The Clay Factory - Graduation Document

Visual Identity for THE CLAY FACTORY Graduation Project by Naomi Kaley Guided by Mr. Sandesh Gaundalkar

UG, Communication Design DJ Academy of Design 2020

DJ Academy of Design Coimbatore - 641 032

Approval The following document is duly examined and approved by the designated jury as credible work on the chosen subject, carried out and presented in a manner and at a level that is appropriate for acceptance as diploma project qualification of this Institute.

This approval however does not necessarily endorse any statements, comments or conclusions drawn in by the author in the document.

This is a partial fulfillment for the award of the Undergraduate / Postgraduate Diploma in Industrial Design / Communication Design.

This Project/Thesis study of 26 weeks duration in the curriculum has been completed in ……..

Weeks.

Title of the Project

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Student’s Name & Signature

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Guide’s Name & Signature

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Internal Jury Name & Signature

Place : Coimbatore Date : ……..………….

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External Jury Name & Signature

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Dean / Jury Chairman Name & Signature

Coimbatore – Pollachi Highway, Othakkalmandapam (P.O.), Coimbatore – 641 032. India Phone: +91-9488611174, 0422 – 7125411, 7125412 Website: www.djad.in, E-mail: office@djad.in

Content Acknowledgement

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DJAD

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Project brief and Introduction

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RESEARCH PHASE - 1 Need of craft Craftsman Pottery Goa Role of Kumbhar Bicholim

RESEARCH PHASE - 2

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Meeting the craftsman What is Branding / History?

Identifying Compeititors

UNDERSTANDING CONTEXT Understanding Context Brand Strategy Understanding the target audience

D.J Academy of Design / Graduation Project

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CONCEPT PHASE

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Keywords Ideation Concept Selection Finalized Concepts Concept Finalization Concept 1 Stationary exploration Finalized Concept

FINAL DESIGN

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Deliverables Newspaper Ad Newspaper pamphlet Magazine Ad Product Catalogue Social Media Branding Packaging Labels Website References

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The Clay Factory / Naomi Kaley

D.J Academy of Design / Graduation Project

Acknowledgement This graduation project or an endevour I would rather call it has been a significant learning for me in the last six months.

I would like to thank the all faculties at DJAD for guiding me throughtout all the 4 years I’ve spent time learning.

I would like to thank my parents and my brother who have encouraged me throughtout every stage of my learning and process here at DJAD and kept me motivated. My brother Nisheal, our long distance telephonic conversations and discussions about life motivated me enough to accept rejections, delays and failure as a part of life.

My internal guide Mr. Sandesh Gaundalkar who helped me during these 6 months reviewing my project and Shiva Nallaperumal for the external feedabacks.

This project which was offered to me by Mr. Dattaram Harmalkar - and the sole reason as to why I took it up, helped me realise the importance of preserving crafts. Mr. Zilu Harmalkar who was also a part of this process - his wonderful stories of the family household pottery business helped me in the intial research of the this project.

I would like to also thank the Curator of Goa State Central Library, Dr. Carlos M. Fernandes for allowing me to source information from the archives at the time of my research.

My close friends and batchmates who have helped in this course of time Vaibhavi, Kevin, Soundarya, Vinita, Rayna, Yugandhara and Siddhesh thank you for reviewing my diploma project and also listening to me cry about not having good work.

Last but not the least this project and the last 4 years would have not been possible without my friends, I would like to thank every one of them, especially my batchmates who helped me survive through college - Sathwika, Debosmita, Sahil, Danny, Pathania, Sushma and Paggu. You guys are the best!

The Clay Factory / Naomi Kaley / 1

Fig. 0.1

DJAD DJAD commenced in 2004 to a felt need in the country. The potential for offering design services within India and abroad expanded as India matured as an economic power. But there was a shortage of trianed designers within the country.

DJAD’s inception was to cater to this need in a small yet significant way.

The idea of starting a design institue under the GKD Charity Trust was born under the aegis of Mr. Sanjay Jayavarthanavelu and PAR Kumar who visited NID, Ahmedabad. After having studied the facilities and observed the culture of design learning, the team held talks with the NID Executive Director for future collaboration.

DJ Academy of Design is situated in Coimbatore, which is an educational hub of the region and is one of the units of illustrious GKD Charity Trust founded

by Lakshmi Machine Works Ltd (LMW), a major industrial group in India. GKD Charity Trust was set up in 1983 by the industrialist par excellence, (Late) Cavalier Dr. G K Devarajulu. His pioneering efforts saw the emergence of Coimbatore on the global industrial map and the LMW Group as a major force to reckon with. The Group now comprises a staggering 20 companies with LMW being the flagship brand.

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Fig. 0.2

Project Brief & Client Introduction I was offered a client project from Goa by Mr. Dattaram Harmalkar who plans on starting a franchise ‘The Clay Factory’ a young brand carved out from ‘‘Kumbhar’’, aiming towards marketing & carving a niche in studio pottery & expanding the roots in the modern art segment globally.

The brief given was to design a visual identity, strategy and branding for ‘The Clay Factory’.

‘The Clay Factory’ is the sister unit/establishment of Kumbhar Pottery Studio firm, which started its work in 1989 situated at Industrial Estate, Bicholim Goa. One of the main intention of this pottery studio was to bring a new awareness in pottery crafts and looking after the development and marketing side for the same.

