THESIS PROJECT 2020 PROJECT TITLE
Impact Edge STUDENT:
RIA SHAH
PROJECT:
Impact Edge - NTFP Odisha
SPONSOR:
Industree Foundation
PROGRAM:
Undergraduate Professional Programme
AWARD:
Visual Communication and Strategic Branding
GUIDES:
Tulip Sinha, Dharun Rao, Jacob Mathew
Copyrights 2019-2020 Student Document Publication (for private circulation only) All Rights Reserved Thesis Project (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, scanning, photography and video recording without written permission from the publishers namely Ria Shah and Srishti Institute of Art, Design and Technology, Bangalore. Written, edited and designed by Ria Shah, Printed at Pune
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INTELLECTUAL PROPERTY AND PLAGIARISM STATEMENT I, RIA SHAH, hereby declare that the content of this student documentation and final design/artwork submission is my own original work and has not been plagiarised in full or part from previously published/designed/manufactured material or does not even contain substantial propositions of content which have been accepted for an award of any other degree or diploma of any other educational institution, except where due acknowledgement is made in this thesis project. I also declare that the intellectual content of this Thesis Project is my own original work, except to the extent that assistance from others in the project’s design and conception or in style and presentation is acknowledged and that this thesis project (or part of it) will not be submitted as assessed work in any other academic course.
COPYRIGHT STATEMENT I, RIA SHAH, hereby grant Srishti Institute of Art, Design and Technology the right to archive and to make available my Thesis Project in whole or in part in the institutes data bank and website, and for non-commercial use in all forms of media, now and hereafter known, subject to the provisions of the Copyright Act.
Name: Ria Shah Signature: Date: 24/07/20
ACKNOWLEDGEMENTS
Without whom this project would not have been possible. In times such as this to be able to focus and complete something and make an impact is what we all are craving for. I would like to thank Srishti Institute of Art Design and Technology for providing me with this opportunity to be part of a project of this magnitude. I would like to thank Jacob Mathew and Industree foundation for taking us in, giving us their time, knowledge and letting me be a part of their project and space. Furthermore I would like to express my sincere gratitude towards Mrs. Tulip Sinha and Mr. Dharun Rao for being patient, giving me the guidance, and their expertise throughout the journey. I would want to go ahead and thank each and every woman in Baliguda who took out time from their days and spent it with us helping and teaching. Prafulla Sir, Shrimanto Sir, Suresh and the rest of Industree’s team for allowing us to go on this journey with them. My family for being my constant pillars of strength, my fellow batch mates, and The Odisha group for all their feedback, love and support.
01 Introduction Industree Foundation Impact Edge Brief Project Brief Context
TABLE OF CONTENTS
06 Research RESEARCH PHASE I 06 Methodology Process of Sal-Siali Households Self Help Groups (SHG) Market Research Customer Survey Stakeholder Map Analysis 30
Insights 37 Proposed Design Brief 38 RESEARCH PHASE II 41 Second Visit to Odisha Price Analysis Competitor Analysis New Markets Customer Behavior Mapping
58
138
Brand Development
Brand Collaterals
DEVELOPMENT 58
BRAND STRATEGY 74
Brand Manual 143
ADVERTISING 181
Value Proposition Canvas Business Model Canvas Target Audience Brand Archetype Vertical Concept Development
Tone of Voice Brand Values Mission, Vision, Brand Attributes Naming nomenclature
PACKAGING 148 Form Sketching Ideation and Evaluation Prototyping Rendering
Catalog Billboard Ads Posters Mailer Design Digital Advertising
88
218
Brand Visual Language
Final Output
Mood board & Inspiration Board Logo Type Color Graphic Elements
Reflection 253 Annexure - Proposal 255 Bibliography and References 259
01
Industree Foundation Established in 2000, Industree Foundation holistically tackles the root causes of poverty by creating an ownership based, organized creative manufacturing ecosystem for micro-Entrepreneurs. Industree envisions a world in which millions of producers rise out of poverty by building sustainable livelihoods in creative manufacturing. Industree Foundation’s comprehensive approach helps communities assess their traditional skill base, organise them into production units, develop products that appeal to modern markets, and create consistent demand to create sustainable businesses at the lowest possible costs.
