Diploma project | Pulak Bhatnagar | 2012


2/224


3/224

1 D J Academy of Design | Turmeric Design

Foreword

Turmeric Design is a design studio lead by Kriti Monga. Located in Greenpark, New Delhi,

Turmeric Design indulges in work like Graphic Design: Identity and branding, print andpublications, packaging, environmental graphics, web and interactive, Illustration: for

narratives, magazine and book covers, travel diaries, advertising etc.

Turmeric Design is starting out with a new brand in partnership, aimed at children who

are in the 0-6 years age bracket. The Brand aims at providing premium quality products to

an audience that can afford the same. The illustrated products will have a unique visual

language which will also aid in visual development of the children exposed to those products.


4/224


Project Brief

The following was the project brief that was given to me for a 12 week project.

1. To research and set parameters for the drawings and patterns (based on existing

research and understanding) that suits an age group 2-6 yrs. Use this understanding

to develop a style of illustration that would be used for the entire collection. Develop

a set of 12-15 illustrations/ characters (animals, birds, marine creatures etc) with an

aim to translate their use onto products.

2. Create about 10-12 specific applications/ extensions of the drawings (either as

individual applications or in combinations as repeat patterns) for a range of products

that could include apparel (onesies, t-shirts), Bed Linen (bedsheet, quilt, cushion,

curtain), Stationery (soft book). Also, applications like wall decals, rubber stamps,mobiles, cards, drawing book, puzzle, transfer tattoos etc. may be explored.

3. Take a few of these products (roughly 6-8) through the entire production cycle,

assisting in any design modifications or quality overseeing that may be required.


5/224


Project Plan

Research overview

Preparing a project plan after receiving the project brief was one of the foremost steps of

the process. Upon further discussion at the studio, the project was broken down into fol-lowing steps:

1. Research and study:To study via various resources and understand what is the need

for an audience of a particular age and what aids in their visual development.

2. Setting illustration style: Based on the study from the research, start sketching out

through various styles of drawing and explore a variety of options.

3. Final illustrations:To take the sketches forward and convert them to finished

illustrations. These illustrations will then be taken forward for product development for

the brand.4. Product application design:This step involved taking the illustrations and creating

patterns out of them, in order to use them as prints/ standalone illustrations on

products.

5. Production overseeing:This step majorly involved preparing files for certain methods of

printing and tweaking the design depending on the feedback after the sampling stage.

6. Documentation:This phase involves documenting the whole process and the output.

The purpose of the research phase for this project was the following:

To understand the stages of visual development in human baby visual sense.

Understand colours and shapes when concerning 0-6 year old children.

Understand the concepts that work best for children of that age. To understand a variety of product applications for the target age group.

To study other relevant brands and understand the strategy and illustration techniques.


6/224


Visual development // Birth

The following are some points to understand the state of visual sense of the child

at birth: Vision of a new born baby is 20/200 feet and 20/400 feet. This means that

a newborn can see at 20 feet what an adult with normal vision can see at

200400 feet.

Studies show that infants enjoy looking at faces.

The newborns cannot see much detail. They instead study the outline of the

face in contrast to the hairline.

The colour sense of the eyes is yet under-developed. So infants mostly see

hazy colours which are very close to greys and its shades.

Following are few helpful strategies to aid the visual skill development of infants:

Encourage baby to look at your face by humming.

Moving objects help attract attention.

Black and white, brighter colours of high contrast stimulate the retina

development.

Standalone poster colours will not work, but good combination with

contrasting colour will.

Over-stimulation is a threat to the visual development and needs to be kept

under check.


7/224


Visual development // 14 months


Following points help understand the visual state of babies at the age of 14 months:

By 3 months of age, babies can start reaching for things and recognize familiar objects. A variety of colours and shapes are most important.

Shatterproof mirror can help in self-recognition.

Face to face time + a variety of facial expressions help in engaging the child.

Location of infants crib should be periodically changed.

At the age of 5-6 months, following are few observations:

Infant starts following visual path of objects.

Observes own personal movement.

The eye-hand-body co-ordination continues to improve.


8/224




At the age of 912 months, the following is observed:

The child responds to smiles, can judge distances. The child can now grasp and throw things with grater accuracy.

Imitates a variety of body movements from others.

