The Clay Factory - Graduation Document

Concept Selection

After having finished ideation I person- The client then selected two options
ally discused the research, strategy and although he felt the dry brush texture
presented my concepts to the client. concept explorations worked the best for
I discussed on the branding look and the visual identity. The typeface used on
feel, and the deliverables needed for the the business card was only a trial
branding, then I presented four design exploration.
options which I felt worked best.

DESIGN OPTION 1

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

concept on paper digitised concept

The Clay Factory / Naomi Kaley / 45

DESIGN OPTION 2

The concept is an interaction of one form
with another and prioritizing and empha-
sizing on the elements/shapes to create
a visual contrast.

concept on paper digitised concept

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DESIGN OPTION 3

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

concept on paper digitised concept

The Clay Factory / Naomi Kaley / 47

DESIGN OPTION 4 brush styles (messy/organic)

The concept is an exploration with dry
brush to show the rawness of the prod-
ucts Kumbhar makes. The identity con-
cept looks very contemporary and organ-
ic because of the textured brush.

Handpainted using a dry Concept digitized on illustrator Concept digitized on
brush with a grunge textured brush photoshop with a dry

textured brush

48 / D.J Academy of Design / Graduation Project

Finalized Concepts

After discussing the concepts with the cli- The keywords/attributes chosen should
ent he chose two of the concepts out of enhance as to how certain elements and
the four that were digitised and present- shapes used in the making of the identity
ed. I decided to explore on the branding communicates to the audience.
for both design options.

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

DESIGN OPTION 3

DESIGN OPTION 4

The Clay Factory / Naomi Kaley / 49



Research phase - 5

Concept I / 5.1
Stationary explorations / 5.2
Concept II / 2.3
Finalized Concept / 5.4

The Clay Factory / Naomi Kaley / 51

DESIGN OPTION 3

* Gradient trial * * Gradient trial *

CHOOSING A COLOR PALETTE

The pottery products made at the Kum- Bicholim is a small town in Goa known
bhar Studio have a bit of a reddish hue in for its potters community and has paddy
their products, which is why I chose this fields growing across the town with rich
color palette for the branding. The color red soil which is malleable for pottery.
palette is based on earthy + organic color
schemes of the clay that is used and col-
lected from the surrounding open
fields of Bicholim.

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(1)

(2)

(3)
Few variations with the finalized concept and
a few other concepts from the ideation were
also tested out as I wanted to play around
with the type and color.
The Clay Factory / Naomi Kaley / 53

(4)
(5)
(6)
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(7)

(8)
(9)

The Clay Factory / Naomi Kaley / 55

(10)

(11)

(12) These 3 colors and style for the
56 / D.J Academy of Design / Graduation Project branding stationary were finalised.

Final design of the business
card on the mockup.

The Clay Factory / Naomi Kaley / 57

Letterhead Variations

Quotation variations

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Letterhead and Quotation
final concept and design.

The Clay Factory / Naomi Kaley / 59

Final design of the envelope
Final design of the receipt

Final design of the
delivery note

60 / D.J Academy of Design / Graduation Project

overall doesn't look earthy/organic?

looks like a jar? doesn't look like a pot?
more like a glass??
cannot be identified
as a pot?

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

LOGO FEEDBACK

After having worked on a few collater- Although the client earlier finalized on
als to present it to the client, I took help this concept, we both felt that this iden-
from around and asked some of my tity didn’t communicate that well for a
friends, as well as non designers friends, pottery brand. Neither does it work for
for their feedback and review. I sent the atrributes mentioned earlier in the
across screenshots and photos of the strategy of giving the esscence of natural
two selected logos, if the logo commumi- or roughness / rawness.
cated for a pottery brand or not and if
they could identify the form.

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

The Clay Factory / Naomi Kaley / 61

DESIGN OPTION 4

Finalized Logo

WHY THE CONCEPT WORKS?

Pottery is a messy process, the rough But before getting into the process of
imperfect textures have key roles in man- clay kneading, textures which are formed
ifesting a unique visual identity for The after the paint dries up on the pots in-
Clay Factory. These textures, patterns cluding dry brush strokes. Those textures
and impressions made using dry brushes were brought into - The identity, hence
are identifiable through the design and it brings in the essence of the natural
compositions created on the pots made and roughness of the soft clay dough for
by Kumbhar Pottery. These textures give pottery.
away the rawness of their products after
firing, or the flooring of the studio after
the clay is dried up.