02
Impact Edge Design can be used as a tool for social transformation to enhance livelihoods and put more money in the pockets of the poor. This enhanced income then allows them to afford the products and services that give them access to health, education, clean water and sanitation, energy etc. The projects at Impact edge aim to develop such transformative design interventions that are primarily business and systems oriented. Arriving at these interventions would require validation at every stage to ensure that they are viable and economically sustainable in addition to being environmentally, socially and culturally relevant.
03
Project Brief - NTFP Odisha Forest communities now have access to Non Timber Forest Produce that includes, leaves seeds, pods fruits and bamboo. How can we use leaves as plastic substitutes can we use other products like pods and seeds to create products of value. Tribal women have cash incomes of just Rs 100 per month, can we multiply that at least 5 times using design to add value? Forest Green Kraft has just set up a unit in Baliguda in Odisha in the Kandhamal forest range with hydraulic heat presses for forming sal and siali leaf plates as a substitute for single use and throw plastic plates. The leaves are seasonal so in addition to pressed products, other available materials like wild tamarind, seeds and pods be used to create income.
04
Context Sal-Siali plates have been an age old tradition in the Indian culture within most communities and religions as a staple tableware. These plates are made in various parts of the country, one being Odisha, where they collect the leaves from the forest, hand stitch them, and heat press. This process is conducted by the women of the region in SHG’s (self help groups) Industree foundation has set up hydraulic pressing machines that take these traditional plates and make them fit for the modern scenarios by making it sturdy and aesthetic.
Collection
Stitching
Pressing
Markets
05
Collection trip Pidama, Sharpening tools.
06
RESEARCH
07
Research Industree works with NTFP materials and clusters in Odisha, which were researched before we visited the place.
Industree works with 2 clusters - Lundruguda and Sirla cluster. We visited 5 villages: Lundruguda Barakhamba Dholavali Pidama Sirla There are 7 tribes in the Kandhamal district. Kui tribe was prevalent in all the villages we visited.
Understanding Non-Timber Forest Products
Industree and its Clusters
08
Methodology A baseline survey was designed before visiting Odisha, based on the techniques from the PRA (Participatory Rural Appraisal)
Gathering Information
Analysing Information
Link to the complete baseline study.
https://drive.google.com/file/d/1xEdt0rsQfXr9VKIoIUf2hTdnMjys2K7y/view?usp=sharing
Observation Interviews Social mapping Shadowing Seasonal calendar Conversations Market research
Fish-bone diagram Affinity mapping Aspects of ecosystem Fears and goals
09
NTFP Materials Traditionally, Non-Timber Forest Products (NTFPs) refer to all biological materials other than timber extracted from natural forests for human and animal use and have both consumptive and exchange value. Examples: NTFPs enhance economic development and help in poverty reduction with the conservation of ecosystem. Tamarind, Sal leaves, Mahua, Amla, Kendu leaves, Karanj, Satwaar Zaar, Mushroom, etc. are important sources of cash income. Characteristics: Seasonality (inconsistent abundance) - mostly available for 6 months except for a few.
Summer is when most of the NTFP are procured.
Provides livelihood support to tribes throughout the year.
10
Collection of Sal-Siali Leaves The women go into the forests primarily to collect SalSiali leaves but also collect other NTFP materials such as Jhuna, Date Palm, Bhalia Munjhi etc.
Route for Collection
Quality
Method
Stitching Materials
NTFP Materials
The women decide which part of the forest and which route to take, they revisits the same route after 15 days once the leaves grow back.
Start plucking based on criteria that the leaves should be big, preferably not with black dots, no major holes and needs to be green .