Crawling is encouraged for the child. Its a good idea to provide

stacking and take apart toys.


Visual acuity of the child is 20/50 as the eye-hand co-ordination and depth perception

continues to develop.

The child is not capable of fine motor activities like scribbling a crayon etc.

Highly interested in environment, able to recognize familiar object and gets interested

by the picture in books.

Attends to aerial objects like birds and mobile hangings.

The child can match identical objects, recognizes self in photographs, matches simple

and concrete shapes, imitates simple strokes.

Its suggested that the parents read to their child and let him/her see what is being

read and point out the pictures.


9/224




The following are some points to understand the state of visual sense of the child at the

age of 2436 months: The vision of the child is now at the normal vision of 20/20. The child continues to

develop visual motor and fine motor tasks.

The child begins to complete form boards, peg board design and solve simple puzzles.

The children of this age develop visual closure skills such as identifying common

objects that are partially hidden in environment and recognizing common objects

regardless of minor structural changes.

A continued growth in figure-ground perception skills is observed.

The child can sort upto 4 colours and starts finding details in picture books.

The children at this age can assemble 34 piece puzzles so its encouraged that they be

given more drawing, colouring and painting activities.

The following are some points to understand the state of visual sense of the child at the

age of 2436 months:

The vision of the child is now at the normal vision of 20/20. The child continues to

develop visual motor and fine motor tasks.

The child begins to complete form boards, peg board design and solve simple puzzles.

The children of this age develop visual closure skills such as identifying common

objects that are partially hidden in environment and recognizing common objectsregardless of minor structural changes.

A continued growth in figure-ground perception skills is observed.

The child can sort upto 4 colours and starts finding details in picture books.

The children at this age can assemble 34 piece puzzles so its encouraged that they be

given more drawing, colouring and painting activities.


10/224



Visual development milestones


The child can colour within lines, do cutting between lines and on a broad line. Cuttingsimple outline pictures is also an achievable task.

Developing visual sequencing and visual imagery skills is an important phase. The

children in this age can arrange a set of pictures to tell a story and sequencing several

items by shape, size or colours.

The child can draw familiar and recognizable pictures while also identifying variouscolours.

The children of this age can piece together a 45 piece puzzle. It is advisable that the

child be provided with opportunities to colour, cut & paste, join dot to dot pictures.

Another suggested activity is creating patterns using blocks with the child.

During the various stages of visual development, following are the top 5 milestones:

Focusing ability: Most infants can focus accurately by 2 or 3 months of age. Before 2

months of age, an infant is capable of focusing objects both near and far, but not very

well.

Eye Co-ordination and tracking: Babies can track and follow slow moving objects by 3

months of age. A baby should begin to follow moving objects with the eyes and reachfor things by 4 months of age.

Depth perception: Depth perception is the ability to judge objects that are nearer or

farther than other objects. Depth perception is not present at birth. It is not until 3rd or

5th month that the eyes are capable of working together to form a 3-dimensional view

of the world.

Seeing colour: An infants colour vision is not as sensitive as an adults. Babies eyes

are attracted by the brightness, the darkness or the contrast of an object against its

surroundings and not by colour alone. By 26 weeks of age, a baby can distinguish 2

highly contrasted colours. Object and face recognition: An infant is attracted to high contrast borders of objects.

That is why babies are attracted to hairlines of human faces. By 23 months of age,

babies begin to notice facial features such as nose and mouth.


11/224


Colour preferences

Talking about colour preferences of children, following are few observations by Dr. Anna Franklin

from Surrey baby lab, UK: When colours are presented in pairs, babies take special interest and tend to look for longest

time at Blue, Red, Purple and Orange. The shortest amount of time is spent at Browns and

Greys.

Irrespective of culture, it is shown through researches that children prefer highly saturated,

richer colours than de-saturated colours of the same hue.

As early as age of 4 months, children learn to distinguish between colours and develop

preferences. But it is still important to expose the baby to a wide variety of colours and

patterns to further their development.

Blue, red, purple and orange which keep the child intrigued. Browns and greys


12/224


13/224


Form and shape

Repeat patterns

Some well known and time proven facts about form and shape association with children are these:

High contrast shapes and forms help promote visual development.

