in recent times and each architect has adopted different strategies. For instance, Sameep Padora (from SPA) designed a Shiva temple where the Shikara and sanctum are fused into one monolithic structure without any ornamentation. Unlike a traditional temple where the top is closed, he opens it out for sunlight. It sits beautifully in the landscape and local citizens have embraced it. Then there is a temple near Hyderabad designed by a young architect S. Krishna. He used long bricks turned around to create a very abstract Shikara. But his most important move is that he perforated the boundary wall. Normally that wall separates sacred space from the outside. You never perforate that. But he did. You can see the temple inside and the village tree outside where people gather. He is redefining the temple as an extended social space.

An amazing talk and list of modern temples from an architecture’s lens at Studio Matter’s Frame 2019

Shiva Temple in Wadeshwar, Maharashtra by Sameep Padora

A temple by Hari Krishna in Hyderabad

Thanks for reading! This post is public so feel free to share it.

If you wish to listen to more details, here are links to the full 50 minutes conversation with Dr. A. Srivathsan

TGP has been labour of love since 2016 and I would highly appreciate if you can share this to as many people in your network. The subscriber count isn’t increasing and I need your help.

Invisible "multidisciplinary" designers: Why can’t we find them in India?

The Gyaan Project — Mon, 16 Feb 2026 00:00:45 GMT

I and Umesh Theratt (Co-Founder & Designer at Kubera) recently recorded our first unscripted conversation for a new ongoing series on The Gyaan Project called Off Grid. Do check out - “Why don't we have multidisciplinary designers? Off-Grid EP-1”

I’ve published a form where design and art students or early career professionals can ask any question they have around career, design philosophy, tools, skills, or anything that’s a creative roadblock in their way. This link will always be open for ongoing questions. I will be answering a few of these in long form episodes in our Off Grid episodes - so please do subscribe to the The Gyaan Project Youtube Channel.

In the first episode, we discussed a question from Bangalore posted on 8th December 2025.

Question to TGP | Bangalore | 8 Dec 2025

The actual question was,

“We often describe ourselves as “multidisciplinary designers,” but why don’t we see more people actually living multidisciplinary careers? For instance: a product designer who works in tech during the week, and also takes paid furniture commissions or runs a ceramics studio on the side professionally, not as a hobby.”

Umesh and I tried to unpack it and came up with different ways of looking at this. We don’t have much context for the question but still tried to address it to the best of our abilities.

Context switching is tough

When you work deeply on a product, you’re thinking about it even when you’re not at your computer. Walking, taking a shower, everywhere. Only execution happens at the desk, but everything else is in your head constantly. Switching between two serious practices is genuinely hard. It’s not about time but about mental bandwidth.

We don’t see many people living truly multidisciplinary careers because serious work demands deep focus, not just time.

What is being multidisciplinary?

Most people can realistically manage only two or three major buckets in life. Work, family, and one personal pursuit maybe. Doing a job and being a mother, in my opinion, is still being multidisciplinary. We in India still have a lot of responsibilities. Physically we might have moved to become nuclear families, but emotionally we are bound by the society around us.

These days, the third bucket is often consumed by social media or recovery time. Adding a fourth bucket like furniture commissions means something else must be sacrificed. What do you think one should let go? (Let me know in the comments)

Indian economic reality

Money changes the equation. A gig worker juggles three jobs out of necessity, not passion. Artists and poets diversify because one medium rarely pays enough. But a Senior Product Designer in tech is making good money. They don’t have to do screen printing or print wedding cards on weekend.

The financial friction of starting a second professional practice isn’t worth it when one stream is already comfortable. Multidisciplinary drive usually comes from either curiosity (refusing to be boxed in) or necessity (needing multiple income streams to survive).

We see many international artists who work with glass and textile, or UI and LED lamps. That’s because if they fail, their government is not going to let them die of hunger or go without shelter. The ecosystem is designed to support art and design.

They exist. You’re just looking in the wrong places.

It’s not as bad in India as it sounds. There are people actually doing multidisciplinary work. They just aren’t loud or openly talking about it on social media platforms. Because they’re too busy actually doing the work.

Lafa Labs in Goa does material science and stationery. Rock Paper Scissors experiments with materials alongside client work. Ink & Gradient in Koramangala are architects now doing letterpress professionally. There’s a designer from Uber India who runs sold out pop up dining clubs. A guy in Singapore ran a letterpress studio while doing graphic design as his main job.

Once you get into these smaller communities, you will know how deep the rabbit hole goes. Lot of people are doing multidisciplinary work in their own ways.

To summarise

A long LinkedIn bio? Being busy in real action? Taking care of old parents? Helping kids with school assignments? Posting on social media? All are different jobs and according to me all are being multidisciplinary. There are no right answers to what one should prioritise over another or what gives them more joy. It’s best if we define what multidisciplinary means to us and become one. Hope this helps. Please let me know in the comments sections what do you think?

