GRADUATION PROJECT THE FIVE ELEMENTS CERAMICS Sponsor : Clay Station, Sadashivnagar, Bengaluru STUDENT: PRATEETI VERMA PROGRAMME: Master of Design (M.Des.) GUIDE: Ms. SWAGATA S NAIDU CERAMIC2017 AND GLASS DESIGN
The Evaluation Jury recommends PRATEETI VERMA for the Degree of the National Institute of Design IN INDUSTRIAL DESIGN (CERAMIC AND GLASS DESIGN) herewith, for the project titled “THE FIVE ELEMENTS CERAMICS” on fulfilling the further requirements by* *Subsequent remarks regarding fulfilling the requirements : This Project has been completed in weeks. Activity Chairperson, Education JuryMembersChairperson:Grade:
4 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Copyright © 2019-20 Student document publication meant for private circulation only. All rights reserved. Master of Design, Ceramic and Glass design, National2017-20 Institute of Design, Ahmedabad, NoIndia.part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Prateeti Verma and National Institute of Design. All illustration and photographs in this document are Copyright © 2019-20 by respective people/organizations. Edited and designed by- Prateeti Verma Processedprateeti_v@nid.eduat-National Institute of Paldi,Design(NID)Ahmedabad- 380007 Gujarat, www.nid.eduIndia.
ORIGINALITY STATEMENT
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National Institute of Design | Graduation Project
COPYRIGHT STATEMENT
I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/ dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.
Signature : Date :
Student Name in Full :
I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgment is made in this graduation project. Moreover, I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation, and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.
Student Name in Full : Signature : Date :
ACKNOWLEDGEMENT
I would like to express my sincere gratitude to my parents, my brother, my guide Ms. Swagata S Naidu, my friends, Mr. Ganesh, the owner of Clay station, through whom I got this project and my mentor at Clay Station Mrs. Deepa Sonawala who has helped me with this wonderful opportunity of learning and executing the ‘The Five elements Ceramics’ Notproject.just the people whom I met during the tenure of this project but all my faculties from each module at NID have also contributed to this project from the past. I could gain knowledge in the details related to the elements of nature which has also evolved me as a person to appreciate every bit of nature even more. All together, this project was a life enhancing journey for me. I would also like to thank Neelima, other faculty member and my friends at NID. I also met people of different age groups working with clay at Clay Station who have inspired and motivated me at every stage of the project. My aunt, Mahima verma helped me in connecting with many of her local friends for my user study. The target audience have a huge role in this project who have helped me in conducting the user study. Last but not the least, my best friend and husband, Harmininder has been motivating me throughout the project. Thank you once again. Prateeti Verma CGD’17 M. Des.
6 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
First of all a huge thank you to NID for providing me a professional experience in becoming a Designer. NID has helped me in grooming my skills, interests and hobbies, and eventually in figuring out my passion for life.
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8 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Nature photography at Jampore beach, Daman 10 141211 16 1817-19202122 24 262827 33 4239 44 60 62 66 7670 82 85 CONTENTS 1. INTRODUCTION Abstract and Synopsis National Institute of Design, Ahmedabad Ceramic and Glass Design Department 2. THE PROJECT PROPOSAL Design PurposeBriefand Importance Design Process Objectives and Methodology Time frame 3. SPONSOR INFORMATION Clay Station & Tattva Handmade Material Study of Clay Material Study of Glaze Production Methods for Forms Production Methods for Surface Designs Ceramic Decals 4. DISCOVER High-end Brands and Products Components of a Dinner set Primary Market Study Primary User Study 5. DEFINE Ergonomics of Tableware
9National Institute of Design | Graduation Project Insights Redefined Brief 6. DEVELOP Forms - Minor Project Forms Explorations Forms Concepts Final Form Concept 7. DEVELOP Surface - Major Project Surface Design Explorations Theme study Surface Design Concepts Final print application explorations 8. DELIVER Technical drawings 3-D Costingrenderings 9. LINKS AND REFERENCES 10. APPENDIX Market Study User SoulfulStudyroute project 86 89 90 1029892 108 174118114110 194190180181184188 222205195
INTRODUCTION1 NIDSynopsisAbstract Ceramic & glass design department
a need to make user aware about being close to nature. This project serves that purpose.
Six months time line was set for the project starting from Third of September 2019 to Third of March 2020. The research started with a question - What does one really need to eat well? Following intense user and market research, a collection of tableware was proposed - The five elements ceramics.
SYNOPSIS Handmade pottery establishes an emotional connect with the user, celebrating relationships through the products. It has a set of audience who is aware of the goodness of ceramic products but there are a large number of people who want to experience it.
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The crafts of India are diverse, rich in history and religion. The craft of each state in India reflects the influence of different empires. Throughout centuries, crafts have been embedded as a culture and tradition within the rural communities. There is still a need to promote locally made hand crafted products with clay, to experience the richness of the material. In the current growing market machine made products are available in abundance and the handmade sector is loosing the contact of the new generation to meet the livelihood in the times of inflation. As a budding designer I feel the responsibility and ethics to be the bridge between the gap through this project.
“YOU ARE WHAT YOU EAT”Anthelme Brillat-Savarin, 1826 (a French lawyer, politician, and famous gastronome)
ABSTRACT Tableware is a part of daily eating activity. Over time people have become selective about their way of appreciating food with a presentable experience of dining and serving. Kitchens have opened to multiple cuisines and ways of eating. This project was focused on the development of a collection of ceramic tableware – dinner ware and serve ware for dining and serving purpose at urban Indian homes. The surfaces are inspired by the five elements of nature according to the Ayurveda - space, air, fire water and earth. The production methods used for making forms is wheel throwing for the studio pottery. The target audience for the design is higher income group people in India. This project was conducted for Clay station, Sadashivnagar, Bangalore and the research has been done in Bangalore, India. According to Ayurveda and many other theories, everything is made up of the five elements - space, air, fire water and earth. The theme of this project aims at a mindful experience for the user though the outcome of sustainable products and develop an emotional connect. With the present busy lifestyle mostly surrounded by concrete, it is
12 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 NID, Ahmedabad main entranceImage from the internet
National Institute of Design | Graduation Project NID
The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. It was established in 1961, and has been a centre for design education, practice and research since then. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014. On April 7, 1958, Charles Eames and Ray Eames presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time.
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Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, as it was originally called as an autonomous all-India body in September 1961 at Ahmedabad.
NID offers professional education programmes at Bachelors and Masters level with five faculty streams & 20 diverse design domains. NID has established exchange programmes and ongoing pedagogic relationships with more than 55 overseas institutions. NID has also been playing a significant role in promoting design in India and abroad.
14 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Hand built products in the material explorations module of 2 weeks
Ceramic and Glass discipline offers tremendous expressive qualities in the domain of art and creativity as well as functional possibilities in the realm of craft, architectural spaces, healthcare, hospitality industry, home décor, hi tech products and lifestyle product categories. This program at NID takes inspiration from both art and craft traditions of the country and it equally recognize its potential and scope in the future of mass production and new technologies.
An extensive exposure provided towards craft sector, studio based practice as well as ceramic and glass industry brings in awareness towards wider range of production techniques and variety of work environments & work culture.
Initial years provide critical inputs into fundamentals of design; including form, colour, structure, space, light etc. to enhance the sensibility and sensitivity of the students toward aesthetic & function of design. In addition, inputs in ergonomics make them aware of the usability aspects.
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CERAMIC AND GLASS DESIGN
Following the core philosophy and approach of NID’s pedagogical approach towards ‘learning by doing’, supports students to develop their basic skills, dexterity & conceptual thinking with the ceramic and glass materials aligned with theoretical and practical inputs towards material technology; providing clarity and innovative approach to explore and experiment with the medium. Moreover, exposure to allied materials, such as bamboo, wood, metal & leather besides core materials is provided for a wider knowledge base.
Deeper understanding of existing local-global concerns & ever changing social fabric forms a critical part of the curriculum; supported with critical thinking, the process aids student’s quest to explore, visualize, seek opportunity and demonstrate design interventions for the emerging contexts. Global exposure through Student exchange programs with several international educational institutes adds to their overall learning at NID.
The overall understanding of technology, production techniques, material skills enable the students to work within a variety of industry, producing tableware, tiles, sanitary ware Graduatesetc. are also well equipped to work with NGOs, design studio set up’s, craft sector or else set up their own enterprises and generate wealth and employment for the times to come.
THE PROJECT PROPOSAL2 Project Title Design Brief Purpose & Importance of the Project Design Process Objectives & Methodology Time Frame
• Product should be economical yet should look luxurious.
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INITIAL DESIGN BRIEF
Target Audience
• Understand the technicalities of different type of decals from method of application, colour/ pigments/glazes used, and firing
Intent
Tattva is a Sanskrit word meaning ‘elements’, ‘thatness’, ‘principle’, ‘reality’ or ‘truth’, hence the brief for their collection.
PROJECT TITLE - The five elements ceramics
• Learn about the studio production system.
• Understand the needs of the target customers.
Mainly targeting the people from high end Urban homes in India through Clay station’s website - ‘Tattva handmade’ as a digital selling platform.
The definition of high end is the most expensive and technically sophisticated. Brands, products and services which falls under this category are also known as luxury goods. Luxury is a state of great comfort or elegance, especially when involving great expense.
•methods.Understand the market trends and implement in design development process.
• Learn to use decals over glazed ceramics.
• Product should be production friendly.
To design a collection of ceramic tableware-dinnerware and serveware for urban Indian homes. Production method for the form generation (minor project) will be wheel thrown/handmade studio pottery using Clay station’s stoneware clay and surface designs (major project) will be in the form of Decals used in the 3rd firing over glazed products or Hand painting using underglazes and glazes.
PURPOSE OF THE PROJECT
For a tangible outcome, process would involve in-depth study of the existing products in the similar category, lifestyle of the target users, activity analysis related to the product, ergonomics applied, material technicalities, specifications related to the production and market research.
• Ceramic ware processing procedures and availability of resources along with the assessment of the in-house production facility.
“As a budding designer it is important for me to enhance my design learning experience through projects that allow me to structure & implement design propositions based on the lifestyle of the consumers and the current trends in the market.”
In order to maintain the integrity of the project and to stay true to the intent of the design proposition, the following major segments will be considered:
The outcome of the graduation project has to be in ceramic or glass product forms/surface which will bring value to Clay station and fulfills the graduation project requirements.
The graduation project phase is considered to be an opportunity for the students to demonstrate their skills as independent practitioners and test their competence in chosen design professions. It also helps the students to make an informed decision about which career path they would like to follow upon graduation.
• Issues and need associated to material choices, longevity, durability, versatility and food safe property of the product type.
• Current market demands and consumer trends in ceramic products of Indian tableware industry.
- Prateeti Verma
The research focus of the project
18 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
• To go through a detailed design process experience in sync with the real time scenario and timelines.
19National Institute of Design | Graduation Project
• New design perspectives in their existing tableware collection.
Clay station, Sadashivnagar is a start up and there are several limitations related to the material and production processes at the studio level. A designer’s task is to solve problems and make user friendly designs and easier way of production.
• Studio level forms designs using wheel throwing production method.
IMPORTANCE
opportunity:
• Surface design with the introduction of decals or hand painting.
Constraints
• To update awareness regarding the needs and demands of studio level ceramic pottery in the table ware market and the consumer lifestyle.
• Materials to be used - Clay station’s stoneware, glazes and underglazes. OF THE PROJECT I as a design intern get an
• To apply my design knowledge and skills in contribution to the successful implementations of the design outcomes.
Clay station as the sponsor of the design project receives:
• The acknowledgement for encouraging and grooming the budding designer thereby making a significant contribution towards development of design education in India.
•
The commercial rights and the design solutions designed under the mentorship by the student during the project.
• To mould and groom myself in the professional environment.
Limitations and possibilities
The study of Clay station system as a whole will provide certain area of opportunities. The design student study the specific problems through the research with the help of guide at NID and the client.
20 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 System study and Identification of opportunities at Clay station Develop final samples and Deliver Discover high end products, tableware brands, ceramic decals, 5 elements of Nature, users, market trends Documentation of the research, insights and steps in the design process of the project Define brief , redefine brief, insights on tableware for homes, forms and surface explorations Design concepts, technical drawings, prototypes, 3-D models 1. identificationProblem 2.3.DiscoverDefine 4. Develop 5.6.DocumentDeliver PROCESSDESIGN DESIGN PROCESS
(k) Maintain and establish a reliable flow of information and updates regarding the project between the individuals associated to the project.` at
METHODOLOGY 1. System study and identification of opportunities
Clay station 2. Discover tablewares, high-end products, target users, tableware brands 3. Critical study on market trends and price range 4. Redefine brief, tableware for homes 5. Design concepts, explorations 6. Develop final concept with prototypes, 3-D modelling 7. Develop final samples 8. Documentation of the project
(c) To conduct a detailed user research in order to understand their needs with studio pottery and also study the past and current ceramics tableware market trends.
(f) Data collection through analysis of the market trend, the consumer group and their need. It will be planned in accordance with the studio guidelines and relevance to the theme chosen.
21National Institute of Design | Graduation Project
(d) To design a collection of tableware as per the research, insights and facts. (e) To understand the process of decal making, layouting of decals, its application and overglaze firing process.
(g) Study about the competitors and ways to stand out in the market.
(a) To design a collection of tableware inspired by the five elements of nature by studying and using the studio level production methods.
(j) Conducting thorough exploration, assessments and implementation of the design thinking in a practical way as per the studio processes.
(h) Building a strong and relevant research database in accordance to the focus areas as per the design brief.
OBJECTIVES
(b) A detailed research and documentation of the courses and activities happening at Clay station to understand its functioning as a studio.
(i) Selection of key information and inferences that establishes connection between need of the consumer, functionality and the look of the ceramic tableware products. It is expected to be helpful to narrow down the configured data so that it retains the relevance with the design brief.
22 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 TIME FRAME Time duration: 6 months / 24 weeks approximately (3/9/19 - 3/3/20) The tentative time line format structured for this design project gives the idea of work flow, project stages and expected time durations. Research and documentation will be a regular activity at each stage. Guide visits (minimum 3) can be planned with flexibility according to the work done and guide’s availability. Client profile study + Research + Analysis Market trends +User Ideationstudy+ExplorationIterations+TestingRefinement + DocumentationDeliverables September October November December January February 2019 2020
23National Institute of Design | Graduation Project How I started this project
SPONSOR INFORMATION3 Clay MaterialTattvaStationHandmadeStudyof Clays & Glazes Production Methods for Forms and Surfaces Ceramic Decals Print making
25National Institute of Design | Graduation Project Clay station, Sadashivnagar, BangaloreImage from the internet
ClayOutdoorstation, HSR Layout, Bangalore ClayIndoorstation, HSR Layout, Bangalore Image from the internet Image from the internet
Clay station has an Art gallery in their studio space for the artists to exhibit and sell their work. They conduct ‘paint my pottery’ as an introductory event for the people who have never done pottery before. Also, the corporate events at Clay station are specially designed for 20+ years of people as a team building activity where the participants experience the joy of working with clay, relax and have good time together.
Clay Station is a Bangalore-based creative clay studio, for the experienced, aspiring and recreational potters. Clay Station’s vision is to be the leading provider of Clay modeling supplies, tools and training in India. Clay Station has built a network of ceramic artists, art educators, supplier network across the globe. Deepa has brought together – clay work studio, under the banner Clay Station that stands as an escape into the stunning world of inquisitive artistry. Clay Station was cofounded by Ganesh Manickavasagam in January 2009 with an intention to widen the exposure of ceramics as a recreational medium in India for all age groups. Deepa has been an entrepreneur for over two decades but she transformed into a clay enthusiast after she joined Clay station as a beginner and has been enjoying this journey immensely. Her motive is to promote artists and their work. She has launched a website -Tattva Handmade, to sell pottery in which she can break through the identical looking pieces which makes a complete collection. Organic looking wheel thrown/ handmade pottery interests her the most.
26 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 CLAY STATION
Target audience: Clay Station, sadashivnagar, primarily focuses on meeting the needs of the existing and emerging studio ceramists, educational institutes around the country with machines, materials and ideas to improve the infrastructure. They give a platform to people of all age groups to get introduced and familiar with Clay, purse it as a hobby or become a professional in it. For their pottery collection, the upper class people is their target audience.
Product range and activities: Clay Station, sadashivnagar, has recently launched its online store-Tattva Handmade, to serve clients across India. Their product range mainly comprises of different clay bodies, glazes, pottery tools, serve ware, cookware and materials, ceramic equipment few in house manufactured and few imported.
27National Institute of Design | Graduation Project TATTVA HANDMADE
Lately Deepa has been selling her products though a walk-in Gallery at Clay station, sadashivnagar studio. Her next project was to launch Tattva handmade, which is one of the upcoming Digital selling platforms to sell their products. They also keep other studio artists’s work for display and sale purpose. Being eco-friendly they use absolute natural components in the making of their products, as they thoughtfully and considerably work towards the betterment of their customers, as well as the environment. They believe that a good knowledge of the materials is necessary as it helps plan and produce tableware across a much wider range.
Visitors at present exhibition gallery in Clay station, Sadashivnagar Image from the internet
3.1 Material Study
Testing of CS’s Sandalwood stoneware - 1
Porcelain: High firing temperatures give this opulent favourite durability and a glowing, non-porous surface. Along with bone china, it’s sometimes crafted with gold or platinum rings that accent its mirror-like sheen.
There are a number of materials which are used for manufacturing of tableware at Clay station and each has a specific characteristic which reflects itself in the final production. Use of these is dependent on clients and their inclination based on the requirements.
Testing of CS’s Sandalwood stoneware - 2 Testing CS’s Ivory stoneware clay
Stoneware: Hard, impermeable and perfect for everyday use. This ceramic is characterized by its solid heft, which makes it incredibly hardwearing. In earthy tones, it’s often glazed for long-lasting sheen.
Earthenware at a local potter’s studioTesting of CS’s Terracotta
Testing Bahadurgarh’s stoneware
29National Institute of Design | Graduation Project CLAY
Earthenware: One of the oldest industrial materials in the world, this natural ceramic is still one of the mast popular. A great value for everyday meals, earthenware has a lot of weight and a homespun feel.
Timberline This plastic clay body offers ease of forming, great green strength, and a no-fuss approach to drying and firing with more and beefier grog for large sculpture and handmade tile (even for floor or outdoor use!).
STONEWARE CLAYS
White Salmon
AT CLAY STATION
5
TYPES
Ideal for: Hand building, Wheel throwing, Functional tableware, Sculpture
Price: ₹1368 for 11.5 kg pack Ideal for: Hand building, Wheel throwing, Functional tableware, Sculpture Shrinkage: FiringAbsorption:12.25%0.05%temperature:Cone
Shrinkage: FiringAbsorption:11.08%1.011%temperature:Cone
It offers a great range of clay working capabilities with great plasticity. This clay is highly recommended for wheel throwing and slab work. Price: ₹936 for 11.5 kg pack Ideal for: Hand building, Wheel throwing, Functional FiringAbsorption:Shrinkage:tableware11.11%2.38%temperature:Cone 6 OF (MID FIRE RANGE) PRODUCED, USED AND SOLD
6
Price: ₹936 for 11.5 kg pack
30 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Trail Mix Dark Chocolate This dark rich brown, almost black clay, has extra flux making it a very tight, strong clay body. We recommend you try the clay on test tiles before proceeding since this intense clay color might require an extra coat of glaze.
Ideal for: Hand building, Wheel throwing, Sculpting Dry Shrinkage: 3.5% Fired Shrinkage: 10.1% Absorption: 3% Firing temperature: Cone 6-7
Sandalwood
Price : ₹550 for 10 kg pack
31National Institute of Design | Graduation
Project Coffee Brown This in-house clay has been created for making functional and non-functional pieces and can be paired with range of glazes. It fires to light coffee brown colour. The dark body makes it good for Engobe work.
Ideal for: Hand building, Wheel throwing, Sculpting Dry Shrinkage: 6% Fired Shrinkage: 12.4% Absorption: 1.8% Firing temperature: Cone 6-7
Price: ₹550 for 10 kg pack
Ideal clay body for wheel work. This in-house clay has been created for making functional and non-functional pieces and can be paired with range of glazes. It fires to sandalwood colour. Good body for Engobe and Slip work.
Ideal for: Hand building, Wheel throwing, Sculpting Dry Shrinkage: 5% Fired Shrinkage: 11.8% Absorption: 2.2% Firing temperature: Cone 6-7
Ivory
In-house brand of stoneware has been created for making functional and non-functional pieces and can be paired with a wide-range of Clay Station as well as other glazes. It fires to ivory colour. This low shrinkage body makes it ideal for making flat/large forms.
