The Clay Factory - Graduation Document

Visual Identity for
THE CLAY FACTORY

Graduation Project by Naomi Kaley
Guided by Mr. Sandesh Gaundalkar

UG, Communication Design
DJ Academy of Design 2020



DJ Academy of Design

Coimbatore - 641 032

Approval

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

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

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

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

Title of the Project : …………..…………………………………………………
……………………………………………………………..
Student’s Name & : ……..……………………………………………………....
Signature
Guide’s Name & : …………………………………………………………….
Signature ………………..……………………………………………

…………………………………. …...……….………………………
Internal Jury External Jury

Name & Signature Name & Signature

Place : Coimbatore …..................…………………….
Date : ……..…………. Dean / Jury Chairman
Name & Signature

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

Content 1
3
Acknowledgement 5
DJAD
Project brief and Introduction 21
27
RESEARCH PHASE - 1

Need of craft
Craftsman
Pottery
Goa
Role of Kumbhar
Bicholim

RESEARCH PHASE - 2

Meeting the craftsman
What is Branding / History?
Identifying Compeititors

UNDERSTANDING CONTEXT

Understanding Context
Brand Strategy
Understanding the target audience

D.J Academy of Design / Graduation Project

CONCEPT PHASE 33

Keywords 65
Ideation
Concept Selection 116
Finalized Concepts The Clay Factory / Naomi Kaley
Concept Finalization
Concept 1
Stationary exploration
Finalized Concept

FINAL DESIGN

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

References

D.J Academy of Design / Graduation Project

Acknowledgement

This graduation project or an endevour I I would like to thank the all faculties at
would rather call it has been a significant DJAD for guiding me throughtout all the 4
learning for me in the last six months. years I’ve spent time learning.

I would like to thank my parents and My internal guide Mr. Sandesh
my brother who have encouraged me Gaundalkar who helped me during these
throughtout every stage of my learning 6 months reviewing my project and Shiva
and process here at DJAD and kept me Nallaperumal for the external
motivated. My brother Nisheal, our long feedabacks.
distance telephonic conversations and
discussions about life motivated me My close friends and batchmates who
enough to accept rejections, delays and have helped in this course of time -
failure as a part of life. Vaibhavi, Kevin, Soundarya, Vinita, Rayna,
Yugandhara and Siddhesh thank you
This project which was offered to me by for reviewing my diploma project and
Mr. Dattaram Harmalkar - and the sole also listening to me cry about not having
reason as to why I took it up, helped me good work.
realise the importance of preserving
crafts. Mr. Zilu Harmalkar who was also Last but not the least this project and
a part of this process - his wonderful the last 4 years would have not been
stories of the family household pottery possible without my friends, I would like
business helped me in the intial research to thank every one of them, especially
of the this project. my batchmates who helped me survive
through college - Sathwika, Debosmita,
I would like to also thank the Curator Sahil, Danny, Pathania, Sushma and
of Goa State Central Library, Dr. Carlos Paggu. You guys are the best!
M. Fernandes for allowing me to source
information from the archives at the time
of my research.

The Clay Factory / Naomi Kaley / 1

Fig. 0.1

DJAD

DJAD commenced in 2004 to a felt need
in the country. The potential for offering
design services within India and abroad
expanded as India matured as an eco-
nomic power. But there was a shortage
of trianed designers within the country.
DJAD’s inception was to cater to this need
in a small yet significant way.

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

DJ Academy of Design is situated in
Coimbatore, which is an educational hub
of the region and is one of the units of
illustrious GKD Charity Trust founded
by Lakshmi Machine Works Ltd (LMW),
a major industrial group in India. GKD
Charity Trust was set up in 1983 by the
industrialist par excellence, (Late) Cava-
lier Dr. G K Devarajulu. His pioneering ef-
forts saw the emergence of Coimbatore
on the global industrial map and the
LMW Group as a major force to reckon
with. The Group now comprises a stag-
gering 20 companies with LMW being the
flagship brand.