The YouTube cheat sheet: Only 3 things matter

The Gyaan Project — Sat, 14 Feb 2026 07:00:01 GMT

I have been running The Gyaan Project Podcast for over 9 years with over 300+ episodes. Through these years, I have learnt a few things about podcasting, Youtube and how social media operates. This post is sharing few quick point if you are thinking about starting a new Youtube channel or planning to grow your audience.

The YouTube cheat sheet: Only 3 things matter

1. Thumbnail → Click Through Rate

Your thumbnail is the billboard. It needs to be impressive, relatable, and click-worthy. YouTube watches whether people click when your video shows up. No clicks, no distribution.

2. Title → Search Discovery

Your title should work like a search engine answer. When someone types something into YouTube’s search box, your title should feel like exactly what they were looking for. Be useful before being clever.

3. First 1–3 Minutes → Retention

YouTube tracks whether people stay after clicking. Did the video deliver on the promise the thumbnail and title made? If yes, it gets pushed to more people. If not, it gets buried. Those opening minutes are your audition, for every single video.

Everything on YouTube is designed to be helpful. We just need to understand the mechanics well enough to make sure our content lands correctly.

Making intros that hold attention

Option 1 — Show episode highlights. Pull the best moments from the episode and stack them upfront. Examples: Sunita Williams On 286 Days in Space, NASA Missions & Astronaut Mindset | FO461 Raj Shamani, OR Naravane, Parliament Chaos to Moral Potatoes & Trump’s Monkey to Trade Deals | Teen Taal S2 Ep 142.
Option 2 — Host-driven teaser. The host walks through what’s coming, with lots of B-roll. Example: Ep. 313 - The Philosophy of Order in Design with Prof. Kirti Trivedi.

No right answer. Keep experimenting till you hit a sweet spot, then keep inventing as consumption behaviour changes.

The more, the better

Each episode can be sliced into multiple short-form clips that drive traffic back to the main video. Alex Hormozi says, 1 post a day is not enough. 450 posts a month minimum.

Great references

Following videos / channels are master class on understanding Youtube

Where to find B-rolls & audio

Pexels Videos
Pixabay Videos
Paid B-roll: Storyblocks ($21/m, unlimited downloads)
Motion Array ($16/m)
Personal hack - Screen grabs from YouTube videos work too — just keep any single clip under 6-8 seconds to avoid copyright issues.
Royalty-free audio: YouTube’s built-in library + NoCopyrightMusic channel
AI-generated stock footage & music:
1. Suno (music)
2. Sora (video)
3. Kling (video)

Where and how to record interview

Recording & editing: Riverside — record, edit, and repurpose in one place. Cuts post-production time by 50%.
Repurposing: Opus Pro — AI-powered clipping of best moments. Great tutorials on site. You can also try Cast Magic.
Descript - AI-editing for every kind of video

There are many good alternatives. These are which I have used and worked fine.

How to distribute

Buffer — post to X, IG, YT, LinkedIn with one click.
Hootsuite — pricier, but deeper analytics.

Hope this helps. Please let me know in the comments section if you got questions or more things to be added to the cheat sheet.

Thanks for reading! This post is public so feel free to share it.

How Mumbai moves explained in 4 simple questions with Dhawal Ashar

The Gyaan Project — Wed, 04 Feb 2026 00:00:52 GMT

Welcome to SamaChar - A newsletter from The Gyaan Project podcast that brings you char (4) insightful Q&A from the past episodes. This week we revisit our episode number 206 with Dhawal Ashar released in Dec 2020.

Dhawal Ashar is a Head of Sustainable Cities & Transport program at WRI, India. His work integrates transport engineering and urban design to improve safety and sustainability in cities. The following SamaChar has 4 interesting questions and answers from the main episode. Know how Mumbai moves, how transport planning process happens, why do we have traffic jams and hopeful future of Mumbai’s transport design.

It’s an essential read for designers, planners, students, and citizens who care about cities. Listen to the full episode and share it with friends, family, and design and art communities.

1️⃣ How does Mumbai travel?

In short

51% on foot.

In detail

First let me explain what a trip is. Assume you are going from your house to office on a train - thats one trip. (your return journey is another trip). This trip has 3 legs. First leg, from your house to station, then your train journey and third is from station to office. You can walk, get an auto, ride a bike - That doesn’t matter.

We are looking at over 15 million trips that the city of Mumbai makes each day. I am quoting this from a study that BMC did in 2014 called the Comprehensive Mobility Plan. About 70%+ commutes by the train. Then you have the BEST, followed by IPTs - taxis, auto rickshaws and now the Ubers and Olas, followed by motorcycle, followed by car. All of this is just the motorised trips. The study estimated that about 51% of all trips in Mumbai happen on foot. Personal automobiles are 5-7% of all trips that happen in Mumbai. So largely this is how Mumbai travels.

