CRAFT ClUSTER 2016
F&LA 2014-18 | MEDINIPUR
CRAFT CLUSTER 2016
Copyright @ 2016 student document publication, meant for private circulation onlu. All rights reserved, NIFT All rights reserved, CSWS Fashion and Lifestyle Accessory 2014-2018 NIFT, Kolkata No part of this document will be reproduced or transmitted in any form by any means, electriconally or mechanically, including photocopy, xerography and videography, recording without written permission from the publisher and the organisations related to it.
Contents Acknowledgemnt Synopsis Chapter 1 : NGO associated with Cluster About CSWS Journey Programs Services Working & Functioning
Chapter 5 : Costing per Product Costing
Chapter 2 : Introduction to the Craft Babui Grass Making & Modifying Artisan Involved
Input Towards Craft
Chapter 3 : Collection Gensis Overview Key Elements Target Market Chapter 4 : Making of the Collection Product 1 - Ice Bucket Product 2 - Wine Bottle Table Rack Product 3 - Coster Holder with Coasters Product 4 - Serving Tray Product 5 - Platter Product 6 - Champagne Holder Product 7 - Cigar Box Product 8 - Gift Box Product 9 - Chandelier Lamp Product 10 - Wall Mirrors Product 11 - Nut Container Product 12 - Organiser Product 13 - Display Rack
Chapter 6 : Collection Role of NIFT
Retrospect
Acknowledgement Through this document, We take the opportunity to thank every single individual who was apart of this unforgettable experience of learning. I would to like to thank NIFT for its reputation, as a trusted brand which makes such collabration possible.
I would like to show our sincere gratitude to the CSWS (Child Social & Welfare Socirty) for the introducing us to the insight world of craft making. Their act helped us to bring a great deal of confidence in us to execute our planned tasks within the time frame.
This craft documentation was of great help for us to learn about enormous number of crafts like babui grass, matt products , waste materials products, bamboo product, Pingla patachitra and got know in detail about rich culture of West Bengal , it helped us to learn how to procure raw materials in an enormous amount of hard work put in to each piece of craft.
The compilation of the documentation is a milestone in the life of a student and its execution is inevitable with the co-operation of cluster oragnisattion,CSWS and its staff Ms. Gayatri Patra (Asst. Secretary)and Mr. Ramchandra Mahato (Trainigs and Production Manager).
We sincerely thank our former director Mrs. Binwant Kaur Mam for giving us the opportunity to be a part of this cluster initiative. Our course co-ordinater Mr.Chirapriya Mondal Sir has always been guiding source of inspiration to us. We would also take the opportunity to thank Subject teacher
We wish to record a deep sense of respect and gratitude to our cluster mentor Mr.Souvic Basu for supervising this wonderful cluster program and for his encouragement to course of our work. Its due to the enduring effort and guidance of our mentor that ultimately made it success. The artisans together supported and taught us a lot about the craft. We would like to thank each one of them, contributing their ideas from their particular specialisation.
Synopsis The project is centered around finding ways of repositioning traditional crafts in the menacing scenario of cradle to create industrial economy.
Subsequent field studies in Mednipur Handicrafts, informed the decision to take Sabai Grass craft as a starting point for the project.
Questioning the current design practices and the implication of the industrial economy ; inspiration was derived from the still nascent concept of circular economy and sustainable design philosophy, intern questioning the process of making a product.
Problems in the Sabai Grass Craftwork system were analyzed and experiments were done to understand them and solve for them. Moreover new designs were created to give a modified horizon to the craft by exploration.
The inspirational story of CSWS which combines fine eco design and craft served as a reference point for a new way to envision the handicrafts sector since 1969. Studying the artisans, the craft value chain and the challenges faced by the then surfaced the positive attributes that handicrafts that inherently posses- maker stories, craftsmanship, slow manufacturing, quality over quantity and liberate creative process.
