Narrative Ceramics DICRC - IIID Ahmedabad Collaborative Innovation Fellowship Program 2014 by DICRC

Innovation and Development

DICRC- IIID Ahmedabad

Innovation Fellowship Program 2014

Narrative Ceramics

‘Co-creating through Gond-Ceramic Fusion’ as a part of the Craft Innovation Studio by DICRC in partnership with IIID Ahmedabad, CraftCanvas and Clay Club

About Craft Innovation Studio Craft Innovation Studio (CIS) is a platform developed by Design Innovation and Craft Resource Centre (DICRC) to indulge in the process of co-creation by bringing experts from the field of Craft, Design, Art, Architecture, Entrepreneurship, Industry, Marketing and Government in order to promote the field of Craft. The intention is to develop ‘Innovation in Craft’ and ‘Innovation through Craft’. CIS consists of two programs- Innovation Internships and Innovation Fellowships. The core of the CIS is the Collaborative Co-creation practice and henceforth DICRC collaborates with various organisations, institutions and industry to conduct these programs.

About Innovation Fellowship Innovation Fellowship is an advance level program initiated by Design Innovation and Craft Resource Centre (DICRC) where emerging or experienced designers, artists, architects, researchers, scholars, entrepreneurs and also professionals (related to the field of Craft, Design, Architecture and Art) engage with various crafts related to the Interior Architecture. The core aim is to bring the experience and knowledge of fellow and craftsperson together to develop craft-design innovations and generate new directions in craft and interior-architecture sector. Collaboration is the key to the Innovation Fellowship Program and DICRC collaborates with various craft organisations, government bodies, and industries to develop a framework. The intention of this fellowship is to initiate not only the attitude of collaborative creation among the craft and design professionals but also to bring diverse expertise of various organisations, institutions and individuals to address the larger role of craft in today’s global perspective.

Narrative Ceramics DICRC - IIID Ahmedabad Collaborative Innovation Fellowship Program 2014 1st March to 30th April 2014

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India 3

List of Innovation Internships under Craft Innovation Studio: Poorna Sharma

Modular Stone-craft partition system

Helen Thebault

City Museum Space Design

Jimena Biro

Arka: Modular Storage System

For more information visit www.dicrc.in Acknowledgements We thank all the people and partners involved in the Craft Innovation Studio for their support. List of all the collaborating organisations and their individual contributors : Design Innovation and Craft Resource Centre (DICRC), Cept University, Ahmedabad Head of Research - A/Prof. Jay Thakkar Fellowship Co-ordinator - Mitraja Vyas Exhibition Co-ordinator - Devika Gharge

Institute of Indian Interior Designers (IIID) Ahmedabad Chapter IIID Ahmedabad Chairperson - Amee Desai IIID Executive Committee Member- Bimal Mistry

CraftCanvas

Founder and Promoter- Nisha Vikram

Clay Club

Founder, Director, Head of Execution - Maulik N Oza Founder, Director, Project Visualization Head - Heena Kokel Founder, managing director - Pranav Gajjar Founder, Director, Design Head - Nikunj Vakani Founder, Director, Resource Optimization Head - Fulchandra Patel Founder, Director, Creative Head - Vishnu Thozhur Kolleri

Centre for Innovation, Incubation and Entrepreneurship (CIIE), IIM- Ahmedabad This fellowship program would not have been possible without the co-ordination and enthusiasm of the Gond artisans- Kaushal Tekam, Kalabai Shyam and Sambhav Shyam and finally, the fellow, David Gray. We extend our deepest gratitude towards them.

ÂŠ 2014 Design Innovation and Craft Resource Centre (DICRC) CEPT University , Ahmedabad, India. 4

Table of Contents 01. About the fellowship

Fellowship model- ‘Narrative Ceramics’

Overview- Narrative Ceramics’

Collaborators

Team

02. About ‘Narrative Ceramics’

Project Brief

Craft : Gond Painting

03. Collaborative Craft Design Process

Interaction & Demonstration Understanding the craft- Gond and Ceramics

Ideation & Exploration Colour explorations & learnings Texture explorations & learnings Composition explorations & learnings Mural explorations process Tiles explorations process Jaali explorations process Product explorations process Creation & Execution Final Production Process in detail 04. Output Craft Design Prototypes

17 19 21 23 27 29 31

32 57 58

Dissemination First Friday Session with IIID Ahmedabad Narrative Ceramics Exhibition at CIIE, IIM-Ahmedabad Craft Design Process Plates Narrative Ceramics in Media Marketing and Promotion

73 77 80 82 84

05. Narrative Ceramics Craft Design Team

06. Narrative Ceramics Fellowship Team

About the fellowship

Innovation Fellowship Model Narrative Ceramics Organisations

Individuals

Organiser

Designer

Design Innovation and Craft Resource Center (DICRC), CEPT University

David Gray (Ceramist)

Supporter IIID Ahmedabad Regional Chapter

Craftsperson

Collaborators

Entrepreneur

Craftsperson

CraftCanvas

Sambhav Shyam (Gond craftsperson)

Facilitator

Craftsperson

Clay Club

Kalabai Shyam (Gond craftsperson)

INNOVATION FELLOWSHIP

Methodology 01

FRAMEWORK 02

CRAFT DESIGN PROCESS 03

FINAL OUTPUT 04

DISSEMINATION 05

MARKET LINKAGES 06

PRODUCTION

Kaushal Prasad Tekam (Gond craftsperson)