Kumbhar Pottery Studio has catereted to local customers within the state, a few customers outside of Goa as well as international customers. The studio has developed expertise in the manufacturing of pots, planters, decorative aritefacts, mementos, sculptures and murals etc in various media like teracotta, plaster of paris, cement, fiberglass, brass, etc.

The idea of establishing a new sister company/firm came up with its operation totally independant of Kumbhar Pottery Studio. Thus, the birth of The Clay Factory took place.

Since teracotta or earthernware is the oldest practiceknown to mankind, it is so close to nature the development of such business in this field is very vital in the present modern era. This studio has worked with traditional pottery for generations giving a flavor of modern and contemporary style.

Fig. 0.2 Image taken at The Kumbhar Pottery Studio

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Before starting off with the research I listed down a few questions to ask the artisan Mr. Zilu Harmalkar the owner of the Kumbhar Pottery studio who set up the pottery studio in 1992, Bicholim Goa. For designing the visual identity for The Clay Factory it was just not about making of the logo but also creating an experience in the mindset of the target audience. I felt it was important for me as a designer to briefly understand the need of craft - why its necessary to sustain a craft as well as the role of Kumbhar and History of pottery in the Indian/Goan society. Showcasing this craft and process to the customers was primarily the main aim of the branding as well by sensitizing them about the brand and what it stands for.

I also felt it was important to briefly understand the history and style of work at the studio as this would help me to build a better brand for The Clay Factory.

- History of Kumbhar?

- Does he follow a certain style of work?

- About the potters community in Bicholim - Uniqueness / identity that Kumbhar community or the studio/his family has created for the past so many generations and he has continued to follow?

- How has it influenced Goan pottery from European and Portuguese style of pottery?

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Research phase 1 Need of craft / 1.1 Craftsman / 1.2 Pottery / 1.3 Role of Kumbhar / 1.4 Bicholim / 1.5

The Clay Factory / Naomi Kaley / 7

Image source - https://mittalsouthasiainstitute.harvard.edu/handicraft-livelihood-creation-project/

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Craft and its need Craft is not only an important source of livelihood, it is often connected to socio cultural traditions, and elemental to the preservation of cultural diversity and identity.

Crafts are not simply a particular way of making objects but are inextricably bound up with the structures, values, history, and identity of the communities in which they are practiced. Indian handicrafts are historically part of generation learning, passed down along a line of inheritance, and the transfer of tacit knowledge. Craft has multiple meanings and functions ranging from personal consumption, to ritualized and religious significance and or economic activity which has a commercial outcome. It plays a role in defining regional, national or ethnic identity and culture. The concept of sustainability in relation to Indian crafts is connected to environmental, cultural and economic concerns.

Craft provides employment opportunities, and the ability to earn and income from craft contributes to the longevity of cultures, and craft communities. Traditional cultures respect and live in harmony with nature but the most common or standard belief is because of their dependency on the environment. India is full of examples of lifestyles, cultures, professions that depend and capitalize on handwork. Handwork is so deeply embedded in different cultures of India that nobody recognizes the positive impacts it has on the environment. Many government bodies and private sectors in India are putting their best foot forward in sustaining and reviving traditional knowledge from indigenous tribes.

Despite these efforts, the roots of these crafts, which are the rural craftsmen, are in decline. Handicrafts are the creative products made by the skill of the hand without the help of modern machinery and equipment. The push towards modernization and mechanization of the sector has crippled some sectors of the craft industry.

Nowadays, hand-made products are considered to be a fashion statement. India’s rich cultural heritage and centuries of evolutionary tradition is manifested by the huge variety of handicrafts made all over the country. Handicrafts are a reflection of the cultural identity of the ethnic people who make it. The entire wealth of timeless Indian handicrafts has survived through the ages. These crafts carry the magnetic appeal of the Indian culture that promises exclusivity, beauty, dignity and style. Craft provides employment opportunities, and the ability to earn and at the same time, it contributes to the longevity of cultures, and craft communities.

The Clay Factory / Naomi Kaley / 9

Image source - https://mittalsouthasiainstitute.harvard. edu/handicraft-livelihood-creation-project/

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Craftsman It is interesting to note that phrases like ‘creative crafts’ and ‘fine arts’ are gaining popular usage all over the world today and indeed justifiably enough to express a developing consciousness for accepting art activity of every kind as craft. The gap between artists and craftsmen is shortening as we speak since the artist no longer feels shy of being a craftsman.

In ancient India there was never a terminology gap between the artist and the craftsman. He was known as a ‘Shilpin’, a term which covered his activites as a painter, builder, image-mkaer, potter,carver,etc. The art or ‘Shilpa’ embraced the full range of creative activity, ritual, skill craft and the creative imagination.

The ‘Shilpin’ was assigned an organic role within the society through membership in a group, that is to say, he was a member of an artisan caste or a guild which was an integral part of the social order and in which he enjoyed an honorable status. The ‘Shilpin’ infused order into his experience through material and the form he fashioned from it with his tools.

There was a fusion of tools and purpose.

The range of materials has been from clays to sophisticated synthetic plastics and fibreglass. The styles have varied and techniques diversified but what remains the same is the creation of an object from start to end by one Shilpin much like the creation of a painting or an image.