Price: ₹550 for 10 kg pack
32 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Approximate recipes of Stoneware Clays Clay station has a huge clay and glaze production unit in the main branch at HSR layout, Bangalore. Components are measured and different compositions are tested for the purpose of wheel throwing and hand building techniques at Clay station. These clay bodies are then tested for underglaze and glaze applications. NID’s stoneware recipe (for 60 kgs) Feldspar – 12 Quartz – 6 Ball clay – 18 China clay – 6 Fire clay – 18 Barium carbonate – 600 gm Clay Station’s stoneware recipe (for 100 gm) Feldspar – 30 Quartz – 10 Ball clay – 15 China clay – 5 Fire clay – 10 Talc - 20 Image from the internet
Image from the internet
33National Institute of Design | Graduation Project
There are a variety of glazes produced at Clay station with different compositions and properties. Several shades of Greens, blues, pinks, browns and whites are most commonly used by their customers. The customers can be budding studio potters, workshops students or for custom orders. Many glazes combinations have been tested on different clay bodies at Clay station and samples are made for the reference. These glazes range from ₹450 to ₹850. copper carbonate, or cobalt carbonate, and sometimes opacifiers like tin oxide or zirconium oxide, are used to modify the visual appearance of the fired glaze. Process Underglaze decoration is applied before the glaze, usually to “biscuit”-fired ware. A wet glaze, usually transparent, is applied over the decoration. The pigment fuses with the glaze, and appears to be underneath a layer of clear glaze; generally the stoneware body material used fires to a whitish colour.
The best known type of underglaze decoration is the blue and white porcelain (Delftware) first produced in China, and then copied in other countries. The striking blue color uses cobalt as cobalt oxide or cobalt carbonate.
Composition Pottery glaze is made up of five basic components: silica, alumina, flux, colorants and modifiers. Even though all glazes are made up of the same components, there is a vast range of colors and types to choose from. Glazes need to include a ceramic flux which functions by promoting partial liquefaction in the clay bodies and the other glaze materials. Fluxes lower the high melting point of the glass forms silica, and sometimes boron trioxide. These glass forms may be included in the glaze materials, or may be drawn from the clay beneath. Raw materials of ceramic glazes generally include silica, which will be the main glass former. Various metal oxides, such as sodium, potassium, and calcium, act as flux and therefore lower the melting temperature.
GLAZE Ceramic Glaze is a mixture of powdered materials that often includes a pre melted glass made into a slip and applied to a ceramic body by spraying, pouring or dipping and capable of fusing to glossy coating when dried and fired. Some glazes are brushable well, depending upon the properties of the materials used. Glaze can serve to color, decorate or waterproof an item.
Overglaze decoration is applied on top of a fired layer of glaze, and generally uses colours in “enamel”, essentially glass, which require a second firing at a relatively low temperature to fuse them with the glaze.
Alumina, often derived from clay, stiffens the molten glaze to prevent it from running off the piece. Colorants, such as iron oxide,
GLAZES AT CLAY STATION
34 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Burnt caramel Price: ₹550/kg Aqua blue/green Price: ₹550/kg Pigeon blue Price: ₹750/kg Black brown Price: ₹550/kg Basil green Price: ₹550/kg Emerald green Price: ₹550/kg Icy green Price: ₹650/kg Moss green Price: ₹650/kg Breaking blue Price: ₹850/kg Paprika red Price: ₹850/kg Matte blue horizon Price: ₹850/kg Ruby red Price: ₹850/kg Peach blush Price: ₹650/kg Bubble gum Price: ₹750/kg Chalk pink Price: ₹650/kg Cloudy pink Price: ₹850/kg Custard yellow Price: ₹750/kg Russet brown Price: ₹650/kg TYPES OF GLAZES PRODUCED, USED AND SOLD AT CLAY STATION
edges Sea salt:
glaze,
speckles
and
35National Institute of Design | Graduation Project Types of base glazes for a tableware Out of all the glazes the following glazes are most commonly used for the base of any tableware at Clay station: Floating cream: A cream coloured glaze that breaks into ochre on the edges Glossy white: A glossy plain white glaze
Zinc clear: A transparent glaze that works well on underglaze sheen white with speckles of brown matte white: A bright white glaze with a satin matte finish grey: sheen soft grey with black speckles A smoked brown glaze with darker speckles of brown colour with brown which breaks into colour on the A speckled light ocher cream with that look
speckles
Satin
Satin
Cigar brown:
free
Studio white: Glossy
rust
Granite
Cream rust: Cream
like grains of sand Floating cream Price: ₹650/kg Cigar brown Price: ₹550/kg Studio white Price: ₹550/kg Zinc free clear Price: ₹450/kg Sea salt Price: ₹550/kg Granite grey Price: ₹650/kg Glossy white Price: ₹450/kg Cream rust Price: ₹850/kg Satin matte white Price: ₹450/kg
36 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
LEARNINGS Certain learnings acquired from the study of materials are as follows:
(e) Clay recycling is done manually at this center. It is a tedious and time consuming process. (f) Porcelain is very fine to work with but it is the most expensive clay (g) Sandalwood and coffee brown are also good clays for wheel throwing but they give a specific colour on firing, which will be a restriction on base colour for further surface design process. Whereas, Ivory and Bahadurgarh’s stoneware becomes white after firing.
(a) Plasticity of the Ivory clay makes it the best for wheel throwing out of all the other clays. (b) Ivory clay offers more elegant appeal due to the lighter weight and body composition. It is a bit more expensive than Bahadurgarh’s Stoneware due to its manufacturing process and overall elegant perception.
(c) Bahadurgarh’s stoneware is cheaper as compared to Clay station’s Ivory clay. Ivory clay is used as it is more durable for tableware production in the long run. (d) Earthenware products have a higher breaking percentage as compared to the stoneware clays because mostly they are non glazed and have less strength in comparison.
37National Institute of Design | Graduation Project Clay station materialsImage from the internet
3.2 Production Methods
1. Clay is stored in plastic bags. Potter prefers drying it on the walls than POP bed. Slicing the clay using a metal wire and wedging the clay on canvas.
39National Institute of Design | Graduation Project 321
564
Wideningcylindertheopening
2. The bat or the wheel is damped slightly using sponge and water before putting clay on it so that the clay sticks properly.
Opening the clay Pulling a
6. Once the base is made then clay is being pulled and a cylinder is formed. Overall thickness is made uniform then cylinder is given the desired profile.
3. The clay is first centered by wedging the clay on the wheel by bringing it up and down with the help of radial force towards the 4.center.Once the clay is centered then hole is made in the center for opening it using the 5.thumbs.Itiswidened up to the desired diameter of opening. Then the base is compressed using the flat surface of thumb.
Wedging the clay Wetting the bat Centering on the wheel
THROWINGWHEEL
7. Bowls are pulled in a curve profile directly and not as cylinders.
9. Smoothening the edge of the rim and the surface of the product is finished using kidney and D tools and rim is curved with the help of a sponge.
10. Separating the base from the product from the wheel using wire.
11. Once the products are in leather hard stage they are ready for trimming. Each product is trimmed from inside and outside by placing them on giffin grip and using trimming tools. Overall thickness is made uniform by matching the inside and outside wall profiles. Also, the base is trimmed to reduce the surface area touching the table top.
Separating the base from the bat
40 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
8. Each product is measured with the help of a broom stick maintained in a cross which gives the measurement of the inner diameter and height. Dimensions are altered if they are not same as the measurement stick. The profile of each product is made by keeping it in mind and comparing all visually.
Smoothening the edge of the rim Surface finishing Checking the diameter Shaping the form
Trimming the base
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16. Final Outcome with glaze fired products. 12 1413 Skutt kiln at clay station Wheel thrown plates on bats Drying hump thrown bowls
13. Storage of ivory clay green ware plates on separate bats.
12. The products are air dried naturally and stored in metal racks on top of wood boards.
Dipping the bisque products in glaze Underglaze painted Glaze fired wares (by an artist at clay station)
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14. Once they are completely dried, they are loaded in an electric kiln for bisque firing at 998 °C for stoneware. Clay station has grey bahadurgarh, ivory, coffee brown and sandalwood in stoneware category, also terracotta and porcelain. But mainly production is done using grey bahadurgarh stoneware and Clay station’s Ivory clay.
15. Underglaze decoration is done on the surface, if required. Logo decal is applied on the clay body. Bisque products are then glazed using dipping and pouring technique and then loaded for glaze firing at 1222 °C, holding the bisque ware with a tong.
Looking at the customer relationships of high demand and supply at Clay station there was a need to introduce time efficient and standard techniques for surface designs. Decal application is the best to solve that purpose. This technique consists in printing by using ceramic paints on special paper coated with a water-based adhesive. Paints used for print are the mixture of glazes and pigments, a unique composition to achieve the specific colours, melting point and thermal expansion close to the same parameters of the ware surface. While firing the decoration on the ceramic, glaze melts and builds upon the surface of the product. This creates permanent bond between the decoration and the surface.
Glazing
- Hand painting is done for surface designing at Clay station using Duncan brand underglazes. After that transparent glaze is applied. - Glaze on glaze painting is done using paint brushes and sponges. DESIGNING AT CLAY STATION
42 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Decal printing
1. Decal printing 2. Hand printing 3. Glazing
The bisque ware after completing the first firing stage gets ready for glazing. The glazing process is done by dipping and pouring technique. It is important to remove any extra glaze from the foot of the wares to avoid chipping in fire wares. This process is known as” Glaze Off “. The process is done to lower the chances of bottom chipping in fired wares. After Glaze-Off the wares are once again visually inspected and then placed onto wooden base and then sent for the second Existingfiring. methods at Clay station:
SURFACE
Currently Tattva handmade logo decals are being used (made by a vendor in Mumbai). Hand painting When potters seek additional colorful effects on their clay pottery pieces, it is rarely done with traditional paints. Typically, potters tend to “paint” their work using other ceramic materials, such as underglazes, slips, and oxide stains. All of these fuse to the clay body when fired to maturity, so they are not likely to wear or flake off, as paint does. But when a pottery piece is not intended for functional use—such as when it is intended as display art—then some traditional paint materials can be used. Methods to paint clay pottery includes: - Underglazes - Slips - Oxide stains - Glazes
43National Institute of Design | Graduation Project These are some of the production pieces for a Clay station’s client (confidential). All the steps of the process are done by the team at Clay station except the underglaze hand painting. The clients themselves paint the motifs as this is the USP of their products. PRODUCTION PIECES AT CLAY STATION FOR A CLIENT Images from the internet
3.3 Ceramic Decals
There are various methods of transferring the design while removing the backing paper, most common is sliding the decal with the help of water as a lubricant. Paper layer Water soluble gum Ceramic pigments Lacquer layer
1. The color or image, layer which comprises the decorative design
Three main types of enamel specific decals:
DEFINITION
A decal typically comprises three layers:
Decals are of two types according to the application: water-slide and heat release
2. Inglaze—for decoration in the glaze
Types of Decals
80% of all Fired Decals are Ceramic Decals.
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3. The backing paper on which the design is printed by screen printing or lithography.
1. Onglaze—for surface decoration
2. The cover coat, a clear protective layer, which may incorporate a low-melting glass (e.g. lacquer)
Decals are sometimes confused with stickers; stickers are colour prints that are attached via an adhesive. Ceramic decals, however, allow the transfer of images to the ware and are made from enamels that are fused on the piece once transferred and fired.
Water-slide decals are best suited for small and medium runs, since the transfer is done manually. Heat-release decals enable the transfer of a large number of pieces in a short time, but they require sophisticated equipment. The enamels (inks) are made of coloured mineral pigments or precious metals such as gold and platinum. Once the enamel colours are selected, the patterns are printed on decal paper specially designed for this purpose.
A decal or transfer is a plastic, cloth, paper, or ceramic substrate that has printed on it a pattern or image that can be moved to another surface upon contact, usually with the aid of heat or water. It is a transfer system that is used to apply pre-printed images or designs to ceramic tableware, ornamental ware and tiles, and glass containers. The most common type of fired-on decal is the overglaze, water slide ceramic decal.
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3. Underglaze—for decoration under the glaze (directly on the ceramic bisque)
46 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Understanding the types of ceramic decals
Ultimate durability is provided by this type of twice fired ceramic decal. The decal is placed onto the bisque plate and fired to harden. The glaze is applied, and the product fired again to seal the decal completely.
Onglaze decals
Inglaze decals
Underglaze decals
Fired at onglaze temperatures of 820 °C, ceramic relief decals are used to provide a tactile feel and shape to the surface of the ceramic article. An ideal alternative to transform the shapes of standard ceramic pieces.
At onglaze firing temperatures ceramic metallic decals are used to give a lustrous effect to the decorated ceramic surface. A low cost alternative to precious metals that gives a high value feel. Ceramic relief decals
This decal type is used for decorating the ceramic surfaces with already fired glaze. The firing range of this decal is 1150-1300°C. At this higher temperature the Inglaze ceramic decal sinks into the glaze providing higher resistance and producing highly durable products.
The most common, lowest temperature and widest colour palette of the ceramic decal system. Ceramic decals are applied to the glazed ceramic surface and fired in ranges of 800 – 900 °C. Metallic effect decals
Images from the internet
In the process of decal printing, one of the most important part to understand is to measure the key line of the product. Keyline is the part in which, decal is design in the layman’s language key line is the canvas of decal design. Measuring a key line is a tedious process but it is only done once unless and until there is a variation in the ware, in terms of form and/ or Layoutmeasurement.ofthe decals for a curved surface can be measured by putting a layer of masking tape, drawing the required surface for the design, removing the tape on a flat surface. The decal which looks like a rectangle on a curved surface will be printed as a curved decal as if it is a part of a cone which is cut and flattened.
4. Building up more layers of the tape for strength
6. Detach the entire masking tape
8. Flattening of the tape to get the curvature
1. Gathering the tools for the form 3. Application of the masking tape in the length
47National Institute of Design | Graduation Project
7. Cutting its start and end points along the marking 9. Finished layout
LAYOUTING DECALS
2. Application of the masking tape in the length
5. Marking start and end of the decal with pencil
48 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 PROCESSPRINTINGDECAL
Artworks are exposed (for 300 sec.) in light machine onto the screens Colours stored in metal boxes
1. The artworks are designed using softwares and laser printed on OHP sheets. Film printed showing the positive image of the image is to be printed.
3. Colours are stored in metal boxes and mixed with spatula then applied with a squeeze. Lacquer is applied with another screen having stencil covering the entire design area.
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4. Decals and stored in dry and cool place, each sheet separated with a plastic sheet.
5 Screen cloth/net is tightened onto the aluminum frames, stored decals Screens are washed with water for the design to show up. 4
Checking the position of design on light table 2 Screens for colours and lacquer are made in different colour cloth
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2. After the application of light sensitive emulsion on the screens, they are exposed to light. Screens for every colour placed on paper and ceramic pigments pushed with a rubber squeeze.
Manufacturing decals semi-automatically is a time consuming and very technical process. It requires trained people at every stage of the team work. Following are the steps:
49National Institute of Design | Graduation Project The last layer is of lacquer to keep the layers of colours intact 8 Cleaning paint from the squeeze 11 Storage between plastic sheets to protect it from contamination 14 Manual checking of each decal printed Cleaning the left over paint on the screens with the help of a spatula Each colour is printed separately with its screen design 7 10 13 Washing the screens for reuse purpose Decals are cut by scissors or by machine, just before using them Storage of freshly painted decals papers in metal racks for air drying 9 12 15
6. Skills are the required for the entire Decal making and application process.
3. Decoration can be done on the whole surface of ceramic (inside the mug, under the handle, on the handle, etc.)
4. Difficulty in blending colours, e.g. water colour effect in a decal.
Limitations
Since the mid-18th century, transfer printing has enabled the application of a diverse range of printed aesthetic effects to the surface of ceramics. The printing processes have been evolved with time, every process having its pros and cons. Following are some of the advantages and limitations of the Decal printing process of the onglaze type water slide decal.
4. Hand-painting tends to look hand painted, whereas a print can take many forms, from the painterly to the photographic.
2. Large surface decoration in less time and consistency in the results can be achieved.
5. Transfers also have the advantage that they can be cut and freely collaged onto ceramics, creating a range of meanings.
1. A print can be accurately and rapidly reproduced, making it attractive, especially for industrial production. Accurate matching of subsequent colours is possible.
7. Decals can’t be applied on organic forms.
50 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 ADVANTAGES AND LIMITATIONS OF DECAL PRINTING PROCESS
2. Minimum thickness of the line: 1 point.
5. Storage needs to be highly monitored in order to keep them clean and away from moisture.
1. Minimum thickness of the text: 6 points
6. Not many studios in India are practicing decals. This creates an opportunity to explore decals.
Advantages
3. Limits in reproduction of some colours.
51National Institute of Design | Graduation Project PROCESSAPPLICATIONDECAL
The above decal making and application processes were documented at Larah’s Factory, Jaipur during the industry experience training at Borosil, Mumbai.
3. Use a damp sponge or rubber squeeze to squeeze out air bubbles and water from the decal. For flat surfaces, use a rubber squeeze and for curved surfaces, use a damp sponge.
5. Fire at a rate of 500 °F/275 °C to the recommended temperature for the decal you purchased. Most decals fire to cone 015 –018. 1 3
1. Cut out the decal and soak in water until you can slide the image from the paper backing onto the ware. Slide the image off the backing rather than attempting to lift the image off.
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Below are the steps to be followed for water slide decal application process:
2. Position the decal on the glazed ceramic ware. The side of the decal that was up on the paper is the same side that goes up on the ceramic ware.
4. Dry the ceramic ware overnight before firing. Glazed pieces must not touch each other. The shelf must be coated with kiln wash or glass separator. Decals cut with scissor and kept on wet sponge making them ready for application
Pressing the decal with soft dry cotton cloth to remove the water Fixation of the decal using a rubber squeeze by removing the air bubbles
Placement of decal and sliding of the back paper leaving the lacquer and colour layer
4.
52 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 INSIGHTS from the research on ceramic decals
(c) Colour codes have to be timely monitored in the printing process. Quality check has to be done manually and with machines for each decal to be forwarded to the decal application team.
(d) Onglaze decals are mostly used for ceramic tablewares.
(b) Decals are usually used on flat or slightly round surfaces. It is very difficult to apply decals on organic forms.
1.
7.
(e) Inglaze decal is the most elegant , detailed and expensive decal out of all. It is mostly used by high end brands. (f) The costing of colours differs widely. Pinks, purples and metallic colours are the most expensive. (g) Yellow colours is wisely used in the decals as it might give an impression of turmeric stain on the ware.
(h) People in India mostly prefer floral designs, then abstract patterns. They refrain buying fauna prints because of the effect it gives while having food. Flowers and nature related prints are preferred as they give a feeling of purity, natural, colours, happiness, fragrance and peace.
(a) The prime method of ceramic transfer printing is the water slide transfer decal.
5.
(i) Buyers want to experiment and mix & match similar prints in order to make their own combination of the set.
Challenges in the production Decal making and application process is tedious and it requires a good amount of training. Extreme precision is required at every stage. Decal designing, printing and application are very technical methods. Every step of this process needs planning attention and on-time inspection for quality check.
6.
Storage of decals is the ready to use stage. Decals require clean, dry and a cool space for long lasting and quality control.
Following challenges were faced in the decal application process: Joinery matching Colour mis-match Deformation of design because of creases. Over firing. Printing mistake. Crazing of a pigment in the decal. Loose application and falling off decal on the bottom ware.
3.
2.
4. Screen printing, also known as stencil printing, involves the passing of ink or any other printing medium through a stencil, which has been applied (or exposed) onto a mesh or ‘screen’ that has been stretched on a wooden or metal frame. Ceramic and glass printing is Screen printed. It can be done semi-manually, as explained earlier, or Manually by placing a screen on the form kept on a roller. Then applying colour on the stencil screen with the help of a squeeze, or Fully-automatically by an automatic printing machine as shown below: These images were documented at Larah’s Factory, Jaipur during the industry experience training at Borosil, Mumbai.
3. Planographic printing means printing from a flat surface, as opposed to a raised surface (as with relief printing) or incised surface (as with intaglio printing). Lithography and offset lithography are planographic processes that rely on the property that water will not mix with oil.
53National Institute of Design | Graduation Project PRINT MAKING
1. Relief print making is one of the simplest types of print making, in which material is carved or taken away from around the protruding design that is to be printed so that only the design appears.
2. Intaglio printing is the opposite of relief printing . The design is cut, scratched, or etched into the printing surface or plate, which can be copper, zinc, aluminum, magnesium, plastics, or even coated paper.