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C: 51 M: 74 Y: 79 K: 74 C: 0 M: 0 Y: 0 K: 0 C: 75 M: 68 Y: 67 K: 90 C: 18 M: 28 Y: 43 K: 0
R: 54 G: 27 B: 15 R: 255 G: 255 B: 255 R: 0 G: 0 B: 0 R: 0 G: 0 B: 0
#371a0f #000000 #d3b494
#ffffff

Brown symbol on texured Brown symbol on Black symbol on Brown symbol on light
white background brown background
paper collateral white background

Use of Color

The examples of color swatches shown The light brown background :
above illustrate acceptable uses of The This is an exception and will be used
Clay Factory logo in various situations. specifically for the packaging tape / labels
The darker brown swatch for the logo as the textured paper wouldn’t be ac-
is based on earthy and organic color ceptable for printing as it will dilute the
scheme. Clay maybe be defined as an effectiveness and impact of the paper
earthy mineral substance which makes collateral and the paper will merge in
up the the surface of the planet. Hence with the box color, hence the design may
the brown color which comes out nat- not stand out.
urally after firing which gives away the
organic/earthiness/rawness. White background :
Against a white background the logo will
The brown shade will be used on a white be shown in dark brown and black color.
background and on the brown color
textured paper collateral as the textured
paper collaterals will be used mainly for
printing as this texture brings out the
rawness of the brand.

The Clay Factory / Naomi Kaley / 63

Typeface to be used only for the logo GT America Mono

Ogg Roman ABCDEFGHIJKLMN
OPQRSTUVWXYZ
ABCDEFGHIJKLMN abcdefghijklmn
OPQRSTUVWXYZ opqrstuvwxyz
abcdefghijklmn 1234567890
opqrstuvwxyz
1234567890 Typeface used for the stationary

Typeface used for the print ads Open Sans Regular/Italic
and product catlogue
ABCDEFGHIJKLMN
OPQRSTUVWXYZ
abcdefghijklmn
opqrstuvwxyz
1234567890

Typeface used in this document / Brand Manual

Typography

The Clay Factory logotype has been set in Ogg Roman :
Levi Brush regular. Levi Brush is a script, Ogg is a calligraphic serif typeface de-
brush font designed by Levi Szekeres. signed by Lucas Sharp. This typeface will
The typeface was chosen to match the be used specifically on the quarter page
textured and dry brush strokes of the newspaper advertisements and the prod-
logo. It is will be used only as the logo- uct catalogue information and the full
type for The Clay Factory. page magazine ad.

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

This typeface will be used as the infor-
mation part for the entire branding set of
stationary eg. the back side of the busi-
ness card, information part of the enve-
lope and letterhead.

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Final Design - 6

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

The Clay Factory / Naomi Kaley / 65

2 in

3.5 in

Branding Stationary

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

BUSINESS CARD

The size of the business card is designed as per The printed stationery for The Clay Factory consits
the standard size - 3.5” x 2”. The typeface used of - Business card, letterhead, envelopes, quota-
on the front side of the card for the logo is set as tion, receipts, delivery note. The print material
Levi Brush regular in 12.32pt. The logo size is W particularly used throughout for the branding
3cm x H 2.5cm. The business card is to be printed shows an eco friendly process and the distinctive
on a textured brown paper. The back side of the visual identity for the brand.
business card information typeface used is GT
America Mono Black set in 10pt for the name of
the client and the rest of the details have been set
in GT America Mono Bold Regular at 6.5 pt.

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(1)

(2) (3)

(4) (5)

(6) Few variations with the finalized
concept were tested out with different
color/texture backgrounds.
The Clay Factory / Naomi Kaley / 67

297mm

210 mm

LETTERHEAD The letterhead will be printed on a
textured brown paper. The letterhead
The letterhead has been designed as per information typeface used is set in 10pt
the standard A4 size - 210mm x 297 mm. GT America Mono Regular for the contact
The typeface used on the letterhead details and address.
for the logo is set as Levi Brush regular
in 12.32pt. The logo size is W 3cm x H
2.5cm.