2️⃣ How does transport planning process happen?

In short

Surveys, mapping and projections.

In detail

Transport planning is a four step process. Trip generation, trip distribution, mode split and trip assignment. We do surveys, go to households and ask people about their daily trips. This is what we call a trip diary. That becomes our base model of what is happening right now. It tells us how many trips are being made and why they are being made.

Based on that, we do projections based on many scenarios. We then assign trips to every link (road). We know the capacity of that road and we also know the volume on that road. When the volume is more than the capacity, then that is a jam. That is how problems get identified.

For smaller projects, we do a traffic impact assessment. For city level studies, we divide the city into zones. This entire process helps us understand where pressure exists and where interventions are required.

3️⃣ Why is there so much traffic on Indian streets?

In short

We are loosening the belt than becoming healthier.

In detail

First, we put traffic signals. When jams go past the previous signal, we make the road one way. Many roads in Pune and Bangalore became one ways for this reason. When one way gets saturated, we build a flyover. When the flyover gets saturated, we build another flyover on top. But thats not solving the problem. We are worsening it. We are loosening our belt as we keep growing inches. We are not figuring out ways to become healthier. At some point, we need modal shifts.

We have to figure out ways to get people out of their cars, and make them use some form of public transport. Decision making, should be driven by whether we care about moving cars or we care about moving people.

4️⃣ What gives you hope for Mumbai’s transport future?

In short

Walking population.

In detail

One thing that makes me very hopeful is that majority of Mumbaikar’s walk. We will have to transform at some point soon. Every city in Europe has gone through these phases at some point in the fifties and the seventies. It is not like they were pedestrian friendly cities always. Everyone had an automobile peak at some point. But then through well documented strategies and changes, they have become more walking friendly now - the best destinations for travel. It is not uncommon to go to Paris and walk 10KMs a day.

What gives me hope for Mumbai is that we know what the problem is. We have enough experience to provide solutions are fairly low cost. We are seeing a lot of focus on public transport and metro construction. Hopefully, in a decade from now, we should be in a much better place.

If you wish to listen to more details, here are links to the full 60 minutes fun conversation - Youtube | TGP Website | Spotify | Apple Podcast

Let me know what stood out to you the most in the comments section. TGP has been labour of love since 2016 and I would highly appreciate if you can share this to as many people in your network. The subscriber count isn’t increasing and I need your help.

Stay tuned for more SamaChar and episodes from The Gyaan Project!

Ep. 322 – Craft, taste and judgment in Software Design with Randy Hunt

The Gyaan Project — Wed, 28 Jan 2026 00:00:39 GMT

Welcome to The Gyaan Project’s 4 part series called “Craft” in the world of digital products. The series brings together four global voices. Tom Harman, Caio Orio, Lucy Datyner, and Randy Hunt. Together, these conversations explore how craft is evolving and why it still matters in the age of AI.

Part 4 with Randy Hunt

In this concluding episode of the Craft series, I speak with Randy Hunt, Head of Design at Notion and Chair of the MFA Design program at SVA. Randy reflects on craft as a combination of skill, practice, and judgment, and shares how taste shapes meaningful software experiences. The conversation explores speed versus quality, scale versus care, and why momentum can sometimes improve craft. Randy also offers an interesting perspective on how he sees, AI as a material, and explains what stays as tools as technologies change. This episode is for designers, product leaders, engineers, and makers who care deeply about building thoughtful, well made digital products for the long term.

Topics discussed in the episode

(02:14) What is Abecedarium?
(04:14) What does craft mean to you?
(08:12) How has your definition of craft changed over time?
(14:45) Should craft be visible to the end user?
(18:04) Can craft and scale go together?
(22:28) Any example of great quality with speed?
(28:18) Can taste be taught?
(38:17) Can craft bring value at an enterprise level?
(43:32) How do you look at craft at Notion?
(46:57) How do you see the future of craft in the world of AI?
(48:43) How do you practice craft at Notion with AI?
(51:17) What would your poster say about design?
(52:00) How do you see craft evolving in the next 10 years?

Reference links

If you enjoyed this post and episode, please do share in your network.

Ep. 321: Craft, taste and the future of Design at Canva with Lucy Datyner

The Gyaan Project — Wed, 21 Jan 2026 00:00:59 GMT

Welcome to The Gyaan Project’s 4 part series called, “Craft” in the world of Digital products. The series features four global voices. Tom Harman, Caio Orio, Lucy Datyner and Randy Hunt. Together they open an interesting view into how craft is evolving and why it still matters in the world of AI.