They collect 20-30 leaves and then stack it in the bag made of cloth. Way of plucking the leafneeds to be bent against the grain until it snaps.
Collecting date palm and splitting into sticks.
Collecting other NTFP materials- Bhalia Munji, Jhuna, Mahua. The leaves are bundled and carried on the head.
11
Stitching of the leaves The women go into the forests primarily to collect SalSiali leaves but also collect other NTFP materials such as Jhuna, Date Palm, Bhalia Munjhi etc.
Leaves for stitching
Date Palm Sticks
Stitching
Khali
Drying
Leaves are collected and stored in the basket for stitching.
These are collected during the collection of sal-siali leaves and are used for stitching.
There are 3 types of stitching happens: Rough Fine Machine
A khali comprises of 9-10 leaves.
The drying happens in the backyards, some weight needs to be put on the khalis to prevent them from flying.
12
Pressing of leaves The leaves are pressed together with three layers of khalis stacked together after gluing.
Chakki
Gluing
Stacking
Pressing
Plates
Stacks of sal and siali are kept ready for the gluing processes
2 Sal and 1 Siali leaf is glued together using a home made glue.
They stack the leaves together making it ready for the machine.
The stacks are put into the machine and the women get ready for the pressing.
Plates are stacked and counted. The plates are shrink wrapped in low quality plastic.
13
Day in the life of Reena Majhi Understanding the life of the villagers to get an insight about how they spend their time, the community, and the source of income.
8:30 a.m. Husband leaves for work
9:00 a.m. Goes for work
Agriculture Labour Collection of sal and siali Work with other NTFP material Rearing cattle
12:30 p.m. Children come back or she goes and gets them.
8:00 a.m. Feeds children and sends them to school/ aanganwadi (10:30
5:00 p.m. Comes back from work
a.m.)
7:00 a.m. Gets water and cooks
6:00 a.m. Wakes up and cleans her home.
5:30 p.m. Gets water and cooks food 7:30 p.m. Feeds children and family eats dinner
9:00 Day ends
14
Social Mapping The people of Dholavali mapped out the village for us to understand the space, community and resources.
Petra (Husband of SHG president) Mapping it on the road of Dholavali
Map of Dholavali pointing out the water source, forest, houses, VSS, Hospital, Bank, Police station, School, Washrooms and Church.
15
Economics of a household Expenditure and income of the people oh Lundruguda, Sirla, Pidama and Dholavali.
Monthly Expenditure
Yearly income
Amount
Sources
Rs. 1500 - Rs 3000
Dhan and Biri
Rs. 10,000 - 20,000/year
Electricity
Rs. 100
Khurto (Wheat)
Rs 3000 for 100 kg
Education
Rs. 50/month - 400-500/year
siali leaf collection
Utilities Vegetables, spices, salt, cooking oil, shampoo, soap
Income
Rs. 1000
NTFP material collection
Seasonal
Transport
Rs.40/Round Trip
Labour
Rs. 200/day
Total Earnings
Rs30,000 to Rs40,000
Rs. 2000-4000
Puffed rice, atta and other products and get back the due change. Wealth Indicator (according to villagers)
Rs 1000 (Rs800-1000)/month
Health Care
Total Expenditure
People exchanged Dhaan(Rice) for money to buy products
The richest person in the village is one who owns land. Next richest person is a person with cattle.
16
The break down of the households along with their assets.
Time taken to stitch plates as well as the detailed process.
17
Self Help Groups (SHG) •
Talk about money and what to do with the loans . Going to bank after meeting for deposits and withdrawals is an issue because of the distance
•
Talk about the khali production.
•
Talk about other ntfp materials, how much they are going to sell, when and how to collect.
•
Development plans of SHG’s.
•
Discuss the problems that they face at home along with the problems of the village.
Cluster It has multiple villages under it
SHG Meeting Discussions VSS (Vana Samrakshana Samiti ) A smaller number of villages make one VSS(named after located village)
SHG Only registered SHG’s get loans. The forest ranger approves the loans .