Print making is an artistic process based on the principle of transferring images from a matrix onto another surface, most often paper, fabric, ceramic or glass. Traditional print making techniques include woodcut, etching, engraving, and lithography, while modern artists have expanded available techniques to include screen printing. Print making can be divided into the following four basic categories:
Dune ripple A motif
Nature provides examples of many kinds of patterns, including symmetries in trees and other structures with a fractal dimension, spirals, meanders, waves, foams, tilings, cracks and stripes. In art and architecture, decorations or visual motifs may be combined and repeated to form patterns designed to have a chosen effect on the viewer. A pattern is a regularity in the world, in human-made design, or in abstract ideas. As such, the elements of a pattern repeat in a predictable manner. A geometric pattern is a kind of pattern formed of geometric shapes and typically repeated like a wallpaper design.
Patterns in Nature Shrinkage Cracks
2) Pattern - Design repeating obtained by repeating a motif that repeats without boundaries, without break or interruption, with a regular or irregular visual rhythm. The sides of the motif correspond perfectly when the motif is duplicated and juxtaposed. The motif can thus be printed on any surface size in an unlimited way.
PRINTS
Prateeti
1) Motif - A motif may be repeated in a pattern or design, often many times, or may just occur once in a work. A motif may be an element in the iconography of a particular subject or type of subject that is seen in other works, or may form the main subject. A pattern is a design in which lines, shapes, forms or colours are repeated. The part that is repeated is called a motif.
Patterns in architecture: Ceramic tiles at Topkapi Palace Topkapi palace, Istanbul, turkey Motif in a pattern Images from the internet
54 Verma | M.Des. Ceramic and Glass Design 2017
4. Continuous: A continuous repeat is possibly the most difficult, though it can be the best looking for any motif. It is also called as a tessellation.
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Maurits Cornelis Escher was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. Escher’s tessellations are composed of repeating patterns of the same shape without any overlaps or gaps. Process of making a tessellation:
3. Mirror: A mirror repeat can provide quite an interesting look if done right. Mirror image of the motif is duplicated across the same horizontal line. This process is repeated process vertically to get an all over mirrored repeat.
3)We have to continue this both horizontally and vertically and your square should appear like the image on the left.
Full Images from the internet
MirrorHalfdropdrop
1. Full drop: A full drop repeat is the most simple of all repeats. To create a full drop repeat we simply multiply the motif along the same line horizontally and vertically.
The four types of pattern repeats are:
3) Tessellations - The word “tessellate” means to form or arrange small squares in a checkered or mosaic pattern, according to Drexel University.
4)Then we need to crop the file to the exact size of the square, discarding the elements sitting outside of it. This will be the repeat tile that will perfectly align when tiled
2. Half drop: A half drop repeat is often desired to break up the uniform look that a full drop repeat can often give. To create a half drop repeat, we have step the motif horizontally and then align the top of the second motif to the center of the first motif.
1) To create a continuous repeat, first, a designated area is drawn such as a perfect square. We have to place the motif so that it overlaps one edge of the square and sits outside of it. 2) Then we duplicate this motif and place it in the exact same position on the opposite side of the square.
4) Borders - A border is a pattern designed to run lengthwise along the edge of the fabric or wallpaper. In a border print, the design runs along one side of the edge. A double border print has the design running along both edges. There are four types of motifs – geometric, realistic or natural, stylized and abstract. Four types of transformations are used while making borders – reflection, rotation, translation and glide reflection by which borders can be created using a motif or element.
In fashion, the pattern is a template used to create any number of similar garments. It can be considered as a means of translating from the drawing to the real garment.
56 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Escher tessellation Images from the internet together.
Unloading from the kiln
Glaze
Glaze fire
57National Institute of Design | Graduation Project Wedge and weigh Clay preparation with hands Cut into required lump using a wire Weigh using a weighing machine Wedge it again
Loading in the kiln for bisque firing
Bisque fire First firing
Pre firing decoration - Underglaze painting is done on the form
Kept covered for slow drying
Cleaning with wet cloth
Waxing is done on the bottom
Hand building on the wheel thrown form Green ware kept covered for trimming
Throw Throwing of the form on the wheel
Trim The base is trimmed using metal tools
Loading in the kiln
Glazing is done using pouring, dipping (using tongs), spray and brush techniques. Glaze on glaze painting with the help of a brush or a sponge
Cleaning with wet cloth Decal application followed by waxing
Second firing
Loading, Decal firing, Unloading Packaging
Unloading from the kiln
THE PROCESS Image from the internet
2. There were weight variations, size variations because of handmade process.
3. Handle making is a challenge in itself, as it needs practice and perfection.
1. During the handmade process of wheel throwing, there were many breakages because of human handling.
58 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Challenges in the production
A deep analysis of the production methods at Clay Station has got certain issues highlighted. They are enumerated in the succeeding points:
7. Glazing is a very important part of the whole process and must be treated that way. Bottoms of ware need to be waxed and wiped off properly to avoid sticking and proper application of glaze must be ensured. Improper application of glazing leads to defects like crazing, gathering at different 8.spots.Matching a decal colors is one the major challenge faced as these decals are outsourced from several vendors.
9. An inadequate firing temperature makes decals delicate; firing according to the recommended temperature makes the decal permanent. Various multiple firing are required to find the perfect firing temperature according to pigments in decals.
5. Sorting needs to be done properly to ensure no warped and cracked pieces move forward to next stage.
10. Hand painting is a skill based technique. It needs a to be done with patience and 11.practice.Weather conditions can highly affect the whole process, specially in Bangalore which usually has cold breezy weather throughout the year.
Further approach The understanding of production methods lead me to study the existing products and tableware brands in the market. Clay station’s target audience being upper middle class people demands luxury or high-end products. Handmade approach gives the freedom of designing customised products as well. There is a need for me as a design student, to understand the factors making any product or a brand as high-end. The market study also aims at deeper understanding of customer’s likes and dislikes and how do the brands cater to their customer’s requirements.
6. During firing, proper loading of green ware and maintenance of correct kiln temperature is a challenge and must be ensured.
4. During the finishing process tools have to sharp enough otherwise proper finishing does not result.
(b) Polystyrene sheets can be cut in the shape of the desired profile of the form, in order to maintain the similarity.
(e) Only round forms can be made on wheel.
59National Institute of Design | Graduation Project INSIGHTS on studio level production methods
(a) Certain tools for the measurements are required to be used in order to make close to similar products of a collection. These can be tools made with the help of bamboo sticks, calipers, scale.
Hand made process is time consuming and it requires skills. Certain insights were captured as follows:
(d) Training more enthusiasts can be beneficial to understand the interaction of the people with clay and their needs.
(f) Glaze making and application requires proper training and a lot of patience. Even a dot of glaze can be the reason for a defect.
(c) Stencils can be designed to position the decals and mark the hand painting area.
DISCOVER4 High-endTablewareProducts Brand ComponentsStudy of a Dinner Set
Image from the internet
The quality, nature, variety and number of objects vary according to culture, religion, number of diners, cuisine and occasion. For example, Middle Eastern, Indian or Polynesian food culture and cuisine sometimes limits tableware to serving dishes, using bread or leaves as individual plates. Special occasions are usually reflected in higher quality
“Dinnerware”tableware. is another term used to refer to tableware, and “crockery” refers ceramics and glassware produced by makers. Items of tableware include a variety of plates, bowls; or cups for individual diners and a range of serving dishes to transport the food from the kitchen or to separate smaller dishes. Plates include charger plates as well as specific dinner plates, lunch plates, dessert plates, salad plates or side plates. Bowls include those used for soup, cereal, pasta, fruit or dessert. A range of saucers accompany plates and bowls, those designed to go with teacups, coffee cups, demitasses and cream soup bowls. There are also individual covered casserole dishes.
61National Institute of Design | Graduation Project
Tableware is the dishes or dishware used for setting a table, serving food and dining. It includes flatware, stemware, glassware, serve ware and other useful items for practical as well as decorative purposes.
The definition of high-end is - the most expensive and technically sophisticated. Brands, products and services which falls under this category are also known as luxury goods or high-end products. Luxury is a state of great comfort or elegance, especially when involving great expense. To understand the characteristics of what makes a product luxurious or high end, I embarked my journey by looking at high-end brands like India Circus, Noritake, Eff n Bee, Ellementry, etc.
HIGH-END PRODUCTS
A consumer’s value perception of any high end/luxury brand varies in terms of geography, demography, culture and consumption pattern. According to a quantitative research across Asian consumers, it was found out that there exist variations in perceptions of the symbolic, experiential, and functional value of luxury brands.
High-end tableware brands
India has been the fastest growing market for luxury goods in the world since 2011, and Mumbai and Bangalore have especially been identified as one of the major hubs for luxury stores. Consumers are often affected by an internal drive which creates a social image, or a behavior inherent to luxury consumption. This leads to a consumer motive which is reflected in their values and in the behavior. Such goods are often expensive and enable consumers to satisfy their material and sociopsychological needs. The symbolic value gets reflected in the social signals which are constructed through narrative associated with the brand’s meaning, myths, stories, and the consumer’s own wealth, prestige and social status. Hence, it can be divided into two, self-directed and others directed. The self-directed value would be created when possessions help build a unique personality and the latter would be when those decisions are affected by social signals. The functional symbol relates to the physical display of material quality, craftsmanship, etc.
Perception of high-end brands
High-end is not all same. High-end could be delivering to people’s need in the best way possible. It’s the affluent and wealthy group of people who fall under this category. It is the reward out of the whole experience of the users which makes an organization or a company, a brand.
The experiential value differs from individual to individual, it gets reflected through sensations and behavioral intentions aroused by a brands logo, packaging, advertisements and environments.
Crockery is the pride for one’s dining table. When we invite our family and friends for dinner, it is the first thing that comes to our mind. Most attractive part of the dining table, moreover it plays a significant role in decorating dining table. The food presentation depends upon the crockery sets we are using. It is the best chance to show our classy style in front of our family and friends.
Proper dinnerware adds both traditional and modern touch to our food.
In the past time, people used leaves to serve the food, however, in recent time people used different crockery sets to enhance the beauty of their dining table and food as well. Some brands of the crockery are more festive and casual as well, while others are more classy, traditional and elegant. These crockery sets made off different material like melamine, bone china, glass, steel, ceramic and many more.
These top crockery brands are famous for their durability, quality and hand-crafted, design-worthy style. Some of the big names of dinnerware brands all over the world areNoritake, Corelle and Villeroy & Boch.
62 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Clay Craft is a very renowned crockery brand in India making high-end fine bone China crockery. The company has a wide range of products that include ceramic tableware, coffee mugs, tea, and dinner sets used widely in homes and hotels all over the country. Fabindia is one of the most popular brands in India manufacturing a huge range of products. Fabindia is a leading manufacturer of crockery items in India. The brand has exclusive items in dinnerware, cookware, serve ware, and drink ware made and designed in a state of the art facility.Borosil is one of the most prominent crockery brands in India having a huge network all over the globe. Borosil has a huge range of products which include microwavesafe crockery items, lunch boxes, tumblers, storage containers, and many more items.
Corelle is a very popular brand in India for its state of the art crockery items having a huge market all over the globe. Glass crockery designed by Corelle has proprietary three layers of glass that are molded to a perfect finish.
Laopala is one of the oldest crockery brands well appreciated by consumers all over the globe. The brand has a wide range of products that include dinnerware, glassware, tea, and dinner sets, and many more. Laopala has a state of the art facility bringing the best crockery items to consumers.Images from the internet
Larah is Borosil’s daughter company who produces Opal glass dinnerware.
63National Institute of Design | Graduation Project BRANDS IN THE MARKET
Eff n bee is a commitment by a group of industry professionals taken to excel as the leaders in the hospitality service industry, bringing together some of the worlds famous brands under one roof. Eff n bee initiates itself to become a one stop solution to the complete needs of the hospitality service industry. Their main clients are Taj, ITC hotels, Hyatt, Radisson, Mariott, Ibis, Hilton, etc. They create decals at their sister companyMULDER.
India Circus
In 1904, “Nippon Toki Gomei Kaisha”, the forerunner of the NORITAKE CO., LIMITED, was established. Today, Noritake is an acknowledged leader in tableware manufacturing and marketing with subsidiaries, factories and affiliates around the world. Their products are sold to customers in over 100 countries and are used in hotels, restaurants and airlines throughout the world. Noritake India provides Premium Tableware, Quality Tableware in Chennai, Luxury Tableware. Products in Chennai, Bangalore & Hyderabad.
64 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 India Circus has a wide range of premium and designer home decor, dining, accessories and fashion. Cushion Covers, Bed Linen, Wall Art, Floor Coverings, etc. They have a good presence of their online store. India Circus seeks to curate the essence of life in India, and transcribe this loud and colorful experience into contemporary and sophisticated style. From luminescent lamps to totes a la mode, we have a lot to offer for various corners of your life!
Noritake Eff n bee Images from the internet
Tata Ceramics Clay Craft Images from the internet
Tata ceramics is located in Cochin on the Malabar Coast in India and are a part of the 140-year-old Tata group. Over the past two decades, they have partnered with some of the world’s finest retailers, home ware brands, luxury hotels and airlines to co-create exclusive products. Their clients are spread across all continents and their products grace the tables of Heads of States, bearing testimony to the premium quality of our products. Their range of white ware spans classic to contemporary designs and is suitable for versatile needs.
Clay Craft is a crockery manufacturer that offer ceramic and bone china crockery in a variety of styles, sizes, and colours. They have been in business since 1994. They make ceramic tableware for home, for restaurants, hotels and resorts. Their line of fine bone china can be used for special occasions and they have ceramic tableware for everyday dining too. One can select from a range of dinner sets, tea sets, promotional coffee mugs, etc.
65National Institute of Design | Graduation Project KIKA Tableware offers luxurious tableware with 24k gold and platinum plated designs at affordable prices. KIKA Tableware offers a variety of products in the tableware range which include dinner plates, quarter plates, etc. These products are made from premium quality bone china & are finished in 24k gold detailing. Each piece is designed meticulously to complement each other,& customers are encouraged to mix and match the pieces.
KIKA Tableware
Bowls - Items of a tableware set includes a variety of plates, bowls; or cups for individual diners and a range of serving dishes to transport the food from the kitchen or to separate smaller dishes. A range of saucers accompany plates and bowls, those designed to go with teacups, coffee cups, demitasses and cream soup bowls. There are also individual covered casserole dishes.
Vessels to hold alcoholic beverages such as wine, whether red, white, sparkling tend to be quite specialised in form, for example, port wine glasses, beer glasses, brandy balloons and liqueur glasses all having different shapes. Water glasses, juice glasses and hot chocolate mugs are also differentiated. Their appearance as part of the tableware depends on the meal and the style of table arrangement.
Plates are standardised in descending order of diameter size according to the function.
Talking about a typical dinnerware type, it includes 16 pieces including dinner plates, salad plates, soup bowls, and cups, fitting perfectly for a head count of 4. Drink ware - Glasses and mugs of various types are an important part of tableware, as beverages are important parts of a meal.
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Plates - Plates are made in 12 different sizes for table use: service plate, dinner plate, luncheon plate, round salad plate, crescent salad plate, fish plate, dessert plate, cheese plate, fruit plate, tea plate, bread-and-butter plate, and fruit saucer. Today the growing middle class and upper class users demands plates for service of specific foods, such as fish, dessert, etc. Service plate is the largest and most expensive plate to manufacture because it has a large shape which is well prone to warp in the kiln. (When moisture evaporates, clay shrinks. If shrinkage occurs at an uneven rate, the plate warps. The loss of warped material, plus increased labour and energy add to production costs and retail.)
Dishes and bowls come in standard sizes, which are set according to the manufacturer. They are similar throughout the industry.
One standard series is charger (12 inches); dinner plate (10.5 inches); dessert plate (8.5 inches) salad plate (7.5 inches); side plate, tea plate (6.75 inches).
DINNEROFCOMPONENTSASET
Tea and coffee tend to involve strong social rituals and so teacups and, coffee cups have a shape that depends on the culture and the social situation in which the drink is taken.
Flatware - Flatware is sometimes called Silverware and it refers to the equipment used for eating and serving food at table. Table knives, forks and spoons, serving spoons and forks, dessert spoons teaspoons and coffee spoons are all called flatware.
67National Institute of Design | Graduation Project NO. OF PIECES IN A SET SIZE -> 6 211918131210 27/dinner set 27/breakfast set 443633 FULL PLATE 11”2 444 12 8866666 MIXINGBOWL 10” BY 3.5” 22 SERVINGBOWL 7” BY 7” 1 SERVINGBOWL 8” BY 8” 22221 33 SOUP BOWL 6” BY 2.5” 8866 MUGS 180 ml 6 SOUP SPOON 86 QUARTER PLATE 7.5” 886666644 PLATERICE 12”111111 BOWLVEG 3.5” 2 88666666444 INSIGHTS on Number of components in a set
For the success of any range or product it is imperative that certain basic principles need to be incorporated in the work culture and production processes. Certain aspects which attracts the customers are as follows: (a) Quality control (b) Brand Value (c) Uniqueness and Individuality (d) Diverse selection of products (e) Blend of traditional and contemporary (f) Market Base (g) Production consistency and timely delivery (h) Cost effectiveness Luxury brands products in the market are mainly targeting higher income group. People are regularly looking for new designs in the market. With the growing interests in home baking and home cooking, users want to experience more time into finding the right tableware set for them and their loved ones.
Study of manufacturers of famous brands across the world and in India clearly brings out certain ingredients of their success which includes best practices and quality controls.
In the current market trends, brands also focuses in building business strategies like upcoming festival theme based product launch and discount offers in order to attract the customers. A variety of forms, colours, shapes and sizes are available in the high end tableware brands market with growing demands for something new.
68 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 INSIGHTS from secondary market research
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4.1 Primary market study
Primary market research is original research that is conducted specifically for defined objectives. It is generally undertaken after some insights have been gained by the researcher about the issues such as by analyzing previously collected primary data or by reviewing secondary research. It is the research generated by conducting trials, asking questions and collecting results from Stonewareothers.
tableware has a remarkably huge market in countries outside India. People use this material on a daily basis as well as on special occasions. With such a scenario and a large market in place there are a large number of companies which are manufacturing these wares. Thus, before getting into designing a range or any product per se it was important for me to develop a basic understanding of the contemporary design language and what exists in the market today. In the pages that follow there is a study of a few companies both Indian and International which at present are in the market. This research was focused on getting an insight into what user/clients prefer when it comes to choosing tableware from the market. The methodology adopted was to personally visit different stores and interact with high end brand products, their executives and customers to get their views on their preferences and reasons for such a choice. It was further augmented by obtaining responses to a questionnaire, covering their valuable and frank views on the subject. The survey was conducted from about 20 stores in Bangalore. This has helped in giving me insights for design direction and modifying the brief. Initially I conducted market research before user research so that when I visit homes, I should be aware about the products of different brands. Also, my user group is a subset of larger customer group with whom I interacted during the market research. Later, both the researches were conducted simultaneously. used to make this
? What all materials are
brands tableware? ? Share about your collections? ? Which material do customers prefer? ? Which are your fastest selling tableware collections? ? What are people mainly looking for? ? How are your products different from other brands ? What are the price ranges? ? How often do you launch a new collection?
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72 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 2. Vista Alegre 3. Villeroy & Boch1. Fabindia
Fabindia’s first retail store opened in New Delhi in 1976. Today, Fabindia has 211 retail stores across India, 2 stores in Singapore & Dubai and 1 store each in Italy, Nepal, Malaysia and Mauritius.
• Tableware collection is assorted.
•
• Distinguished by the quality of its raw materials, the Vista Alegre porcelain is characterized by its whiteness and resistance, and its bright and uniform glaze.
Customers can buy either one or more than one pieces and make a set according to their requirement.
• Villeroy & Boch is a brand that has been inspiring to customers around the world for over 260 years. It is still a family owned company. The company is renowned for its creative design, its style, and its high quality of materials and manufacture.
• Material is mostly stoneware and bone china.
• In addition to using designer production techniques, the porcelain factory also employs 17 hand painters, who are responsible for decorating the pieces produced.
• The handmade crockery is mainly outsourced from various ceramic production houses in India like metro ceramics, dileep industries, etc.
• The products are exclusive and price starts from ₹2000.
• The forms are mostly organic and maximum glazes in the shades of earthy browns, blues and greens.
• All items may be ordered as individual pieces or multiples. They have a wide range of forms and beautiful decals including Gold and platinum on porcelain. Only one stoneware collection was there in the store.
• Price range is from ₹190 to ₹700 approximately per product.
• Fabindia, Garuda mall has very limited collection of tableware as compared to the collection at Indira nagar store.