Part 2 with Lucy Datyner

In this 3rd part of the Series on Craft, I speak with Lucy Datyner, Principal Designer at Canva, about craft, taste, and the future of product design in the age of AI. Lucy shares how craft goes beyond polish into problem solving, why simplicity is always informed by context, and how designers can build taste through curiosity, critique, and making. The conversation explores AI as a co-creator, the importance of keeping humans in the loop, and why junior designers still matter. This episode is for designers, product leaders, and creators navigating design, craft, and AI today.

Topics discussed in the episode

(00:00) Introduction
(02:09) What does craft mean to you?
(04:16) Is craft about aesthetics?
(04:57) How do you bring craft into your work?
(07:29) What is informed simplicity at Canva?
(08:38) How does AI fit into the world of craft?
(11:05) How do you define taste?
(13:19) Any rituals at Canva to build taste?
(16:08) How do design critique sessions happen at Canva?
(17:31) How does Canva handle not being monotonous?
(20:13) What is the role of research in craft and AI?
(22:55) Will designers be left only to curate?
(24:51) Will we lose the faculty of crafting with hand after AI takes over?
(26:59) What excites you the most about AI?
(29:24) What worries you the most with AI?
(31:11) What will your poster say?

Reference links

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Ep. 320 - How Craft shapes digital product Design with Caio Orio

The Gyaan Project — Wed, 14 Jan 2026 00:00:38 GMT

Part 2 with Caio Orio

In this episode of the Craft series, I speak to Caio Orio, Principal Brand Designer at Wise, about the role of craft, taste, and practice in modern digital product design. Drawing from his advertising background and work on global fintech products, Caio explains how craft goes beyond visuals to include strategy, care, and attention to detail. The conversation explores taste, open mindedness, brand consistency, design systems, AI, and building meaningful product experiences. This episode is ideal for product designers, brand designers, and design leaders seeking depth beyond tools and trends.

Topics discussed in the episode

(00:00) Intro
(00:01:00) What does craft mean in digital products?
(00:02:30) How Caio’s understanding of craft evolved?
(00:03:53) Why craft is essential for designers?
(00:06:16) Craft in brand design and digital products
(00:09:16) How Wise maintains consistency in craft?
(00:10:43) Rituals and practices that support craft
(00:12:07) Bringing craft into the smallest elements
(00:15:02) How Caio defines taste in design?
(00:16:03) Translating taste into digital products
(00:16:59) How designers can develop taste?
(00:18:03) Caio’s personal journey of developing taste
(00:20:59) Communicating taste across teams
(00:23:55) How Wise inspires designers and design culture?
(00:25:21) Balancing speed and craft in product design
(00:27:14) Prioritising craft without clear business metrics
(00:28:50) Digital products admired for taste and craft
(00:30:05) One essential mindset for future designers?

Reference links

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Ep. 319 - Craft as way of doing things. With Tom Harman

The Gyaan Project — Wed, 07 Jan 2026 00:00:35 GMT

Part 1 with Tom Harman

Tom Harman, a design leader with twenty years of experience at Monzo and BuzzFeed, joins The Gyaan Project to explore craft, taste and the role of AI in modern product teams. He explains how clarity, judgment and shared language shape high quality work. A useful episode for designers, PMs and founders who want to sharpen decision making, move with speed and build trust through thoughtful design.

Topics discussed in the episode

00:00:00) Intro
(00:01:03) What does craft mean to you
(00:06:00) Rituals to improve craft
(00:11:43) How do you define what great looks like
(00:14:21) What does taste mean to you
(00:18:57) How do you instill taste
(00:22:44) How to keep pushing the boundaries
(00:28:49) How is AI a copilot for craft and taste
(00:32:38) How to work with AI
(00:39:17) Can AI create serendipity
(00:41:53) How do we ensure maximum impact and quality
(00:47:06) How to handle uninformed decision makers
(00:49:26) One poster idea on craft
(00:51:32) Future of craft in the world of AI

Reference links

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9th Anniversary Soup - 9 bites from 9 conversations.

The Gyaan Project — Wed, 24 Dec 2025 00:00:37 GMT

Today, The Gyaan Project turns 9.

It feels surreal. Since 27th December 2016, I have been documenting Indian creative wisdom across disciplines and ways of thinking. After 318 episodes, I found myself wondering how to celebrate this moment and the answer came naturally.

So here it is.

A small celebration.

A warm offering.

9th Anniversary Soup - 9 bites from 9 conversations.

This is primarily an audio episode. You can also watch it on YouTube if you like.

The episode opens with Dr. Uttara Chousalkar from Episode 66, singing a short phrase of Baul music. The episode then closes with a few lines by Mohammad Muneem Nazir (Alif), from Episode 265.