The contrast in basic shapes, like circular forms, triangular forms and rectangular forms is

useful in basic understanding and growth in cognition.

Infants tend to focus more on silhouettes and contours of everything they see. Using this

understanding in visual development for children is important.

To understand how using repeating patterns over various mediums help in the visual development,

following are few pointers:

At around age of 4 months, infants tend to attend to details within patterns.

A more global view of patterns tends to emerge at the age of 6 months or more.

Babies are extremely intrigued by high-contrast repeating patterns. It also helps in their

cognition process.

High contrast visual patterns, such as in black and white or high contrasting colours andshapes improve the visual sense and understanding of infants exposed to them.


14/224


Case study // Wee Gallery

Wee Gallery is a children product brand based out of South Florida. Creating at-

tractive and largely black & white based illustrated products, Wee Gallery has set

themselves apart in the market. Following is an excerpt from their website and talks

a great deal about their approach towards the illustrations as well as the market

theyre targeting:

Wee Gallery was conceived by my wife, Surya, a graphic designer, and me, a teacher.

When our son was born we read everything. We read about how to interpret babies

cries and change their diapers. We discovered that babies develop in so many ways

during the first 5 years that it dwarfs everything they learn over the entire rest

of their lives. That seemed pretty incredible considering how much we learned asparents during his first six weeks of life. We learned that newborns can only see 12

to 15 inches away and they are most taken with their parents faces and black and

white geometric figures. Experimenting with the latter idea, Wee Gallery was born.

So why couldnt we just get away with drawing black lines with a marker on a piece

of paper? Well, as Siddu got older the lines became very boring. The animals, on the

other hand, continued to entertain. As his motor-skills developed he would grab the

cards and look at them. When we told him stories for each animal he would listen

and look, turn the card and turn it again. As he approached one he would carry

them around and give them to us, asking for a story. He could even point out eachanimal as we named them.

Wee Gallerys success only further confirms the approach that this project has and

helps in developing a unique visual language for our brand as well.


15/224


Case study // Wee Gallery

Art cards, temporary tattoos, stamps and wall decals by Wee Gallery


16/224


Case study // Soto Moto

Sotomoto is a Design Studio that retails its products from the Sotomoto store in

Hauz Khas, New Delhi. It was started by Suman Sharma and Pallavi Arora, both

graduates from the National Institute of Design, Ahmedabad, India.

Sotomoto specializes in creating kids products and designing kids spaces.

We offer a curated mix of products that range from furniture, rugs, linen and

curtains to storage bins. Our products stem from the craft and textile traditions of

India, yet what sets them apart is the original colour palette and print direction

that we have evolved, often incorporating our own illustrations as elements of the

design.

Our creations are a refreshing alternative in the kids products zone - colourful, fun,

functional and totally original.

This is the description that the Sotomoto team puts forth about their brand. The

success of Sotomoto strengthens our brands confidence about our production

techniques and the market segment. Although the illustration style and visual

language will set our brand apart, the colour palette is inspiring and the overall

study of the brand proves extremely useful in the market strategy as well.

Stuffed cushions, quilts, curtains and bags by Sotomoto


17/224


Case study // Soto Moto


18/224


Case study // A Modern Eden

Mission

To bring beautifully designed products and applications to a childrens market

always in need of accessible modern minimal art.

Company Overview

Share the love. Youll adore A Modern Eden just as much as your child. Endearing

animals and engaging games for them. Classic design and peace of mind for you.

Does your design sense translate to the nursery? We are well aware that when you

become a parent, the desire for style doesnt disappear. Thats why we created a

line of goods and iPhone apps to fill this void. After all, we wanted a diaper bag

we could be proud of, too. We all have kids of our ownor nieces and nephews

that we treat as such. So this project was created as many other projects are: outof necessity. Design-minded goods and toddler apps were lacking, so we made our

own. Just for you. Well, and us.

And we practice what you can preach to your little one. Our products favour

sustainable materials over whats cheap and available, hand-crafted goodness over

mass-produced goods, and idiosyncrasy over run-of-the-mill.

A Modern Eden is a brand based out of Dayton, Ohio and they specialize in making

animal illustration based visuals and products. For now, the company has only

ventured into making wall decals, soft toys, wall puzzles etc. Their approach isminimalistic, vector form based illustrations with bright colour palettes. Their

approach to illustration is very different and intriguing and provides a good

understanding about the approach and widens the horizon of thought process for

my project.