Chapter 1 NGO associated for Cluster
About CSWS Child & Social Welfare Society (CSWS) is a non government fair trade organization registered under societies restration Act 1960, established in the 1969. They are working for last 44 years with a zeal of life in the field of education, health, incomegeneration and welfare for mother, children & old-age people of marginalized and underpriviledged section of the rural community. CSWS works intensively in Sabang, Pingla, Narayangarh, Jhargram, Nayagram, Jamboni block of Paschim Medinipur, Bhagwanpur, Pataspur, Nandakumar blocks in Purba Medinipur and also in Bankura & Purulia district of West Bengal.
They are governed by executive committee of 15 board members with active supports form local youth clubs, SHGs, government institutions and national & international donor agencies. CSWS is connected by metal & pared roads 150 km away from Kolkata, the state capital and 75 km from district head quarter. From Howrah to Balichak 120 km by howrah medinipur or howrah kharagpur local trains, Balichak to Mohar Bazar 35 km by bus or 2.5 km by cycle rickshaw van. From Balichak to CSWS private taxies are also available for 600 - 800 rupees.
It operates from registered head office at Markandachak village in Sabang block, a remote corner of south west part of Paschim Medinipur district of West Bengal - 721144, India. Phone : 03222 285096 Tele Fax : 03222 285149 Email : info@csws.in / csws@rediffmail.com
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Journey Child and Social Welfare Society began its journey in name of Milani Club in the year 1969 in Paschim Medinipur district of West Bengal, India. Care started from the inception of the society to improve the quality of village lives under the leadership of a group of dedicated youth. Later this organization in association with Indian Red Cross Society worked extensively in flood prone area for disaster management. Among the boys Nikhil Barman always took the leadership that carouses till today and builds a wide field of today’s work frame. The vision has guided the society throughout its history of 45 years. Operating initially with an annual budget less than Rs.10,000 with untrained staff of six people, it is now become a state level organization with an annual budget of more than Rs.5 crores and trained and professional staff strengths of 72 + and several overseas volunteers conducting welfare activities in the field of education, health, economic developments.
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Today the organization that was once mud-hut, stands on an attractive campus of 20 acres, with three multi-stored buildings and several blocks housing the elderly people, the working trainees hostel, the administrative office, the weaving and handicrafts work sheds, hospital & diagnostic centre, crafts based resource centre, raw material banks etc. Moreover, the organization is transformed into one of the most successful NGO in the state closely working with rural community in grass root level.
Programs Income Generation Using natural fibre (e.g., mat, cane, bamboo, babui grass and palm fibre etc.) and with a view to provide income generation facilities to the poor rural women artisans CSWS implemented Income General Program through handicrafts. Over last 15 yeas we are continuing our production of handicrafts. A wide range of products like Home decor, Office & Fashion Accessories, Kitchen and Dining etc. Currently we are running our central production unit at CSWS campus with 32 highly skilled inhouse artisans in different trades like Mat, Bamboo & Cane, Recycled paper and cloths crafts. We have implemented decentralized production units in village community production centres (CPCs) with active supports from local youth clubs and also started at individual households.
Dyeing Unit, Treatment Plant & Shed Drying : To increase quality of the products dyeing unit, treatment plant and shed drying system developed in the campus with financial support from NABARD. As a result the standarization of rawmaterial has been assured better quality productions. Buyers also satisfied with eco-friendly, stable, azo free, colourful products and timely delivery of bulk orders. Destitute Home 6 cottages for 150 destitute girls’ children has been running in CSWS central campus since September 2009. These cottages are sponsored by Ministry of Social Welfare department, Govt. of West Bengal. All kinds of education, health & hygiene, nutrition, medical, recreation, vocational training etc. supports are being provided to the children of age group 6 yrs to 18 yrs.