The soup brings together these answers to these nine questions:

What is Design? by B.V. Doshi
What is a frame? by Prashant Godbole
Should art depict society or should society learn from art? by Varun Grover
Is it wise to change your career path in Design? by Ruchita Madhok
How was design seen in the 1970s? by Sujata Keshavan
What is the measure of a good designer? by Ayaz Basrai
Why do we need art? by Rajat Kapoor
What is Rhythm? by Taufiq Qureshi
Where do we need Design in India? by Ashwini Deshpande

I hope you enjoy this soup as much as I enjoyed making it.

If you would like to give me an anniversary gift - Please share this episode with as many people as you can. And if you have not already, do subscribe to the YouTube channel and The Gyaan Project website. It truly means a lot.

Thank you for listening. Thank you for staying.

See you next year.

Take care.

And stay curious.

It’s 9th Anniversary episode. So please do share.

4 Truths every Designer must know about Fonts with Mahendra Patel

The Gyaan Project — Wed, 12 Nov 2025 00:30:17 GMT

Why are font designers called authors? I asked Mahendra Patel in episode number 18.

Mahendra Patel is a retired senior faculty member of the National Institute of Design, Ahmedabad, India. Presently, he is a mentor professor at Symbiosis Institute of Design, Pune and mentor consultant at Leaf Design, Mumbai.

Mahendra Bhai (as many call him) has taught at NID, Ahmedabad for a long 39 years and conducted numerous workshops across various institutes across India, USA, Canada, New Zealand, and Pakistan. In 2010 he was awarded the Gutenberg Prize of the International Gutenberg Society and the City of Mainz for his contribution to typography.

Today’s Samachar has got some practical answers for Designers and non-designers alike. Regarding Font designers called Authors? Well, it’s mainly about respect and pride. More at the end of this SamaChar.

1️⃣ Is Comic Sans really a bad font?

Short answer: If misused.

Long answer: A font has nothing to do with being good or bad. It is we who make it so. If you use Comic Sans appropriately, for example, for children or handwriting or doodle expressions, it works. I always say a font should be decided by its use, technology, subject, and users. That is what typography is about. The right balance between readability and legibility. Serif or classic fonts are more suitable for day-to-day or heavy reading in print. But on computers or screens, the thick and thin strokes of a serif font can get lost because of pixelation, so a mono-line or sans serif font works better. If you enlarge and manage the weight properly, even a serif can work. I can make any font look good with good typography.

How we made the typeface Comic Sans with Vincent Connare, typographer

2️⃣ Do fonts have emotion?

Short answer: Feeling comes with treatment.

Long answer: A font on its own is seen as black and white. When we talk about emotion or expression, it is not only black and white. There is color, size, alignment, use of capitals or lower case, spacing between letters, and spacing between lines. All these things work together to create the intended impact or expression of a typeface. For example, if you use a sans serif in pink, it feels feminine or soft. If you use the same sans serif in bold steel blue, it becomes industrial. Even among sans serifs, some are more human because they follow handwriting flow and readability, while others are geometric and constructed. So, the feeling comes from both design and treatment.

Know more about The Psychology of Fonts.

3️⃣ Helvetica vs Frutiger vs Futura — how do you choose?

Short answer: Depends on the context.

Long answer: Helvetica and similar newer faces were drawn on vertical and horizontal axes. They are more constructed, less written. Frutiger and Verdana bring in humanistic considerations, so they support reading comfort along with clarity. Futura and other early geometric faces focus on graphic construction. So my choices follow use. For an architect’s building, Futura or a geometric form may fit the visual idea. For a short sign, Helvetica is fine because there are only a few words. For a research paper or a whole city’s signage system, I would go to Frutiger, because it supports many kinds of readers every day. Context, comfort, and intended duration matter. Anything used appropriately can be good, but purpose leads the selection.

Typewolf has been my go to place for Typography. What’s yours? let me know in the comments below.

4️⃣ How do you build hierarchy and pair serif with sans?

Short answer: With trained eyes.

Long answer: It depends on how much differentiation or hierarchy you want to give. If you want a subtle, sophisticated difference, then typographically make it bold, larger, or change the color but keep the same font. If you want further distinction, then go for capitalisation or small caps. When that is still not enough, you can contrast Serif with Sans Serif, or Sans Serif with Serif. There is also something called text gray—when you look at a text column, you feel a certain texture or luster. Some letters, because of their contrast or treatment, look harsh, while some feel smooth. It depends on what texture is pleasing to the eye or suits your text. That can be controlled by using color or tone instead of just black. Typography is different from type design. Letterforms are only raw material; rhythm, balance, and contrast come from typographic decisions

Fontpair is an amazing resource for all Designers.

I hope these questions and answers are interesting and helpful. If you wish to listen to more details, here are links to the full 38 minutes conversation and it’s transcript. Youtube | TGP Website | Spotify | Apple Podcast

The question I began this SamaChar was, Why are font designer called Authors?