Overview - Narrative Ceramics This particular fellowship is titled - “Narrative Ceramics: DICRCIIID Ahmedabad Fellowship 2014”. In this first Innovation Fellowship program, innovation happened at the merger of two distinctive craft practices - one being Contemporary Ceramics Practice from Scotland and other being Traditional Gond Art from Madhya Pradesh. The intention of this fellowship was to combine these two crafts to create a unique range of products that will be applicable in the Interior Architecture Sector. Highly experimental in nature, the project clubbed the designer’s expertise in ceramic with the artisans’ indigenous knowledge of Gond tradition. The explorations have set new directions for not only the craft sector but also tried to establish new applications and pedagogy in the design discipline. Design Innovation and Craft Resource Centre (DICRC), CEPT University is the main organiser of this fellowship. Institute of Indian Interior Designers, Ahmedabad Regional Chapter (IIID, Ahmedabad) is providing a grant towards Research & Education leading to the Fellowship and hence acts as the supporter and promoter for this fellowship. CraftCanvas is the mediator body with the Traditional Craft Practices. Clay Club is the material and technical support body. Among the individual partners, David Gray a Ceramist from Scotland, is the key designer. David is working with skilled Gond craftspeople – Kaushal Prasad Tekam, Sambhav Shyam, and Kalabai Shyam – from Madhya Pradesh to develop new range of products combining ceramics and Gond art. Duration of the program - 1st March to 30th April 2014

Collaborators IIID Ahmedabad Chapter (supporter) IIID Ahmedabad Chapter took the initiative to collaborate with DICRC, for “Narrative Ceramics: DICRC-IIID, Ahmedabad Fellowship 2014” by providing financial assistance to the Fellowship Program. As per the larger vision of IIID to collaborate with various institutions, IIID Ahmedabad Chapter recognizes this as a great opportunity not only to collaborate with prime institution of architecture and interior design in India but also with various other organisations and aspiring individuals. IIID Ahmedabad Chapter also looks forward to this collaboration to breathe life into traditional crafts of our country by promoting co-creations and giving new perspective to the field of design and craft while providing an ideal platform for such applied research and experimentation. The resulting innovative outcomes will ensure that traditional crafts are re-invented without diluting their essence, giving them a good chance for survival.

CraftCanvas (entrepreneur) CraftCanvas is a link between artisan communities and the urban customer, translating ages old craft forms into something contemporary. They believe that there is a place for India’s traditional crafts even in the most modern of spaces. To make this possible, they offer a range of handicraft products from across India, hand-painted wall mural services, custom hand-crafted furniture, soft furnishings, tribal/folk paintings & accessories and craft workshops for children and adults.

Clay Club (facilitator) Set up by alumni from CEPT University, they aim to provide access to leading scientific research, skilled and creative product development, with focus on the quality and innovation in the field of ceramics. This organisation is involved in research, training and consultation. These three primary mandates support and rectify each other and contradicting capital market short-termism. Their objective is to be able to benefit the society through their work. The idea revolves around the ‘logics’ of social innovation, a solution that addresses societal challenges in a way that is contextual, targeted and promotes common welfare, increasing the ‘adaptive efficiency’ of the society.

Team David Gray (Ceramic Designer) David Gray has completed a Masters course at The Princes School of Traditional Arts, London and has over 6 years of experience in making ceramic murals and sculptures. He has specialised in ceramic tiles and mould making. His recent work was inspired by nature and he focused on making ceramic screens, Islamic and geometric forms. He has expressed his interest in collaborating with traditional crafts in India.

David Gray

Kaushal Prasad Tekam, Sambhav Shyam and Kalabai Shyam (Gond artisans) Kaushal Prasad Tekam, Sambhav Shyam and Kalabai Shyam(National Award Winner) belong to Madhya Pradesh. They have been practicing their traditional craft from childhood and have participated in various State and National level exhibitions. Their subjects revolve around stories derived from their belief systems and are usually set in the natural surrounding that they come from. Owing to a lack of innovation in traditional craft practices, the artisans have seen a steady decline in demand for their paintings. This fellowship program is an attempt to infuse some innovation in an otherwise monotonous narrative.

Kaushal Prasad Tekam

Sambhav Shyam

Kalabai Shyam

About ‘Narrative Ceramics’

Project Brief Aim: To bring innovation in craft by combining surface based narrative crafts like Gond Painting with a hard material craft of ceramics. The idea is to create a series of new outputs that will not only bring permanence to the Gond Painting (done on paper) but also open up new opportunities for the Gond artisans. The project aims to create sustainable practises that will enhance the skills and outlets for the Gond artisans. Theoretical Premise: The outputs of this fellowship were based on the Joan Woodwardâ&#x20AC;&#x2122;s (1-Footnote) identification of 3 types of process in the craft practice. 1. Unit or Craft Production (also known as job-shop or small batch production): It is a process which can create semi-customised output. In this, the standard procedure is to reuse some or all of the components from the stock and configure them in different ways for different customers. This process will allow the production of various products that will encompass the various narratives of the Gond Painting. 2. Continuous Operation (also known as mass-craft production): It is a process in which the products are continuously produced. This process uses the standardised production method in which the components are interchangeable and replaceable. This process will allow continuous production generating the livelihood for the Gond Artisans 3. The Project or One-shot System: It is a process where the products or outputs are unique and in reference to the specific project or the site. This is very essential in the field of Interior Architecture where the need for full customisation for individual project is required. This process allows the artisans and designer to fully express their potential and uplifts the value of craft. In this production method, the tools, processes, component are different in reference to each site or a project.

Parameters: The work must provide scope for creativity and avoid creating a factory scenario for the artisans. The ceramic elements of the project must be capable of being reproduced locally to be of any viable use in the long term. The work had to be more than just Gond imagery painted upon ceramic. There is a tradition of painting the walls of the Gond building and the project should further its use in an Interior architectural role.