We run centralized and decentralized raw material bank which ensure a steady production throughout the year. Common Facility Centre : The artisans those have no accommodation to set up production unit at their home they are working in the CSWS’s central production unit (common facility centre on mat and bamboo craft) throughout the year. They have enough scope to develop skill under efficient designers, meet with buyers and participate in the fairs etc. Cutting, stitching, fitting, finishing, packaging etc. of products have done in the CFCs. F&LA 2014-18
Services CSWS started working 44 years in the field of education, health, income-generation and welfare of children & old-age people. Economic sector of CSWS promotes new concept using natural resources (mat, bamboo and cane, sabui grass, waste cloth etc.) and finds its products well fit in international and national market at justified price tags. This creates a boom among the local artisans and enthuse local youth groups to be involved in the creativity with a full force. Cultivators of raw materials also provided support for increasing their production. It emphasizes constant effort in developing design, market and medium. Buyers come from in country and overseas. Designers come from West Bengal and other states and train local artisans on mix and match using mat, bamboo and steel etc. They comes forward with a bagful plans and programs. Untouchability is a crime to society and ignorance is a curse. They makes scope to know about leprosy (which leads one to suffer miserably because of untouchability and ignorance) and care by organization awareness program in school level among the adolescent students who after acquiring knowledge could propagate it in the society confidently.
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Moreover, they promotes the concept of Self Help Group with people cured from leprosy. This would make their lives smooth and easy as self-employment melts away financial crunch and makes them confident. CSWS is widening its wings for covering old people under its Age Care Scheme. It helps them in two ways: for those who prefer to live with their relatives, They give them protection under the “sponsor a grandparent program-SaGP � for elderly people and other who have no one in the world. CSWS brings them in its Home at the Central campus and provides everything required for maintaining a healthy life. They extended its service through opening 6 cottages for 150 destitute girls children in its central campus. All the activities executed by them help it to grow steadily with innovative ideas and concepts. They hope that well wishers bless them to flourish with aims and objectives for achieving a healthy society.
Working & Functioning Common Facility Centre : The artisans those have no accommodation to set up production unit at their home they are working in the CSWS’s central production unit (common facility centre on mat and bamboo craft) throughout the year. They have enough scope to develop skill under efficient designers, meet with buyers and participate in the fairs etc. Cutting, stitching, fitting, finishing, packaging etc. of products have done in the CFCs.
Dyeing Unit, Treatment Plant & Shed Drying : To increase quality of the products dyeing unit, treatment plant and shed drying system developed in the campus with financial support from NABARD. As a result the standarization of rawmaterial has been assured better quality productions. Buyers also satisfied with eco-friendly, stable, azo free, colourful products and timely delivery of bulk orders.
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Chapter 2 Introduction to Craft
Sabai Grass Sabai grass is one of the natural fibers available in plenty across the Medinapur district in West Bengal.
Natural dyes as well as led free synthetic dyes which are skin environment friendly are used to dye the product.
The tribal people call it as “babui dauda” or “babui ghasa” locally. The scientific name of sabai grass is ‘Eulaliopsis Binata’ which consists of long leaf fibers.
Sabai grass industry is associated with various activities of raising production of grass and processing of consumer goods, such as, ropes, mats, carpets, sofa sets, wall hangings bags and their other sophisticated fashionable articles.
The fiber length of sabai grass is more than that of bamboo but fiber diameter is 2.5 lower than bamboo. Babui grass consists of high cellulose and pentose with low lignin content (non woody plants). Sabai grass is collected from the forest maily by the rural women which are then dried and made into ropes by manually operated machines. Sabai grass is mainly used in the paper industry. The artistic hands of rural people have given a new recognition in handicrafts.
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TECHNIQUES They use various types of techniques to modify a product • Dying • Weaving • Filling • Making Ropes • Making Braids • Hand Weaving
Making & Modifying RAW MATERIALS Raw materials used for tranforming are • Thread • Bamboo Sticks • Dyes • Hand Weave TECHNIQUES They use various types of techniques to modify a product • Dying • Weaving • Filling • Making Ropes • Making Braids • Hand Weaving
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Artisans Involved Today the organization that was once mud-hut, stands on an attractive campus of 20 acres, with three multi-stored buildings and several blocks housing the elderly people, the working trainees hostel, the administrative office, the weaving and handicrafts work sheds, hospital & diagnostic centre, crafts based resource centre, raw material banks etc. Moreover, the organization is transformed into one of the most successful NGO in the state closely working with rural community in grass root level. The artisans have all grown mentally and economically along with the growth of the NGO.