Before computers came, it was only hot metal. To design a type and make the master matrices and cast them in particular sizes would take two to three years. It required a lot of precision, mechanical and hand skill, and even metallurgy because it involved casting and cutting. It was a very skilful job, more than just design. The ownership was very high and people like Baskerville, Garamond, Bodoni were proud to have their own fonts, printers, or foundries. These couldn’t be copied easily. Then, with phototypesetting, things became easier; you drew instead of cutting, but it still needed optical understanding and correction. Computers changed everything. With Fontographer and FontLab, drawing became very precise and accessible. People revise old fonts and name them with legends out of respect. Authorship is different today, but the idea of designing a voice remains.

If you’ve enjoyed today’s SamaChar, please do consider sharing and spread the word in your network. The Gyaan Project is labour of love since 2016 and trying to document creative wisdom. I would also love to know your feedback and thought in the comments below.

If you are interested in Typography, Calligraphy, Type design, I have created a playlist. Do check it out.

Thanks for reading! This post is public so feel free to share it.

4 lessons from Rajat Kapoor on Independent Indian Cinema

The Gyaan Project — Wed, 05 Nov 2025 00:30:23 GMT

Yesterday we completed 100 years since the birth of the legendary filmmaker Ritwik Ghatak (4 November 1925 – 6 February 1976). Many consider him to be one of the greatest filmmakers of the world. Ghatak’s one-time students in FTII - Mani Kaul, John Abraham, and especially Kumar Shahani carried Ghatak’s ideas and theories into their films. Rajat Kapoor has been inspired by Mani Kaul, Kumar Shahani and the legacy of great independent cinema continues… I spoke to Rajat in episode number 35 (in 2017) about independent cinema and thought of revisiting the conversation in this week’s samachar celebrating centenary of Ghatak.

Rajat Kapoor is a celebrated Indian actor-filmmaker and playwright, known for his work since the 1990s. Raghu Romeo, Aankhon Dekhi, RK/RKay and more are all time great watch. We spoke deeply about art, challenges of independent cinema and his films. If you’re a young Indian filmmaker, art-student, designer or creative curious about cinema beyond the mainstream, today’s SamaChar will give you a sneak peak into our long conversation (which I highly recommend listening). But for now, here are 4 Q&A from our talk.

1️⃣ What is independent cinema to you?

Short answer: Honesty and authorship.

Long answer: Independent cinema is independent in thought. It is not defined by money, stars, or distribution but by the filmmaker’s vision. That’s the real mark. You can recognize a Van Gogh painting instantly because it carries his signature. Similarly, when you watch a Coen Brothers film or something by Nolan or Woody Allen, you know it’s theirs. Even if they work within a studio, their authorship remains. That’s independence. If a film feels like anybody could have made it, it has no identity. Independence means the director’s vision shapes every frame, even within constraints. It’s not about scale or glamour but about honesty and authorship. The film should bear the unmistakable stamp of its maker.

2️⃣ Why do we need independent cinema?

Short answer: Rice and Rose.

Long answer: Why does art exist? You can get by without it, but life would be dry. It’s like rice and a rose. Rice keeps you alive, and the rose tells you how to live. You don’t need art for sustenance, but you need it for everything beyond the body and the mind. Why do you look at a tree or the sea for hours? Because beauty enriches you in ways that are not tangible. Art fulfils that spiritual need. If cinema changes people in a short run, it’s propaganda. Good cinema puts you in an universe and enriches your soul in long run giving joy and meaning. Without it, life would be empty.

3️⃣ What has been the biggest challenge for indie cinema in India?

Short answer: Money.

Long answer: Funding has always been the hardest part. In the seventies, NFDC gave independent filmmakers a start to people like Mani Kaul, Kumar Shahani, Govind Nihalani. But when NFDC stopped producing in the mid-eighties, that entire ecosystem collapsed. When liberalisation happened in nineties the state withdrew from supporting art, which was a huge blow. Later, multiplexes revived hope for a few years. Films like Mixed Doubles, Khosla Ka Ghosla, and Bheja Fry found their audience again. But by 2008, mainstream cinema took over even that space. So yes, money is still the biggest challenge. A small, committed audience exists who are exposed to world cinema but reaching them is difficult. Without proper funding, many good stories never get told.

4️⃣ Why is your company called Mithya Talkies?

Short answer: What you see is not what you get.

Long answer: The name came from my film Mithya. It means “what you see is not what you get.” It’s a lie, but a true one. Dreams feel real while you dream them. When you wake up, you realize it was a dream. That is what life is too. It’s real as you live it, but it’s also an illusion. We call it Maya in Indian philosophy. Cinema holds the same paradox. Godard said cinema is truth at 24 frames per second, but he also called it be the biggest fraud. Both are true. That’s the beauty of it.

