In business, one of the major significant things is an essential idea. That ‘Great Idea’ as it is phrased by advertising agencies is the bug seed that nurtures into a bigger narrative that informs your viewers everything about the business. If the bugseed is damaged, the narrative strandunties.
That is the major issue with the new Rs.2,000 currency note launched by the government about 3 weeks ago. It is a hodge podge of random motifs and patterns. These motifs and patterns fail to get together just because there is no good narrative to strap them and there is no bug seed that can deliver a narrative.
Thanks to an uninterrupted artistic practice of hundreds of years, the distinctive Indian aesthetics were extremely understandable in the old currency notes. A merge of Gandhara, Victorian Art Nouveau and Indo-Saracenic styles, they signified the absolute narrative of evident Indian History — the Gandhara, signifying the golden era of primeval Indian design, the Art nouveau marking the country's conversion into the modern-era and the Indo-Saracenic signifying the artistic altitudes of the Mughal-era while staying stylistically realistic to its predecessors. The motifs, patterns and the lettering that bounded it all up were complex and distinctive. The engravings of the Indian symbol, Gandhi’s portrayal and the Dandi protest, all associated to the same relatives of creative style. 
The new currency notes take artistic styles from various diverse styles, all of them indefinite and irreconcilable with each other. And the motifs don’t go well with the drawing of Gandhi. The Mangalyan is a computerized picture, and hardly goes well with sketchy Gandhi on the front. It is beyond estimate what little flowers, peacocks and elephants are doing below the Mangalyaan. Even artistically these motifs emulate the Indonesian Batik design which is a wax-dyeing-style typically seen on flower printed outfits.
The color arrangement of reddish rust, green and pink is something that just doesn’t match-up with us as a nation –one would have appreciated taking cues from the obvious and may be some intelligent use of orange and green over white. 
While the color arrangements are a matter of to-each-his-own and therefore arguable, even functionally the note fails to display strategy and thought. The width of the currency notes has been adjusted from 71mm to 65mm in an attempt to match up with international currencies without recalibrating cashier devices.

The lettering adds to the listing of despairs. As an ad agency in Delhi with a vibrant team of creative graphic designers, BrandBerry Marcom notes, "11 diverse fonts have been utilized in 14 diverse sizes. Even a new-age, fancy magazine utilizes only about 5 fonts in probably 6 diverse sizes, across all its sheets. The design is not ultra modern enough to validate this varietyof practice. What’s additional, the Devanagrifonts aren't matching with the English fonts. The design is scattered with nothing to hold it all together."
This was the first time that currency notes were being created ever since the launch of the rupee symbol and it was a wonderful opportunity to show India as a growing economic supremacy by designing currency notes that imitated our aspirations. We are disappointed. Clearly “Not-Worthy”.