The Clay Factory / Naomi Kaley / 3

Fig. 0.2

Project Brief &
Client Introduction

I was offered a client project from Goa by Kumbhar Pottery Studio has catereted
Mr. Dattaram Harmalkar who plans on to local customers within the state, a
starting a franchise ‘The Clay Factory’ a few customers outside of Goa as well as
young brand carved out from ‘‘Kumbhar’’, international customers. The studio has
aiming towards marketing & carving a developed expertise in the manufactur-
niche in studio pottery & expanding the ing of pots, planters, decorative arite-
roots in the modern art segment facts, mementos, sculptures and murals
globally. etc in various media like teracotta, plas-
ter of paris, cement, fiberglass, brass, etc.
The brief given was to design a visual
identity, strategy and branding for The idea of establishing a new sister
‘The Clay Factory’. company/firm came up with its operation
totally independant of Kumbhar Pottery
‘The Clay Factory’ is the sister unit/estab- Studio. Thus, the birth of The Clay Facto-
lishment of Kumbhar Pottery Studio firm, ry took place.
which started its work in 1989 situated
at Industrial Estate, Bicholim Goa. One of
the main intention of this pottery studio
was to bring a new awareness in pottery
crafts and looking after the development
and marketing side for the same.

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

Fig. 0.2 Image taken at The Kumbhar
Pottery Studio

The Clay Factory / Naomi Kaley / 5

Before starting off with the research I listed
down a few questions to ask the artisan
Mr. Zilu Harmalkar the owner of the Kum-
bhar Pottery studio who set up the pottery
studio in 1992, Bicholim Goa.

For designing the visual identity for The
Clay Factory it was just not about making
of the logo but also creating an experience
in the mindset of the target audience. I felt
it was important for me as a designer to
briefly understand the need of craft - why
its necessary to sustain a craft as well as
the role of Kumbhar and History of pottery
in the Indian/Goan society. Showcasing this
craft and process to the customers was
primarily the main aim of the branding as
well by sensitizing them about the brand
and what it stands for.

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

- History of Kumbhar?
- Does he follow a certain style of work?
- About the potters community in Bicholim
- Uniqueness / identity that Kumbhar com-
munity or the studio/his family has created
for the past so many generations and he
has continued to follow?
- How has it influenced Goan pottery from

European and Portuguese style of pottery?

6 / D.J Academy of Design / Graduation Project

Research phase 1

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

The Clay Factory / Naomi Kaley / 7

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

8 / D.J Academy of Design / Graduation Project

Craft and its need

Craft is not only an important source of Despite these efforts, the roots of these
livelihood, it is often connected to socio crafts, which are the rural craftsmen, are
cultural traditions, and elemental to the in decline. Handicrafts are the creative
preservation of cultural diversity and products made by the skill of the hand
identity. without the help of modern machin-
ery and equipment. The push towards
Crafts are not simply a particular way modernization and mechanization of the
of making objects but are inextricably sector has crippled some sectors of the
bound up with the structures, values, craft industry.
history, and identity of the communities
in which they are practiced. Indian hand- Nowadays, hand-made products are
icrafts are historically part of generation considered to be a fashion statement. In-
learning, passed down along a line of dia’s rich cultural heritage and centuries
inheritance, and the transfer of tacit of evolutionary tradition is manifested
knowledge. Craft has multiple meanings by the huge variety of handicrafts made
and functions ranging from personal all over the country. Handicrafts are a
consumption, to ritualized and religious reflection of the cultural identity of the
significance and or economic activity ethnic people who make it. The entire
which has a commercial outcome. It wealth of timeless Indian handicrafts has
plays a role in defining regional, national survived through the ages. These crafts
or ethnic identity and culture. The con- carry the magnetic appeal of the Indian
cept of sustainability in relation to Indian culture that promises exclusivity, beauty,
crafts is connected to environmental, dignity and style. Craft provides employ-
cultural and economic concerns. ment opportunities, and the ability to
earn and at the same time, it contributes
Craft provides employment opportuni- to the longevity of cultures, and craft
ties, and the ability to earn and income communities.
from craft contributes to the longevity of
cultures, and craft communities. Tradi-
tional cultures respect and live in har-
mony with nature but the most common
or standard belief is because of their
dependency on the environment. India
is full of examples of lifestyles, cultures,
professions that depend and capitalize
on handwork. Handwork is so deeply em-
bedded in different cultures of India that
nobody recognizes the positive impacts
it has on the environment. Many govern-
ment bodies and private sectors in India
are putting their best foot forward in
sustaining and reviving traditional knowl-
edge from indigenous tribes.