Should films be planned from a commercial standpoint first? How did multiplexes and OTT change your audience? Can art really change the world? Where do you see the future of indie cinema in India? There are many more questions and even more thought provoking answers in the entire episode. Please do give it a listen on your favourite podcasting apps.

In conversation with Rajat Kapoor after the recording.

You can find the episode on Youtube, Spotify, TGP Website, and Apple Podcast.

The Gyaan Project has been documenting creative wisdom since 2016. I hope these conversations and their SamaChars’ are helpful. The only way I can know is by you sharing and commenting on these posts. Let me know what do you think.

If you enjoyed this, there are few more TGP episodes that might interest you.

4 reflections from Hanif Kureshi that shaped the street art movement in India.

The Gyaan Project — Wed, 15 Oct 2025 00:30:04 GMT

Hanif Kureshi (12 October 1982 – 22 September 2024) was a contemporary artist who worked with street art and typography. A pioneering figure in India who transformed urban spaces into public canvases. He was co-founder of St+art India and XXL Collective & Guerrilla. In episode #182, we spoke about murals, it’s impact on society, how did St+Art contributed to Swatch Bharat Abhiyan and all about street art.

Kedar & Hanif in episode # 182 on the The Gyaan Project

This SamaChar is in his memory and wishing him belated happy birthday. Hanif, thanks for inspiring us all designers and artists.

1️⃣ How do you define graffiti and street art? How different are they?

Short Answer: Cousins, not twins.

Long Answer: Graffiti and street art often get confused, but they come from very different places. Graffiti in the West started with writing and tagging. Young people would invent a name or a tag and repeat it on trains, in subways, across the city. It was about rebellion, about being seen. On the other hand, street art grew out of a different culture. It is more visual, more about making something the public can engage with. In India, we always had a culture of painting on walls. From villages where huts are decorated, to public art that people could live with.

Know more as Hanif talks about reclaiming Streets, One Wall at a Time at TEDxIITHyderabad

2️⃣ How do you pick a subject for a mural?

Short Answer: Barber shop philosophy.

Long Answer: Indian streets are full of life. Barbers, shoe polishers, food vendors, families, everything. When picking a subject, the artist spends time around the wall, learns about the people and the local life. We give them freedom but make sure nothing religious or political comes up. The goal is art embedded in the city, not something offensive. Each mural is built from the surrounding context and intended for those living nearby. For eg: Sassoon Dock, Mumbai reflects the fishing community.

Read the back story of 150 ft mural of Mahatma Gandhi at the Police Headquarters in New Delhi

3️⃣ What are the pros and cons when street art reshape places?

Short Answer: Visibility versus gentrification.

Long Answer: A major pro is that people in the localities remember the painted areas. For example, in Shahpur Jat, people started giving directions based on the paintings, like “take a left from the cat”. A con is that if something becomes too popular, it can lead to gentrification, where an area becomes “cool,” prices go up, and low-income groups are forced to move. We are careful and work with government spaces to try and prevent this.

Hanif Kureshi was a saint and bandit of urban Indian street art. Know more at Stirworld. All photos are from https://www.stirworld.com

4️⃣ What’s your message to young artists listening today?

Short Answer: Walls are calling

Long Answer: You don’t have to wait for someone’s permission to start. When I began, nobody invited me or gave me a platform. I just picked up paint and went out on the street. The walls are free and they are always calling. If you feel that urge, pick up a brush or a spray can and go do it. You will learn more by painting one wall than by waiting for the perfect opportunity. The process itself will teach you. That is how street art lives and breathes, by being out there, in the open, for everyone to see.

A One-Man Revolution: The Artistic Legacy Of The Late Hanif Kureshi. Know more on Re-thinkingthefuture.com

Hanif Kureshi’s murals and ideas gives us perspective to see our streets in a different light. His birthday was on 12 October and today he would have tuned 43. This SamaChar is a small tribute to celebrate his vision that continues to inspire us all.

Comment what resonated with you the most. This project is ad-free and labour of love since 2016, so sharing, liking, commenting can make a huge difference.

If you wish to listen to the entire episode, please find all links here: Spotify | YouTube | Website | Apple Podcasts.

Similar episodes you might like

If you enjoyed this post, here are few more on murals, street art that might interest you.

Ep. 318 - The Untold Story of Ather’s Iconic Design with Harish Kumar and Anurag Bartarey

The Gyaan Project — Wed, 24 Sep 2025 00:35:19 GMT

Summary

This episode of The Gyaan Project features Harish Kumar and Anurag Bartarey who shaped Ather Energy’s groundbreaking EV dashboard. Recorded just before Ather’s IPO, we dive into the design process, challenges, and the nuances that make the dashboard so unique. It is ideal for designers, technologists, and EV enthusiasts curious about how hardware and software come together on two wheels. This is not a sponsored episode, just a deep and fun conversation.