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• The price range starts from ₹1500.
• Tableware collection is assorted. Customers can buy either one or more than one pieces and make a set according to their •requirement.Allitemsmay be ordered as individual pieces or multiples. They have a wide range of forms and beautiful decals including Gold and platinum on porcelain.
• They have a limited collection in the store but the products required can be customized within 15 days.
• Vista Alegre produces porcelain tableware, decorative pieces, gift ware, hotel ware, high quality glass and crystal, and stainless steel cutlery.
• There was a variety of surfaces like hand painted, decals, textured surface, multi glazed, matt and glossy.
1. Fabindia 2. Vista Alegre 3. Villeroy & Boch
• Vista Alegre is a Portuguese porcelain manufacturer located in Ílhavo in the district of Aveiro and has a history of 200 years.
• The dinner sets have products which makes a set are not identical but comes as a set together. Ellementry EllementryGood earth Good earth
• There is variety of forms and surfaces available with the names to each product and details of it dimensions.
5.
• Each of Ellementry products masters the art of handmade imperfection. Every creation, an expression of love for the environment
• The six pillars – Handmade, Fusion, Sustainable, Form and function, Cultural revival, Food safe.
• Design language - Clean, subtle, simple, minimalistic, classy, nature inspired.
• They have a wide range of stoneware, porcelain, bone china, brass and glass tableware collections. Each product is priced separately.
• Good earth has in house team of designers who designs 3 to 4 collections of tableware every year.
4.
4.
5.
• Prices are highly followed marketing strategy.
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• Ellementry’s price range is between Nicobar and Fabindia starting from ₹ 350.
Observations upon the customer’s likes and dislikes made during the primary market research were further validated by interviewing the users at their homes. Each user comes from different culture and they have different food patterns. Goal was to find out the challenges and choices of the users while the activities related to the use of their existing tableware, followed by their requirements.
(f) There is a variety of audience. Some people like to mix and match the components in a set whereas some prefer simple white wares for all purposes.
(a) Luxury brands products in the market are mainly targeting higher income group. People are regularly looking for new designs in the market. With the growing interests in home baking and home cooking, users want to experience more time into finding the right tableware set for them and their loved ones. (b) In the current market trends, brands also focuses in building business strategies like upcoming festival theme based product launch and discount offers in order to attract the customers. A variety of forms, colours, shapes and sizes are available in the high end tableware brands market with growing demands for something new. (c) Tableware brands invest in product styling and photoshoots with relevant food items in order to elevate the appeal and purpose of their designs.
75National Institute of Design | Graduation Project INSIGHTS from primary market study
(e) The overall experience in the process of using a tableware makes the purpose to connect the customers and the brand with the product.
Further approach
Following are the insights found from primary market research:
The response was quite positive overall, and the brands were ready to share their customer’s likes and dislikes at most places.
(d) A variety in shapes, colours, sizes and designs is a frequent demand from the customers.
(g) People buy a tableware once in 2 to 3 years. It is also one of the most common gifting item in India for formal or informal events. (h) High end brand tableware collections are mainly used for special occasions at Indian homes.
4.2 Primary user study
Primary user research is generally undertaken after some insights have been gained by the researcher about the tableware brands by analyzing previously collected primary market research data or by reviewing secondary market research. It is the research generated by conducting trials, asking questions and collecting results from the users. This comes into use to finally arrive at the choice in terms of ingredients or relevant process. There will be a need to fully understand the various processes and materials to be able to arrive at the most suitable choice. An in-depth study and understanding of the raw materials used and their characteristics is necessary to arrive at the best composition, thereby resulting in a product worthy of appreciation. This research was focused on getting an insight into what user/clients prefer when it comes to choosing the shape and size of crockery during informal meals at urban Indian homes. The methodology adopted was to personally visit and interact with high end and upper-middle class consumer group and get their views on their preferences and reasons for such a choice. It was further augmented by obtaining responses to a questionnaire, covering their valuable and frank views on the subject. This choice of customers was made keeping in mind the company’s customer profile and the design brief. The survey was conducted from about 20 users in the urban Bangalore. This has helped in giving me insights for design direction and modifying the brief. Interacting with them threw better light on the whole project as these customers were able to narrate their firsthand experience. Following are the insights gathered from some of the user interactions. More observations are listed in Appendix. decide upon a tableware? prefer
? How you
? What types of prints do you
on a tableware? ? Which material do you prefer? ? Which are your favourite tableware brands? ? Share about your food preferences? ? Do you host gatherings on meals at home? ? Share about daily food pattern? ? How often do you buy a tableware for home?
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78 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Name: Swapna Age: 43 Profession:yearsHouse wife • About: She lives in Bangalore with her husband and 2 kids. They are not much into social gatherings with friends but more with extended family members. They hail from •Kerala.
Food and utensil preference: They mostly is veg food and chicken rarely. Dinner for guests usually has a menu of red rice, puddi, kanhi, etc. They never use bowls as they had a habit of mixing everything on a banana leaf and now they use plate but eating style is the same. In desert they usually like eating payasam, made with both coconut milk or jaggery. All her cutlery has floral design •surfaces.Hergrandmother used to tell her that they used to have rice soup everyday as it used to be very hot in their village and this helps the body to cool down. Since then they are using medium size soup bowls for such •preparations.Tapiocafish and fish moli (fish cooked in coconut milk) is a famous dish from Kerala. They prepare it occasionally and eat it in the big dinner plate with appam.
1. Swapna 2. Nisha Menon
Name: Nisha Age: 45 Profession:yearsIT
Utensil preferences: They use steel utensils on a daily basis for all the meals. They also have ceramic crockery, most of them was gifted in their wedding.
Name: Harsha Age: 49 Profession:yearsIT
• About: She belongs to a Sindhi family and she does a business of exporting pomegranate and mangoes. She is socially very active. She has done the interior decoration of her house.
professional
3. Harsha
• She prefers serving bowls with lids for the main course food and bowls without lid for serving sweets. They usually eat fried snacks like papad, tikki, chips on a daily basis, also, rice, roti, 3 to 4 curries, dal and sweet like kheer, halwa. She always needs 4 to 5 bowls per person to serve food for dining.
•
• She finds ceramic barni the best to store pickles or salt. It stays fresh in this.
professional •
• Utensil preferences: She is fond of cutlery and her collection is from Spain, Thailand and Sri Lanka. She buys the cutlery she likes where ever she travels. She finds storage a •problem.
Food preferences: They food preparations like Sindhi kadi has a lot of vegetables, they like to eat it in a big bowl which is bigger than the veg bowls. More than bowls they prefer to eat curry/veg/non-veg in the halwa plate because the solid food in the curry is more accessible in the broad plates as compared to the bowls .
• She uses the ceramic ware, opal ware and glass crockery only when they invite guests at home for dinner or lunch.
•
Food preferences: Their food patter includes once curry, one side dish, rice, appam, iddiappam, rasam, etc. They don’t use separate bowls, instead one dinner plate for all the food items.
• She has experienced that eating non veg in ceramic or glass crockery is better because the smell wont be there after washing, unlike in steel or plastic. So they use plain ceramic plates for daily for non veg.
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About: Nisha lives in Bangalore with her husband and 2 daughters. Originally they are from Kerala.
TABLEWARE SETTING AT INDIAN URBAN HOMES
80 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Style Mostly white dinner wares are people’s first choice as any colour food will look good on a clean white canvas. White colour dinner wares are used both for casual and formal dining. A dark-colored slate looks beautiful in many themes, be it industrial, minimalist, or modern, casual or fine dining. Choosing the right dinnerware needs to be intelligently thought out, taking these factors into careful account to make the selection process a lot easier. Overall, picking the perfect dinnerware to go with the overall feel of home will not only make the food presentation exceptional, but will also give the guests a memorable dining experience at home.
Dinnerware sets include multiple place settings to take care of the whole table. Most common sets are 20-piece sets, which offer service for four people. They usually include a dinner plate, salad plate, teacup and a saucer for each setting.
Material Bone china, melamine, porcelain, glass, steel–the options are endless when it comes to choosing a dinnerware. Every material has its advantages and disadvantages. Some are more practical than others, while some look better with certain types of food.
Dinnerware is the main attraction of many a dining table. It’s much more than crockery for serving food. Beautiful dinnerware enhances your meals, it also sets the mood for your home dining experiences as well as expressing your personal style. Cost Setting a specific budget in mind can help the user narrow down their options, but the users should still highly consider the value of their
Restaurantpurchase. dinnerware is surely more expensive than those for personal purpose, primarily because they are supposed to withstand heavy use. Durability Non-commercial plates scratch easily when stacked which can diminish the overall appeal of the plating of the food. Hence, quality should come first.
For an informal table setting at Indian homes, fewer utensils are used and serving dishes are placed on the table. Sometimes the cup and saucer are placed on the right side of the spoon, about 30 cm or 12 inches from the edge of the table. Often, in less formal settings, the napkin should be in the wine glass.
Important factors behind choosing the right dinnerware for homes
81National Institute of Design | Graduation Project INSIGHTS from primary user study
(h) Rimmed crockery is something that aesthetically reminds people of older times and non rimmed ware offers a more contemporary feel. (i) Users avoid buying a surface decoration in yellow colour as it gives and effect of turmeric stain.
(b) It helped in understanding how different people look at crockery. Everyone finds eating out of fine crockery to be status symbol. Exquisite crockery is attractive, and the experience become exponential when one eat out of fine dinnerware.
(k) Choices of vegetarian and non vegetarian people differs a bit in terms of material, form and print designs.
(m) White is all time and all purpose choice of tableware to be on a safer side of presentation of the food for a mindful experience of eating.
(g) Daily ware utensils bought once in two or three years, only for utility. Tableware bought for special occasions like festivals, anniversaries, housewarming parties etc. Typically this would be purchased once in five to ten years or might be gifted ones.
(j) People in Indian homes mostly prefer floral designs, then abstract patterns. They refrain buying fauna prints because of the effect it gives while having food. Flowers and nature related prints are preferred as they give a feeling of purity, natural, colours, happiness, fragrance and peace.
(e) Majority of them preferred rounder or circular shapes as it is easier to use and accommodates the food properly. In other shapes there is a problem of food spillage.
(c) Some people noticed what they are eating in and understand the quality of material while some just ignore it.
(a) This study was related to people who have an exposure of eating and handling ceramics. Eating is an experience, and in this way, they could share the same as a customer with me.
The response was quite positive overall, and the clients were ready to share their likes and dislikes at most places. Some were quite conclusive where as some were not sure as to what their preferred liking was. After analyzing the data collected certain aspects that stood out were as under:
(d) Few of them preferred decorated crockery over white at home, as per research it came into light that customer relate white ware with hotels and restaurants.
(l) Buyers want to experiment and mix & match similar prints in order to make their own combination of the set.
(f) It helped in understanding how customers look at decorated crockery. Consumers prefers inside or the space used for eating to be plain and simple whereas design can be on the outer surface.
DEFINE5 Online User Survey Insights Activity ErgonomicsAnalysisofTableware Insights Redefined Brief
83National Institute of Design | Graduation Project INSIGHTS from ONLINE USER SURVEY Utensils of which material do you prefer to dine and serve? Which print is there on the surface of your dinner set? What arrangement do you prefer for dining?
1. Tableware has to be light weight for easy handling while holding, serving and washing.
To ensure longevity for the dishes that we use every day, proper storage will help them keep in good shape. There is a need to keep certain aspects in mind to ensure that they survive the daily handling. For this they need to be stored, stacked and supported properly. It is also important to identify likely causes of damage which should be considered while designing the tableware. Main reasons for damage are:
MAINTENANCE OF TABLEWARE
Images from the internet
(b) Breaking at edges due to constant movement and usage.
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(c) Storage on hard surfaces and scratching due to contact with other abrasive surfaces.
3. A tableware of diameter more than 4 inch will be held with the help of thumb and fingers on either side of the surface otherwise with the outer surface using power grip.
Following observations have been made with the activity of washing and maintenance of a tableware:
ANALYSISACTIVITY
2. Groves, rim or parts of a tableware with curves and contours are used to hold it. It is difficult to hold a tableware without proper grip, specially while washing as there is no friction because of the soap foam.
(d) Rim damage due to side storing. (e) Mixing sizes while storing leading to damage and improper packing. (f) Cracking and crazing due to extreme temperature variations.
5. While washing and serving, mainly the wrist, arms and then shoulders will experience the maximum pressure.
4. Texture onto the surface material makes the tableware easy to hold because of the grooves and friction.
(a) Excess pressure due to increased weight during stacking.
PLATE Clearance: One finger gap is required at the end of flat plates to lift them up easily.
Grip: The form and size should be as such so that the bowls can be held comfortably in hands .
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Size: Size of the plate will be according to the food pattern and plate type.
Some ergonomic points of view through user study, market study, activity analysis and principles of ergonomics are highlighted below:
Clearance: At least 1 inch extra height has to be provided in bowls so that it is easy to hold even with hot food and the food will not spill over.
OFERGONOMICSTABLEWARE
Tableware can be categorized into four basic service types – serveware, dinnerware, flatware or silverware and drink ware or glassware. Each product whether plate, bowl, etc. has its special purpose and is use for special occasions for a particular food category by certain group of people.
BOWL Size: Enough width to put the hand inside the curry bowl easily and height optimum to grab the curry and food pieces without dipping too much hand inside it.
Grip: An extended rim gives grip to hold the bowls easily and they would not slide. This rim behaves like a lock.
(c) Quality - The quality must be maintained so that, ware can withstand any whimsical moment of handling and still does not lose its sheen. The quality of raw materials should be maintained and should be standard. This forms the base of any product and keeps
(b) Profile - Ceramic ware is prone to chip off, so the edges should not be sharp. Thick round rims will solve this issue to a great extent.
(h) User friendly - The designs should be for all age groups as a family will have people from different generations on the table.
(a) Weight - The weight needs to be controlled to maintain the dishes. People prefer light weight utensils.
(g) Pre-conceived notions - It is essential to keep mind free of any preconceived notions regarding shapes and colour etc. It should all flow out from client’s requirement and own research learning.
An in-depth study and analysis of “Dining Culture at urban Indian homes” gave very valuable insights into how the users view, handle, appreciate and demand from the designers and manufacturers of tableware and everything else connected to it. Some important insights which are relevant before undertaking tableware designing and production area are as under:
(i) Components of a set - In today’s urban Indian homes the number of family members a four on a average. Working people lives in metro cities with their immediate family members in a nuclear way. The lifestyle is such that they invest less time into cooking and eating. Hence, the tableware set should be made for four people with common food preferences kept in mind.
86 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 a check on the quality. Many a times due to poor quality of glaze the surface quality also suffers. This should be kept in mind and quality should be checked to minimize scratching. To facilitate this, the shape should be such that it supports the glaze (d)flow.
(f) Limitations of manufacturing - Every process comes with its limitations. All the manufacturing and production capabilities and their limitations must be kept in mind while designing.
(e) User preferences - There are certain colours and shapes that have stood tests of time and changing cultures. So, they always look contemporary and suitable. White background with floral or ornamental designs are mostly liked. Dark colours utensils are bought by a small range of buyers. There can always be experiments if client desires so.
Ambience and Theme - It should blend in the aura and ambience of the home interiors so that it does not feel out of the place and the people can use it frequently on different occasions.
Wide variety of sizes- The diverse range of sizes available, which are particular to course/meal or culture which dictates its usage in a specific way. This aspect should be kept in mind during initial stage of its conceptualization and designing. The research helped in narrowing down the ideal required pieces to use in a tableware (d)collection.
INSIGHTS from the research to begin the process of design
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5.1 Redefined Brief
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To design a collection of ceramic tableware – dinner ware (dinner plate, quarter plate, veg bowl and soup bowl) and serve ware (serving bowls for curries and rice) for dining and serving purposes at urban Indian homes.
Minor project - To design a set of simple and functional tableware forms using wheel throwing technique for studio level production.
Major project - To design a collection of decals inspired by the five elements of nature - Space, Air, Fire, Water and Earth.
Forms Explorations Major Learnings Forms ComponentsConceptsofa Dinner Set Final Form Concept DEVELOP Forms - Minor Project6
1. Material restrictions: Materials available at clay station. Usually Bahadurgarh’s stoneware is used for explorations as it is cheap in cost.
2. Technique: Wheel throwing (Only round forms)
The three dimensional space that a product takes up is called as ‘form’. The three dimensions are length, width and height. Forms explorations were done in order to design the base for the tableware collection.
3. To test the material strength and find its limitations for the best as a tableware form.
Cross sectional views of bowls Cross sectional views of platesFORM EXPLORATION METHODOLOGY
The forms were explored to guide the further design process and:
FORMS (Minor project)
1. To become into a tableware.
2. To be developed at Clay station using their production processes.
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4. To witness different profiles in the forms and compare their differences in terms of their usability, ergonomics and overall experience.
I started by drawing different profiles and cross - sectional views of the bowls and plates. Then I started exploring all the materials at Clay station for different types of forms to visualize the ideas and test them. The forms were explored using the clay station’s Ivory clay and Bahadurgarh’s grey colour stoneware. Wheel throwing method was used for prototyping. Constraints for form development:
5. To prepare the prototypes for user testing and document their form preferences.
Single curve bowls look very elegant and goes with every theme. But a bowl having more curve gains more attention from the user. Curves makes the form look more graceful. Less curvature in the profiles were also Iexplored.studied the forms with seen during market research and user study. These forms have helped me in understanding and making the clay forms on wheel. Both geometrical and organic forms were explored. When we say “a bowl”, the first image comes in the mind is of a round hemispherical chunk of a material layer. Hence, the below exploration.
Curved outer rim explorations edge profile bowls explorations Exploration of a common round bowl profile bowl explorationExploration of a regular veg bowl
92 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 FORMS EXPLORATIONS FOR BOWLS AND PLATES
Slant
Straight
93National Institute of Design | Graduation Project SINGLE CURVE BOWL This profile type of the bowl seen in the markets and at urban Indian homes was explored using Bahadurgarh’s stoneware (as mentioned earlier, because it is cheap as compared to clay station’s stoneware). These bowls are apt for being used as side bowls as well as serving bowls. Surface decoration like texture and decal application is also not very complex as these bowls gives a smooth subtle curve canvas for the design. Single curve bowls are the most commonly acceptable forms for different occasions in Indian homes, Profiles of the most common bowls with different dimensions were explored dia. 3.5”, height 2” 8” dia., height 5.5” 8.5” dia., height 5” Nesting bowls exploration Smaller base bowl - less balance More curved bowl exploration
Exploration of a traditional double curve bowl
Instead of a single arching outside bowl curve, a double curve bowl changes the path and engages the viewer’s attention by leading the eye down a multi-curved edge.
A double curve bowl has each curve opposing one another like an “s.” These curves on a bowl are less about surface decoration, and more of a way to add curvature and interest to the underlying foundation of the bowl shape.
(d) An asymmetrical double curve bowl really has no rules. Mainly, there will be a curve at the top and bottom at opposing angles, but the size and locations can be anywhere. Unbalanced different curves equal an asymmetrical ogee shape. (e) Reverse double curve bowl. Instead of flowing up to an overlooking shelf of a top rim, a reversed shape drops from a vertical rim down into the bowl. Reversing the double curve bowl is not seen very often but creates an interesting bowl design. A reverse double curve bowl is not very stable while using it for the eating purposes.
(a) A traditional double curve bowl has a symmetrical top and lower curve, and the proportions of the bowl are usually divided into thirds. Regardless of the bowl height, the structure can be vertically divided into thirds and horizontally divided into half. (b) Taller bowls will appear stretched, while shorter bowls will appear horizontally elongated. (c) Unlike a traditional double curve bowl which disperses the flowing curves of a double curve bowl across balanced thirds, a subtle double curve bowl does not depend on even distribution. A subtle double curve bowl can be like the name implies, very subtle. At first glance, the bowl opposing curves might not even be apparent. When making a subtle double curve bowl one can have a larger more traditional single outside curving bowl shape, but the design flares out at the top rim and tucks under at the base, just a small amount.
Types of double curve bowls
Exploration of a broad base subtle bowl
94 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 DOUBLE CURVE BOWL
Many forms and proportions of the double curve bowls inspired forms were explored using wheel throwing technique.
2. Hand building on each form along with wheel throwing will be time consuming.
Textures in the forms were explored on the wheel while trimming. They were eliminated in the end because of the following reasons:
1. It will be difficult to make surface decoration like decal application.
95National Institute of Design | Graduation Project Explorations of an asymmetrical double curve Explorationbowl of reverse double curve bowl
Two types of spirals inside plates broad rim plate and hand pinching rim (altered after wheel thrown)
Slurry application outside bowl Spiral inside bowl
3. It will not be cost effective as its not a common choice, also, manufacturing, breakage and handling cost will be too high.