The British academic, Joan Woodward, conducted an extensive, comparative empirical study from 1950 to 1959 at the South East Essex College of Technology and the Imperial College of Science and Technology in the United Kingdom. The study focused on the relationship between organisational structure and organisational performance. It measured a firm's comparative performance relative to its industry peers and compared this indicator to its structural dimensions such as span of control, number of management levels, management style, etc.

Surface Narrative Craft: Gond Painting Gond painting is done by the Indigenous Tribes of Madhya Pradesh known as Gonds. The word Gond comes from Kond, which means green mountains in the dravidian idiom. The Gond called themselves Koi or Koiture, but others called them Gond since they lived in the green mountains. The Gonds or the Koiture are a heterogeneous group spreading over large areas from the Godavari gorges in the south to the Vindhya Mountains in the north. In Madhya Pradesh, they inhabited the dense forests of the Vindhyas, Satpura and Mandla in the Narmada region of the Amarkantak range for centuries. The central province was called Gondwana since the Gonds reigned here. Gonds traditionally painted the inner and outer mud walls and floors of their houses during festivities and marriages using colored muds, vegetable and mineral dyes which were made out of flowers, leaves, clay, stones, rice, and turmeric. There are two styles of painting - ‘digna’, which is the traditional geometric pattern, while ‘bhittichitra’ is a composition of flora and fauna. Initially, they used to do it as a symbolic art which could fight off evil and invite optimism during rituals and festivals but over a period of time it turned into decorative art and paper and canvas became the new media of storytelling for these indigenous painters. The Gond painting is essentially two-dimensional in execution with elaborate decoration that brings depth and texture to the image. The imagery relates to the stories and beliefs of the Gond tribe and display a veneration of nature in the attention and detail given to animal and plant forms. The Paintings are first sketched out with the main subjects forming the composition. Then the artisans bring in more details with a subtle appreciation of positive and negative space. A base coat of colour is applied to the subjects or background which will inform all the subsequent layers. By applying dense pattern in contrasting colours the base colours are transformed into brand new colours and tones and create fantastic effects that provide the forms with movement and a pulse.

source - http://ignca.nic.in/tribal_art_intro_gonds_mp.htm 11

Collaborative Craft Design Process

Interaction & Demonstration Understanding the Craft The craft processes play a critical role in development and understanding of a craft; hence the demonstration of techniques is taken as the first step in understanding the tactile aspects of craft, in any innovation fellowship program. The interaction during the demonstration builds a deep bond between the artisans and the designer. The craftspeople often take pride in sharing their inherited and valuable skills. A demonstration of the Gond art by Kaushal Tekam- a skilled Gond artisan from Madhya Pradesh, served as an introduction to the craft. As the first experiment of fusing Gond with Ceramics, a simple earthen cup was composed and painted with Gond art. All of the plant forms in the Gond art have a defined rule for their creation, varying upon species. However, this experiment was carried on by introducing a slight artistic variance and the artisanâ&#x20AC;&#x2122;s own intuition. This resulted in all the trees, painted in the composition, having their own character and spirit- in a way mimicking natureâ&#x20AC;&#x2122;s growth principles. Learning happened throughout the fellowship program. As and when the artisans continued working with the new medium, more and more subtleties and stories of the Gond came to the forefront and these were tried to be best incorporated in the designs. This gave the designs a richer contextual meaning.

1. David explaining the exploration sketches derived from traditional Gond paintings 2. Kaushal giving a demonstration of Gond style painting on a clay tile 3. The craft design team at work, adapting to the new medium of painting 4. Nisha Vikram of CraftCanvas understanding the style of Gond painting from Kaushal 5. A few paper explorations and an abstract ceramic cup with Gond textures 15

1 1

Ideation & Exploration Colour exploration process and learnings Gond paintings are mainly done on paper or canvas by the Gond artisans like Kaushal, Sambhav and Kalabai. The process followed starts with an overall rough sketch and placement of elements, which is followed by application of base colour. Then the painting is brought to life by painting layers of different textures and patterns over the base colour. Mainly acrylic colours are used since there is a ban on using natural colours which need to be acquired from the forest. In investigating the colour selections for the paintings it was found that the Gond artisans have a subtle intuition for colour but with their own systems and preferences. Underglazes were decided to be used as they are opaque like acrylic and in their raw state have a colour suggestive of their final fired colour. This process was initially guided by Maulik Oza and Heena Kokel of Clay Club. Adapting to a different medium for painting was quite a challenge for Kaushal, Sambhav and Kalabai because they were not used to the fast drying nature of the underglazes that were to be used for painting on ceramic. Applying layers of acrylic is a different matter than applying glaze and it took many experiments and additional ingredients to get the glaze to flow anything like paint. Certain colours that looked different before firing the ceramic, looked completely similar after firing, reducing the contrast between them. Newer and interesting colour combinations were also discovered. 1,2. Preparing the underglaze in various gond colours 3. Testing the underglaze colours on ceramic 4. Painting with the underglazes in Gond painting style and matching the colours to the palette 5. Colour combinations- Green on red looks better than red on green 6. Cobalt blue on black merge together after firing. 17

Ideation & Exploration Texture exploration process and learnings Every Gond artisan has their own signature texturing style. Every gond painting created by an artisan has its own distinctive look that can be differentiated from other artisans. For example, Kalabai’s signature texture is inspired from a woven rope. This woven rope texture is distinctly different than that of Kaushal’s or Sambhav’s method of texturing and their signature styles. During the initial experimentation stage, these signature styles of each of the artisans were recognised and instead of imposing them with a totally new style, their own style was incorporated in the designs. This gave a sense of belonging to the three artisans with the final designs The beauty of the textures was brought out to a great extent by zooming in to Kaushal’s original Gond painting, giving them an abstract look and feel. The Gond patterns and painting techniques create fantastic depth and movement on a flat plane. Images from Kaushal’s paintings were broken up, the pattern details were enlarged and colour work were recognised in their own merit. To bring some new elements to the images it was decided to fragment the images into a series of abstract paintings. It was sought to retain the narrative with glimpses of the characters revealing the narrative. By building up thick layers of bright opaque glaze, the patterns are given rich texture and Kaushal, Sambhav and Kalabai were effectively able to sculpt with colour.