The Clay Factory / Naomi Kaley / 9

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

10 / D.J Academy of Design / Graduation Project

Craftsman

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

In ancient India there was never a termi-
nology gap between the artist and the
craftsman. He was known as a ‘Shilpin’,
a term which covered his activites as a
painter, builder, image-mkaer, potter,-
carver,etc. The art or ‘Shilpa’ embraced
the full range of creative activity, ritual,
skill craft and the creative imagination.
The ‘Shilpin’ was assigned an organic role
within the society through membership
in a group, that is to say, he was a mem-
ber of an artisan caste or a guild which
was an integral part of the social order
and in which he enjoyed an honorable
status. The ‘Shilpin’ infused order into
his experience through material and the
form he fashioned from it with his tools.
There was a fusion of tools and purpose.
The range of materials has been from
clays to sophisticated synthetic plastics
and fibreglass. The styles have varied
and techniques diversified but what
remains the same is the creation of an
object from start to end by one Shilpin
much like the creation of a painting or
an image.

The Clay Factory / Naomi Kaley / 11

Image Source - https://authindia.com/indian-pottery-craft/
12 / D.J Academy of Design / Graduation Project

Pottery in India

Pottery is referred to as something that The craft of pottery continues to be
is made from damp clay mixed with practised almost without a break in all
other materials. When the clay is wet, the villages and cities of India. Unsophis-
it is shaped into various forms to make ticated village pottery forms of India are
finest pieces of pots, figurines, sculptures invariably very expensive. There is no
and many other things. It is used both as eccentricity or artifice here. The shapes
decorative object and for utilitarian pur- are organic, wholesome and always true
pose for day-to-day work. They are then to the material. The decoration of village
fired in a special oven called a kiln at pottery is spontaneous and happy, and
high temperatures. Firing makes the clay harmoniously related to its form. Some
hard. The potter may then apply a glaze of the earliest known pottery of ancient
to the surface before firing the object India was found in the excavation at
again. The fired glaze makes the surface Mohanjo-daro and Harappa of the Indus
of the pottery shiny, decorative and wa- Valley Civilisation (3rd millennium B.C.)
ter-tight. Skilled persons who make this
exquisite pottery are known as potters
whereas the place where these products
are made is called potteries.

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

Book source - Handicrafts of India by
Kamaladevi Chattopadhyay

The Clay Factory / Naomi Kaley / 13

14 / D.J Academy of Design / Graduation Project

Goa

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

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

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

The Clay Factory / Naomi Kaley / 15

Image Source - https://en.wikipedia.org/wiki/Kumhar
16 / D.J Academy of Design / Graduation Project

Kumbhar (in Goa)

In ancient Goa, there existed the social In the early historical period the supply
system based on the concept of Gaunkari of terracotta was ensured by the potters
and Bara Balutedar - the twelve classes which were known by the popular term
entrusted with certain duties pertaining as Kumbhakaras. There existed a well
to various aspects of the society. The organised guilds or shrenis of craftsmen
governance of the society was looked during the period.
after by the Gaunkars whereas the dif-
ferent responsibilities were entrusted Pottery as an occupation was present
to the specific classes prescribed in the even during Portuguese reign and in fact
social set up. In this set up the artisans it is one of the oldest crafts. Since Goa
and mainly the craftsmen were included was once a Portuguese colony and still
prominently. The Lohar (smith), Sultar has many beautiful reminiscent of the
(carpenter), Kumhar (potter), Sonar (gold- Portuguese era. A lot of the work is in-
smith) were the main craftsmen of the fluenced by the local culture which exist
society who also enjoyed the privileges in Goa lot and has gone in capturing the
as well as shouldered the responsibility essence of people and their local busi-
to cater the needs of the contemporary nesses and styles of living.
society as far as the utensils and orna-
ments are concerned.

