This study uses tools from semiotics to study the work of Indian cartoonist Satish Acharya. It includes a brief study of the history of editorial cartoons, a study of basic concepts of semiotics, and existing work that has been done to apply these concepts to conduct a formal analysis of political cartoons. This study analyses a selection of Acharya's work from 2020 to identify the elements of the visual language he uses to construct his cartoons and to study the explicit and implicit messages they contain. We find that Acharya uses consistent visual techniques to amplify or ambiguate his critique as needed and places himself squarely with the people, against the political class.

Innovation and creativity management is an interdisciplinary movement that tries to optimise and exploit the untapped potential of creative ideas. This paper investigates the work culture of a construction equipment company, Volvo CE, and studies how creativity tools can affect the creativity in groups while trying to answer the question of how to reframe a work culture in a company with innovation management in an organisation. Volvo CE has always successfully reinvented its creativity management through years, helping them to stay as the best in industry around the world. The creativity tool experiment was done with the help of a creativity game to study how much impact it can have on players to shift their perspective about working in groups and contributing to the team and how that can help in reframing the work culture.

Anek is a multiscript variable font family designed by Prof. Girish Dalvi at IDC IIT Bombay. It is a modern, versatile typeface that supports multiple Indian scripts, aiming to unify diverse writing systems while maintaining their unique characteristics. The project aligns with the growing demand for typography solutions that accommodate the multilingual and multiscript environment of India, where users often require support for multiple languages in a single document or design. It is designed as a variable font, meaning that users can adjust properties like weight and width seamlessly across different styles, offering flexibility for a variety of applications. It supports multiple Indian scripts, including Devanagari, Bengali, Tamil, Telugu and others, making it suitable for use in diverse linguistic contexts.

Sakshatkaaram is a Malayalam short fiction film directed by Prof. Sudesh Balan, a faculty member at IDC IIT Bombay. The film delves into human emotions and inner realisations, exploring themes of self-discovery and personal transformation. Like much of Prof. Balan's work, it likely features a reflective narrative, focussing on subtle yet powerful storytelling techniques. Prof. Balan is known for his expertise in visual storytelling, and his approach in Sakshatkaaram might include innovative use of camera work, visual metaphors, and symbolism, typical of his design philosophy. The film likely emphasises character-driven narratives and emotionally resonant themes, aligning with his broader interests in communication design and cinematic expression.

"Learning English Through Stories" by Prof. Alka Hingorani focusses on using narrative techniques to teach the English language in a more engaging and accessible manner. The approach emphasises storytelling as a medium for language acquisition, helping learners develop linguistic skills through context, emotion, and imagination rather than just conventional methods like grammar rules or vocabulary lists. By immersing students in stories, the program fosters comprehension, listening, and speaking skills, making it easier for learners to relate to and remember language concepts.

The feature film in Hindi by Prof. Mazhar Kamran, approximately 90 minutes long, typically reflects his storytelling approach, often focussing on social issues, human emotions, and cultural narratives. While specific details about this film might not be widely available, his works generally aim to engage audiences with thought-provoking themes and relatable characters.

Prof. G. V. Sreekumar designed posters for two notable exhibitions: the 18th Cheongju Jikji World Calligraphy Exhibition, Korea, and the South Asia Design Educators Alliance (SADEA) Exhibition, USA. 18th Cheongju Jikji World Calligraphy Exhibition, Korea: The design for this exhibition poster likely embraced the aesthetics of calligraphy, combining traditional elements with modern design principles. South Asia Design Educators Alliance (SADEA) Exhibition, USA: The poster for this exhibition would have reflected design education and collaboration between South Asia and global design communities.

The Curriculum Development for Design Thinking and Innovation in Schools from Grade 6–12 by Prof. Ravi Poovaiah from IDC IITB focusses on integrating design thinking into school education to foster creativity, problem-solving, and innovation among students. This curriculum is aimed at helping young learners develop critical thinking and hands-on skills that prepare them for real-world challenges. Teaching students the principles of design thinking, including empathy, ideation, prototyping, and testing, in a simplified and engaging manner. Encouraging students to apply these principles through hands-on projects where they can create solutions to real-world problems relevant to their communities or environments.

The Calligraphy for the Kala Ghoda Festival, Mumbai, by Prof. G. V. Sreekumar, was likely a creative endeavour where he brought his expertise in typography and calligraphy to this iconic cultural festival. The Kala Ghoda Arts Festival is known for its celebration of arts, crafts, and culture, and Prof. Sreekumar's work would have added a rich visual element to the event. Prof. Sreekumar likely combined traditional Indian scripts with contemporary design aesthetics, creating visually compelling calligraphy pieces that resonated with the festival's diverse audience.