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Texture color paper variation
The Clay Factory / Naomi Kaley / 69

4.5 in

9.5 in

ENVELOPE The typeface used on the contact details
and address of the studio is GT America
The envelope has been designed as per Mono medium set on the back side of
the standard size W 9.5 in x H 4.5 in. the envelope at 8 pt. The envelope is to
The typeface used on the front side of be printed on a textured brown paper.
the envelope for the logo is set as Levi
Brush regular in 12.32pt. The logo size is
W 3cm x H 2.5cm.

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Testing out a b/w variation
The Clay Factory / Naomi Kaley / 71

297mm

210 mm

QUOTATION

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

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

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Quotation variation and
final concept on mockup

The Clay Factory / Naomi Kaley / 73

21.15cm

14.6cm

RECEIPT

The receipt dimensions are - 14.6 cm The typeface used for the information
x 21.15 cm. The typeface used on the is GT America Mono medium set at 8pt
quotation for the logo is set as Levi Brush including the contact details for the body
regular in 12.32pt. The logo size is W text and the heading at 21pt.
3cm x H 2.5cm.

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Reciept variation and final
concept on mockup

The Clay Factory / Naomi Kaley / 75

8.21”

9.24”

DELIVERY NOTE

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

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Delivery Note variation and
final concept on mockup

The Clay Factory / Naomi Kaley / 77

25cm

16cm

QUARTER PAGE SIZE NEWSPAPER AD
The quarter page ad has been designed
as per the standard size of 16cm x 25 cm.
The heading typeface is set at GT Ameri-
ca Mono Medium at 27.79 pt. The body-
text typeface Ogg has been set at 10pt.

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Newspaper quarter size ad
variation and final concept
on mockup

The Clay Factory / Naomi Kaley / 79

297mm

210mm

NEWSPAPER PAMPHLET

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

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Newspaper pamphlet variation
and final concept on mockup

The Clay Factory / Naomi Kaley / 81

2850px

2100px

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

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Full page magazine ad variations and
final concept on mockup

The Clay Factory / Naomi Kaley / 83

Back and Front cover of
the Product Catalogue

210mm

Spread from the catalogue 297mm

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

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About the studio spread

About the craftsman

(Product display)
The Clay Factory / Naomi Kaley / 85

(1)

(2) Catalogue Spread variations
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SOCIAL MEDIA BRANDING

Social Media Marketing has become one the decorative designs / patterns were
of the biggest platform for the audienc- influenced by nature and certain objects
es to reach at and plays an important of household use which has socio-reli-
role in promoting a brand. Having listed gious cultural influence in the making of
the target audience earlier, creating an the craft at the pottery studio. The social
Instagram page would first begin with media Instagram stories will show the
giving an introduction to The Clay Facto- brands products, making of the craft,
ry by giving the audience a feel of what artisans working as it enable’s the au-
the brand would provide, I also felt that diences to learn more about the studio
sharing posts of the motifs they use on and its and its process. Apart from the
their products and sharing photos or product photoshoots the studio photos,
rough sketches of their intial process of artisans photos used in the instagram
the making of the designs would make stories and the one’s used in the docu-
the social media page more interesting in ment were taken by me during my client
terms of getting to know more about the visits to the studio as I felt capturing the
brand and the craft. Some posts would life of the artisans would give the viewers
briefly talk and explain about how the an experience of the traditional methods
artisans get inspired from nature and used in the process as well promoting
forms familiar to objects around them the artisans craftmanship.

The Clay Factory / Naomi Kaley / 87

An overview of the Instagram profile
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Sales posts for the products
The Clay Factory / Naomi Kaley / 89

Stories to introduce the artisans
of the studio

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Stories to highlight the process
and making of the craft

The Clay Factory / Naomi Kaley / 91

Product Sales - Instagram
stories highlights

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Variations for the product
sales stories

Product Sales - Instagram
stories highlights

The Clay Factory / Naomi Kaley / 93

(1) (2)

(3) (4)
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Taking the audience through these
stories and explaining about the craft.