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Image Source - https://authindia.com/indian-pottery-craft/

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Pottery in India Pottery is referred to as something that is made from damp clay mixed with other materials. When the clay is wet, it is shaped into various forms to make finest pieces of pots, figurines, sculptures and many other things. It is used both as decorative object and for utilitarian purpose for day-to-day work. They are then fired in a special oven called a kiln at high temperatures. Firing makes the clay hard. The potter may then apply a glaze to the surface before firing the object again. The fired glaze makes the surface of the pottery shiny, decorative and water-tight. Skilled persons who make this exquisite pottery are known as potters whereas the place where these products are made is called potteries.

The craft of pottery continues to be practised almost without a break in all the villages and cities of India. Unsophisticated village pottery forms of India are invariably very expensive. There is no eccentricity or artifice here. The shapes are organic, wholesome and always true to the material. The decoration of village pottery is spontaneous and happy, and harmoniously related to its form. Some of the earliest known pottery of ancient India was found in the excavation at Mohanjo-daro and Harappa of the Indus Valley Civilisation (3rd millennium B.C.)

Pottery has been called the lyric of handicrafts because of it’s irresistible and universal appeal. But it is the association of religion with this very humble object that has given it a deeper significance and wider dimension. Domestic pottery is in profusion and found in innumerable shapes and sizes, and is inseparable from any Indian scene. The shapes are organic, simple but attractive, and true to the material. In India the emphasis has been on the chasteness of the line to lend dignity to the form with no attempt to cover it up with colour and ornamentation. Where decoration is used it is harmoniously related to the form. Above all, it has to be superbly functional.

Book source - Handicrafts of India by Kamaladevi Chattopadhyay

The Clay Factory / Naomi Kaley / 13

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Goa Goa is the smallest state in India and was under the control of numerous rulers including British and Portuguese. This is why Goa is a land of unique culture and interesting heritag famous for its beaches and places of worship, and tourism is its primary industry. This relatively small state is situated on the western coast of India, between the borders of Maharashtra and Karnataka, and is better known to the world as a former Portuguese enclave on Indian soil. Tourism is said to be the backbone of Goa’s economy.

A land of blended cultures, the unison finds expression in the art and crafts of Goa. Goan craftworkds are most colorful and nature based than many states of the country. The art and craft of Goa, like its culture has come out of a blend of Indo- Portuguese art forms. Goan craft has own critical acclaim from the connoisseurs of the art world.

Some prominent crafts forms in Goa are the bamboo craft, sea shell crafts, crochet and other embroidery, tile painting, wood carving, fibre craft (made from coconut), metal ware (copper) and papier - mâché. Portuguese craft can be seen intermingiling with Indian patterns, making a striking art piece.

The Clay Factory / Naomi Kaley / 15

Image Source - https://en.wikipedia.org/wiki/Kumhar

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Kumbhar

(in Goa)

In ancient Goa, there existed the social system based on the concept of Gaunkari and Bara Balutedar - the twelve classes entrusted with certain duties pertaining to various aspects of the society. The governance of the society was looked after by the Gaunkars whereas the different responsibilities were entrusted to the specific classes prescribed in the social set up. In this set up the artisans and mainly the craftsmen were included prominently. The Lohar (smith), Sultar (carpenter), Kumhar (potter), Sonar (goldsmith) were the main craftsmen of the society who also enjoyed the privileges as well as shouldered the responsibility to cater the needs of the contemporary society as far as the utensils and ornaments are concerned.

In the early historical period the supply of terracotta was ensured by the potters which were known by the popular term as Kumbhakaras. There existed a well organised guilds or shrenis of craftsmen during the period.

Pottery as an occupation was present even during Portuguese reign and in fact it is one of the oldest crafts. Since Goa was once a Portuguese colony and still has many beautiful reminiscent of the Portuguese era. A lot of the work is influenced by the local culture which exist in Goa lot and has gone in capturing the essence of people and their local businesses and styles of living.

Kumbhar (potter) played an important role to serve the various communities of the society. Right from the manifold utensils to the variety of figurines were supplied by the potter community to meet the day to day requirement of the society.

Source - The Navindh Times, 1998

The Clay Factory / Naomi Kaley / 17

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Fig. 1.5

Bicholim Bicholim, also known as Dichal and Dicholi, is a city and a municipal council in North Goa district in the state of Goa. Bicholim is a small town in Goa known for its potters community and has paddy fields growing across the town with rich red soil which is malleable for pottery.

The town is located about 30 kilometres from the capital Panjim. Its a small town in Goa, and is rich in the art of pottery gifted with a community of craftsmen and artists who have been practicing this craft and passing it on from one generation to another. The potters around from Bicholim use clay that is collected from the surrounding open fields of Bicholim.

Goa Industrial Development Deparment, set up the Bicholim Industrial Estate located on the banks of Mandovi tributary which is a home to more than 50 industrial workshops and manufacturing units specializing in a range of products and services and the Kumbhar Pottery Studio has its own pottery unit at the Industrial Estate. The clay/mud used for making all the pottery at the studio comes from Bordem a village situated in Bicholim itself.