1. Initial explorations of sculpting textures on clay 2. Scraping out the extra thick layer of underglaze 3. Kalabai’s inspiration note for her signature texture form the book ‘Signature’ 4. Kalabai painting on sample tiles using a paint brush and underglazes 5. Reference Gond paintings with zoomed in textures 6. The texture created by bubbles formed on the colours after firing 19

Ideation & Exploration Composition exploration process and learnings In attempting to apply the Gond styles for ceramic design it was essential to understand how the structures are build up and space is utilised. In selecting the forms and type of ceramic to be used with the Gond art it was necessary to keep them simple and smooth to facilitate the brush work. The difference in styles and composition between the collaborating makers/creators meant the work had to be free flowing and adaptive. Attempts to set too rigid a composition or theme meant the work would often fail as the restrictions would curtail the flow and focus that goes into the traditional paintings. It was found that the best way of working was selecting a theme and being suggestive around the composition. This led to many surprising outcomes. For example, in case of a fish theme, Kalabai sketched out two fishes spread out in three different tiles, (see image 5). Thus, the Gond artisans kept tweaking their traditional ways of painting giving rise to contemporary compositions. When working on different scales the Gond artists often adapt the density of the composition rather than simply scaling up the image. However, for the Gond tree mural project, construction of the trees and pattern was investigated to find a way of scaling it up without losing its character.

1. Kaushal drawing the Gond composition on tracing paper 2. Kalabai increasing the density of design rather than merely scaling it up in larger tiles 3. Fine-tuning the compositions for further experimentation 4. Using a paper window to determine abstract compositions 5. Kalabaiâ&#x20AC;&#x2122;s sketches - Splitting up a single painting in various tiles 6. Sample tiles with different compositions kept ready for firing 21

Ideation & Exploration Mural explorations process The Mural was developed for the client viz. Centre of Innovation, Incubation and Entrepreneurship (CIIE), IIM-Ahmedabad. Since the mural was to be installed in an open space, the material had to be weather and water proof and ceramic fit the bill aptly. In the mural concept, the tree that houses and supports the various birds perched on it is a metaphor for the Centre that incubates and supports all the associated entrepreneurs. This tree mural is given a treatment of a typical tree painted in a Gond paintingmorphing out of the CIIE logo at the bottom. A few existing Gond paintings were taken as references and the form of the tree mural was designed accordingly. The mural consists of two trees intersecting each other in an elegant way and branching out their own foliage. After the sketch and concept was finalised, the process of infusing Gond with the mural was undertaken. This was done by way of co-creation between David, the Gond artisans- Kaushal, Kalabai & Sambhav, along with Maulik Oza of the Clay Club team. The Mural being in Ceramic with Gond treatment, rather than just an enlarged Gond painting on canvas, presented its own challenges. The form of the ceramic tree leaves, branches and birds had to match those of the natural elements in the traditional Gond Paintings. This took many experiments with the artisans and the Clay Club team and finally it was decided that the mural will be made in parts with smaller stems, leaves and the trunk being fired in ceramic individually and henceforth painted on by the Gond artisans. 1. The concept sketch of the mural by David 2. Determining the components of the mural 3. Making paper mock ups of the components 4. Making clay samples of the components 5. Bisque fired mural components 6. Kaushal painting over the bisque fired components 23

Ideation & Exploration A process of finalising colours, colour combinations and textures was carried out by making samples and comparing them to each other and arriving at the best possible outcome. The mural was to be made in multiple components. David made these components using clay and replicating them using a plaster mould. After many iterations, the final component form was arrived at and the final Plaster of Paris mould was made for easy reproduction. These components were bisque fired in order to make them stronger and easier for handling. Kaushal and Sambhav were the key Gond artisans who were involved in the final painting of the mural. All the experiments and learnings in terms of colour, consistency of underglazes, textures etc. was put to use during the final execution. The final mural developed was a total of 9 feet by 9 feet in size that was mounted on a 12 feet by 12 feet plywood base and is now installed at CIIE, IIM - Ahmedabad accompanied with the concept note of the mural etched on a stainless steel plaque.

1. Components arranged in the kiln for bisque-firing 2. Naming each component 3. Sambhav arranging the components of the mural before painting on them 4. Kaushal painting his signature texture on the mural components 5. Mural components at different process stages 6. Sambhav painting the base colour on the mural components 25

Ideation & Exploration Tiles explorations process As part of the fellowship, a fusion of ceramic tiles with Gond narrative paintings was developed too. The idea was taken a step forward by infusing the traditional Gond stories in the compositions of these tiles. The exploration process commenced with Kaushal, Kalabai and Sambhav experimenting with compositions on small square tiles- one composition per tile. Once the artisans were comfortable with working with the new medium, compositions were then painted on bigger tiles. Composition experiments were carried out in order to break away from the straightforward nature of Gond compositions. Existing gond paintings were printed out and cut into multiple equal parts and re-arranged that resulted in contemporary compositions of an abstract nature. Another similar experiment that was carried out was that of creating compositions based on the traditional Gond stories. Every composition tells a story, but in a manner that only glimpses of elements in the story are revealed in every tile. Hence, once put together these tiles narrate the story in an interesting and engaging manner. This concept was carried forward in the making of the final design of the tiles.