19/224


Case study // A Modern Eden

Zebra and Owl illustrations, stuffed cushions by A Modern Eden


20/224


Keywords

Children

Playful

Visual development

Premium

Stylish


21/224


Moodboard


22/224


Exploratory sketches

The exploratory sketches are where all the understanding from research takes form. The aim

was to explore different visual styles and see which one works best for the brand and its

illustrations. The following pages will show how the drawing style evolved over the time of

exploration to arrive at the one which was finally taken forward.


23/224




24/224




25/224


26/224




27/224




28/224




29/224




30/224


31/224




32/224


33/224




34/224




35/224


36/224


37/224




38/224




39/224




40/224




41/224




42/224




43/224




44/224




45/224




46/224




47/224




48/224


49/224


50/224




51/224




52/224




53/224




54/224




55/224




56/224




57/224




58/224




59/224




60/224


61/224




62/224




63/224




64/224


Lineart process

After exploring the sketches of various animals, a feedback session at the

Turmeric Design studio got me some pointers on the changes I can make to

the sketches to have them work better in accordance to my research andfrom a market-selling point of view. Also, the sketches helped me narrow

down to a style of thin to thick lines for the animal characters. This style will

help create a unique visual language for the brands illustrations as well as

be strengthened by the scientific understanding of contrasting patterns and

shapes.

The visuals on the right explain my process of creating finished lineart from

the sketches for the illustrations. Taking the Giraffe as an example, this

process shows how I used layers of different drawings and then combined

them post scanning in Adobe Photoshop to cleanup and merge the lineart and

the pattern.

The final lineart, once cleaned, was taken forward for the colouring process

which is mentioned in the next section.

Outline done on paper with pen


65/224


66/224


Lineart colouring process

Once the final lineart is ready after cleanup and merging the

various layers, I imported it to Adobe Illustrator and started

colouring it. Adobe illustrator is a vector program and allowsfor scaling of visuals to any size, bigger or smaller without a

loss of quality. It also eases out the process of playing with

colours and creating patterns.

As seen in the visuals on the right, the colour layer was

painted directly under the transparent lineart to give it the

finished look.

Finished lineart from previous process


67/224


Lineart colouring process

Colour layering done on illustrator Lineart combined with colour layer


68/224


Finished illustrations // Intro & Elephant

The following pages cover the other finished illustrations

that were taken forward from the sketches. A total of

13 animals were finally chosen to be illustrated out ofthe numerous other options. Although I have chosen to

show only the short listed colours here, various other

colour options were explored before arriving and selecting

the following colours of the animals. In further sections

containing patterns and applications, the other colour

variations can be found as well.

Not all the illustrations were taken forward with a black

line, as I chose to play around with the line colour as well.


69/224


Finished illustrations // Giraffe & Snake


70/224


Finished illustrations // Gorilla & Fox


71/224


Finished illustrations // Owl & Octopus


72/224


Finished illustrations // Hippopotamus & Whale


73/224


Finished illustrations // Crocodile & Panda


74/224


Finished illustrations // Panda & Toucan


75/224


76/224


Pattern making process // Repeat styles

This is the part where the basic elements of the patterns

are experimented with and understood which combination

of the animals will work best. My aim was to have aninteresting connection between the individual giraffes and

add some story to the pattern as well. As seen on the right,

one of the variations was to have the giraffes face each

other and stand back to back, with room left for further

elements to be added.

Giraffe pattern making, Option 2


77/224


Pattern making process // Additional elements

After preparing options for the orientation of the giraffes,

I decided to add secondary elements to add some story

to the pattern. Also, the secondary elements support themain illustration and add another dimension to the visual.

I purposefully kept the secondary elements subdued so as

to not over-power the main giraffe illustration pattern. The

secondary elements were drawn with a single colour white

line in order to be simple yet effective and non-intrusive.

Additional elements added with both options


78/224


Pattern making process // Product application test

Once the pattern variations were ready, it was time to test

their viability with a few product applications. Whether

used as individual illustrations of giraffes or as patterns,it is important to test the applications across a variety

of products in order to understand and test if they work

together as a family or not. Few examples are shown on the

right.