Fig. 1.5 Paddy field in Bordem, Bicholim

The Clay Factory / Naomi Kaley / 19

Fig. 2.0

Research phase 2 Meeting the craftsman / 2.1 What is Branding / History / 2.2 Identifying Compeititors / 2.3

Fig. 2.0 Image taken at The Kumbhar Pottery studio

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Fig. 2.1

Master Craftsman As mentioned in the brief the roots of Kumbhar Pottery Studio goes back to many generations in the past. It began as a small household pottery business in Bordem village of Bicholim, which is famous for its traditional pottery art in whole of Goa. The master craftsman who runs the business - Zilu Harmalkar was born in 1952 in a common kumbhar family at Bordem, he always liked drawing and painting from his childhood. His father Dattaram Harmalkar was a traditional pottter and well known in the community.

Harmalkar’s great grandfather migrated to Bicholim from Harmal, Pernem. Both his parents were traditional potters. He would assist them during his school days.

Zilu is also a fine art graduate from Goa college of Art and to get a fellowship from Kala Academy in fine arts. Later he completed his Masters at Sayajirao Gaekwad University, Baroda before returning to Goa in 1981 he soon started accepting contracts from hotels and restaurants and made murals and paintings for five star hotels and resorts. His art can be seen in places like the hotel Mandovi, Majorda Beach Resort and Hotel Nova Goa. Fig. 2.1 Image taken at The Kumbhar Pottery studio

The Clay Factory / Naomi Kaley / 23

What is Branding?

The term branding comes from the Old Norse “Brandr” which means to burn.

Cattle, slaves, timber and crockery were burnt or branded with the markings or symbols of the owner using a hot iron rod. The concept of branding was essentially to depict ownership, in particular things which had value, this practice dating back to 2000BC. Individual ranches would each have their own unique mark so ownership could be determined if their animals were lost, stolen, or mixed in with animals from another ranch.

Towards the end of the 19th Century there was a massive shift in attitudes to products and purchasing of things.

This push was led by a collection of new technology and methods of communication such as the invention of mail order catalogues, the advancement of railroads and the expansion of the postal service.

The end of the Second World War saw a manufacturing boom as many factories which were set up in order to produce military equipment could now be used to make products. With the facility for mass production now in place coupled with access to markets years’ earlier production for brands could now reach and produce for anyone.

Source : - https://www.designtoday.info/brand-new-thehistory-of-branding/ - https://99designs.com/blog/design-history-movements/history-of-branding/

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There was a lot of competition for the populace’s attention, so brands needed a means to distinguish themselves from their competitors, which led them to develop the concept of the unique selling position (USP).

As brands evolved over the decades, they needed to freshen up a bit or even take on a new identity to stay relevant, cater to changing tastes and differentiate themselves in an ever-growing field. The process involved in creating a unique name and image, a personality for a product and in the consumers mind, through a representative visual identity, advertising campaign and marketing strategy such as branding.

The outward expression of a brand including its name, trademark, communications, and visual appearance is called Brand Identity. Because the identity is assembled by the brand owner, it reflects how the owner wants the consumer to perceive the brand and by extension the branded company, organization, products or services.

Banana Pottery - design studio specializing in ceramic and pottery in-house product range constitutes art-ware as well as utility ware.

Goa Potteries - manufacturer of household ware and decorative items in Goa.

Mayank Jain Pottery - a studio potter, works with stoneware clay

Sylvia Kerkar’s Pottery - a ceramic studio which is equipped for teaching and production of ceramic art. (makes functional ware but not for sale)

Compeititors After having understood Kumbhar and The Clay Factory as a brand, it was vital to look into the market and identify such similar brands already existing.

In Goa there are several other brands working twoards pottery and as part of developing the identity for the franchise it was essential to look into other existing brands and how they have acquired a name in the market. Understanding how compeitition would affect a certain brand. I felt it is vital for a brand to also learn from the pros and cons of the compeititor brands that has already been tried and tested in the market in terms of similar language of sustainability.

Making the visual identity for The Clay Factory it was necesserary to also understand other brands color palette, typography and how the identity works.

As this brand will be positioned in the market with its compeititors and the branding will help The Clay Factory set a new identity and image in the minds of their target audience and market for the products they sell.

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Fig. 3.0

Understanding Context - 3 Brand Strategy/ 3.1 Understanding the Target Audience / 3.2 Brand Naming / 3.3

Fig. 3.0 Strategising the brand

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Understanding context (reasoning out + needs)

WHY DO PEOPLE BUY POTTERY? People would buy POTTERY - as a gift, or either buying it just for themselves. The customer is either someone purchasing a handmade gift for a friend/relative, or someone who is interested in owning unusual / attractive handicrafted piece. The product could also meant to be bought as something that resonates to something for eg. culturally symbolic.

(Goan life) Customers like Resorts / Restaurant / Hotels that are buying pottery for themselves could also have a very specific idea/style in mind and are more likely to opt for a custom design.

Custom work is more expensive and typically more unique, it is intuitive to expect that the more unique design, the more likely that the person is buying the product to go along with their ambience.

Custom designs can also be a creation of the customer.

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WHY WOULD PEOPLE FEEL THE NECESSITY TO BUY POTTERY? If you make functional pottery and your pots are a joy to use people will come back for more for their friends and family.

If they are for display and are aesthetically pleasing and eye catching, they will become a point for conversation (word of mouth) - getting more customers to buy.

Handmade pottery is everywhere.

The city’s restaurants and cafes are commissioning potters to create functional pottery that bring individuality to their products. More and more, people are rejecting factory-produced homeware and rediscovering the soulful nature of hand-crafted goods.