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

Source - The Navindh Times, 1998

The Clay Factory / Naomi Kaley / 17

18 / D.J Academy of Design / Graduation Project Fig. 1.5

Bicholim

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

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

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

Fig. 1.5 Paddy field in Bordem, Bicholim

The Clay Factory / Naomi Kaley / 19

Fig. 2.0

Research phase 2

Meeting the craftsman / 2.1
What is Branding / History / 2.2
Identifying Compeititors / 2.3
Fig. 2.0 Image taken at The Kumbhar Pottery studio

The Clay Factory / Naomi Kaley / 21

Fig. 2.1

Master Craftsman

As mentioned in the brief the roots of
Kumbhar Pottery Studio goes back to
many generations in the past. It began
as a small household pottery business
in Bordem village of Bicholim, which is
famous for its traditional pottery art in
whole of Goa. The master craftsman who
runs the business - Zilu Harmalkar was
born in 1952 in a common kumbhar fami-
ly at Bordem, he always liked drawing and
painting from his childhood. His father
Dattaram Harmalkar was a traditional
pottter and well known in the community.
Harmalkar’s great grandfather migrated
to Bicholim from Harmal, Pernem. Both
his parents were traditional potters. He
would assist them during his school days.

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

Fig. 2.1 Image taken at The Kumbhar Pottery studio

The Clay Factory / Naomi Kaley / 23

What is Branding?

The term branding comes from the Old There was a lot of competition for the
Norse “Brandr” which means to burn. populace’s attention, so brands needed
Cattle, slaves, timber and crockery were a means to distinguish themselves from
burnt or branded with the markings or their competitors, which led them to
symbols of the owner using a hot iron develop the concept of the unique selling
rod. The concept of branding was essen- position (USP).
tially to depict ownership, in particular
things which had value, this practice dat- As brands evolved over the decades,
ing back to 2000BC. Individual ranches they needed to freshen up a bit or even
would each have their own unique mark take on a new identity to stay relevant,
so ownership could be determined if cater to changing tastes and differentiate
their animals were lost, stolen, or mixed themselves in an ever-growing field. The
in with animals from another ranch. process involved in creating a unique
name and image, a personality for a
Towards the end of the 19th Century product and in the consumers mind,
there was a massive shift in attitudes through a representative visual identity,
to products and purchasing of things. advertising campaign and
This push was led by a collection of new marketing strategy such as branding.
technology and methods of communica-
tion such as the invention of mail order The outward expression of a brand
catalogues, the advancement of railroads including its name, trademark, commu-
and the expansion of the postal service. nications, and visual appearance is called
The end of the Second World War saw a Brand Identity. Because the identity is
manufacturing boom as many factories assembled by the brand owner, it reflects
which were set up in order to produce how the owner wants the consumer to
military equipment could now be used to perceive the brand and by extension the
make products. With the facility for mass branded company, organization, prod-
production now in place coupled with ac- ucts or services.
cess to markets years’ earlier production
for brands could now reach and produce
for anyone.

Source :

- https://www.designtoday.info/brand-new-the-
history-of-branding/

- https://99designs.com/blog/design-histo-
ry-movements/history-of-branding/

24 / D.J Academy of Design / Graduation Project

Banana Pottery - design studio specializing in Goa Potteries - manufacturer of household
ceramic and pottery in-house product range ware and decorative items in Goa.
constitutes art-ware as well as utility ware.

Mayank Jain Pottery - a studio potter, works Sylvia Kerkar’s Pottery - a ceramic studio which
with stoneware clay is equipped for teaching and production of
ceramic art. (makes functional ware but not
for sale)

Compeititors

After having understood Kumbhar and Making the visual identity for The Clay
The Clay Factory as a brand, it was vi- Factory it was necesserary to also un-
tal to look into the market and identify derstand other brands color palette,
such similar brands already existing. typography and how the identity works.
In Goa there are several other brands As this brand will be positioned in the
working twoards pottery and as part of market with its compeititors and the
developing the identity for the franchise branding will help The Clay Factory set a
it was essential to look into other exist- new identity and image in the minds of
ing brands and how they have acquired their target audience and market for the
a name in the market. Understanding products they sell.
how compeitition would affect a certain
brand. I felt it is vital for a brand to also
learn from the pros and cons of the
compeititor brands that has already been
tried and tested in the market in terms of
similar language of sustainability.