79/224


Pattern // Fox

The process which was described for Giraffe was followed

for all the animals, including the Fox. Here, the pattern was

tried against an orange background with white Fox as wellas against a yellow background with an orange Fox. The

product application tests can be seen on the following page.

They include t-shirts, cushions, pillows, quilts and wall

decals.

The following pages also include patterns from other

illustrations as well. Their respective product application

family can also be seen alongside.

Fox pattern options, White on orange and Orange on yellow

//


80/224


Pattern // Product application test

// d l


81/224



// l h


82/224


Pattern // Elephant

P // El h


83/224


Pattern // Elephant

P tt // El h t


84/224


Pattern // Elephant

P tt // P d t li ti t t


85/224



Pattern // Gorilla


86/224


Pattern // Gorilla



87/224



Pattern // Octopus


88/224


Pattern // Octopus



89/224



Pattern // Panda


90/224


Pattern // Panda


91/224



92/224




93/224



94/224



Pattern // Whale


95/224


Pattern // Whale



96/224



Pattern // Owl


97/224


Pattern // Owl


98/224



99/224



Products // Cushions


100/224


//

What was seen till now was the family of products from

their respective patterns and illustrations. The following

section covers only the cushion designs that were proposed

as a viable product application. These are made from

individual illustrations as well as the patterns. All the short

listed variations can also be seen here which werent seen

in the family of products on the previous pages.


101/224



102/224


//


103/224



104/224




105/224


Products // Quilt + Pillows


106/224


As seen in the groups of product applications, quilts and

pillows are an important part of the product family for the

respective illustrations and their patterns. Following section

covers all the variations for the quilts and pillows with

suggested combinations.



107/224




108/224




109/224




110/224



111/224


112/224


113/224



114/224


Products // T-shirts


115/224


T-shirts are the initial set of apparels that the brand is

looking forward to start with. Some suggestions for the

t-shirt designs and colours are included on the following

pages.


116/224



117/224




118/224




119/224



120/224

Products // Onesies


121/224


Products // Onesies


122/224


Products // Onesies


123/224


Products // Onesies


124/224


Products // Wall decals


125/224


Solid sticker based prints that come in packages with other

elements, for example, the Fox with the grapes, the Giraffe

with trees and birds, the Owl with moon and stars etc. They

can be peeled off and stuck in various combinations to

create a story on the wall. Following simulated visuals show

their usage and an idea of the size and proportions.



126/224




127/224




128/224




129/224




130/224



131/224

Products // Flash cards


132/224




133/224




134/224




135/224




136/224




137/224




138/224



139/224



140/224




141/224


Printing process // Seamless pattern tile


142/224


A very essential part of printing patterns is the ability of

a pattern to repeat seamlessly in any direction. As I have

shown on the right in an example of a fox and grapes

illustration pattern, the spaces on all four sides of the 4foxes and 4 grape bunches were taken care of. These were

curated in such a way that once put together right next to

another block of the same design, itll lead to creating a

seamless pattern. Please note that the grey lines shown are

not part of the pattern, but just a hint of where a single tile

of the pattern starts and ends.

Printing process // Colour separation


143/224


A must to do step of screen printing is the separation of

colours. Since screen printing requires printing different

colour inks separately in succession, the screens that

require to be prepared for printing of a certain colour needto be separate as well. Since the fox and grapes pattern had

6 different colours, I created colour separation screens for

the respective illustration. They have been assigned with

registration marks along with proper name codes in order

to help the printer achieve the best results without any

confusion. Every colour has a separate screen visual, which

can be seen on the following pages.

C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 3 70.71lpi 45.00 5/18/20126:50:40 PMProcess Black

Fox black outline screen preparation



144/224


C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 3 70.71lpi 45.00 5/18/20126:53:03PM

fox blue

C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 3 70.71lpi 45.00 5/18/20126:53:03PMfox orange

The eyes of the fox Orange colour layer of the fox



145/224


C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 3 70.71lpi 45.00 5/18/20126:53:03PMgrapes green

C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 3 70.71lpi 45.00 5/18/20126:53:03PMgrapes purple

Green grapes leaves layer Purple grapes layer



146/224


C

M

Y

CM

MY

CY

CMY

K

pattern tileseperations.ai 370.71 lpi 45.00 5/18/2012 6:53:03PM

grapes yellow

Brown stick of the grapes

Sample product photographs


147/224


A T-shirt sample screen printed for the Toucan bird illustration

Studio feedback session


148/224


After the set of illustrations were ready with all their respective patterns and product applications, a group studio feedback

session was held. The aim of this session was to get critical feedback on the illustrations, their colours, patterns and

applications. Following are the main points collected from the feedback:

The Crocodile illustration doesnt fit the family well, hence needs to taken out of the set.