1. Kalabai drawing a Gond composition on a smaller tile with pencil 2. Fired sample tiles 3. Sambhav spraying water on the tile to wet it, so that the underglaze used for painting does not dry out quickly 4. Kalabai painting on a sample tile 5. Kaushal painting on the bigger size tiles 6. Tiles painted with a Gond composition 27

Ideation & Exploration Jaali explorations process Davidâ&#x20AC;&#x2122;s work in Scotland has been inspired by geometry and he has previously worked on developing many interesting Ceramic Jaaliâ&#x20AC;&#x2122;s, during his career. The Gond paintings are heavily inspired by nature and depict the elements in nature like trees, birds and animals. The thought behind designing a Gond-inspired Jaali with interesting natural Gond elements, was hence a natural one. One of Kalabaiâ&#x20AC;&#x2122;s own creations- a 6 feet by 1 feet painting of a goose with horns in the form of intermingling tree branches, was the inspiration behind the final design. This painting was studied, simplified and given a contemporary look by making it into an abstract vertical Jaali, that could serve as a partition within a given space, providing interesting play of light and shadow. After the final design of the Jaali was finalised, it was laser cut on an acrylic sheet. This sheet was used as a stencil to cut out the form from the terracotta slabs. The jaali was made in 4 parts. For further production of the Jaali, a plaster mould was created that would ensure that the modules are perfectly identical. This would facilitate easy replication of the design, in the future. After firing, the Jaali was painted on by the Gond artisans providing the artisans a 3D canvas to paint on- rather than a regular 2D one.

1. The Jaali modular unit that can be repeated 2. Making a paper mock up for the Jaali 3. Refining the Jaali form 4. Making the final sketch using a traditional Gond painting as reference 5. Determining the exact dimensions using the reference 6. Acrylic sheet stencil cut out from the final form 29

Ideation & Exploration Products explorations process Along with the mural, the jaali and the tiles, each having applications in the interior design realm, smaller products were also developed in order to investigate the fusion of Gond on Ceramic on a smaller scale. The Craft Design process followed was similar for all the products. The process started with sketching out different ideas on paper. Popular Gond motifs were identified and incorporated on to the design of mugs, cups, bowls etc. Popular ceramic products that have useful applications in day to day life were developed in order to ensure easy production and higher usability. 3 products were finalised to be developed1. Platter 2. Bonsai Plates 3. Cups

1. Initial concept sketches 2. Paper mock up of the platter 3. A sample platter bisque-fired 4. Sambhav painting a Gond composition on the bisque-fired tray 5. The Gond painted pot kept ready for firing 6. A sample mug made by Kaushal using various Gond colours and textures 31

Creation & Execution

Joan Woodward identified three basic types of processes : unit or craft production (job-shop and small batch) which allows semi customization of the output; continuous processing operations also known as mass production which results into full standardisation of the output; and the project or one-shot system which allows to generate a fully customized output.The entire Creation and execution process resulted in outputs that could be seen in the light of 3 distinct categories. These categories determine the level of a particular outputâ&#x20AC;&#x2122;s ability to be taken further into mass-craft production. These 3 categories are as follows : 1. Full Customization - Where each output is different and each process- tools, components, specific work rules, team members - are also different. The Narrative Ceramic Mural would fall under this category as it was made for a site-specific installation for a specific client and the various components of the mural cannot be reproduced without the specific team that worked on making the mural. The mural thus, is a kind of â&#x20AC;&#x2DC;one shotâ&#x20AC;&#x2122; system because special methods of management have been developed to contain the costs of production within reasonable levels- catering to its singular project nature. 2. Semi-Customization - Where a standard procedure is to reuse some or all components from stock and configure them in different ways for different customers. The Narrative Ceramic tiles utilized ready-made vitrified tiles and converted them into new canvases for the Gond craftspeople. The craftspeople painted compositions inspired from their

traditional tales and brought them to life. The process has been tried, tested and documented. This results in easy reproduction in the future with the help of readily available vitrified tiles and Gond craftspeople. 3. Full Standardization - Where components of the output are interchangeable, or where components and final products are mass produced using a standardised process. The Jaali design was made in such a way that it is modular and every clay module can be repeated with the other. A plaster mould made of this component ensures that the clay modules cast out for further production are identical and flawless.

Source for the production model Shifting Economies : From Craft Production to Flexible Systems and Software Factories Michael A. Cusumano Massachusetts Institute of Technology Sloan School of Management Working Paper# 3325-91/BPS Draft: August 26, 1991 33

Creation & Execution

The following is a detailed description of the step-by-step process followed during the fellowship program. However, the entire process depends upon the quality of raw materials. The clay itself can differ from each other in terms of quality and composition due to geological differences. Hence, it becomes necessary to use the raw materials through all the processes at least once for testing the outcome. Some of the materials used could be hazardous to health if inhaled or touched. Hence, it is advised to use gloves and a mask in the initial stages of the process.

Production process for the Narrative Ceramic Tree Mural for CIIE, IIM- Ahmedabad: Step 1. Preparing the clay Unlike the tiles, the Mural was made at the clay club studio right from scratch. The Earthenware clay was made using the traditional formula- Ball Clay- 41%, China Clay 29%, Silica 16% and Feldspar 14%. This type of clay bakes at 1060â&#x20AC;&#x2122;C with a shrinkage of 5.5% and is white in colour after being fired. For the mural, the earthenware clay was soaked overnight and mixed with water to be made into a slurry. This slurry was sieved and poured into a Plaster Of Paris slab. POP absorbs moisture and hence renders a good consistency to the clay. This clay was then put into a plastic bag to mature.