The Clay Factory / Naomi Kaley / 25

Fig. 3.0

Understanding Context - 3

Brand Strategy/ 3.1
Understanding the Target Audience / 3.2
Brand Naming / 3.3
Fig. 3.0 Strategising the brand

The Clay Factory / Naomi Kaley / 27

Understanding context

(reasoning out + needs)

WHY DO PEOPLE BUY POTTERY? WHY WOULD PEOPLE FEEL THE
NECESSITY TO BUY POTTERY?
People would buy POTTERY - as a gift, or
either buying it just for themselves. The If you make functional pottery and your
customer is either someone purchasing pots are a joy to use people will come
a handmade gift for a friend/relative, or back for more for their friends and
someone who is interested in owning un- family.
usual / attractive handicrafted piece. The
product could also meant to be bought If they are for display and are aestheti-
as something that resonates to some- cally pleasing and eye catching, they will
thing for eg. culturally symbolic. become a point for conversation (word of
(Goan life) mouth) - getting more customers to buy.

Customers like Resorts / Restaurant / Handmade pottery is everywhere.
Hotels that are buying pottery for them- The city’s restaurants and cafes are
selves could also have a very specific commissioning potters to create
idea/style in mind and are more likely to functional pottery that bring individu-
opt for a custom design. ality to their products. More and more,
people are rejecting factory-produced
Custom work is more expensive and homeware and rediscovering the soulful
typically more unique, it is intuitive to nature of hand-crafted goods.
expect that the more unique design, the
more likely that the person is buying the Rediscovering the need of handcrafted
product to go along with their ambience. pottery also benefits us its need for our
Custom designs can also be a creation of society as well keeping the craft alive.
the customer.

28 / D.J Academy of Design / Graduation Project

Brand Strategy

(messgage + experience)

STRATEGISING THE CONTEXT - BRAND MESSAGE IN THE BRANDING -

I started off first with identifying and The franchise would be a brand that is
structuring out on how to further work socially conscious and is rooted in the
on the strategy for The Clay Factory, values of mother nature. The language
keeping in mind to create a visual idenity should speak of harmony and balance
which will reflect on the visual language as well give an organic feel. Make people
as well for the branding through its core aware of the values and traditions and
values as well as understanding the the experiences that come with it. Bring-
process of the brand’s expression and ing in a traditional feel for the contem-
identity. porary market and to reinforce the idea
of sustainable design as well sensitise
Through the research I looked into the consumers about the the process of the
next process that is re - naming of the products. The brand should also give an
brand, identity, branding and website. As experience and feel of traditional mo-
the process would start off with bringing tifs used and the stories that amalgate
in the essence of what the brand stands into selling of the products. The value of
out for through various stages of itera- tradition is incomparable. A traditional
tions giving out a message that it com- motif, skill and the influence of art and
municates a sense of power of the raw- culture in the people and the product
ness of nature and mother earth through should be visible. Also it is vital part of
the tradtional cultural motifs and incul- the marketing and branding that the
cate core values of the brand. identity should speak the same visual
language thorught. It should sensitise the
Starting off the process through the customers about the brand and estab-
research which traces back to the roots lish a connection and bond throught the
of craft and pottery and how traditional products. The branding should henace
designs and crafts are rare and of im- be empathetic in nature.
mense value as well it’s historical
significance.

The Clay Factory / Naomi Kaley / 29

Target Audience

PRIORITIZING CUSTOMERS INTENT TO ENGAGE
WITH THE STUDIO WAS LISTED.

General Public interested in handicrafts - buy POTTERY - as a gift, or
pottery items

B2B Customers - (When on display) - Product will be aesthetically
pleasing and eye catching

Hotels, Resorts, Restaurants - buying the product to go along
with their ambience

THOUGHTS ON HOW TO GO ABOUT CONCEPTUALIZING
FOR THE IDENTITY

People rely on pottery to improve their way of life - have the
same need for pottery - UTILITY + ARTISTIC + DECORATIVE
basically serve a purpose.