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The artisans who worked with us were all expert in their respective fields • Bamboo craving • Wood cutting and framing • Bamboo weaving • Stitching • Material distribution • Hand stitching • Dying
Chapter 3 Collection Genesis
Overview From the splash of ink to the glames of sparkle, the night has always been an adventure which beholds to be discovered. Our collection is just another way to reminding that every night beholds another adverture to be remember. INSPIRATION We derived your inspiration from the moon and it’s presence. How in the darkness one beauty totem shines and embrace the surrounding into a mesmerizing view. THEME Our theme is - “ Magic In The Moonlight” It signifies the beautiful combination of dark and glow and how melodiously it goes together. COLOR SCHEME We have played with the shades of cream and beige along with the tones of black and wine. Together they give a contrasting effect.
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Target Market We are targeting that part of our society which has nutured the impotance of change and open-mindness. Those who are admin to live life like it the last day and enjoy every moment as it comes CLIENTELE Our clients will basically be high end consumers and sellers like • 5 and 7 star hotels • Business Tycoons • High-End Bars & Pubs • Celebrities • Industry Icons TARGET AIM We are aiming to provide them with an essence of India through the craft in an classy manner. Our products will give them an experience rather then just meer product. It is a way of reflecting who we are, our culture in a elite and posh way.
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Key Elements This craft based internship set in the beautiful location of Medinapur, has become a very memorable experience for me. Not only did I understand about the technicalities of an industry in detail, I learned responsibility. The remote location of my project with a nondesign firm exposed me to facets of life I hadn’t witnessed before. Every part of my work was filled with study of the culture and ethics of the people. I believe it worked in my favour to be given multiple responsibility, most of which i had not much knowledge of. CLIENTELE My study included mapping the history and hierarchy of the company. I spent ample amount of time learning about the organisation and its functioning. This in depth knowledge of the organisation and its philanthropic work has helped grow as a person. COLOR SCHEME
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Chapter 4 Making of the Collection
Ice Bucket
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PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • According to the area needed to make the base of the bucket length is measured and cut on the mat. • The mat is pasted on a thick form and cardboard for stronger base. • Babui grass is braided to make a braided rope which is then wrapped around the cardboard structure and hand stitched. • The lengths the braided rope is beaten with the hammer to make it flat. • The hand stitched bucket is then dyed. • The bucket is covered with bamboo sticks for strongness at the top an bottom of the bucket. • The base is attached to the braided structure. • At last bamboo is filled for finishing.
• Foam • Dendrite • Babui matt - weaved • Babui braided rope- dyed • Bamboo strips • Cardboard
Wine Table Rack PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • According to the area needed to hold a bottle, length is measured and cut on the mat. • The mat is pasted on a thick form for stronger base. • Cane is being cut into lengths that is needed to pass from the sides. • Then cane is placed with the mat and stitched. • After that the structure is formed with the help of bamboo. It is tied with wire to hold the • shape. • After that babui rope is being wrapped around the structure.
• Foam • Dendrite • Babui matt - dyed • Babui rope - natural • Bamboo strips • Black Cloth • Metal Wire • Ply
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Coaster & Stand
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PROCESS
RAW MATERIALS
• The babui grass is dyed with black color and allowed to dry. • Then the grass is being cut and used to make the star weave. • The natural babui is used at alternative rounds to give a color variation. • The grass is made wet in intervals so that it doesn’t break or rapture. • Then fevicol is applied on the backside of the weave so that the weave is held strong. • After the star weave is made it is cut into a circle with the help of a paper cutout. • The adhesive is applied on the edges and covered with bamboo sticks. • The finishing is done by covering the front and back along the framing with bamboo sticks. • And then filling with the sandpaper.
• Foam • Dendrite • Babui matt - dyed • Babui grass - natural • Babui grass - dyed • Bamboo strips • Waste Cloth
Serving Tray PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • Then accordingly the cardboard is cut and layered together with glue. • Then mat is cut and stick together with the foam and it cover the cardboard from both the sides. • Then bamboo strips are added from where the glasses will slide. • And braided and normal babui is wrapped around the boundaries. • A bamboo is cut accordingly to the length for the stand. • It is then covered with braided babui grass.