Rediscovering the need of handcrafted pottery also benefits us its need for our society as well keeping the craft alive.

Brand Strategy (messgage + experience)

STRATEGISING THE CONTEXT -

BRAND MESSAGE IN THE BRANDING -

I started off first with identifying and structuring out on how to further work on the strategy for The Clay Factory, keeping in mind to create a visual idenity which will reflect on the visual language as well for the branding through its core values as well as understanding the process of the brand’s expression and identity.

The franchise would be a brand that is socially conscious and is rooted in the values of mother nature. The language should speak of harmony and balance as well give an organic feel. Make people aware of the values and traditions and the experiences that come with it. Bringing in a traditional feel for the contemporary market and to reinforce the idea of sustainable design as well sensitise consumers about the the process of the products. The brand should also give an experience and feel of traditional motifs used and the stories that amalgate into selling of the products. The value of tradition is incomparable. A traditional motif, skill and the influence of art and culture in the people and the product should be visible. Also it is vital part of the marketing and branding that the identity should speak the same visual language thorught. It should sensitise the customers about the brand and establish a connection and bond throught the products. The branding should henace be empathetic in nature.

Through the research I looked into the next process that is re - naming of the brand, identity, branding and website. As the process would start off with bringing in the essence of what the brand stands out for through various stages of iterations giving out a message that it communicates a sense of power of the rawness of nature and mother earth through the tradtional cultural motifs and inculcate core values of the brand.

Starting off the process through the research which traces back to the roots of craft and pottery and how traditional designs and crafts are rare and of immense value as well it’s historical significance.

The Clay Factory / Naomi Kaley / 29

Target Audience PRIORITIZING CUSTOMERS INTENT TO ENGAGE WITH THE STUDIO WAS LISTED. General Public interested in handicrafts -

buy POTTERY - as a gift, or pottery items

B2B Customers - (When on display) -

Product will be aesthetically pleasing and eye catching

Hotels, Resorts, Restaurants -

buying the product to go along with their ambience

THOUGHTS ON HOW TO GO ABOUT CONCEPTUALIZING FOR THE IDENTITY People rely on pottery to improve their way of life - have the same need for pottery - UTILITY + ARTISTIC + DECORATIVE basically serve a purpose.

Should commemorate a special memory Create an experience Design Elements should be empathetic in nature

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Brand Naming NEXT FOR BRAND NAMING As initially discussed the client wanted a new name for the brand, I had started off brainstorming for The Clay Factory to bring in the essence of rawness of nature and mother earth as the name sounds.

Most of the names I brainstormed and suggested were in Konkani, the native language of Goa. The words/names can hence be read and understood in Marathi as well which is the second most spoken language. Although the client later chose to fix on The Clay Factory.

Some of the names I brainstormed on : Kum Kana Potters / Kum Kana Crafts - Kum Kana because THE CLIENT earlier wanted the name to fall along somewhere at the sound of his father’s studio i.e Kumbhar Pottery studio.

Kum (mother earth) Kana (dust) Terra Kona Potter’s / Crafts Terra - (baked) Kona (piece of earth or corner of earth)

Tambdi Mati Crafts / Potters (The red soil of Bicholim which is rich in the art of pottery) hence speaks how Bicholim is gifted with a community of craftsmans and artists.)

Tambdi (Red) Mati (Mud) Matyechi Crafts Mati (mud) Shilpin Crafts / Potters Shilpin (a term used for a craftsman) (Potter) Kumbhakaras Kalakruti (Potter’s Craft) Kushal Kalakruti Kushal Kalakruti Kumbaarancho (Skilfully crafted potter) Ila Kalakruti Ila - (earth) Dhara Crafts / Potters Dhara - (earth)

Bhumi Crafts / Potter’s Bhumi (earth)

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Fig. 4.0

Concept Phase - 4 Keywords for Ideation / 4.1 Ideation / 4.2 Finalizing the concepts / 4.3

Fig. 4.0 Rough concepts

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Contemporary Style and influence?

Organic

Personal expression

Goan

IDENTITY KEYWORDS Rawness

Cuts and impressions

- what do customers look for?

- showing the artisans craftmanship + pride?

Vintage Textured

Traditional

Mother Nature

Modern Earthy

Keywords Narrowing down keywords that gives away the true essence of the brand from the research and brand message I discussed earlier. Words that would best describe the brand ‘THE CLAY FACTORY’.

This helped me in various stages of ideation as this stage forms an important part on the basis of brand strategy and process.

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As ‘THE CLAY FACTORY’ is going to help sell and promote Kumbhar Pottery Studio’s products this stage is going to help me generate visuals for the identity for the franchise in the next stage i.e Ideation.

textured + gradient

decorative elements

textured paint/dotted circles/lines

curves/circles/ natural elements & impressions

curvy motif/ design and shoulder pattern

curves/circles/natural elements/ scraped off paint

Ideation My starting point for visual explorations was sketching out forms for the identity by exploring simple elements and designs that were observed on the Kumbhar’s products this helped me in the intial phase of ideation and how to go about it. Such as graceful curvy lines, cultural motifs and brush strokes. I also noticed the the flow of elements such as

smooth flowy lines and curves is punctuated by simple dots and impressions carved that clarify the composition of the design on the pots. The different stlyes of detailing and the designs observed on their pots and visual elements like recurring shapes - organic/geometirc/circles were also observed.