Each village can have multiple SHG’s. One shg can have women from multiple villages. They have a VSS building where the Shg meetings are supposed to happen . The government has provided facilities within the VSS building such as generator, chair, cupboard, utensil/handi, and some had solar .
SHG’s and Loans
The funds given to the SHG’s are used for projects related to agriculture and farming, poultry and cattle rearing. Most of the SHG’s don’t repay the loans with interest , but from the forest departments end also no one is there to check as well. Due to the inability to pay the loans back with interest the SHG’s get dissolved. People move to other SHG’ groups and avail loans.
18
SHG meetings at Dholavali and Pidama.
19
Markets Pradhan is an established organization in the Baliguda region of Odisha and they supply plates to various parts of the country. The journey of how much it costs them is illustrated here.
Producer Groups
Collection Centers
Women are the producer groups.
Manager – maintains record, pays the women
Rough Stitch khali Rs. 15/chakki Fine Stitch Khali - Rs. 80-90/Chakki Machine Stitch khali - Rs. 100/Chakki
Salary for Manager : Rs. 2/Chakki Labour – bundling, loading at the center, unloading at Baliguda. Salary : Rs. 1.5/Chakki (labor) + Rs. 0.5/Chakki (packing) = Rs 2/Chakki
Transport Transport to go-down. Rs. 2/chakki
Go-down
Transport
Labour loading for market. Rs. 2/Chakki
Transportation cost paid by the client.
Total Rs. 8.6/ Chakki + Cost of Chakkis Rs. 90-100/-
Client Sold to client for Rs 100-110/High Demand Rs. 115/-
20
Manav Vikas Pressing Unit Manav Vikas exports its plates to a Sweden based company “Leafy made�. Orders by the company are for approximately 100,000 plates every month. Exploring newer markets and customer bases within Manav Vikas increased the demand, and regulated the number of orders. This generated and stabilized the income for the women.
Collection
Transport
Quality
De-stitching
Segregation
Pressing
Market/Exports
Collection from producer groups and storage at godowns.
Transportation of stitched leaves to the unit.
It arrives at Manav Vikas where he and the women check the quality.
De-stitching of khalis happens to make bowls.
Segregation based on colour and quality.
Machine and fine stitched khalis are pressed directly with recycled cardboard, brown paper or nothing
The product is sent to local markets and exported to Sweden.
There is 30% waste when the khalis arrive.
Good leaves are added to the rough khalis to make plates.
Spray the leaves with water after segregation, to contain moisture.
5-6 leaves are used for bowls by adding cardboard and brown paper- bowls are made of different sizes and consignment.
The quality of plates sent to local markets is low. Another Quality check happens for Sweden. Retailers and wholesalers come to him and collect it Transports it to Rajasthan, Bihar.
21
Manav Vikas Plastic-Paper Unit Manav Vikas also has a paper plates with a plastic coating unit, where we got the chance to see the selling points of the competitors, and what needs to be replicated in the leaf plates.
Printed Polythene
Heat Placing
Gluing and Cutting
Pressing
Rotography Printed sheets of plastic are imported from Rajasthan.
Brown paper procured from paper mills are stuck with plastic sheets using heat press.
Corrugated cardboard sheets are glued with a machine and plastic sheets are stuck on.
The paper is pressed and stacked ready for counting and packing.
1 Kg of roll - Rs 300 1kg can be used for 100 plates. Plastic is procured from Jindal or Reliance.
The sheets are cut into half and prepared for pressing.
A dye for pressing can cost up to Rs500-Rs2000. One bundle = 195 Pieces is sold for Rs 180-190.
Waste
Wastage created from raw materials amounts to 20%. Waste can’t be processed due to plastic sheet.
Transporting
The plates are packed and made ready for transportation. Making cost - Rs1.85/- + Transportation 10ps/- = Landing Cost Rs 2/plate till Delhi.