(a) Explorations of the most basic round form of bowls with minute alterations have taught me a lot. The surface has to be smooth and the activity of taking out the curry from the bowl should be easy.
(b) Stackability and nesting was explored for broad mouth bowls. There has to be enough gap between the two stacked bowls so that handling becomes easy.
INSIGHTS on CS’s clays
(c) In the long run, Bahadurgarh’s stoneware are less durable in comparison.
Different types of rims were explored. A rim has to be round to avoid any chipping off while handling the bowl.
The choice for the material is more a matter of client choice but Ivory clay and Bahadurgarh’s clay is mostly stands out as the first choice for quality tableware reflecting class at Clay station. Certain learnings acquired from the study of material are as follows:
(a) Plasticity of Ivory clay makes it the best for wheel throwing. (b) Ivory clay offers more elegant appeal due to the lighter weight and body composition. It is a bit more expensive than Bahadurgarh’s Stoneware due to its manufacturing process and overall elegant perception.
(d) The granular texture of Ivory clay makes it lump free and can be recycled easily. (e) During design, Ivory clay is a better option as compared to Bahadurgarh’s stoneware, as it offers more strength and flexibility.
Explorations of shallow bowls and plates were made using straight and curved profiles. Exploration of a plate Explorations of a shallow bowls
(f) Hand building can be done with Ivory clay easily as it doesn’t dries up quickly.
MAJOR LEARNINGS from forms explorations
(c) Broad base makes a bowl more balanced, even while eating. Smaller base makes it less balanced in comparison. (d) It will be easier to gather food item in a spoon but difficult to insert the hand for eating and cleaning purposes. (e) I could gain hands on experience in studio level pottery. Steps are shown on the next page.
96 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
97National Institute of Design | Graduation Project 1. Cutting 2. Wedging 3. Centering and opening 4. Flatening the base 5 (a). Checking the diameter for the base of a cylinder 6 (a). Pulling and shaping a cylinder 5 (b). flattening the base and shaping a plate 6 (b). finishing the plate 7. Trimming when leather hard
6.1 Forms Concepts
• These are also easy to use as the clearance between 2 products is enough to easily pick the top one up.
99National Institute of Design | Graduation Project Concept 1 Nesting and Stackability
• The forms could be asymmetrical or organic as well.
• An extended rim will make the product more user friendly as it will give a grip to hold the bowl. Nesting a set of bowls
• In nested bowls/plates, each one is smaller than the other.
These are space-saving sets which combine a whole range of useful kitchenware from mixing bowls to sieves and measuring cups, into one stackable set, keeping the storage area neat and tidy. The smallest size can be used for dips and spreads; the medium sizes are perfect for holding berries and cut fruits; and the larger ones are indispensable for salads of every variety.
• Nesting bowls or plates helps in saving the storage space.
Stackable bowls
• In stackable bowls/plates, each one is of the same size. The form has to be such so that one form fits into another identical form. There shouldn’t be any undercuts in the form to make it stackable.
• An extended rim will make the product more user friendly as it will give a grip to hold the bowl.
• This concept is production friendly as well because each product is identical so a set of products can be made using the same profile, weight of clay or mould.
• They look uniformly placed.
100 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Stackable bowls or plates helps in saving the storage space. The forms are uniform. A smaller base in comparison with top diameter is the required. There should not be any undercuts or grooves in the form for this purpose.
101National Institute of Design | Graduation Project Concept 2 Pouring bowls •
The bowls have multipurpose. They can be used for eating, drinking, serving, mixing, etc.
Many times it is difficult to mix and pour, e.g. batter or gravy. These have a comfortable good pour edge.
Golden ratio in nature (rose) Golden circlesPouring bowls Image from the internet
• These types of bowls are a good option for soup bowls and serving bowls where a spoon can rest easily without sliding.
3
Concept
Forms inspired by Golden Ratio
• While dining the spout acts as a spoon rest.
The golden ratio (also called the golden rectangle and golden mean) is a shape with a proportion of 1 to 1.618. Golden circles are the circles in the golden ratio.
•
•
The mixing bowls with a spout are as functional as decorative with a playful symmetry.
6.2 Final Forms Concept
Material: Clay station’s ivory clay suits best for the forms of the tableware set.
SELECTED FORM
Iterations in profile were made in different sizes in order to find the most liked one by the clients and the users. Their choice is important for me to further progress and design a family of forms for the tableware set.
Experience: Perhaps the curves of a wellexecuted bowl harmonize and connect us with that flow of life. Picking up and holding a bowl seems to have a soothing effect on the soul. Running our fingers up and down the curves just seems like the right thing to do, like it has to be done. Thus the form goes with the theme (five elements of nature) and hence a way forward to the mindful experience of dining.
Shortlisted profile Other profiles Selected form
The subtle curve on the top rim of the bowl curving outwards gives support and direction to the liquid/semi-liquid food contained for pouring purpose.
Taking the top rim edge and having it deviate with just a touch from the underside curve adds a bit of mystery and interest. The way the rim edge interacts with the bowl interior can add striking contrast. Creating an ever so slightly upturn and drop into the bowl adds interest both visually and in the physical feel of the bowl. Base of the form has a groove at the bottom, not an extruding ring, which is making the form look more contemporary, elegant, minimal and smooth.
The profile of the bowl chosen out of the explorations made was studied thoroughly.
The top a bowl can be shaped in several ways. A subtle double curve bowl with broad base was chosen by the client for the tableware set looking at the ergonomics, ease of production, aesthetic appeal, economical size and budget pricing.
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Aesthetics:
Stability: The broad base of the bowl makes the form very stable. Ease of use: It has a wide mouth, which make the ware easy to use for dining activity. (Easy to pick up the food with hands)
Attributes of selected form
Economical size: As discussed above, this form gives allows to use maximum space in the kiln, making it economical for the client by saving power in firing. It gives maximum volume/size in the same price to the customers. Same price meaning any other bowl (with a more curved profile or extended rim) of the same size explored, will occupy the same space in the kiln but it will have lesser volume(we cannot stack the wares as base has to be clean for glaze firing)
104 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
The choice of the material is more a matter of client choice but Ivory clay and Bahadurgarh’s clay mostly stands out as the first choice for quality tableware reflecting class at Clay station. I also tested these two clays in order to find the best material out of them. It was found that Ivory is better because of the following reasons:
Choice of the material
(a) Plasticity of Ivory clay makes it the best for wheel throwing. Ivory clay creates less slurry. Ivory clay offers more strength and flexibility.
(b) Ivory clay is pure white, before and after firing. Which makes it best for our purpose of putting glaze colours on the white canvas of the form. (c) It offers more elegant appeal due to the lighter weight and body composition. (c) It is a bit more expensive but in the long run, Bahadurgarh’s stoneware are less durable in comparison. (d) The granular texture of Ivory clay makes it lump free and can be recycled easily. (e) Hand building can be done with Ivory clay easily as it doesn’t dries up quickly.
Stackability and Nesting: Concept 1 was taken forward for the forms of bowls and plates. Nesting same forms is not possible for this profile as the base is not very small as compared to the top diameter. Nesting different sizes together saves lot of space and material used in the packaging, also reduces the overall cost. But maintaining the inventory for different sizes is difficult. Inventory management can also be done easily with space management. Nesting smaller forms into bigger forms like veg bowl in soup bowl is done for the purpose of packaging.
Costing: Costing is a very important criteria in the world of business. Along with the other aspects for choosing the form, cost effectiveness of the form was measured. Clay station has two round medium size skutt kilns. There is a lot of space wasted when loading a round kiln with round forms. Subtle curve of the chosen form makes it least dramatic and more elegant; and also saves space in the kiln and a packaging box as explained next. more wastagespace kiln or packaging formspace more wastagelesswastagespacespace selected profile
(b) Serving bowls ranges from 30 to 40 cm in diameter. These are also called mixing bowls or all-purpose bowls. They can be 2 to 3 in numbers in a set. The clients decided to eliminate lidded serving bowls as lid making requires a lot of skills and it was not cost effective for a start up pottery studio.
(c) A Rice plate is mostly oval in shape and around 31 cm to 34 cm in size. They are made using industrial processes as its size is huge and it will be very difficult to make it at studio level because of its huge size. There are chances of it getting warped and damaged. Manual handling is a difficult task because of its weight. Also, it was noticed that people prefer taking hot rice from a lidded casserole or directly from the rice cooker. Rice plates are must in a formal dining. Elimination of a rice plate was decided upon these factors. Instead, a wide serving bowl was introduced as a rice bowl or salad bowl. This was kept optional and made on order basis. Its diameter is nearly 9” to 10”.
Final components of the dinner set BOWL
SOUP
(b) A Quarter plate or Bread and butter plate is a small plate that is handy for bread serving bread at the dining table with the main meal. This small plate is also the ideal size for serving cake at afternoon tea. Generally, a bread and butter plate is 16 cm just large enough for a slice of bread or dinner roll.
Bowls
(c) While a Soup plate is technically a bowl, a bowl with a wide rim is technically known as a soup plate. A soup plate is relatively shallow allowing the heat to quickly release so one can enjoy the soup. Soup is an essential part of formal dinner. Many people make soups of different vegetables at homes. Hence this becomes a component of the set.
5.5”*2.5”6 QUARTER PLATE 7.5”6 NO. OF PIECES IN A SET SIZE -> Total - 27 FULL PLATE 11”6 SERVINGBOWL 8”*3.5”2 BOWLRICE 9”*3”1 BOWLVEG 4.5”*2”6
105National Institute of Design | Graduation Project FINAL COMPONENTS Plates
(a) Dinner plate is the most common plate, ideal for main meals and even breakfast. The average dinner plate size is 26 cm –28 cm.
(a) Veg bowl is a must have in a dinner set for several food items like curry, sweet, etc. It ranges in size from 10 to 12 cm in diameter and 6 to 7 cm in height.
Depending upon the food type a form is meant for, whether liquid, semi - liquid or solid food items, the activities have been noted while dining and serving during the user survey. Activity analysis for handling of forms during wash has been mentioned on page no. 84.
3. Studio level production methods for forms and surface designs, as mentioned earlier, are important to keep in mind while making the form explorations.
106 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Transparent glaze fired quarter plate hand painted with underglaze (sing brush technique) to see the difference and understand the colour of fired ivory stoneware.
LEARNINGS
This minor project has been eye opener for me as it has helped me in seeing the minute details of the 3-D world around us. I got a chance to improve my pottery skills and understand the whole studio pottery process. Below are the major learnings:
CONCLUSION
Bisque fired bowl form in CS’s Ivory clay
1. Light weight forms are preferred by the users.
The dinner set was made keeping in mind 6 people on the dining table, as family members on an average can be in 4 to 6 numbers. Indians have a culture of inviting guests at home, hence the number of people might increase or decrease. Simple forms were chosen for the plates and bowls as it will be easy to replicate and produce more number of pieces in less time. They look elegant with every theme interior decoration of the environment. Ergonomics, manufacturing process, material properties and user’s choice were the main factors to decide the final forms.
2. Ergonomics plays an important role in deciding the dimensions and profile of the form (as mentioned on page no.: 85).
4. Forms must be suitable for decal application.
Profile of bisque fired form
107National Institute of Design | Graduation Project VEG BOWL 3.5” diameter SERVING BOWL 8” by 5” Rice bowl: 9” by 4” SOUP BOWL 6” by 2.5” PLATE Dinner plate: 11” diameter Quarter plate: 7.5” diameter RICE SERVING BOWLFINAL FORMS
Surface Design Explorations Theme of the project Surface Design Concepts Final Surface Design Concept DEVELOP Surface Design - Major Project7
b) Realizing the placement.
SURFACE DESIGN (Major project)
c) Understanding the importance of negative and breathing spaces on the forms from a view point.
4. My study then goes back to the print making techniques and terminologies related to surface design - Motif, patterns, and borders. By this time I started seeing the mathematics and science in the entire print making process. This study has greatly helped me developing my own designs.
5. Forms were explored to see their possibilities for:
a) Getting the idea of sizing and dimension of the prints in comparison with forms.
6. At this stage in the project, I started drawing motifs of different designs & sizes at varied places on the final plate and bowl forms. More than 30 such surface designs were explored. Surface being the canvas and designs being the elements made me realize a need to explore layouts and compositions of the elements on it. Proportion of the motifs as compared to the form was also kept in mind while making these
109National Institute of Design | Graduation Project
Variationsexplorations.in the placement helped me in:
SURFACE DESIGN EXPLORATION METHODOLOGY
Surface design is the main attraction of any tableware collection. The customers consciously or subconsciously selects the wares which can be used for different occasions. Surface designing can play a huge role into seeing design as business. Surface design explorations were done to develop a deeper understanding of the processes and techniques involved and to find the different possibilities and limitations related to it. The explorations aided in forming a strong base for the final project that followed the research. Surface explorations were done in order to design the surface for the tableware collection.
2. As observed during the user study, people have different food patterns depending upon their culture, hence it was critical to keep a check on the placement of food items as 3.well.During the market and user study, it was also observed that yellow colour in a design is less likely to sell as it may give an impression of turmeric stain. People usually prefer cool colors in the designs like blues, greens, etc. on a white base. Most popular are floral theme designs.
d) Exploring the motifs and borders.
I started the explorations for my major project - surface design, by observing the tableware designs carefully in the market and at homes during market and user study. This study has helped me understanding the market trends, user’s choice and customer demands.
a) The forms to become tableware b) Surface of forms to be the canvas on which decals are placed. Hence the final profile of the form was selected as mentioned earlier.
Prateeti
110 Verma | M.Des. Ceramic and Glass Design 2017
Small random motifs all over a plate form. This pattern is similar to a textile print and gives a feeling of side plate good for serving snacks.
All over border motifs on a plate form. Large decal coverage is expensive and it also covers up the surface making it visually heavy with dense composition. A straight geometric motif on the outside top and a smaller motif behind it on the opposite inner surface of a plate form This placement looks formal and elegant. Big realistic straight motif on one side of a plate form. Realistic decals are expensive as the number of colours will increase to bring out the realism in it.
Initial explorations for motif placement
111National Institute of Design | Graduation
Ainteresting.motifonthe outside top of a bowl form covering the front visual half of the surface. It looks elegant and simple. Such placement is most commonly seen in the market. It looks visually light.
A slant motif from the bottom to top of a bowl form. This lacks clarity because half of the decal will be hidden under the curve. Application of decals inside the form adds a surprise element as the food gets over.
An elongated border type motif is commonly seen in the market.
An elongated motif on the outside from the bottom to top of a bowl form interesting.looks
Project A motif on the outside top and a smaller motif behind it on the opposite inner surface of a bowl form. The continuity in the decals makes it look
As a part of this internship I got a chance with hands on experience in studio pottery process. I also took some workshops on hand building and wheel throwing at clay station, for their students. Some of the sample production orders were also done by me for the clients of clay station.
112 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Customer 1: She wanted a set of 12 similar looking tea cups for kids on the occasion of her child’s birthday party. She wanted black lines and dots painted in the inside near the rim. Deliverables for customer 1
Big realistic straight motif on one side of a plate form and small motif of the same family on the opposite side. Single side placement would be easy as compared to the placement of two different decals on the same surface. Aesthetic appeal would be lost if the continuity breaks. Curved border on one-third of one inch circle from the rim and a small motif on the opposite side. Such placement of the motif in comparison to the placement of the border requires skills. Overall border is most commonly seen on dinner plates but it also has a challenge of joining the two ends of the border.
Hands-on surface design explorations experience
113National Institute of Design | Graduation Project MAJOR LEARNINGS from surface design explorations
(b) Surface explorations have helped me in understanding the reasons for market trends. The logic behind a customer’s subconscious mind to select a particular design was documented during user study. It is not better understood.
(c) These explorations have helped me in moving to the next step in the design process, i.e. developing concepts for surface of tableware forms in the set.
(a) I was able to get hands-on experience with the all the studio production processes. This knowledge and experience will be beneficial for future opportunities.
(d) Glaze and underglaze application required a lot of practice and planning. Their right consistency for the use was well understood.
Process -The forms were wheel altered and then hand pinched for handmade effect. Handles were attached with hand building techniques. Underglaze painting was used with transparent zinc free glaze of clay station. This project took 3 weeks time.
Customer 2: A couple wanted to save an impression of a palm and feet of their 3 months old daughter. Process -1.5 cm thick slabs of bahadurgarh’s grey stoneware were made 3 days prior and were kept covered for them to slow dry. The hand and leg was pressed in the leather hard stage of the slab and then it was bisque fired. Drawing was done using a pencil then it was painted with Duncan underglazes. Later transparent glaze was applied and it was glaze fired. Deliverables for customer 2 Hand painted bisque fired slab Glaze fired slab
7.1 Theme of the project
Tattva handmade is based on two ideologies: Celebrate Life Everyday & Respect for Hand Crafted Products
Vaastu Shastra lays down principles on the location, direction and disposition of buildings, so that humans can absorb the positive effects of the Panchabhutaas -Five elements of nature, throughout the day which will in turn ensure enhanced health, wealth, prosperity and happiness. Yoga helps us purify the five elements in our body and restore balance and health. Cleansing techniques for the 5 elements are known as “Bhuta Shuddhi”.
As mentioned earlier on page 26 and 27 - the client have come up with an idea of ‘Tattva handmade’, which will be a digital selling platform for Deepa’s products from Clay station, Sadashivnagar, Bangalore (in partnership with main branch Clay station, HSR layout, Bangalore).
115National Institute of Design | Graduation Project Ayurveda is an ancient system of holistic healthcare which focuses on all the areas of health, including diet, lifestyle, exercise, detoxification, sleep, and the mind.
Ayurveda recognizes these elements Space, Air, Fire, Water, and Earth - as the building blocks of all material existence. Every object, whether living or non living, is unique because it contains a varying ratio of the five elements. There is an invisible and constant interaction between these elements. These forces act for or against each other to create harmony or disharmony. Ayurveda also observes the five elements within the human body. We nourish ourselves with foods from the Earth, and eventually, our body returns to the earthly matter from which it came. Water is our life-sustaining nectar, making up more than 70 percent of our total body mass. Fire provides the body with heat and radiant energy and exists within all metabolic and chemical actions. Air flows freely throughout the body, giving movement to biological functions and feeding every cell with oxygen. Space is ever-present, humbly residing in the background, providing
the other elements with an opportunity to interact in this way.
“The level of tranquility one achieves when all our senses are in touch with the 5 elements, this experience is far beyond words to define.” - Deepa
Tattva Handmade’s existence is based on the five elements of the universe that we call ‘Tattva’. Tattva Handmade believes in worshipping ones essence with nature itself, through the elements. They want people to appreciate not only the product, but the hard work of the skilled artisans that goes into making their products, thereby promoting the artisans who work with them. They aim to help the artisans sustain the knowledge of transforming a lump of clay to a work-of-art, and help pass it on to the next generation.
The five elements of nature provides the foundation for the entire physical world whether organic or inorganic matter.
116 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 SPACE/ETHER (akasha) Origin: Shabda Season: Autumn AIR (vayu) Origin:Season:Touch/SparshaSpring FIRE (tejas) Origin: Element of vision-Rupa Season: Summer
The element fire, called “tejas” in Sanskrit, is the third of the five elements. It comes third because it evolves from ether and air, containing the essence of these elements within it. Ether provides fire the space to exist within, while air provides fire the capacity to burn. It is because of air that fire will never be still.
The element ether, called “akasha” in Sanskrit is the first of the five elements (pancha mahabhutas). It comes first because it is the most subtle of the elements. Often referred to as “space,” it is the essence of emptiness or nothingness. It is the space the other elements fill.
Images from the internet
The element air, called “vayu” in Sanskrit, is the second of the five elements. It comes second because it evolves from ether. As the potential inherent within space becomes active, the result is air. The element of air represents the capacity for motion or kinetic energy. Air represents all forces and the movement that transpires as a result of those forces.
Water is the bridge between the gaseous state of mater and the solid state. As matter becomes denser, gas (air, ether and fire) coalesce into water (fluidic matter). The process of densification continues until matter becomes solid.
117National Institute of Design | Graduation Project WATER (jala)
Origin: Element of taste-Rasa Season: Spring EARTH (prithvi) Origin: Element of smell- Gandha Season: Late winter, early spring
The element earth, called “prithvi” in Sanskrit, is the fifth of the five elements. It comes fifth because it evolves out of each of the other four elements (ether, air, fire and water), containing the essence of these elements within it. Ether provides earth the space to exist within. Air provides earth with subtle movements seen on a subatomic level. Fire (energy) is latent within earth, bound by the chemical bonds of nature that hold structure together.