1. 1:1 scale drawing of the mural

2. Preparing the Earthenware clay body

Creation & Execution

Step 2. Making the clay components The Mural was made using multiple components derived from a fundamental form. A POP mould was made for the component. Each component was made using the Press Casting method of production. The clay would be pressed into the open mould of the component, taking care that no air was trapped while doing so. Once the clay was pressed in the mould, after a few minutes, it was slowly taken out as shown in the Mural process photographs. These components were then customized further according to the form requirement using clay modelling tools. Once dry, these components were bisque fired at 850â&#x20AC;&#x2122;C-900â&#x20AC;&#x2122;C . The components became stronger after firing and were easy to be handled without breaking or disturbing the form. The firing also helped make the clay porous and it held the underglazes used for painting, in a better manner.

1. Making the Plaster of Paris mould of a single module 36

2. Placing a slab out of the earthenware clay body on the plaster mould

3. Pressing the clay slab into every corner of the mould, avoiding any air bubbles.

4. Smoothing out the surface using the â&#x20AC;&#x2DC;kidneyâ&#x20AC;&#x2122; clay modelling tool

5. Using a piece of clay to use as suction to separate the clay from the mould

6. Over turning the mould on a plaster slab 37

Creation & Execution

Step 2(continued). Making the clay components

7. Slightly tapping the mould to release the clay cast.

8. The clay cast out of the mould, with some imperfections

9. Using water to smoothen out the imperfect edges

10. Cutting out the extra clay using a sharp clay modelling tool.

11. The refined cast- left to dry for bisque firing

12. Breaking up the single module into the required form- 2/3 shoots of leaves 39

Creation & Execution Step 2. Making the clay components- Method 2 In case of the clay components that needed to be made again due to imperfect firing or breakage, an alternative process was undertaken as follows :

1. Tracing out the individual parts on slab of Earthenware clay

2. Cutting out the traced form

3. The crude form cut from the clay slab

4. Marking each component with its code

5. Refining and matching the edges

6. Painting the base colour on the clay using the clay slip solution

7. Testing the forms with the mural drawing

8. The clay forms kept ready to be bisque fired and painted on by the Gond artisans 41

Creation & Execution Step 3. Preparing the underglazes and painting on the components by the Gond Artisans Underglazes are available in the market in powdered form in various colours. These powdered colours were mixed with water to attain a water based liquid that can be used to paint with normal paint brushes on ceramic. Another reason for using underglazes was that their raw forms- in powder as well as liquid - were suggestive of their final colours they obtain after being glazed. This helped the artisans to visualize the final outcome in an easier way. The powdered underglaze colours were mixed with water to turn them into liquid. The water was added in only the required quantity at a time. A chemical called Carboxymethyl Cellulose (CMC) was added to this mixture in order to increase the viscosity of the underglazes. CMC is basically a vegetable gum that adds a thickness to liquid mixture and burns out in the kiln at 200â&#x20AC;&#x2122;C and hence does not affect the quality of the final output. 2 spoons of CMC powder were added to 1 litre of water and kept overnight. The following day, it was mixed thoroughly and only 1tablespoon of this CMC and water mixture was added to 100gms of the underglaze and water mixture. The artisans then are free to use the underglazes, water and CMC mixture- which is a liquid with honey-like consistency. The artisans can add some amounts of water to this in order to arrive at a comfortable consistency for using this mixture as paint to be applied by a brush. The Gond artisans paint the components with their signature textures using the underglazes and a brush.

1. Arranging all the forms on the 1:1 life scale drawing of mural

2. Preparing the underglaze mixture for the Gond artisans

3. Testing the underglaze colours to be usedFiring a sample painted ceramic piece

4. Base painted again by the artisans using black underglaze to achieve dark black base.

Creation & Execution

Step 3(continued). Preparing the Underglazes and Painting on the components by the Gond Artisans

1. Kaushal painting his signature texture with underglazes on the components

2. Sambhav painting in his signature style using underglazes filled in fevicol bottles

3. David Spraying the clear coat of glaze using spray gun

4. Arranging all the mural components in the kiln for firing

Step 4. Firing the components again After the artisans painted over the components, a coat of clear glaze was applied over them using a spray gun. These components were then ready for firing. The glaze maturing temperature was around a 1000’C. A shuttle kiln takes seven and half hours to reach the 1000’C mark from room temperature. The ceramists noted down the temperature of the kiln every hour and increased it by a 100’C every hour till it reached 600’C. At 573’C, the silica transforms from Alpha to Beta and hence needs to be increased gradually till this point. Beyond this, the temperature was increased by upto 220’C every hour. This was done till it reached 1000’C temperature. The components were then taken out of the kiln after the kiln returned back to room temperature. Once the components were taken out, all of them were examined to look for any faults. In case of faults, those particular components were made again following the above process all over again. Step 5. Making the plywood base for the Mural The Mural had to be mounted on a vertical wall surface and hence required a base. The base was made out of plywood(size- 12feet by 12feet) supported by a wooden grid framework at the back. The base had a wooden frame that was stained in dark brown colour and the plywood base was painted grey in order to continue the visual language of the CIIE, IIM-A building. Step 6. Assembling the Mural The components of the Mural that formed the overall tree form were arranged on the plywood base and once their positions were marked using chalk, every component of the Narrative Ceramic Tree was glued over the plywood base using Epoxy glue- Silicon adhesive. The Mural was left to dry and the glue to set for a night and the following day, the entire mural, along with the base was lifted and mounted on the wall.