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abstraction of the form

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highlight certain strokes light&shadow

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minimal strokes

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interaction of one form with another and prioritizing and emphasizing on the elements/shapes to create a visual contrast

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Playing with negative and positive shapes and forms interacting with each other to create a visual contrast.

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composing different pattern/style and motifs / shapes and forms together to symbolise the idea

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grouping of different pattern/style and motifs / shapes and forms together to symbolise the idea. (compose)

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Exploring similar/different motifs (composed and grouped together)

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Most of their decorative items (specially the vases) have textures, impressions made through dry brushes or carved out on the surfaces either followed making a pattern or design.

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explorations with dry brush to show organic forms of explorations

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Concept Selection After having finished ideation I personally discused the research, strategy and presented my concepts to the client.

I discussed on the branding look and feel, and the deliverables needed for the branding, then I presented four design options which I felt worked best.

The client then selected two options although he felt the dry brush texture concept explorations worked the best for the visual identity. The typeface used on the business card was only a trial exploration.

DESIGN OPTION 1 The concept represents the visual elements noticed on the Kumbhar’s products.

concept on paper

digitised concept

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DESIGN OPTION 2 The concept is an interaction of one form with another and prioritizing and emphasizing on the elements/shapes to create a visual contrast.

concept on paper

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digitised concept

DESIGN OPTION 3 The concept is an interaction of elements composing together, that emphasizes on the negative and positive shapes to create a visual perception.

concept on paper

digitised concept

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DESIGN OPTION 4 The concept is an exploration with dry brush to show the rawness of the products Kumbhar makes. The identity concept looks very contemporary and organic because of the textured brush.

Handpainted using a dry brush

Concept digitized on illustrator with a grunge textured brush

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brush styles (messy/organic)

Concept digitized on photoshop with a dry textured brush

Finalized Concepts After discussing the concepts with the client he chose two of the concepts out of the four that were digitised and presented. I decided to explore on the branding for both design options.

The keywords/attributes chosen should enhance as to how certain elements and shapes used in the making of the identity communicates to the audience.

This process will help me understand and make chages in the look and feel of the identity as it would get a more thorough idea of where and how the identity would work and what should be retained, what lacks and what could be incorporated to make it visually better.

DESIGN OPTION 3

DESIGN OPTION 4

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Research phase - 5 Concept I / 5.1 Stationary explorations / 5.2 Concept II / 2.3 Finalized Concept / 5.4

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DESIGN OPTION 3

* Gradient trial *

* Gradient trial *

CHOOSING A COLOR PALETTE The pottery products made at the Kumbhar Studio have a bit of a reddish hue in their products, which is why I chose this color palette for the branding. The color palette is based on earthy + organic color schemes of the clay that is used and collected from the surrounding open fields of Bicholim.

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Bicholim is a small town in Goa known for its potters community and has paddy fields growing across the town with rich red soil which is malleable for pottery.

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Few variations with the finalized concept and a few other concepts from the ideation were also tested out as I wanted to play around with the type and color.

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These 3 colors and style for the branding stationary were finalised.

Final design of the business card on the mockup.

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Letterhead Variations

Quotation variations 58 / D.J Academy of Design / Graduation Project

Letterhead and Quotation final concept and design.

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Final design of the envelope

Final design of the receipt

Final design of the delivery note

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overall doesn't look earthy/organic?

looks like a jar?

doesn't look like a pot? more like a glass??

cannot be identified as a pot?

dots not visible from a distance if up on a hoarding?

LOGO FEEDBACK After having worked on a few collaterals to present it to the client, I took help from around and asked some of my friends, as well as non designers friends, for their feedback and review. I sent across screenshots and photos of the two selected logos, if the logo commumicated for a pottery brand or not and if they could identify the form.

Although the client earlier finalized on this concept, we both felt that this identity didn’t communicate that well for a pottery brand. Neither does it work for the atrributes mentioned earlier in the strategy of giving the esscence of natural or roughness / rawness.

The client suggested that the type should be placed in a semi cicular form to give a feel of an embossed stamp. But it wasn’t really giving the feel to it.

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DESIGN OPTION 4

Finalized Logo WHY THE CONCEPT WORKS? Pottery is a messy process, the rough imperfect textures have key roles in manifesting a unique visual identity for The Clay Factory. These textures, patterns and impressions made using dry brushes are identifiable through the design and compositions created on the pots made

by Kumbhar Pottery. These textures give away the rawness of their products after firing, or the flooring of the studio after the clay is dried up.

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But before getting into the process of clay kneading, textures which are formed after the paint dries up on the pots including dry brush strokes. Those textures were brought into - The identity, hence it brings in the essence of the natural and roughness of the soft clay dough for pottery.

C: 51 M: 74 Y: 79 K: 74

C: 0 M: 0 Y: 0 K: 0

C: 75 M: 68 Y: 67 K: 90

R: 54 G: 27 B: 15

R: 255 G: 255 B: 255

R: 0 G: 0 B: 0

R: 0 G: 0 B: 0

#371a0f

#ffffff

#000000

#d3b494

Brown symbol on texured paper collateral

Brown symbol on white background

Black symbol on white background

C: 18 M: 28 Y: 43 K: 0

Brown symbol on light brown background

Use of Color The examples of color swatches shown above illustrate acceptable uses of The Clay Factory logo in various situations.