The element water, called “apas” in Sanskrit, is the fourth of the five elements. It comes fourth because it evolves from ether, air, and fire; water contains aspects of the other three elements within it. Ether provides water the space to exist within. Air provides water with the ability to move and flow. Air creates the friction that generates the heat of fire. Fire moves in a fluidic or flowing manner. In each evolution from one element to the next, nature becomes denser.
7.2 Surface Design Concepts
Constraints for surface development:
In addition to being a universal symbol of femininity, a “language of flowers” was prevalent in different cultures and time periods, and allowed for diversity in the design of patterns. The origin of the floral fabric can be found in Asia, where flowers are an integral part of the culture.
Plants/flowers/herbs associated with the five elements of nature are discussed further.
The practice of medicine has (fortunately) advanced. But elemental correspondences are still used by those who work with the energy of plants. Earthy, Airy, Fiery or Watery classes of plants all have distinct Toproperties.startwith the Theme of flora for the explorations, I visited an art gallery which was happening at the same time. (Images shared in the last of this heading)
(a) It was seen through the market and user research that people have their own likings for motif designs and border designs. But mostly motif designs are more liked because it can be used on a daily basis at homes and also for some occasions.
Relation of five elements with flora
The relation of plants and herbs to Space, Air, Water, Fire, Earth (or a combination of these elements) can be traced back to medieval medicine.
It was observed during market research and user study that flower prints are customers/ users first choice for the surface decoration on a tableware collection. Also, to meet the requirements of ‘tattva handmade’ product language, florals were explored. Floral patterns are not only representative of the joyous Spring/Summer season but they are extremely pleasing to the eyes and can be incorporated into tableware. Floral surfaces can be used for any occasion.
2. Print: Motif design. Reasons are listed below:
In pre-modern times, diseases were thought to be due to an imbalance in the elements. By ingesting or applying plants related to the proper element, herbal healers could attempt to bring the body into balance.
119National Institute of Design | Graduation Project CONCEPT 1 FLORA
3. Technique: The client’s vision is to make and sell handmade ceramics to promote pottery and nature. Handmade has its own charm when it comes to luxury dining, hence Deepa wanted me to try surface design with hand painting techniques as well as decals.
(b) As this center of clay station was a startup and decals were new here, Deepa wanted a motif design; not border repeats.
1. Material restrictions: Decal (to be made by a vendor), Clay station glazes and Duncan underglaze.
4. Attributes: Earthy, handmade and inspired by the five elements of nature.
120 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 1. Space element - Bamboo
Akash in pancha mahabhutas is not synonymous with the sky. It can be something similar to Space. All the body channels, pores or empty spaces symbolizes Ether or space. Plants which have space are hollow bamboo, Banyan or Peepal leaf after drying, leaves the skeleton of the veins. Platycodon grandiflorus or Cardiospermum halicacabum, popularly known as balloon plant get their name from the unopened buds, which swell up prior to opening and resemble little hotair Lotusballoons.stemand its fruit where seeds resides has hollow areas resembling the space element. Space element – BAMBOO or Watery classes of plants all have distinct properties. Bamboo was shortlisted as the theme for Space element surface design. Hollow space inside the bamboo makes it fall in the category of a Space element.
Images for Inspiration Images from the internet Colour palette
121National Institute of Design | Graduation Project
MOTIFS EXPLORATIONS FOR BAMBOO THEME
These were initial motifs presented to the client. The inspiration for these designs were taken from chosen inspiration board. Space element - Bamboo Bamboo is hard, hollow, long and green. It has thousands of different uses and can be accepted in different cultures. Bamboo motifs gives a sense of calmness, peace, earthy ness and close to nature feel. Bamboo prints were selected by the client.
122 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Shortlisted motif Overall motif of the tree was shoot.leavesmotifsindividualalongdevelopedwithofand
123National Institute of Design | Graduation Project Shortlisted motif Shortlisted motif Clients wanted one to two colours in the decal designs to keep the look simple, elegant and cost Aeffective.shadeof brown was selected from the inspiration board to keep the theme of bamboo and maintain the earthy look of the design to be a tattva handmade product.
Digital motif Simplified Digital motif
The design process involved designing and outsourcing of decal transfers from the Asvendor.perthe budget provided by the company, only one to two colour decals were possible. The digital motif shown below lacks the ‘hand-made’ effect hence it was further simplified. Colour taken from the inspiration board is dark brown for sharp contrast with the base and to keep the earthy look of the form.
Hand drawn motif
It was important to notice that the design must be such which has ‘hand-made’ visual effect so that it can be used for hand-made tableware explorations as well as decals at studio level. Deepa wanted me to explore glaze on glaze hand painting for bamboo motif by taking inspiration from chinese ink brush painting yet keeping its look original and maintain the brand language of tattva handmade.
SIMPLIFICATION OF MOTIF
124 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
The selected motifs were further more simplified for easy production. Taking forward hand drawing digitail drawings of various elements and motifs were explored using Photoshop and Illustrator softwares. The motifs were shortlisted keeping in mind to hand paint them on a bisqueware for initial explorations and to keep the ‘handmade’ effect intact to go with the identity of the brand.
Elegant and formal look by motif on one side was taken
A light brown base with darker brown motif for earthy look was shortlisted by the client Motif in the center looks good for a side plate or quarter plate Small motif in the opposite side makes the composition look balancedSmallleavesbambooallover
125National Institute of Design | Graduation Project LAYOUT OPTIONS Plate options
Largeforwardsizebamboo motif on one side. This was rejected as it looks visually heavy
White motif on light brown base slight angle from the vertical placement makes it look close to real arrangement of Bamboo
Motif in the canter of the base adds a surprise element as the food gets over Continuity in the motif placement is very engaging and eye-catchy for the users. This was taken forward. Front placement of the motif on the outside surface is very commonly seen
126 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Motif placement in horizontal orientation viaually makes the bamboo dead. Vertical looks like bamboo has life and it is upright. Leaf motifs placed with different transformations life shift, reflect and rotate to form a border. Scattered leaves does not do much justice to the theme of bamboo hence this composition was rejected. Bowl options
127National Institute of Design | Graduation Project FINAL LAYOUT Dinner plate Rice serving bowl 728 7617CC Pantone shade Serving/mixing bowl Soup bowl Veg/curry bowl Quarter plate A light brown base with darker brown motif for earthy look has been selected. Continuity in the motifs for veg bowl makes it look interesting and gives an opportunity for even arrangement of the tableware set for an occasion at home. Simple motif placement has been selected for elegant, earthy and hand-made aesthetic appeal.
(a) Lives in the air or travels by air Example - Poplar, Cottonwood, Moss Tall trees have a natural affinity for Air. So do rootless plants. Mosses grow on branches and take their nourishment from the breeze. Maple, with its helicoptering pods, is another Airy tree. The leaves and flying seeds of any plant are the Airiest part, followed by branches.
(b) Lightweight Example - Aspen, Marjoram, Cilantro, PlantsDandelionwith lightweight wood, branches, or leaves are likely to be attributed to Air. A bundle of an Airy plant will tend to be lighter than it looks.
(d) Masculinity Example - Fennel, Asparagus, Celery, Cattail Air is a masculine element. If any part of the plant looks phallic, or thrusts up from the ground in shoots or stalks, pay attention. The ancients certainly noticed and assigned that plant to Air.
(f) Parasitic or opportunistic plants Example - Oakmoss, some mushrooms It doesn’t have much identity of its own. Some Airy plants are able to adapt to their environment and get what they need without sprouting roots.
(c) Fresh, clean fragrance Example - Lavender, Rosemary, Lemongrass, Anise, Oregano, Peppermint Perfumes of Air are bracing, refreshing, herbal and aromatic.
(e) Prolific or fast-growing Example - Poppy, Ivy, Cashew Air is the element of swiftness and expansion. Many nut-bearing trees are assigned to Air. Air plants tend to spread their seed.
Dandelion was shortlisted as the theme for Air element surface design. Lightweight property of a dandelion flower makes it fall in the category of a Air element. Images for Inspiration Images from the internet
2. Air element - Dandelion Following properties of a plant/herb or flower can make them fall in the category of Air element:
128 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
MOTIFS EXPLORATIONS FOR DANDELION THEME
129National Institute of Design | Graduation Project
I started by drawing the details of Dandelion flower and leaves of the plant with the help of images from inspiration board.
Air element - Dandelion Dandelion makes the only flower representing three celestial bodies during different phases of its life cycle – sun, moon, stars. The yellow flower of the plant resembles the sun, the dispersing seeds of the plant resemble stars, and the puff ball of dandelion plant resembles the moon. The dandelion is a symbol of hope, love, and happiness. Its yellow petals represent the sun shining on all the good deeds in your life. The black seeds of this plant are said to carry wishes for prosperity and new beginnings with them as they fly away into the sky. Dandelion prints look delicate, intricate, fine, playful and rich. People do make wishes over a Dandelion and blow its lightweight petals. Colour palette
130 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 The light characterweightofthe flower is visually depicted by flowing petals, hence the relation with air element and the reason for selection of motifs. Shortlisted motif
131National Institute of Design | Graduation Project Some more abstract motifs were explored. Shortlisted motif
132 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Further simplification of the motifs were done to study the details of the actual flower and varied abstract motifs were drawn in order to make it more interesting. motifShortlisted
133National Institute of Design | Graduation Project Dandelion is a common design theme in the market. Deepa wanted me to explore more styles for it to look fresh and simple. Shortlisted motif
134 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Geometric motifs explorations for Dandelion themewere explored with basic 2 dimensional shapes in order to study the various compositions with shapes. However it was discarded as it went away from the studio language.
While selecting the motif it was important to notice that the Dandelion motif should look delicate and light weight to match the theme but at the same time it should not be too complex from production point of view. Whole flower with stem was looking too delicate to be printed hence only flower and seed motifs were decided to be taken forward. The client wanted to explore detailed underglaze hand-painting for Dandelion theme to keep the fineness of the design intact. Several layouts were thought of. The explorations are shown later.
Cool colours were chosen from the inspiration board - light blue and dark blue on a white base glaze.
The selected motifs were further more simplified for easy production. Taking forward hand drawing digitail drawings of various elements and motifs were explored using Photoshop and Illustrator softwares.
135National Institute of Design | Graduation Project
SIMPLIFICATION OF MOTIF
Hand drawn motif Digital motif of flower simplificationFurther Digital motif of seed
136 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 LAYOUT OPTIONS
Plate options
Looks visually heavy on one side. Random placement of small motifs of the flowing seeds aptly describes the theme. It is also production friendly to print the motif and its reflection on the paper and randomly place the decals on the surface of the form. Elegant and simple motif placement can be a dinner plate. This was most liked by the client. This composition was shortlisted for a quarter plate. Border with simple transformations on a motif were explored. This was discarded later as the client wanted to go ahead with motifs as border keylines have to be made according to the ware more.handmadewhichdimensions,varyinprocess
137National Institute of Design | Graduation Project Bowl options Random placement of seed motifs on inside and outside surface of a bowl was well appreciated idea for the theme of air element. It is cost effective as well.
Placement of the flower motif on the outer surface from top to bottom hides the blue flowers under the curve of the bowl. this was rejected by the client. Detailed flower motif in big size. Placement of the flower motif on the outer surface from bottom to top was selected for serving bowls as this detailed motif in a bigger size. A large motif on the plate does not look delicate as compared to the other compositions for plate. Hence this was not taken forward.
Flower motif on the inside surface of a bowl creates a surprize element. Entire motif is revealed as the food gets over. This was most liked by the client. Seed motif border with equidistant motifs does not give much hand-made effect.
138 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
139National Institute of Design | Graduation Project FINAL LAYOUT Dinner plate Rice serving bowl Serving/mixing bowl Soup bowl Veg/curry bowl Quarter plate White bas has been selected for the base. Delicate designs have been chosen for the set. The colours have been inspired from the inspiration board. This set can be painted with light and dark blue underglazes with transparent glaze or decals can be printed on white base glaze. 3285 C 280 C Pantone shade
(b) Spicy and/or strong-smelling Example - Cinnamon, Chili, Pepper, Cloves, Ginger, Asfoetida, Basil Spicy plants and herbs are used to “heat up”.
(a) Thrives in summer time or full sunlight Example - Rosemary, Palm, Sunflower Sun-loving, tropical, and desert plants often get lumped into the Fire category. If a plant can stand scorching sunlight and drought, the thinking goes, it must be associated to fire. (But water-rich succulents, such as Cactus, can be attributed to Water as well.)
(c) Resembles fire or the sun Example - Marigold, Snapdragon, Calendula Plants that are red, gold, or orange-or that bear a physical resemblance to flameare often Fiery. Carrots and Oranges are sometimes placed here, too—although they are more Earthy and Watery, respectively.
Example - Stinging Nettle, Cedar Plants with spines and needles are considered Fiery, as are plants with acids or essential oils that irritate the skin. In India marigold is one of the most commonly grown flowers and used extensively on religious and social functions in different forms. Marigold was shortlisted as the theme for Fire element surface design. Marigolds are available in a range of gold, maroon, yellow and orange shades. Resembles fire or the sun in terms of its colour makes it fall in the category of Fire elements. Marigold is the most popular flower in Indian gardens. Its flowers are mainly used for making garlands for religious, social and many other purposes.
3. Fire element - Marigold Fire helps to cleanse and protect. Fire is also the element of confidence and fast action. Following properties of a plant/herb or flower can make them fall in the category of Fire element:
(d) Stings or irritates the skin
Images for Inspiration Images frominternetthe Colour palette
140 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
141National Institute of Design | Graduation Project MOTIFS EXPLORATIONS FOR MARIGOLD THEME I started by drawing the details of marigold by disecting a flower and studying its parts. The colours were selected from from inspiration board. Shortlisted motif Exploration to validate the importance of colours chosen. Identity of the marigold is completely lost when painted blue. 2 colour motif single colour motif
142 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Some more motifs were hand drawn. Shortlisted motif
143National Institute of Design | Graduation Project At this stage I started drawing abstract motifs without colour to study the pattern of petals and leaves. This has helped me in finding creative ideas for the motif exploration by studying the form of the flower. Shortlisted motif
144 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Shortlisted motifs were then simplified for easy production and simple Variedlook. motifs of leaves and flowers were explored. These motifs can be used individually or in combination to achieve desired results. buds Shortlisted motif
145National Institute of Design | Graduation Project Digital explorations of the selected motif and its layouts were made using illustrator software. These were shaded four colour motifs explorations. But this was later rejected because four colours would make the decal costly. Hence the selected motif was further simplified. The factor that hand-made feature should be visually noticeable was kept in mind while simplifying the motif. White base glaze has been selected for the theme for a contrasting surface design to highlight, LAYOUT OPTIONS
Selected motif. It looks simple, ornamental and goes with the theme of hand made fire element motif. This motif can be used for decal as well as hand - painting techniques.
Selected hand drawn motif
SIMPLIFICATION OF MOTIF
Simplified digital motifs
146 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Since marigold is used for ornamentation in several occassions at Indian homes, Deepa suggested me to go for abstract ornamental designs for this theme. Shortlisted motif was then simplified into an abstract marigold flower for easy production and simple look. Colours were cut down to two instead of four for the purpose. Several other motifs were explored in combination with the selected motif. These motifs can be used individually or in combination to achieve desired results.
SIMPLE ORNAMENTAL MOTIF EXPLORATIONS
Digital motif
Plate options
Large motif in the center looks like a decorative plate.Placement on one side and size of the decal in proportion with the size of the plate looks good for a dinner plate. This is too complex for hand painting
Placement of a big motif in the center was liked by the client. This placement is not very soothing to eyes as it leaves visually less space for the food.
147National Institute of Design | Graduation Project LAYOUT OPTIONS
148 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Bowl options
Border of motifs on the outer surface of the bowl. Slant motif was most liked by the client. Border motifs were not taken forward as it is complex to hand paint and maintain the symmetry in the design. Motif on the outer surface of the bowl is commonly found in the market.
149National Institute of Design | Graduation Project FINAL LAYOUT Dinner plate Rice serving bowl Serving/mixing bowl Soup bowl Veg/curry bowl Quarter plate White bas has been selected for the base. Ornamental designs have been chosen for the set. The colours have been inspired from the inspiration board. This set can be painted with orange and dark green underglazes with transparent glaze or decals can be printed on white base glaze. 7577 C 447 C Pantone shade
(a) Grows in or around the water, or contains a high concentration of water
Example - Lotus, Aloe, Cucumber
The feminine element of Water encompasses most plants that look like lady parts.
Images from the internet Colour palette
Example - Rose, Apple, Lemon Water is the element of seduction, indulgence, and delight. Therefore, it’s only natural that many of the plants that are most pleasing to humans belong in this category.
Images for Inspiration
Example - Chamomile, Poppy, Belladonna Addictive drugs (and some poisons) have a Watery nature. So do medicinal herbs that calm and relax. Lotus was shortlisted as the theme for Water element surface design. Lotus grows in water which makes it fall in the category of Water elements.
150 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Many swampy and coastal plants obviously belong in the Water category. Succulents, too, though they hoard their water inside. A possible exception is the Cactus, whose spines make it rather Fiery.
4. Water element - Lotus
Example - Pomegranate, Peach, Tulip, Lobelia
(b) Is sweet-smelling, or bears tasty fruit or juice
Following properties of a plant/herb or flower can make them fall in the category of Water element:
(c) Resembles the ovaries, womb or vulva
(d) Induces sleep, trance, or dream states
I started by drawing the details of Lotus flower by dissecting a flower and studying its parts. Motif explorations for leaves, flower, petals and their composition were made. The visit to an art gallery during this time in the project has helped me specially for Lotus theme design explorations. Shortlisted motif
151National Institute of Design | Graduation Project MOTIFS EXPLORATIONS FOR LOTUS THEME
152 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Pattern using petal element Some abstractcontemporarydesigns Shortlisted motif
153National Institute of Design | Graduation Project Study of pattern inside Lotus stem Adddition of water ripples with lotus flower visually reminds the water element relationship. Shortlisted motif
154 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Geometric explorationmotif Motif exploration with symmetry; looks outdated and difficult to maintain symmetry while hand painting
155National Institute of Design | Graduation Project Shortlisted motif
156 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Some geometrical motifs explorations. These were rejected because they looks outdated and it is difficult to maintain symmetry while hand painting.
SIMPLIFICATION OF MOTIF
Selected hand drawn motif Flower motif Bud motif Leaf motif Digital motif Refined Digital motif Below shown two colour motif was selected by the client. It will be hand painted with underglazes on transparent glaze or a printed decal on white base glaze. But the look was little patchy. The selected motif was further modified with different line thickness and was finalised by the client. Water ripples were added to add the reason for Lotus being water element. Further iterations were explored for a collection of decals.
157National Institute of Design | Graduation Project
158 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 LAYOUT OPTIONS Plate options Bowl options This composition gives a look of lotus pond and flowers in perspective Upside dowwn motif was not look ing good for lotus theme as it is opposite to the property of lotus. This was shortlisted for a quarter plate
159National Institute of Design | Graduation Project FINAL LAYOUT Dinner plate Rice serving bowl Serving/mixing bowl Soup bowl Veg/curry bowl Quarter plate White base with pink and green motif has been selected. Simple motif placement has been selected for elegant hand-made aesthetic appeal. Playful visual feel has been created by exploring the elements in varied ways. 7636 C 371 C Pantone shade
Example - Oak, Mandrake, Walnut
5. Earth element - Wheat Earth is the element of our bodies, the part of us that requires nourishment. Hence, most plants that we eat can be attributed to Earth. Grains (including corn, wheat and rice), potatoes, nuts, and fruits fall into this category--though many fruits also belong to FollowingWater. properties of a plant/herb or flower can make them fall in the category of Earth element:
160 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
(d) Roots, stems, and seeds
Different parts of a plant can carry different elemental correspondences. But the parts that grow under the ground or require germination always belong to Earth.
(c) Dry and stiff herbs Example - Hawthorn, Wormwood The sturdiest of the elements, Earth governs plants (and parts of plants) that are brittle or hard.
Wheat was shortlisted as the theme for Earth element surface design. Wheat is solid, dry and stiff, which makes it fall in the category of Earth elements.
(a) Smells of musk or soil Example - Vetiver, Oakmoss Woodsy, funky and grounding odors are Earthy. (b) Grows near or under the ground Example - Clover, Potatoes, Fern Creeping, ground-covering and burrowing plants are also quite logically assigned to Earth.