Creation & Execution

Step 6. Assembling the Mural

1. The fired mural components after painting and firing

2. Arranging all parts to form the mural on the ply wood base

3. Arranging the Gond letters of the logo

4. Top view of the mural parts arranged on the ply wood base

5. David sticking the mural parts on the base using silicon adhesive epoxy glue

6. Installing the mural at the venue- CIIE, IIM-A building

7. Giving the final touches to the mural

8. The installed mural on the wall 47

Creation & Execution Production process for the Narrative Ceramic Tiles Compositions: Step 1. Preparing the base tiles The tiles used were 12”x12” ceramic wall tiles- Bisque tiles fired at 1120’C to 1150’C. These are easily available in the market. They were cleaned using a sponge and water and soaked in a tub of water at room temperature in order to give the tiles some moisture that they can retain. This moist nature of the tiles helped the Gond artisans to paint with the underglazes (colours applied to pottery before it is glazed) with ease. Step 2. Preparing the underglazes and painting on the tiles by the Gond Artisans Underglazes are available in the market in powdered form in various colours. These powdered colours were mixed with water to attain a water based liquid that can be used to paint with normal paint brushes on ceramic. Another reason for using underglazes was that their raw forms- in powder as well as liquid - were suggestive of their final colours they obtain after being glazed. This helped the artisans to visualize the final outcome in an easier way. Thus, after the tiles were soaked, the powdered underglaze colours were mixed with water to turn them into liquid. A chemical called Carboxymethyl Cellulose (CMC) was added to this mixture in order to increase the viscosity of the under glazes. CMC is basically a vegetable gum that adds a thickness to liquid mixture and burns out in the kiln at 200’C and hence does not affect the quality of the final output. 2 spoons of CMC powder were added to 1 litre of water and kept overnight. The following day, it was mixed thoroughly and only 1tablespoon of this CMC and water mixture was added to 100gm of the underglaze and water mixture. The artisans then were free to use the underglaze, water and CMC mixture- which is a liquid with honey-like consistency. The artisans could add some amounts of water 48

to this in order to arrive at a comfortable consistency for using this mixture as paint to be applied by a brush. The water was added in only the required quantity at a time, by the artisans themselves, during the process of painting.

1. Soaking the ceramic wall tiles in water to increase moisture to help the artisans paint

2. Drawing the composition on a tracing paper keeping the tiles below for reference

3. Drawing the composition on the tiles

4. Kaushal Painting the outlines of the drawing 49

Creation & Execution

5. Kalabai applying base colours and textures

6. Gond painted tiles ready for the clear coat to be applied

7. Spraying the clear coat of glaze using spray gun

8. Fired tiles arranged in a composition

Step 3. Firing the tiles After the artisans have painted over the tiles, a coat of clear glaze was applied all over the tile using a spray gun. These tiles were then ready for firing. The glaze maturing temperature is around a 1000’C and beyond this temperature the tiles are likely to crack and break. The shuttle kiln used for firing takes 7 and half hours to reach the 1000’C mark from room temperature. The ceramists noted down the temperature of the kiln every hour and increased it by a 100’C every hour till it reached 600’C. At 573’C, the silica transforms from Alpha to Beta and hence needs to be increased gradually till this point. Beyond this, the temperature was increased by upto 220’C every hour. This was done till it reached 1000’C. The tiles were then taken out of the kiln after the kiln returned back to room temperature.

Final Production Process - Jaali

1. Studying an existing Gond painting

2. Working out the exact dimensions of the jaali in the modular form

3. Acrylic stencil of the form

4. Cutting a single clay slab using the acrylic stencil

Creation & Execution

5. Using the acrylic stencil to make the jaali modular form in terracotta

6. The Jaali terracotta parts

7. Gond painting on the terracotta Jaali by the Gond artisans

8. The fired Jaali, fit into a self standing frame 53

Final Production Process - Products

1. Sketching design possibilities

2. Preparing the bisque fired ceramic base products

3. Drawing the composition on the base fired product with pencil

4. Painting the base colours in the composition

Creation & Execution

5. The base product with Gond painting ready to be fired for 2nd time

6. The fired Ceramic pot with Gond Painting

7. Other Gond-Ceramic products

8. Final products on display 55

Output

Craft Design Prototypes Narrative Ceramic Tree Mural at CIIE, IIM-A This ‘Gond Art inspired’ tree encapsulates the broad vision of the Indian Institute of Management, Ahmedabad as reflected in its logo. It symbolizes the Institute’s commitment to nurture innovation driven entrepreneurial initiatives through its Centre for Innovation, Incubation and Entrepreneurship (CIIE). The birds and icons depict the start-ups and their sectors respectively. Conceptualized by David Gray, a ceramic designer from Scotland and brought to life using the traditional Gond painting technique by artisans Kaushal Prasad Tekam, Sambhav Singh Shyam and Kalabai Shyam from the tribal areas of Madhya Pradesh, this Gond-Ceramic fusion is the result of a three month long DICRC-IIID Ahmedabad Innovation Fellowship Programme 2014 entitled ‘Narrative Ceramics’. This is a collaborative project by Design Innovation and Craft Resource Centre (DICRC), CEPT University, Institute of Indian Interior Designers (IIID) Ahmedabad Chapter, CraftCanvas and ClayClub. In that sense the tree captures the spirit of collaboration as well. A stainless steel plaque with the above concept note etched on it has been mounted at CIIE, explaining every visitor what the mural is about, along with a few process photographs.

Craft Design Prototypes Narrative Ceramic Tree Mural

Craft Design Prototypes Narrative Ceramics Tiles Compositions

Tale of the Granary (Size- 30â&#x20AC;? by 30â&#x20AC;? with frame) This particular composition is an inspiration from the traditional granary of the local houses. Every Gond household has its own granary where the grains are stored and used all year round. The craftspeople worship the yield and consider grains as Goddess Laxmi. The face that is seen in the composition is that of Goddess Laxmi. The 3 divisions in the compositions signify the 3 divisions made inside the granary to store different kinds of grains and ensure that they do not get mixed up with each other. 62

Tale of the Arandi Tree (Size- 10.25” by 26.5” with frame) This particular composition is an inspiration from the ‘Arandi’ tree that is considered holy by the craftspeople. They believe that the tree brings goodwill. During any occasion, auspicious like a wedding or inauspicious like the mew moon day, a branch of this tree is hung outside the door in every household. The branch is believed to ward off any evil that may cross their path. It keeps the negative vibrations out of the house and protects the family.