• Foam • Dendrite • Babui matt - dyed • Babui rope - natural • Babui braided rope- natural • Bamboo strips • Bamboo • Cradboard
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Platter PROCESS • The paper pattern is being made for the mat area. • Then the same size is cut and pasted on the mat which is stuck with foam for stiffness. • The mats are then stitched at the edges so that the weave is not opened. • Then the cane is cut and Bended according for the base structure. • The cane is then covered with the braided ‘ babui grass. • Bamboo strips are attached to get a circular shape and are pasted on the top mat. • The bowls are made with the star weave and edges are framed with bamboo strips. • Finishing is done on the bowls and the top bamboo frames.
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RAW MATERIALS • Foam • Dendrite • Babui matt - dyed • Babui matt - weaved • Babui braided rope- natural • Bamboo strips • Cradboard • Cane • Black cloth
Champagane Holder PROCESS
RAW MATERIALS
• The paper pattern is being made for the mat area. • Then the same size is cut and pasted on the mat which is stuck with foam for stiffness. • The mat is cut from centre and stitching is done at all the edges so that the warease is not opened. • Then bamboo sticks are cut and bended in a way to get the required shaped and tied with a wire. • The babui rope is wrapped around the whole structure for finishing.
• Foam • Dendrite • Babui matt - natural • Babui matt - weaved • Babui rope- natural • Bamboo sticks • Bamboo • Cradboard • Metal Wire • Black cloth
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Cigar Box
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PROCESS
RAW MATERIALS
• The paper pattern is being made for the mat area. • Then the same size is cut and pasted on the mat which is stuck with foam for stiffness. • The mats are then stitched at the edges so that the weave is not opened. • The top cover is hand stitched to get the desired shape and the draws are machine stitched to get the stiffness. • Then all are placed together for the functioning.
• Foam • Dendrite • Babui matt - dyed • Babui matt - weaved • Cradboard • Black cloth
Gift Box PROCESS
RAW MATERIALS
• The paper pattern is being made for the mat area. • Then the same size is cut and pasted on the mat which is stuck with foam and cardboard for stiffness. • The base have slots which are cut and made for the shot glasses to stand. • The mats are then stitched at the edges so that the weave is not opened. • Then bamboo strips are attached at the slot boundary for finishing. • Similarly the side planes of the gift box is made with cardboard and foam and are stitched. • After that the cane sticks are cut and stuck on the planes which will hold the bottles and packet. • At last the cap of the box is made and framed with bamboo strips for finishing.
• Foam • Dendrite • Babui matt - dyed • Babui matt - weaved • Cane sticks • Bamboo strips • Black Cloth • Cardboard
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Chandelier Lamp
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PROCESS
RAW MATERIALS
• Wires are cut according to the length required and are wired with the bulb holder. • Then babui grass is braided to make a braided rope which is then wrapped around the bulb holder and hand stitched. • For the lengths the braided rope is beaten with the hammer to make it flat. • And three braided ropes are hand stitched together according to the length. • The stitched rope is then wrapped around the ‘ wire and stitched for closure. • The wire part is then stitched with the bulb holder part . • After that crescent shape is made on a paper for reference. • It is then the same shape is cut on the ply and drilled at intervals from where the wires will pass. • And one is cut without drilling. • The two plys are joined with a cardboard and covered with the mat of same size.