Images for Inspiration Images from the internet Colour palette
161National Institute of Design | Graduation Project HAND MADE MOTIFS EXPLORATIONS FOR WHEAT THEME I started by hand drawing various motifs inspired by Itwheat.wasimportant to notice that with minute changes the motif can look like a leaf motif. Hence carefully the motifs were shortlisted by reviewing with the client. Shortlisted motif Shortlisted motif
162 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
SIMPLIFICATION OF MOTIF explorations
Shortlisted Motifs were shortlisted and further more simplified for easy production. Taking forward hand drawing, digitail drawings of various elements and motifs were explored using Photoshop and Illustrator softwares. The client wanted to explore detailed underglaze hand-painting for wheat theme to keep the fineness of the design intact. Several layouts were thought of. The explorations are shown later. Colours were chosen from the inspiration board. Double colour motif was selected by the client.
motif motifShortlisted Selectedmotif
163National Institute of Design | Graduation Project
Digital
The design look very simple and elegant. Effect of light and shadow gives a feeling of 3-D Single colour line border was proposed as an element along with the motif. This was later rejected due to the complexity while painting or difficulty while decal placement.
Most forsideplacementcommonofonewasselectedadinnerplate
164 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 LAYOUT OPTIONS Plate options Bowl options Motifs placement ex plorations in the center and side of a plate. Major area is covered. It was not cost effective hence was reject.
165National Institute of Design | Graduation Project FINAL LAYOUT Dinner plate Rice serving bowl Serving/mixing bowl Soup bowl Veg/curry bowl Quarter plate Single motif and its reflection was proposed to be printed in different sizes, instead of its other iterations. Following layouts were shortlisted and the motif placement accordingly. This approach is cost effective and in a simple way the composition of wheat element is 3717556justified.CC Pantone shade
166 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 CONCEPT 2 SEASONS Seasons are caused due to the tilt of the earth’s axis and the earth’s revolution around the sun. Relation of five elements with seasons After summer, comes autumn, then winter and spring blooms in a loop. Autumn is associated with transition and change. Plants can sense changes in the seasons and their leaves change color. Spring runs from March 1 to May 31, Summer June 1 to August 31, Fall (autumn) runs from September 1 to November 30, Winter runs from December 1 to February 28 (February 29 in a leap year). Seasons associated with the five elements of nature: •Space/Ether(akash): Autumn •Air(vayu): •Earth(prithvi):•Water(jala):•Fire(tejas):SpringSummerSpringlatewinter and early spring Spring season Autumn season Summer seasonWinter season Images from the internet
3.
167National Institute of Design | Graduation Project Design element - Maple leaf
• White and blue shades are seen in colder seasons, darker tones have their importance during spring/summer.
1.
Images from the internet
1 2 43
Images for Inspiration Maple leaves in spring 2. Maple leaves in summer Maple leaves in autumn 4. Maple leaves in winter
• Inspired by the changing seasons, from autumn to winters, spring and then finally the colors of summer.
The genus Acer, commonly known as the maples, is an extremely diverse group of trees containing over 120 species of various sizes and habits. Maples are found throughout the northern hemisphere, but exhibit a significant native presence in eastern North America and Eastern Asia. Easily identified by oppositely arranged leaves and winged fruit known as samaras, maples are popular ornamentals due to their variety of growth habits, cultural adaptability, cold hardiness, and colorful foliage. The leaves of maple and several other trees change colour through the seasons before they shed in the fall: In spring, the first leaf buds appear. In summer the tree is thick with green leaves. Chlorophyll colours the leaves green and helps the plant make food. During fall and winter, it is darker and the trees can’t make much food. The chlorophyll is no longer in the leaves and so they start to change colour. The leaves turns into brilliant bursts of reds, oranges and gold in the fall, before dropping off the trees. In winters the trees are bare. The leaves of maple changes colours in every season, accordingly the colours were chosen for the concept explorations:
168 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 HAND MADE MOTIFS EXPLORATIONS FOR MAPLE LEAF THEME I started by hand drawing various motifs inspired by the maple leaves. Different colours were used according to the effect of seasons on them. Varied motifs in comparison to each other helped me in moving forward by shortlisting the motifs with client interaction. Shortlisted motif
169National Institute of Design | Graduation Project Shortlisted motif Shortlisted motif
170 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Digital explorations of motifs
171National Institute of Design | Graduation Project Border explorations 7556 C 7556 C 371 7556CC Pantone shade This concept was rejected as the set will not be profitable from costing point of view. Four colour decal will be too costly.
172 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
LEARNINGS Following are my learnings from the process of surface design concepts: (a) I started making the concepts by keeping in mind the learnings and takeaways from my research, my ideas started getting into shape. (b) Visualization of the ideas made it easier for me to discuss the project and further process with my guide from NID and my mentor from Clay station. (c) The process of exploration in the concepts subsequently lead to the step of elimination and shortlist. (The feedback from my client along with many other students, visitors and the stakeholders from the user study was the deciding factor for the shortlisted designs.) (d) My skills of surface designing on ceramics have improved. My painting skills also became better. Hence, I got an opportunity to design decal explorations for Clay station’s client - Soulful route, Bangalore. It is documented in Appendix chapter. (e) Floral concet was selected by the client with the help of user reviews.
173National Institute of Design | Graduation Project Visit to ‘Ode To Krishna’ By Artisera At Art Cafe, Sheraton Grand Bangalore Hotel At Brigade Gateway, Bangalore. This visit has helped me in understanding the details of Pichwai painting, which has lotus motifs. Paintings Gallery Brochure
7.3 Final print application explorations
DECAL TESTING
To value the intent of the project and learning experience, decal designs were proposed. These decal designs were also made for the purpose of use in the future. Decals were also proposed for fast production if required in future. Designs were conceptualized keeping in mind the issues and concerns faced in the decal application and printing.
175National Institute of Design | Graduation Project
The client’s vision is to make and sell handmade ceramics to promote pottery and nature. Handmade has its own charm when it comes to luxury dining, hence Deepa wanted to go ahead with hand painted surface designs instead of printed decals. The client wanted entirely handmade (wheel thrown) and hand painted tableware set. Hence I started with explorations using: a) underglaze painting with brush b) glaze of glaze painting with brush Floral theme concept was selected by the client. Deepa wanted me to explore underglaze painting for intricate details of Dandelion theme and glaze-on-glaze hand painting for Bamboo and Wheat theme.
(Underglaze painting exploration with Duncan underglazes) Logo of Tattva handmade
Underglaze painting and decals were suggested to the client for wheat theme as a simple wheat motif resembles more of a leaf. These were made on discarded Clay station forms. Glazes used for this exploration: Burnt caramel on Studio white glaze.
Explorations of GLAZE ON GLAZE hand painting
To test the decal process, Deepa wanted to try printing the logo of Tattva handmade on the clay bodies of Clay station. Decal logo is usually applied on the bottom of wares. These were made on discarded Clay station forms before painting the final set. Printed a decal of Tattva handmade on the surface design explorations. Decals are not only for the top surfaces of the glazed forms but also can be applied on the bottom surface of the clay body.Decals on the clay body are applied before glaze firing.
FINAL EXPLORATIONSAPPLICATIONPRINT PROCESS
Screenshot of the Website of Tattva handmade Note - Mugs and tumblers are clay station’s discarded forms taken for initial explorations for the final surface design concepts.
176 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
Studio level production process for forms and surface designing at Clay station were used for the explorations to arrive at a practical Underglazesolution. painting technique has been in use at clay station but glaze on glaze painting was explored by me during the project under Deepa’s Photographsguidance.of the whole production processes can be seen under the topic - Production processes at Clay station. Remaining photographs of the final exploration process are shown further.
Left photo: Painted bisque fired wares kept on swatches of glazes.
Hand painted bisque ware using Duncan underglazes with brush technique..
177National Institute of Design | Graduation Project Pre mixed glazes are stored in lidded plastic containers. Glaze is prepared by mixing the liquid using a clean toilet brush. Glazing of bisque ware by dipping and pouring methods. The base is first waxed with a mixture of hot wax and kerosene using brush technique. The bisque fired form is kept on a banding wheel for better Glazeapplication.onglaze hand painted bisque wares using brush technique. Only drawback is that erasing unwanted glaze on glaze is difficult. Before and after firing photos from left to right.
Right photo: Glaze fired wares
178 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 BAMBOO Glaze: black-brown on sea salt glazes by clay station DANDELION Glaze: light blue & dark sapphire Duncan underglazes with zinc free transparent glaze by clay station
179National Institute of Design | Graduation Project
DELIVER8 Technical Drawings 3-D CostingRenderings
181National Institute of Design | Graduation Project TECHNICAL DRAWINGS OF THE FORMS Curry bowl/ Veg bowl Soup bowlNote: Overall thickness of the forms will be 0.5 cm approximately (after firing) 5.5”4.5” 2” 2.5”
182 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 Rice serving bowl 8”9” 3” 3.5” Serving bowl
183National Institute of Design | Graduation Project Quarter plate Dinner plate/ full plate 11” 1” 1” 7.5”
184 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
185National Institute of Design | Graduation Project
186 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
187National Institute of Design | Graduation Project
8.1 Costing
Apart from these, there are other costs as well in a ceramic studio which are investments in setting up the system (eg.,rentals, stationery, studio equipments, tools, etc.)
Cost of decals depends upon the following factors: (a) Number of colours (b) Size of design (c) Complexity of the design (d) Types of colours (e) Printing cost
3) Firing cost - for full kiln: ₹1000 (bisque), ₹3000 (glaze), per piece: 150 rs per piece of 1 feet height. 20 to 25 pieces can be loaded in the kiln, depending upon the form.
Costing of ceramic wares depends upon the time, energy and materials spent for every process of the production.
(b) GlazesApproximate₹250/kgperpiece glaze weight - 180 ml for veg bowl, 250 for soup bowl, 350 ml for serving bowl, 350 ml for dinner plate, 250 ml kg for quarter plate, 400 ml for rice bowl.
Listed below are some of the factors depending upon the price of the product:
1) Material cost for:
189National Institute of Design | Graduation Project
2) Labour charge per hour - depends upon the complexity and artist fees.
(c) Underglazes - ₹2000 - ₹3000
(a) Clay - ₹30/kg to ₹60/kg (for stoneware) Approximate per piece clay weight - 500 grams for veg bowl, 1 kg for soup bowl, 2 kg for serving bowl, 2.5 kg for dinner plate, 1.5 kg for quarter plate, 3.5 kg for rice bowl.
4) Packaging cost - 20 to 50 rs per piece
5) Breakage cost - 30% of the cost
LINKS AND REFERENCES9
191National Institute of Design | Graduation Project • Title: Designing Tessellations: The Secrets of Interlocking Patterns Author: Jinny Beyer Publisher: Contemporary Books, 1999 • Title: The Hidden Secret of Ayurveda Author: Robert Svoboda Publisher: Ayurvedic Press, 1996 • Title: The Synthesis of Yoga Author: Sri Aurobindo Publisher: Lotus Press, 1992 • Title: The Art of Tessellations Author: M.C. Escher Publisher: Brenda Lauw, 2011 • Title: The design of everyday things Author: Don Norman Publisher: Basic Books, 1988 LINKS: • https://tinyurl.com/2p9dm2sr • http://www.thelawofattraction.com/7chakras/ • https://www.earthandelement.com/ GRADUATION PROJECT DOCUMENTS by: • Annu Mathew • Tejashwini Satyanarayana • Kriti malhotra • Sahiba Nanra • Srishti Dubey REFERENCE BOOKS: • Title: Escher on Escher: Exploring the Authors:Infinite Maurits Cornelis Escher, J. W. Publisher:VermeulenHarry N. Abrams, 1989 • Title: Escher: The Complete Graphic Work Author: M. C.$q(Maurits Cornelis) Escher Publisher: Thames and Hudson, 1981 • Title: M.C. Escher: Visions of Symmetry Authors: Doris SchattschneiderDouglas R. Hofstadter Publisher: Turtleback Books • •Aurobindo/23-24TheSynthesisofYoga.pdf•purifying-the-five-elements-of-our-being••ayurveda101/ETH_5elements.htm•watch?v=rTeKZRsZvDY•articles/five-elements-ayurvedic-medicinehttps://www.ayurvedacollege.com/https://www.youtube.com/http://www.eattasteheal.com/https://en.wikipedia.org/wiki/Wu_Xinghttps://www.yogajournal.com/teach/http://www.sriaurobindo.nl/docs/Sri%20https://en.wikipedia.org/wiki/Classical_ element • https://iarp.org/chakra-basics/ • •5-koshas-in-your-yoga-practice•The-7-Chakras-for-Beginners.htmlhttps://www.mindbodygreen.com/0-91/https://chopra.com/articles/embrace-the-http://www.thelawofattraction.com/7chakras/ • symbols-4122788https://www.learnreligions.com/elemental-
192 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 • https://www.siaktransfers.com/ceramicdecals • https://tinyurl.com/bdejkf9z • https://tinyurl.com/2p8sn7xf • https://tinyurl.com/2wzhkcb2 • •watch?v=6w8WzKeum64https://www.youtube.com/http://www.thelawofattraction.com/7chakras/ • https://en.wikipedia.org/wiki/Chakra • http://www.thelawofattraction.com/7chakras/ • https://tinyurl.com/yc2kmx9x • http://ergonomics.uq.edu.au/eaol/handle. pdf • https://ergoweb.com/grip-design/ • https://www.earthandelement.com/ • http://www.friesian.com/elements.htm • ticles/five-elements-ayurvedic-medicinehttps://www.ayurvedacollege.com/ar IMAGE CREDITS: • page 12: https://tinyurl.com/2p8v325n • page 25: https://clay-stationsadashivnagar.business.site/ • page 26: station-arts-studio-pvt,https://yourstory.com/tag/clay-https://claystation. in/ • page 27: https://tinyurl.com/jbmxs5hu • pages 30, 31 & 32: https://claystation.in/ • page 33: ••••blog/tag/hand-built-pottery•products/bela-teacups-set-of-4••culture/chinese-porcelainhttps://www.chinatravel.com/pages34,35,37:https://claystation.in/page43:https://www.minimalindian.com/page44:https://www.jansonpottery.com/page49:https://tinyurl.com/2fywa89cpage52:https://tinyurl.com/ys5nedz9page58:https://tinyurl.com/56vun42bpage68:https://tinyurl.com/3tjuzxtn BRAND WEBSITES: • https://www.claycraftindia.com • https://www.corelle.com/ • https://www.fabindia.com/ • https://www.borosil.com/ • https://laopala.in/ • https://indiacircus.com/ • https://www.noritakeindia.com/ • https://effnbeelifestyle.com/ • https://kikatableware.com/
hagia-sophia/https://hagiasophiaturkey.com/mosaics-https://tinyurl.com/4jh9hat6,https://tinyurl.com/33dyhcpw,https://tinyurl.com/3v355tx7,https://tinyurl.com/yck3j8up,https://tinyurl.com/2p8c22ft,•https://tinyurl.com/2p8u4rjyhttps://tinyurl.com/57mpzyuk,•https://tinyurl.com/yrjc4c75,https://weheartit.com/entry/347909560,https://tinyurl.com/ymc87b53,page188:https://tinyurl.com/43z43uc3,page189:https://tinyurl.com/2p8k592e,
193National Institute of Design | Graduation Project • page 70: https://tinyurl.com/yhpt45jk • page 74: https://tinyurl.com/2p98kwha • page 75: https://tinyurl.com/3kdt8ws4 • page 90: https://tinyurl.com/yckmc6nx • page 107: https://tinyurl.com/h8zsfebs • page 122: https://tinyurl.com/ycy3mpt9 • page 124: https://tinyurl.com/muaapuuy • page 128: https://tinyurl.com/yc52cyjn • page 131: https://tinyurl.com/2raasj7k • page 134: https://tinyurl.com/y59w4fjr • page 138: https://tinyurl.com/2p8ev23h • page 139: https://tinyurl.com/ycyehy9w • page 148: https://tinyurl.com/bdzxpp2u,•https://tinyurl.com/2p8k7tzbhttps://tinyurl.com/2p9e8956,https://tinyurl.com/38h3cvdp,https://tinyurl.com/y3t47k2j,https://tinyurl.com/54yh9jup,page148:https://tinyurl.com/bddhvh5d,
APPENDIX10 Market Study User SoulfulStudyroute project
tableware collections? ? What are people mainly looking for? ? How are your products different from other brands ? What are the price ranges? ? How often do you launch a new collection?
? What all
tableware has a remarkably huge market in countries outside India. People use this material on a daily basis as well as on special occasions. With such a scenario and a large market in place there are a large number of companies which are manufacturing these wares. Thus, before getting into designing a range or any product per se it was important for me to develop a basic understanding of the contemporary design language and what exists in the market today. In the pages that follow there is a study of a few companies both Indian and International which at present are in the market. This research was focused on getting an insight into what user/clients prefer when it comes to choosing tableware from the market. The methodology adopted was to personally visit different stores and interact with high end brand products, their executives and customers to get their views on their preferences and reasons for such a choice. It was further augmented by obtaining responses to a questionnaire, covering their valuable and frank views on the subject. The survey was conducted from about 20 stores in Bangalore. This has helped in giving me insights for design direction and modifying the brief. Initially I conducted market research before user research so that when I visit homes, I should be aware about the products of different brands. Also, my user group is a subset of larger customer group with whom I interacted during the market research. Later, both the researches were conducted simultaneously. materials are used to make this selling
195National Institute of Design | Graduation Project 1.
Primary market research is original research that is conducted specifically for defined objectives. It is generally undertaken after some insights have been gained by the researcher about the issues such as by analyzing previously collected primary data or by reviewing secondary research. It is the research generated by conducting trials, asking questions and collecting results from Stonewareothers.
brands tableware? ? Share about your collections? ? Which material do customers prefer? ? Which are your fastest
• Tableware collection is assorted. Customers can buy either one or more than one pieces and make a set according to their requirement.
I visited three stores of Fabindia in Bangalore - Garuda mall, Indira nagar and Phoenix mall.
• Material is mostly stoneware and bone china.
• Price range is from ₹190 to ₹700 approximately, per product.
• The forms are mostly organic and maximum glazes in the shades of earthy browns, blues and greens.
• Fabindia’s first retail store opened in New Delhi in 1976. Today, Fabindia has 211 retail stores across India, 2 stores in Singapore & Dubai and 1 store each in Italy, Nepal, Malaysia and Mauritius.
1.
Fabindia
• The handmade crockery is mainly outsourced from various ceramic production houses in India like metro ceramics, dileep industries, etc.
• There was a variety of surfaces like hand painted, decals, textured surface, multi glazed, matt and glossy.
• Fabindia, Garuda mall has very limited collection of tableware as compared to the collection at Indira nagar store.
196 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
• Price range is from ₹190 to ₹700 approximately, per product.
197National Institute of Design | Graduation Project • The Organic World was started in 2013 with the mission to make a positive and progressive difference to the world we live in. Locally sourced and organically grown produce benefit individuals and •communities.Theyhave7 premium organic retail stores in Bangalore and they sell 120+ certified brand products. • They have sourced terracotta home decors, cookware and serve ware from the traditional potters. • The terracotta products are very minimally priced starting from ₹50. 2. The Organic World, Cunninghum road
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• They have a limited collection in the store but the products required can be customized within 15 days.
The products are exclusive and price starts from ₹2000.
3. Vista
• In addition to using designer production techniques, the porcelain factory also employs 17 hand painters, who are responsible for decorating the pieces produced.
• With a history of nearly 200 years closely tied to the history and culture of Portugal, the brand today combines the handcraft mastery, present in the remarkable hand painting, with the most advanced technology and design, remaining at the forefront of porcelain production. The frequent creative partnerships with several established artists and international renowned chefs contribute to this end.
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• Vista Alegre is a Portuguese porcelain manufacturer located in Ílhavo in the district of Aveiro.
• All items may be ordered as individual pieces or multiples. They have a wide range of forms and beautiful decals including Gold and platinum on porcelain. Only one stoneware collection was there in the store.
• Distinguished by the quality of its raw materials, the Vista Alegre porcelain is characterized by its whiteness and resistance, and its bright and uniform glaze.
• Vista Alegre produces porcelain tableware, decorative pieces, gift ware, hotel ware, high quality glass and crystal, and 18/10 stainless steel cutlery.
• There was only one collection (blue) which didn’t had porcelain tag and it was looking like stoneware as well but the store manager told that it is porcelain.
The price range starts from ₹1500. Alegre
198 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
• Tableware collection is assorted. Customers can buy either one or more than one pieces and make a set according to their requirement. The price range starts from ₹1500.
4. Villeroy & Boch
• Tableware collection is assorted. Customers can buy either one or more than one pieces and make a set according to their requirement. There was only one collection (blue) which didn’t had porcelain tag and it was looking like stoneware as well but the store manager told that it is porcelain.