The darker brown swatch for the logo is based on earthy and organic color scheme. Clay maybe be defined as an earthy mineral substance which makes up the the surface of the planet. Hence the brown color which comes out naturally after firing which gives away the organic/earthiness/rawness.

The brown shade will be used on a white background and on the brown color textured paper collateral as the textured paper collaterals will be used mainly for printing as this texture brings out the rawness of the brand.

The light brown background : This is an exception and will be used specifically for the packaging tape / labels as the textured paper wouldn’t be acceptable for printing as it will dilute the effectiveness and impact of the paper collateral and the paper will merge in with the box color, hence the design may not stand out.

White background : Against a white background the logo will be shown in dark brown and black color.

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GT America Mono ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz 1234567890 Typeface to be used only for the logo

Typeface used for the stationary

Ogg Roman

Open Sans Regular/Italic

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz 1234567890

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz

Typeface used for the print ads and product catlogue

Typeface used in this document / Brand Manual

1234567890

Typography The Clay Factory logotype has been set in Levi Brush regular. Levi Brush is a script, brush font designed by Levi Szekeres.

The typeface was chosen to match the textured and dry brush strokes of the logo. It is will be used only as the logotype for The Clay Factory.

GT America Mono : GT America Mono is the monospaced member of the GT America family, designed by Noël Leu and Seb McLauchlan.

This typeface will be used as the information part for the entire branding set of stationary eg. the back side of the business card, information part of the envelope and letterhead.

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Ogg Roman : Ogg is a calligraphic serif typeface designed by Lucas Sharp. This typeface will be used specifically on the quarter page newspaper advertisements and the product catalogue information and the full page magazine ad.

Final Design - 6 Deliverables / 6.1 Newspaper ad / 6.2 Newspaper Pamphlet / 6.3 Magazine ad / 6.4 Product Catalogue / 6.5 Social Media Branding / 6.6 Packaging Labels / 6.7

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2 in

3.5 in

Branding Stationary The printed stationery for The Clay Factory consits of - Business card, letterhead, envelope, quotation, receipt and delivery note. The print material particularly used throughout for the branding shows an eco friendly process and the distinctive visual identity for the brand.

BUSINESS CARD The size of the business card is designed as per the standard size - 3.5” x 2”. The typeface used on the front side of the card for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3cm x H 2.5cm. The business card is to be printed on a textured brown paper. The back side of the business card information typeface used is GT America Mono Black set in 10pt for the name of the client and the rest of the details have been set in GT America Mono Bold Regular at 6.5 pt.

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The printed stationery for The Clay Factory consits of - Business card, letterhead, envelopes, quotation, receipts, delivery note. The print material particularly used throughout for the branding shows an eco friendly process and the distinctive visual identity for the brand.

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Few variations with the finalized concept were tested out with different color/texture backgrounds.

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297mm

210 mm

LETTERHEAD The letterhead has been designed as per the standard A4 size - 210mm x 297 mm.

The typeface used on the letterhead for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3cm x H 2.5cm.

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The letterhead will be printed on a textured brown paper. The letterhead information typeface used is set in 10pt GT America Mono Regular for the contact details and address.

Texture color paper variation

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4.5 in

9.5 in

ENVELOPE The envelope has been designed as per the standard size W 9.5 in x H 4.5 in.

The typeface used on the front side of the envelope for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3cm x H 2.5cm.

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The typeface used on the contact details and address of the studio is GT America Mono medium set on the back side of the envelope at 8 pt. The envelope is to be printed on a textured brown paper.

Testing out a b/w variation

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297mm

210 mm

QUOTATION The quotation has been designed as per the standard A4 size - 210mm x 297 mm.

The typeface used on the quotation for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3cm x H 2.5cm.

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Quotation variation and final concept on mockup

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21.15cm

14.6cm

RECEIPT The receipt dimensions are - 14.6 cm x 21.15 cm. The typeface used on the quotation for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3cm x H 2.5cm.

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The typeface used for the information is GT America Mono medium set at 8pt including the contact details for the body text and the heading at 21pt.

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8.21”

9.24”

DELIVERY NOTE The delivery note dimensions are 9.54” x 8.21”. The typeface used on the delivery note for the logo is set as Levi Brush regular in 12.32pt. The logo size is W 3CM x H 2.5CM. The typeface used for the information is GT America Mono set at 8pt for the body text and sub heading 10pt - Bold. The heading has been at 12pt.

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Delivery Note variation and final concept on mockup

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25cm

16cm

QUARTER PAGE SIZE NEWSPAPER AD The quarter page ad has been designed as per the standard size of 16cm x 25 cm.

The heading typeface is set at GT America Mono Medium at 27.79 pt. The bodytext typeface Ogg has been set at 10pt.

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Newspaper quarter size ad variation and final concept on mockup

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297mm

210mm

NEWSPAPER PAMPHLET The Newspaper pamphlet has been designed as per the standard A4 size. The dimensions are 210mm x 297mm. The heading typeface is set at GT America Mono Medium at 27.79 pt. The bodytext typeface Ogg has been set at 10pt.

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Newspaper pamphlet variation and final concept on mockup

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2850px

2100px

FULL PAGE MAGAZINE AD The full page magazine dimensions are 2100 x 2850 pixels. The heading typeface Ogg is set at 29.08 pt. The bodytext typeface Ogg has been set at 12.2 pt.