Tale of Rainbows (Size - 30.5” by 20.5” with frame) The traditional Gond craftsmen of Madhya Pradesh worship nature and are highly indebted to it. They believe that nature not only provides them with nourishments, but is also full of aesthetic beauty. It is considered as the highest order of beauty that exists. This particular composition is inspired from the 7 coloured rainbow and praises its beauty and form over the horizon. The rainbow with its 7 beautiful colours is pleasing to the eye and is looked up to by the craftspeople. 63

Craft Design Prototypes Narrative Ceramics Tiles Compositions

Tale of Horns (Size - 30â&#x20AC;? by 20â&#x20AC;? with frame) This composition has been inspired from a popular tale from the Gond heritage. The tale goes like the deer was tired of being constantly hunt down by the tiger. It therefore asked God of Nature to protect him from the beast. Instead of protecting the deer directly, God of Nature awarded the deer with horns, so that it can protect itself from any danger. In gratitude, the deer lets the birds perch on its horns and hence, the horns of the deer are depicted as a tree. The composition is designed in a way that only glimpses of the characters of the story are revealed in each tile.

Craft Design Prototypes Narrative Ceramics Tiles Compositions

Craft Design Prototypes Narrative Ceramics Jaali

Craft Design Prototypes Products

Dissemination First Friday Session with IIID Ahmedabad It is important to make society aware about the value of traditional craft and henceforth dissemination through various mediums like exhibitions, panels, online and print media are essential. In order to spread awareness of the Narrative Ceramics Fellowship, an interactive session was organised at Clay Club by IIID Ahmedabad, called the â&#x20AC;&#x2DC;First Friday Sessionâ&#x20AC;&#x2122;. Attended mainly by Interior Designers, Architects, traders, professionals, students and academicians, the session saw the display of all work in progress samples and explorations. The session started off with an introduction given by Prof. Jay Thakkar, followed by talks by Nisha Vikram, Maulik Oza, David Gray and Kaushal Shyam. The visitors interacted freely with the Gond craftspeople- Kaushal and Sambhav and watched them as they gave a demonstration of their Gond painting technique on Ceramics. David and Maulik too answered design and technical queries of the visitors. There was a good exchange of ideas, information and contacts. Date : 2nd May, 2014 Time : 6.00pm onwards Venue : Clay Club Innovations Pvt. Ltd, Opposite Meladi estate, Gota

1. Interaction with IIID members 2. Kaushal narrating his experiences through the fellowship journey 3. Maulik Oza explaining the experimentation process with Ceramic 4. David explaining the mural work in progress to the visitors 5. Kaushal giving a brief live demonstartion of Gond painting on a ceramic tile 6. Heena Kokel of CLay Club explaining the production process followed 73

Dissemination First Friday Session with IIID Ahmedabad

Dissemination Narrative Ceramics Exhibition at CIIE, IIM -Ahmedabad In order to summarise the fellowship, an exhibition was conducted at the end. The exhibition was visited by various architects, design professionals, academicians, students, journalists and locals from the city. The Gond-Ceramic mural was installed as a permanent addition to the CIIE- IIM-Ahmedabad building and the exhibition was designed around it. All the explorations, craft design prototypes, craft design process panels and a visual essay of the entire Narrative Ceramics Fellowship was on display at the exhibition. The visitors interacted with the team members and the partner organisation members. The details are as follows: Inauguration : 16th May 2014, 6.00 pm Dates : 16th May to 18th May Time : 4.00 pm to 8.00 pm Venue : Centre for Innovation, Incubation & Entrepreneurship (CIIE), IIM-Ahmedabad.

1. The Inauguration ceremony 2. Visitors looking at all the Partner Organisationsâ&#x20AC;&#x2122; print material 3. Visitors viewing the Gond Ceramic tiles on display 4. Visitor reading the Craft Design Process Panels 5, 6. The Craft Design Process display 7. The Narrative Ceramic Mural installed at CIIE, IIM-Ahmedabad 77

Dissemination Narrative Ceramics Exhibition

Dissemination Craft Design Process Plates

Panel explaining the Narrative Ceramics project, the collaborators, aims and objectives

Panel explaining the Narrative Ceramic Mural craft design process

Panel explaining the initial craft design process, the interactive sessions, and jaali & products craft design process

Panel explaining the Narrative Ceramic Tiles compositions craft design process

Dissemination

Narrative Ceramics in Media

Published in Navgujarat Samay, on 19th May 2014

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Dissemination Marketing and promotion The entire documentation of the fellowship program is now available for everyone to see and read about in the DICRC website. The products that were developed during the fellowship can be browsed through and bought at the CraftCanvas website.

The DICRC website- Innovation Fellowship page url- http://dicrc.in/Innovation-Fellowship#Narrative-Ceramics-DICRC-IIID-AhmedabadFellowship-2014

Tale of the Granary (Size- 30” by 30” with frame) Set of 9 tiles. Ceramic Monochrome Gond Side bowls. Set of 2. Ceramic

The CraftCanvas website - online store url - http://www.craftcanvas.com/shop

Narrative Ceramics Craft Design Team 87

Narrative Ceramics Fellowship Team 89

For more information visit www.dicrc.in

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad Contact :+079-26302470 Ext- 380, 381 , email: dicrc@cept.ac.in, www.dicrc.in