• Tableware collection is assorted. Customers can buy either one or more than one pieces and make a set according to their requirement. All items may be ordered as individual pieces or multiples. They have a wide range of forms and beautiful decals including Gold and platinum on porcelain. Only one stoneware collection was there in the store.
199National Institute of Design | Graduation Project
• Villeroy & Boch is a brand that has been inspiring to customers around the world for over 260 years. It is still a family owned company. The eighth and ninth generations of the two founding families are actively involved in the creation of outstanding tableware to this day. The company is renowned for its creative design, its style, and its high quality of materials and manufacture.
200 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 • Ayush Baid, Dileep Baid’s son believed in the products of Dileep industries and started Ellementry or the Indian market after pursuing master’s from University College of London. In 2015, he started. • Design language - Clean, subtle, simple, minimalistic, classy, nature inspired. • Prices are highly followed marketing •strategy.Hestarted with a deep research on market, target cities, price points, time of buying, mode of buying (laptop or phone) • The six pillars – Handmade, Fusion, Sustainable, Form and function, Cultural revival, Food safe. • Ellementry’s price range is between Nicobar and Fabindia starting from ₹350. 5. Ellementry
201National Institute of Design | Graduation Project 6. Good Earth • Good earth has in house team of designers who designs 3 to 4 collections of tableware every year. • They have a wide range of stoneware, porcelain, bone china, brass and glass tableware collections. Each product is priced separately. • There is variety of forms and surfaces available with the names to each product and details of it dimensions. • The dinner sets have products which makes a set are not identical but comes as a set together. • Dinner plate, Side plate , Oval platter, Serving bowl, Chutney bowl, Soup cup, Katori, nut bowl, Pasta plate, Salad Bowl, Shallow bowl, Soup bowl, Mini bowl, Platter.
202 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 • This is a co-operative store started by the Grameena Karakushala Udyama, an association that provides a platform to unemployed but skilled rural youth to sell their products directly to the consumers. • They have traditional terracotta cookware and serveware. • They also have bowls made with sea shells and wooden tableware and cutlery. • Price range of the terracotta cookware and serve ware starts from ₹100. 7. Grameena Angadi, New BEL road
8.
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The decals are not having sharp finishes as compared to Good earth products. They also have glass tumblers, bowls, cups, etc. made with recycled glass. There are textured jars of stoneware with rust finish glaze on them. Pottery with blue decals are available which have been imported from Japan.
203National Institute of Design | Graduation Project
Nicobar has a very varied range of tableware in stoneware. The products are in different thickness and glazes. It is difficult to mix and match products as a set.
The products looks over priced and starts from ₹400. Nicobar, Lavelle road, Bangalore
204 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 • Westside has a limited collection of tableware, no dinner sets as such. • The forms of the mugs are very attractive with minimal or single colour glazes. • The material is mainly stoneware and porcelain. • Tableware was assorted, customers can buy one or more than one product. But the range was limited to make a set. • Price range starts from ₹250. 9. Westside, Garuda mall
? How you decide upon a tableware? ? What types of prints do you prefer on a tableware? ? Which material do you prefer? ? Which are your favourite tableware brands? ? Share about your food preferences? ? Do you host gatherings on meals at home? ? Share about daily food pattern? ? How often do you buy a tableware for home?
Primary user research is generally undertaken after some insights have been gained by the researcher about the tableware brands by analyzing previously collected primary market research data or by reviewing secondary market research. It is the research generated by conducting trials, asking questions and collecting results from the users. This comes into use to finally arrive at the choice in terms of ingredients or relevant process. There will be a need to fully understand the various processes and materials to be able to arrive at the most suitable choice. An in-depth study and understanding of the raw materials used and their characteristics is necessary to arrive at the best composition, thereby resulting in a product worthy of appreciation. This research was focused on getting an insight into what user/clients prefer when it comes to choosing the shape and size of crockery during informal meals at urban Indian homes. The methodology adopted was to personally visit and interact with high end and upper-middle class consumer group and get their views on their preferences and reasons for such a choice. It was further augmented by obtaining responses to a questionnaire, covering their valuable and frank views on the subject. This choice of customers was made keeping in mind the company’s customer profile and the design brief. The survey was conducted from about 20 users in the urban Bangalore. This has helped in giving me insights for design direction and modifying the brief. Interacting with them threw better light on the whole project as these customers were able to narrate their firsthand experience. Following are the insights gathered from some of the user interactions. More observations are listed in Appendix.
205National Institute of Design | Graduation Project 2.
• They also have guests who consumes alcohol, for the snacks they use quarter plate.
• Coming from a South Indian family, their curries are mostly with coconut gravy and not dry so they need at least 3 to 4 bowls per person for serving curries and 1 bowl for dessert.
206 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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• About: Kavya is married to Sandesh since 4 years. Since they have a one year old kid now so she only uses steel and melamine cutlery as it is easy to maintain. She has packed all her glass dinner sets in the loft.
USER 1: KAVYA
Food preferences: They eat a lot of meat and friends and family members keep coming to their place for gatherings on meals. Mostly they eat chicken, mutton, fish, rice, rasam/ sambar (instead of dal), chapati (sometimes) and desserts like paysam, ice cream.
• Utensil preferences: They serve the food in the kitchen only and then give the dinner plates on the dining table to their guests. She directly serves rice from the cooker.
207National Institute of Design | Graduation Project USER 2: SWAPNA
About: Swapna lives with her husband and 2 kids. They are not much into social gatherings with friends but more with extended family members. They hail from Kerala.
• Food and utensil preference: They mostly is veg food and chicken rarely. Dinner for guests usually has a menu of red rice, puddi, kanhi, etc. They never use bowls as they had a habit of mixing everything on a banana leaf and now they use plate but eating style is the same. In desert they usually like eating payasam, made with both coconut milk or jaggery. All her cutlery has floral design surfaces.
•
• Her grandmother used to tell her that they used to have rice soup everyday as it used to be very hot in their village and this helps the body to cool down. Since then they are using medium size soup bowls for such •preparations.Tapiocafish and fish moli (fish cooked in coconut milk) is a famous dish from Kerala. They prepare it occasionally and eat it in the big dinner plate with appam.
• Utensil preferences: They usually eat in melamine or steel plates and bowls.
• She uses metal casseroles with lid for serving and mild heating the food before serving on stove.
• If the salad has dressing then she uses the square transparent glass bowl for serving otherwise if it cut salad then she uses any dinner plate.
208 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
About: Kavya and Soumitra are married since 5 years. They sometimes go out on weekends but usually eat at home which their cook prepares. Most of their guests at home are office colleagues from south India.
•
• She sometimes use glass dinner plates and bowls when guests come home for dinner and drinks party. Food preferences: They usually eat very light food for dinner but when someone comes home they prepare food like kofta, chola, pulao, dal makhni, roti and raita. They prefer kheer, ice cream in deserts.
• She uses the same borosilicate glass transparent bowls with lids for storing the left over food from lunch every day.
• They also serve fruit chat in the bowls which are bigger than the veg bowls and use the transparent glass bowls for serving.
• They have small ice cream cups for the desserts like kheer, srikhand, halwa and ice cream.
USER 3: KAVYA
• They keep inviting friends over for dinner.
•Adrita being a designer from NIFT, she wanted to give a commercial angle to the hand painted ceramics and that’s how she has designed motifs to paint with underglaze, keeping the entire theme very minimal as the name.
Utensil preferences: They are always looking for a light weight option of clay bodies. They found one in south Africa.
•
209National Institute of Design | Graduation Project
• Food preferences: In their meal they usually prefer to have something light like pasta, dosa, idli, etc. But when someone comes home then the dinner is usually with alcohol with starters, fish, rice, roti, etc.
•About: Adrita and Chintan have a great collection of handmade ceramics from different countries. They have together started their own brand of hand painted ceramics called ‘minimal Indian’. Adrita is from Kolkata and Chintan from Ahmedabad.
• They have a cook who cooks for them daily.
USER 4: ADRITA
210 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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• Utensil preferences: She is always looking for different forms of serving platters. She prefers elongated plate for potato wedges and something like S- shape or leaf shape for nuggets, also a small bowl for dip.
Food preferences: Their food patter for guests always starts with Kashmiri kahwa followed by a full course meal of snacks, 2 veg, 1 non veg curry, roti, rice, desserts, salad.
• Her dinner set has dinner plates, side plates, small bowls, rice tray, and big bowls for serving.
• The finger chips and dip serving is attractive for kids and Smariddhi finds it interesting to serve in that but it is difficult to take out the last few pieces of the food from the cone and also to clean it.
•
USER 5: SAMRIDHI
About: Samriddhi and her husband has 2 daughters, Shrishti is 10 years old and second one is 6 months old. They are from army background hence because of the lifestyle and culture she has an interest of collecting cutlery. They hail from Kashmir.
About: Rupali and Pawan has 2 kids, Paru and Pihu.
• Utensil preferences: They are fond of using ceramics. She has got one dinner set from SriLanka which is white and platinum plated in the rim. She hardly uses it as it is expensive and only use on special occasions.
• Food preferences: They mostly serve full course means when some guests come for dinner. She prefers to cook roti, 1 veg gravy, 1 non veg gravy, 1 dry veg, 1 dal, rice. They usually eat less sweet so deserts very rarely. RUPALI
211National Institute of Design | Graduation Project
• Rupali is always looking for light weight, microwavable and easy to maintain cutlery. She likes simple designs.
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• Daily they use brown marble effect ceramic plates which are usually seen at the restaurants. Her kids finds them very heavy hence they are more comfortable in using melamine plates.
USER 6:
212 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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• About: She belongs to a Sindhi family and she does a business of exporting pomegranate and mangoes. She is socially very active. She has done the interior decoration of her house.
Utensil preferences: She is fond of cutlery and her collection is from Spain, Thailand and SriLanka. She buys the cutlery she likes where ever she travels. She finds storage a problem.
• Food preferences: They food preparations like Sindhi kadi has a lot of vegetables, they like to eat it in a big bowl which is bigger than the veg bowls. More than bowls they prefer to eat curry/veg/non-veg in the halwa plate because the solid food in the curry is more accessible in the broad plates as compared to the bowls .
USER 7: HARSHA
• She prefers serving bowls with lids for the main course food and bowls without lid for serving sweets. They usually eat fried snacks like papad, tikki, chips on a daily basis, also, rice, roti, 3 to 4 curries, dal and sweet like kheer, halwa. She always needs 4 to 5 bowls per person to serve food for dining.
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• She has got one light pink ceramic plate for a photoshoot of dark pink cake piece.
• Utensil preferences: She has got most of her cutlery from Thailand. She is always looking for aesthetically pleasing dessert plates for the display and shoot purpose but she finds it difficult to get any such of her choice in India.
• The serving bowl with transparent glass lid is functionally helpful to use as the food and its quantity is easily visible.
USER 8: VISHAKHA
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Food preferences: When guests arrive for dinner, she serves them 2 to 3 veg curries which has at least one dry veg, starters, rice, dal, rasam, sambhar and desserts.
• She couldn’t find good serving bowls for desserts like fondue.
•lid.Her favorite is the three level dessert serving platter which she got from Thailand.
213National Institute of Design | Graduation Project
About: Vishakha is a professional baker and runs her business from home under the name ‘wildflour bakehouse’. Her daughter has done a baking course from London and her has learnt from her.
• She usually prefers bowls with lid for serving purpose. Otherwise she uses cellophane sheets to cover the food in the bowls without
• The cup and saucer in the photo is not very usable according to her as it is small and the handle is not very comfortable.
Food preferences: Oriya style food has a lot of meat, spices, curries cooked in different styles. They prefer to eat chicken in halwa plate as the pieces are easily reachable and can be mashed in it as compared to the curry bowl which is deep.
About: Madhumita and her husband are Oriya, she has one 6 years old daughter Mishika and a 15 years old son Ome.
•
•
USER 9: MADHUMITA
• She is fond of cutlery which is simple and more functional. Aesthetics comes later according to her.
Utensil preferences: They use opal ware dining sets for regular use and whenever someone comes home for dinner.
214 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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• While serving the dinner everything is served in bowls on the table and people take the food themselves according to their own •preference.Kulsoomis
always looking for light and easy to use crockery. Her husband is fond is Iran’s Isphan crocery. They also have bought some of their cups from Iran. KULSOOM
Utensil preferences: She mostly like plain white plates or with minimal floral designs. She never prefers to use melamine or plastic tableware. She says that Muslims usually eat in one single dinner plate, they don’t use bowls. If any then for dessert or salads. Quarter plates are a must to serve dry fruits, biscuits, shahi tukda.
215National Institute of Design | Graduation Project
• Food preferences: They rarely have soup and that too nahari or paya soup. It is rich in fat and mostly consumed in the morning time. She usually cooks food at home but they eat south Indian food outside as the preparation is more.
USER 10:
About: Kulsoom is from Hyderabad, her husband is from Iran. They have 2 kids.
• He owns a flat and has a minimal set of crockery for himself. Friends and family keep visiting his place.
•
Utensil preferences: He has a corelle opal ware dinner set which he uses for the meals and for serving to the guests as well.
•marathons.Hetakes good care of his diet now. He makes sure that it is balanced with soup, salads, rice, vegetables, rasam, etc.
• Food preferences: He is fond of non veg, he cooks occasionally. Mostly he eats outside or at office cafeteria.
About: Leju is from Kerala and he lives alone in Bangalore. He works with an IT companyCapgemini.
• He is one passionate person who have lost 30 kgs by working out and now he runs
USER 11: LEJU
216 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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• He took a 6 months break from non veg food as he wanted to explore veg food. Earlier he only used to eat non veg.
• Mahima is from Bhopal and her husband is from palakkad, Kerala.
• She sometimes use glass dinner plates and bowls when guests come home for dinner and drinks party. MAHIMA
217National Institute of Design | Graduation Project
USER 12:
About: Mahima and her husband both are working professionals. They have maid since ever who takes care of their and 2 kids meals.
• They have small ice cream cups for the desserts like kheer, srikhand, halwa and ice cream.
• Utensil preferences: They usually eat in melamine or steel plates and bowls.
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• She uses metal casseroles with lid for serving and mild heating the food before serving on stove.
• Food preferences: Food preparation mainly includes rice, dosa, uttapam, iddiapam, puddu, roti, pulses, veg curry, paneer, chicken dishes, etc. South and north Indian food. Curries are included but they usually mix it with rice in a plate for dining and not bowls or spoon.
• She likes baking but she does it occasionally. 13: PRAGYA
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• She also has a good collection of alcohol from different places. She keeps inviting friends for house parties.
• Utensil preferences: She is very much fond of crockery and has a great collections which is bought from different countries. She has glass cut and gold plated tumblers which are very old.
About: Pragya is basically a Punjabi from Amritsar. She has also lived in Rourkela, Orissa. She working and living alone in Bangalore.
• Food preferences: She likes Punjabi food. Mainly eats 11 curry, dal, chicken curry, rice. At night she prefers to eat roti instead of rice. Soup is a must in her diet.
218 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
USER
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• She takes the ceramic ware, opal ware and glass crockery only when they invite guests at home for dinner or lunch.
• She has experienced that eating non veg in ceramic or glass crockery is better because the smell wont be there after washing, unlike in steel or plastic.
USER 14:
• She finds ceramic barni the best to store pickles or salt. It stays fresh in this.
219National Institute of Design | Graduation Project
About: Nisha lives in Bangalore with her husband and 2 daughters. Originally they are from Kerala.
Utensil preferences: They use steel utensils on a daily basis for all the meals. They also have ceramic crockery, most of them was gifted in their wedding.
• So they use plain ceramic plates for daily for non veg.
•
Food preferences: Their food patter includes once curry, one side dish, rice, appam, iddiappam, rasam, etc. They don’t use separate bowls, instead one dinner plate for all the food items. NISHA MENON
220 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
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About: Nisha lives in Bangalore with her husband and 2 daughters. Originally they are from Kerala.
Utensil preferences: They use steel utensils on a daily basis for all the meals. They also have ceramic crockery, most of them was gifted in their wedding.
• She takes the ceramic ware, opal ware and glass crockery only when they invite guests at home for dinner or lunch.
•
• She has experienced that eating non veg in ceramic or glass crockery is better because the smell wont be there after washing, unlike in steel or plastic.
• She finds ceramic barni the best to store pickles or salt. It stays fresh in this.
USER 15: SHWETA PAI
• So they use plain ceramic plates for daily for non veg.
• Food preferences: Their food patter includes once curry, one side dish, rice, appam, iddiappam, rasam, etc. They don’t use separate bowls, instead one dinner plate for all the food items.
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Utensil preferences: Minimum 3 bowls per person are used for serving the curries and •dessert.Shehas corelle or Larah dinner sets which she has got as gifts long back. Material is either opal glass or melamine. Surfaces have red and yellow combination decals.
221National Institute of Design | Graduation Project USER 16: SAVITHA
• She has more dinner plates than quarter plates as in south India people usually mix the curries with rice and eat with hands.
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About: Savitha comes from a traditional tamilian family. They keep on inviting guests from native and friends from Bangalore.
• Food preferences: They usually start serving dinner with snacks like onion or banana bhajji in quarter plates. Then Sambhar, idli, dosa, rice, pongal, kadi, curd, at least 2 different types of chutneys. Dessert may include paysam, kheer, gulab jamun, etc.
HAGIA SOPHIA History: Hagia Sophia is the former Greek Orthodox Christian patriarchal cathedral, later an Ottoman imperial mosque and now a museum (Ayasofya Müzesi) in Istanbul, Turkey. Built in AD 537 in the Middle Ages, it was famous in particular for its massive dome. It was the world’s largest building and an engineering marvel of its time. It was a mosque for 482 years and a church for 916 years. Architecture: Interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics. The exterior, clad in stucco, was tinted yellow and red during restorations in the 19th century at the direction of the Fossati architects. The aesthetic qualities of a geometric design are what most concern the twentiethcentury work on Hagia Sophia. Mosaics with geometric pattern decorate the upper imperial gallery. Due to the association of beauty, harmony, and mathematics, an objective description of Hagia Sophia reveals a certain beauty concerning its design. Images from the internet
222 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 3. Other project done at Clay station
I started by studying about Turkish ceramics and Hagia Sophia, as the theme was chosen by the clients.
Brief: To design surface decal explorations for porcelain tableware which is inspired by the Hagia Sophia mosque/museum in Istanbul, Turkey Client: Soulful route, Indira nagar, Bangalore (under the guidance of Deepa Sonawala) About the clients: Maha and Shrinivas have travelled the world together and they have a dream to launch ‘Soulful route’ at their bungalow in Indira nagar, Bangalore. It will be a combination of a design store with their handpicked and designer porcelain collection inspired by their travel stories and Airbnb like stay facility. They choose Hagia Sophia mosque/museum in Istanbul, Turkey as their inspiration for their first collection of tableware. They will be sourcing the forms and decals from their vendors in China.
223National Institute of Design | Graduation Project Images for Inspiration Images from the internet
Initial border explorations Image from the internet
Explorations
Followed by through study of the architecture and interiors of Hagia Sophia I started created explorations inspired by them and Turkish ceramics.
224 Prateeti Verma | M.Des. Ceramic and Glass Design 2017 TURKISH CERAMICS
Due to its rich history of ceramic production, Turkey can be seen as the ‘land of ceramics’. These traditions have been coloured by the many different civilizations that have evolved in the Anatolian region. In addition to this cultural history, geography has played an important role. The abundance of natural resources in Anatolia ensures high quality ceramic products and these raw materials are also exported for ceramic production outside Turkey. As well as being a world leader in ceramic production, Turkey has some of the most sophisticated technology and innovative products on the market. Turkish ceramic producers work closely with some of the world’s most talented designers in order to create exciting new products that are both beautiful and functional.
Initially motifs and border explorations were made by studying the inspiration images carefully. Clients then shortlisted the colours - light blue, dark blue and golden yellow on a white base.
Motif explorations
225National Institute of Design | Graduation Project Explorations in shortlisted colours Ornamental border explorations Leaf border explorations Tulip flower border explorationsFloral border explorations Motif explorations
As per the given brief several explorations of motifs and borders were made upon the theme - Hagia Sophia to be printed on the tableware collection by Soulful route. The following three motifs were made in different sizes on illustrator and delivered to the client. Forms were not yet finalized by the client’s vendors in China. They decided to redesign the forms according to the surface designs. The clients decided to finalize the exact colour codes and sizes of the decals (according the attributes of the redesigned forms) with their vendor’ .
226 Prateeti Verma | M.Des. Ceramic and Glass Design 2017
DELIVERABLES
227National Institute of Design | Graduation Project