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Full page magazine ad variations and final concept on mockup

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Back and Front cover of the Product Catalogue

210mm

Spread from the catalogue

PRODUCT CATALOGUE The catalogue contains information about the studio in brief, artisan and data related to the products images, descriptions (dimension), specifications and price. The catalogue lists out essential details that help customers make a purchase decision. The size of the catalogue is 210mm x 297mm.

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297mm

About the studio spread

About the craftsman

(Product display)

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Catalogue Spread variations

SOCIAL MEDIA BRANDING Social Media Marketing has become one of the biggest platform for the audiences to reach at and plays an important role in promoting a brand. Having listed the target audience earlier, creating an Instagram page would first begin with giving an introduction to The Clay Factory by giving the audience a feel of what the brand would provide, I also felt that sharing posts of the motifs they use on their products and sharing photos or rough sketches of their intial process of the making of the designs would make the social media page more interesting in terms of getting to know more about the brand and the craft. Some posts would briefly talk and explain about how the artisans get inspired from nature and forms familiar to objects around them

the decorative designs / patterns were influenced by nature and certain objects of household use which has socio-religious cultural influence in the making of the craft at the pottery studio. The social media Instagram stories will show the brands products, making of the craft, artisans working as it enable’s the audiences to learn more about the studio and its and its process. Apart from the product photoshoots the studio photos, artisans photos used in the instagram stories and the one’s used in the document were taken by me during my client visits to the studio as I felt capturing the life of the artisans would give the viewers an experience of the traditional methods used in the process as well promoting the artisans craftmanship.

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An overview of the Instagram profile

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Sales posts for the products

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Stories to introduce the artisans of the studio

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Stories to highlight the process and making of the craft

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Product Sales - Instagram stories highlights

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Variations for the product sales stories

Product Sales - Instagram stories highlights

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(4) Taking the audience through these stories and explaining about the craft.

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These stories and posts will allow the audience to engage with the brand much more interactively as the ultimate goal of The Clay Factory is to be able to reach to their audience and give a feel of what the brand stands for.

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Variations for the Packaging Labels / Tape

PACKAGING LABELS These are helpful for packaging a product and will be taped to the delivery box, this helps the brand an easy way to create a brand image. The labels display the customer's contact details, product details and studio contact. The brown color textured paper that has been set as the paper collateral for the branding stationary will not be used for the packaging paper.

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The light brown background : (FINAL CONCEPT) This is an exception and it will be used specifically for the packaging tape / labels

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Variation for the Packaging Labels / Tape

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Packaging Label FINAL CONCEPT

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Packaging Label FINAL CONCEPT application

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Potential Customers for the website :

SITE MAP The site map is a list of all main topic areas of the site, as well as sub - topics, if applicable. This serves as guide as to what content will be on the site, and is essential to developing a consistent, and also a very easy to understand navigational system.

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variations for the homepage

About the Studio screen

LOW FIDELITY WIREFRAMES Homepage screen The Clay Factory / Naomi Kaley / 105

Shop the product screen

Product Collection screen

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Contact / Location screen

Shipping Details screen

LOW FIDELITY WIREFRAMES These wireframes are raw and almost detailed on a 12x12 column grid - the website screen dimension is 1920 x 1080 pixels. They are the potential structures of the the site could be. The brand requires a very simplisitc approach to the website, since its an informative shopping / dispay website. These wireframes become my point of reference for my final stage of the website.

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Homepage screen

About the Studio screen

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About the Studio

Homepage screen

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Menu option screen

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Menu option

Menu screen

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Product Collection screen

Shop the product screen

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Shop the product screen

Product Collection screen

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Shipping Details screen

Contact / Location screen

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Contact / Location screen Shipping Details screen

Only the look and feel of the website has been worked upon. Other detailed essentials are on hold till the client decides to proceed for the website.

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WEB REFRENCES https://www.designtoday.info/brand-new-the-history-of-branding/ https://99designs.com/blog/design-history-movements/history-of-branding https://frankly.studio/brand-and-design-thinking/ https://www.crowdspring.com/blog/brand-identity/#chapter6 https://www.crowdspring.com/blog/brand-consistency/ https://www.quora.com/What-are-the-uses-of-pottery https://books.google.co.in/books?id=PVAzDwAAQBAJ&pg=PA148&lpg=PA148&dq=form+and+counter+form+in+identity&source=bl&ots=ZqTGWuf9a6&sig=ACfU3U17hspX6LKZqK4Ht8z0RrEybbNV6Q&hl=en&sa=X&ved=2ahUKEwiJ0tjArbfnAhWzguYKHa2rDrMQ6AEwEHoECAoQAQ#v=onepage&q=form%20and%20counter%20 form%20in%20identity&f=false https://www.architecturaldigest.in/content/indian-traditional-crafts-handmade-karigar/#s-cust0 https://www.wipo.int/tk/en/folklore/ https://www.indiatravelinfo.com/goa/crafts.htm http://www.ancestralgoa.com/ancestralgoa-rural-trade-off.htm

GOA CENTRAL LIBRARY Goa Times (2008) Goa Today Magazine (1987) The Navindh Times (1998) Sixty years of writing on Arts & Crafts in India - Roopa Lekha (1928-1988) Handicrafts of India - Kamaladevi Chattopadhyay

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Graduation Project by Naomi Kaley DJ Academy of Design 2020