The colour palette of the Owl needs to be less psychedelic.

The drawing quality and style of the secondary elements in the patterns are not in line with the primary illustrations,

hence they need to be removed.

Use a childs crib instead of the bed for visual prototyping and provide an idea of the scale.

Use stitches and not only piping of colours.

The Octopus and Elephant need to be redone, as the Octopus is too complicated a form and the Elephant is similar to the

Hippo.

New animals need to be added to the set; Parrot & Seahorse.

The overall colour palette needs to be refined further, make it more in line with the qualities of the brand. Use only black lineart and not coloured.

Include white in the colour palette for better interaction with background and the illustration.

Following pages compile the new set of sketches and illustrations for the Octopus, Elephant, Parrot, Fish and Seahorse

alongwith the illustrations with new colours and their respective patterns and visual prototypes, inclusive of the feedback

mentioned above.

New sketches


149/224



150/224

New sketches


151/224



152/224

New sketches


153/224



154/224

New sketches


155/224


New sketches


156/224


New sketches


157/224


New sketches


158/224


New sketches


159/224


New sketches


160/224


New sketches


161/224


New sketches


162/224


New sketches


163/224


New sketches


164/224


New sketches


165/224


New sketches


166/224


New sketches


167/224


New sketches


168/224



169/224

New sketches


170/224


New sketches


171/224


New sketches


172/224


New Illustrations + Re-worked colours


173/224




174/224




175/224




176/224


Patterns // Fox


177/224


Product applications // Quilt + Pillow + Cushions


178/224


Product applications // Quilt + Pillow


179/224




180/224


Patterns // Gorilla


181/224




182/224




183/224


Patterns // Panda


184/224


Product applications // Quilt + Pillow + Cushions + Tshirt + Onesie


185/224




186/224


Patterns // Whale


187/224



188/224



189/224



190/224



191/224




192/224


Pattern // Owl


193/224


Product applications // Quilt + Pillow + Cushions + Tshirt


194/224


Patterns // Elephant


195/224




196/224




197/224


Patterns // Octopus


198/224




199/224




200/224




201/224



202/224



203/224




204/224




205/224




206/224



207/224



208/224




209/224


Pattern // Fish


210/224




211/224




212/224


Tshirts // Whale & Owl


213/224


Tshirts // Gorilla & Parrot


214/224


Tshirts // Elephant & Octopus


215/224


Tshirts // Seahorse & Fish


216/224


Cushions


217/224


Cushions


218/224


Cushions


219/224


Cushions


220/224


Cushions


221/224


Cushions


222/224


Acknowledgements

I would like to thank Mrs. Kriti Monga, Creative Director, Turmeric Design, for bringing me onboard

this project and her constant guidance and feedback throughout the project. Her constant push

and motivation helped me achieve the results which I didnt know I was capable of achieving.


223/224


Bibliography

A special thanks to Mr. Jay Menon, Communication design head, DJAD, for his constant guidanceand help throughout the project phase, his moral support and motivation which helped me better

myself and my work throughout the project phase.

I also extend a special thanks to Professor S. Balaram, Dean, DJAD and all the friends and family

members whose constant support and feedback helped me bring out the best in me.

Early Intervention support,

Science blogs, cognitive daily,

Wikipedia,

The baby owners manual, Louis Borgenicht & Joe Borgenicht, Quirk books, Philadelphia, 2003.

The Toddler owners manual, Brett R. Kuhn & Joe Borgenicht, Quirk books, Philadelphia, 2003.

About.com,


224/224

Diploma project | Pulak Bhatnagar | 2012

Documents

Transcript of Diploma project | Pulak Bhatnagar | 2012