Should commemorate a special memory

Create an experience

Design Elements should be empathetic in nature

30 / D.J Academy of Design / Graduation Project

Brand Naming

NEXT FOR BRAND NAMING -

As initially discussed the client wanted Tambdi Mati Crafts / Potters
a new name for the brand, I had started (The red soil of Bicholim which is rich in the
off brainstorming for The Clay Factory to art of pottery) hence speaks how Bicholim
bring in the essence of rawness of nature is gifted with a community of craftsmans
and mother earth as the name sounds. and artists.)
Most of the names I brainstormed and
suggested were in Konkani, the native Tambdi (Red) Mati (Mud)
language of Goa. The words/names
can hence be read and understood in Matyechi Crafts
Marathi as well which is the second most Mati (mud)
spoken language. Although the client
later chose to fix on The Clay Factory. Shilpin Crafts / Potters
Shilpin (a term used for a craftsman)
Some of the names I brainstormed on : (Potter)

Kum Kana Potters / Kum Kana Crafts Kumbhakaras Kalakruti
- Kum Kana because THE CLIENT earlier (Potter’s Craft)
wanted the name to fall along somewhere
at the sound of his father’s studio i.e Kushal Kalakruti
Kumbhar Pottery studio. Kushal Kalakruti Kumbaarancho
(Skilfully crafted potter)

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

Bhumi Crafts / Potter’s
Bhumi (earth)

The Clay Factory / Naomi Kaley / 31

Fig. 4.0

Concept Phase - 4

Keywords for Ideation / 4.1
Ideation / 4.2
Finalizing the concepts / 4.3
Fig. 4.0 Rough concepts

The Clay Factory / Naomi Kaley / 33

Contemporary

Organic Style and
influence?

Personal IDENTITY KEYWORDS Goan
expression
- what do customers look for? Cuts and
Rawness - showing the artisans craftmanship + pride? impressions

Vintage Traditional
Textured Modern

Mother
Nature

Earthy

Keywords

Narrowing down keywords that gives As ‘THE CLAY FACTORY’ is going to help
away the true essence of the brand from sell and promote Kumbhar Pottery Stu-
the research and brand message I dis- dio’s products this stage is going to help
cussed earlier. Words that would best me generate visuals for the identity for
describe the brand ‘THE CLAY FACTORY’. the franchise in the next stage
This helped me in various stages of ide- i.e Ideation.
ation as this stage forms an impor-
tant part on the basis of brand strategy
and process.

34 / D.J Academy of Design / Graduation Project

textured + gradient decorative
elements
textured
paint/dotted curves/circles/
circles/lines natural elements
& impressions

curvy motif/ design
and shoulder pattern

curves/circles/natural elements/
scraped off paint

Ideation

My starting point for visual explora- smooth flowy lines and curves is punc-
tions was sketching out forms for the tuated by simple dots and impressions
identity by exploring simple elements carved that clarify the composition of the
and designs that were observed on the design on the pots. The different stlyes
Kumbhar’s products this helped me in of detailing and the designs observed on
the intial phase of ideation and how to their pots and visual elements like recur-
go about it. Such as graceful curvy lines, ring shapes - organic/geometirc/circles
cultural motifs and brush strokes. I also were also observed.
noticed the the flow of elements such as

The Clay Factory / Naomi Kaley / 35

abstraction
of the form

01. 02. 03.

highlight certain strokes
light&shadow

04. 05. 06.

minimal strokes

07. 08. 09.
36 / D.J Academy of Design / Graduation Project

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

10. 11. 12.
Playing with negative and
positive shapes and forms
interacting with each other to
create a visual contrast.

13. 14. 15.

16. 17. 18.

The Clay Factory / Naomi Kaley / 37

19. 20. 21.

22. 23. 24.

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

25. 26. 27.
38 / D.J Academy of Design / Graduation Project

28. 29. 30.

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

31. 32. 33.

34. 35. 36.
The Clay Factory / Naomi Kaley / 39

37. 38. 39.
Exploring similar/different motifs
(composed and grouped together)

40. 41. 42.

43. 44. 45.
40 / D.J Academy of Design / Graduation Project

46. 47. 48.

49. 50. 51.

52. 53. 54.
The Clay Factory / Naomi Kaley / 41

55. 56. 57.

58. 59. 60.

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

61. 62. 63.
42 / D.J Academy of Design / Graduation Project

64. 65. 66.

explorations with dry brush to show
organic forms of explorations

67. 68. 69..

70. 71. 72.

The Clay Factory / Naomi Kaley / 43

73. 74. 75.

76. 77. 78.

79. 80. 81.
44 / D.J Academy of Design / Graduation Project