• Foam • Dendrite • Babui matt - dyed • Babui braided rope - natural • Babui rope - natural • Wire • Bulb holder • Bulb • Black Cloth • Cardboard
Wall Mirrors RAW MATERIALS
PROCESS
• Foam • Dendrite • Babui matt - dyed • Babui matt - natural • Babui matt - weaved • Babui braided rope - natural • Babui braided grass - natural • Babui rope - natural • Metal Hook • Cardboard • Bamboo Sticks • Wooden Ply • Mirrors
• First mirrors are cut into circular and progressive steps. • Then same size ply is cut and stick with the mirrors. • The back side is covered with a mat for finishing. • Then bamboo strips are used to make a frame around the mirror and filled with sandpaper. • Then cardboard is cut around the mirror according to the size required and mat is sticked to it with the help of dendrite. • Same is done at the back side of the cardboard. • Then bamboo strips are used to make a frame around the cardboard and filled with sandpaper. • Then babui rope is used to make braided rope which is stuck around the outer edge of the product. • Then babui rope is used to make loop designs alongside the braided rope and hand stitched for stability. • Then last step is to cover the extreme edge with braided rope for finishing.
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Nut Container
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PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • According the form is being cut and pasted on the mat. • The mat is then cut and stitch on the edges so that there are no loss ends from which the weaving is loosened. • After the side patterns are made the circular hold is being made with the bamboo sticks. • The bamboo sticks are then sliced to give a proper curve and fold to firm a circle. • It is then stick with dendrite and and tied to hold the shape. • Afterwards holes are made in the bamboo with the drilling machine and in the mat with a tool for riveting. • The mat is attached to the bamboo holder by rivets and then sides are stitched. • Afterwards finishing is done by sandpaper on the holder
• Foam • Dendrite • Babui matt - dyed • Babui matt - natural • Bamboo strips • Black Cloth • Metal Rivets
ol
Organiser PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • According the form is being cut and pasted on the mat. • The mat is then cut and stitch on the edges so that there are no loss ends from which the weaving is loosened. • Then the partitions are stuck at an angle to the base for slanting effect. • Then the sides are hand stitched to the base for the ultimate finishing.
• Foam • Dendrite • Babui matt - dyed • Cardboard • Black Cloth
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Display Rack
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PROCESS
RAW MATERIALS
• The paper pattern is being made for the product. • According the form is being cut and pasted on the mat. • The mat is then cut and stitch on the edges so that there are no loss ends from which the weaving is loosened. • Then the wooden ply is nailed together to form the desired shape and form. • Then the wooden ply is covered with mat and cloth for the finishing. • Patitions are nailed at an level for holding the bottles and glasses. • Then the bamboo sticks are covered with babui rope and stuck to the mat as they will become the support when the glasses are hanged.
• Foam • Dendrite • Babui matt - dyed • Babui matt - natural • Babui matt - weaved • Babui braided rope - natural • Metal Hook • Cardboard • Black Cloth • Wooden Ply • Bamboo sticks
Chapter 5 Costing per Product
Costing The labpur cost by the organisation is rupees 100 per day working for 12 hours for the initial stage where their skill is still in the developing stage. We added a 40% profit on the products made with the help of CSWS. This is based on the present quality of the product. Also since quality is varying from product to product, prices are subject to change(referrring to the percentage of quality) We calculated the cost price as such CP = Material + labour SP = CP + Profit The cp is the lower limit for sell. and the sp is the upper limit for sell.( +/- % of quality)
Costing as per raw materials • Babui matt - 120/- per mat ( 20x20 in) • Labour Cost - 260/- (weaving) 300/• On call labour Cost - 250 • Dying - 30-40/- (mat) • Mount board - 20/- per piece • Mirrors - 30/- per piece • Plyboard - z • Babui Rope - 32-35/- per kg • Bulb Holder - 30/- per piece • Bulb - 10/- per piece • Wire - 10/- per meter • Plug - 30/• Metal Wire - 10/- per metre • Cane - 300/-
Other proposals As production continues the women accure expertise. We can add overhead expenses and increase labour cost and profit margin. Product available in bulk can be offered with a 10% discount when bought in a set.This could promt the customer to buy rather more than indivually. We deliberatly price the products at odd cost like 215, 260 as it promotes the idea that the pricing is systematically calculated and not randomly desiignated. We also incorporated the pyshological pricing of the product i.e the price ending with a 9, like 499.