Topics discussed in the episode

What drew you both to Ather, and what was the mindset when you joined?
Anurag: How did you shift from digital design to vehicles?
Harish: What tech foundations were critical for building the ecosystem?
How did you imagine a new dashboard UX and navigation system?
What challenges came with integrating the dashboard into the scooter’s design?
Anurag: How did you design gesture interactions and Ather’s sonic identity?
Harish: What were the Linux limitations and how did you test with OTA updates?
How did a startup mindset shape Ather’s design outcomes?
With constant updates, how do you balance evolution with the original vision?
Looking back, what critical but underrated decisions shaped Ather?
What advice for young designers working across hardware and software?

Reference links

Harish Kumar — https://in.linkedin.com/in/harish-kumar-b0926465
Anurag Bartarey — https://in.linkedin.com/in/anuragbartarey
Anurag’s portfolio — https://www.abartarey.com/
Ather Energy (Wikipedia) — https://en.wikipedia.org/wiki/Ather_Energy
Ather 450 series (Wikipedia) — https://en.wikipedia.org/wiki/Ather_450
Ather Energy (LinkedIn) — https://in.linkedin.com/company/ather-energy
Ather Energy (Instagram) — https://www.instagram.com/atherenergy/
Ep22: Understanding motorcycle design with Chetan Shedjale
Ep. 274 - Designing Trucks with Sathiya Seelan Gangaasalam

If you enjoyed this post and episode, please do share in your network.

Weavers, weaving and handicraft: 4 Lessons from Jaipur Rugs

The Gyaan Project — Wed, 27 Aug 2025 00:01:05 GMT

On completion of 10 years of ‘Make in India’ initiative, Prime Minister Narendra Modi, in his 114th episode of ‘Maan Ki Baat’ urged the people to buy locally made products during festivals. I recollected my conversation with Nand Kishore Chaudhary, and Kavita Chaudhary (Episode 194 - One knot at a time). Today’s TGP Samachar #18 is about indigenous craft and what it takes to build a successful business around it.

Nand Kishore Chaudhary founded Jaipur Rugs in 1978, working beside nine artisans on two looms. He started his business on the principles of dignity. Today, he is the entrepreneur behind one of the largest manufacturers of hand-knotted rugs and is often referred to as the ‘Gandhi of the Carpet Industry’.

Along with NK Chaudhary we were joined by her daughter Kavita Chaudhary. She is Design Director at Jaipur Rugs & Jaipur Living, where she leads innovation through artisan-led creativity. Trained in the US, she bridges global design thinking with India’s grassroots craftsmanship.

1️⃣ What is the foundation principle of Jaipur Rugs?

Short Answer: Love for weavers and weaving.

Long Answer: When I (said Nand Kishore) started Jaipur Rugs, everyone warned me against working with “untouchable” weavers. But I ignored the caste lines. I shared food with them. I sat beside them as they worked. That love and dignity laid the foundation for Jaipur Rugs. For sustainability to be achieved, it must begin with strong relationships. You cannot treat people like labourers and expect to connect with their craft.

What other handicraft items do you know of? Let us know in the comments 👇

2️⃣ How does Jaipur Rugs maintain artisan innocence and creativity?

Short Answer: No interference, full freedom.

Long Answer: I (said Nand Kishore) believe that creativity stems from authenticity and innocence. Take the example of our "Manchaha project" artisans. Normally, carpet designs come from a studio and the weavers are told to follow instructions. In the “Manchaha Project” we gave weavers a blank canvas and asked them to design on their own. After some initial hesitation, this led to carpet designs that gained global attention.

Manchaha - Weaving untold stories

Are we taking enough care of our artisans?

3️⃣ What is "Jugaad" in the context of rural artisans?

Short Answer: Spontaneous & innovative solutions.

Long Answer: "Jugaad" is a term often used for hack-like solutions. I (said Kavita) could see it in the spontaneity of rural artisans. Their creativity shows up in both everyday problem-solving and artistic expression. For example, one girl had embroidered her best friend’s name on her dupatta. It wasn’t planned. It was emotional and instinctive. While jugaad typically refers to finding solutions with limited resources, I view it as a form of innovation grounded in real-life experiences.

An interesting read: Jugaad Innovation: A Frugal And Flexible

4️⃣ What makes handmade survive in a tech world?

Short Answer: Present over perfect.

Long Answer : (Kavita said) Rural people live in the present. They don’t think five or ten years ahead. They just do what’s in front of them with full attention. So everything in their life involves the hand. That’s why handwork still exists. It’s not replaced by machines because it was never about speed and was always about presence. That’s why they don’t take easily to cutting-edge tools. It breaks their rhythm.

Is handicraft the new premium?

We believe that love, dignity, and freedom are key to scaling a business rooted in indigenous craft. Jaipur Rugs is living proof of that. What do you think? Let us know in the comments👇