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Chapter 6 Product Collection
Collection Nut Container
Ice Bucket
Serving Tray
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Coaster & Stand
Champagne Holder
Display Rack
Gift Box
Wall Mirrors
Cigar Box
Organiser
Chandelier Lamp
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Role of ......... The craft cluster initiative of the institute is a carefully developed formula for integrating the craft sector of the country with main stream. NIFT with active with support from the Ministry Of rural development, Office Of Development Commissioner (Handicraft and Handloom) and National Centre for Jute Developing and implementing a Craft Cluster Of India overall implementation along with the institute and ministry of textiles India. Role of Nift in Craft Cluster : • Overall implementation along with specific tie-ups and networking with the institute and the ministry of textiles India • Assessment and enhancement of capacity an capability through knowledge transfer programme • Product , processes and tools are an innovation through design and development of the cluster.
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Input Towards Craft Within the short spaan of time we were able to get in inside into the lives of the craftsmen as well as the handicraft.
The craftmen who works on daily wages basis, should be paid accordingly for their upliftment and encouraging them to work.
We found that the craftsmen are not the ultimate seller, they simply use acumen and aesthetic, sensibilities to produce the beautiful articles.
Further, they should have the liberty to express their own aesthetics through their own designs.
These products are further sold to the market through various distributing channel like NGO�s retailers, etc. The annual fairs provide with a wide expiser which otherwise is not available to them . For the most their is a wide communiction gap between the workers and the buyers which hinders the marketing process. The government should take proper steps for opening more channels of marketing with the help of cooperative societies .
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Presentlyis the sabai/babui products are being exported to various countries as the domestic market it is still fighting for it’s ultimate survival. Through our own intensive surveys we found that the artisans are very less exposed to the new way of working in the designing sector. Thus they need to be made aware about the facts like, color palettes, forecasting, patterns and design. As the life of handicraft and artisans can only be revived when the artisans and craft itself is uplifted.
STRENGTHS
OPPORTUNITIES
• Artisans are open to new innovation and design • Artisans are very confident and elegant with their work • They give equal importance for quality as quantity
• The Government offers them schemes which helps the artisans family needs • NGO also help the artisans with their personality development • They enhance their communication skills through the clusters which help them with their interaction with outsiders
S
W
O
T
WEAKNESSS
THREATS
• Wages of artisans should be increased for the amount f work they do • Artisans should be informed about the sales pricing • The artisans require enhancement of the technology they use in order to have an increment in in the production as well as quality of the product.
• Artisans are very limited to exploration on their levels. • Artisans are paid according to the no. of thread per day, which decrease their standards of work. • Artisans are manipulated easily by the design of the designers and their work eliminates their authenticity
Retrospect This craft based internship set in the beautiful location of Medinapur, was a very memorable experience for us. Not only did we understand about the technicalities of an industry in detail, but we also incorporated responsibility. The remote location of our project with a nondesign organisation exposed us to facts of life that we hadn’t witnessed before. Every part of our work was filled with study of the culture and ethics of the people. We believe it worked in our favour as it lead to multi-taskinhg, which we haven’t done before. Our study included mapping the history and hierarchy of the organisation. We spent ample amount of time learning about the organisation and its functioning. This in depth knowledge of the organisation and its philanthropic work has helped us grow as a person and enhanced our enterprenuership skills.
As design students, our learning included: • History and evolution of the local craft. • Assessing the feasibility of the craft with respect to finance, market and consumer. • Extensive market study through CSWS, Medinapur. • Working with alternate material due to lack of variety in the area. • Working with a communication barrier. And fulfilling formal requirements like : • Creating logbooks before commencing a training. • Importance of standardisation and quality control. • Cost calculation and marketing strategies. We would conclude by saying that this craft cluster made us realise how fortunate we are to be surrounded by such talents, opportunities and resources.
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Associated Craft in Cluster Sabai Grass Work Duration of Cluster 1st phase - 30/9/16 to 01/10/16 2nd phase - 20/10/16 to 25/10/16 3rd phase - 08/11/16 to 13/11/16 Members of our group Chandrakanta Chitra Jhawar Harshita Agarwal Khushboo Choraria Sucheta Jain