22
Adivasi Mela (Odisha) A visit to the annual Adivasi Mela in Odisha, where tribes from all over the state come to one space and sell different products such as turmeric, jhuna, baskets, honey etc. The research focused on seeing the products that were sold, price points and the technique of marketing.
Products and people at mela.
23
Urban Market and Prices A visit to the markets of Bengaluru to understand the prices if products compared to those in Odisha and other local markets in Baliguda. Bengaluru Wholesale
Bhubaneshwar Wholesale
Baliguda Wholesale
Printed Paper plate
Rs. 2
Rs. 3.5
Rs. 2.6
Silver Paper plate
60p
??
Areca plate
Bengaluru Wholesale Cornstarch plate
Murukitala plate Rs. 4 - 6
Rs. 6
Siali plate
Sal plate
Sugarcane plate
x
Rs. 2
x
x
Rs. 7
Fine
Rs. 2
Rs. 6
Rs. 8
?
x
x
30 p
Re. 1
x
x
9�
Bowl
12�
Rs. 3
Rough
Baliguda Wholesale
?
Sal bowl Peepal plate
x
Bhubaneshwar Wholesale
Rs. 3.30
80 p
Rs. 8
Areca
Silver
Canvas
Rs. 3.5
60 p
Re. 1
Rs. 1. 2
Khali
Rs. 2
Peepal khali
Rs. 2
Sal
Siali
50 p
60 p
?
?
xx
?
24
Observations at the markets The price range for a leaf plate is approximately Rs. 2 - 3 This price includes the cost of procuring the material + the cost of production + cost of reaching the markets. It arrives in the market with shrink wrapped plastic or tied together with rope. Plates that range from Rs 7-8/plate are made of stronger materials and include a basic level of packaging with branding an explanation. Leaf plates are generally sold at a lower price-point therefore even with the postproduction processes which add value to the product, they cannot exceed the base amount by too much.
Rs. 2/plate
60p/bowl
Rs 7/plate
25
Customer Survey This is a basic customer survey to understand the different perceptions people had towards different kinds of plates
Q1) Do you buy these plates or bowls? For what occasion? -pooja? -weddings? - everyday use? It was a first hand interview and hence people might not have been comfortable sharing information. Limitations of our research
While speaking to people in groups it is possible that one person’s answer might have influenced the others. The people we spoke to at the mela were of similar socio-economic backgrounds.
Q2) Which type do you prefer? (Material) -leaf -silver -paper + plastic print Questions Asked
Q3) Which size do you prefer? - small/ medium - big -with section Q4) Does the shape matter? Which ones do you prefer? -square - round Q5) Is price a factor? If it is better quality but a little high price? Or it has to be cheap? Q6) How often do you buy these plates in a year?
26
Customer Interviews
Price
Mostly the price did not affect the buying pattern.
Prefer 12� plates to eat.
Ready to spend a little more for quality.
Bowls are most often used for prasad or even dinner
Size
Few people wanted a big plate size.
If price changed, switch to cheaper option
Round plates are preferred because of cultural reasons 1/10. Shape
People who mind square plates. 4/10 Only round plates are used for pooja purposes. 1/10 middle-aged man
Quality
Willing to pay more for better quality Find the leaf plates flimsy
27
Customer Preferences Observations At the Mela we spoke to approximately 20 people of different genders, religions, economic to understand what are their causes of preferences vs what is not.
“Yeh plates mein dhool hoti hai, khaane ke liye nahi acchi lagti”
Reasons for Preferences Hygienic Natural material Sustainable Part of culture Psychological satisfaction Reasons for Avoiding
“isme khaana healthy hota hai kyunki plastic nahi hai, or barso se istemal kiya hai”
Not sturdy enough Printed plates look better. Rough stitch sticks go into food Appears to be dusty and dirty
Current preferences parameters : Hygiene - Cleanliness Strength - Type of stitch, layers in the plate, sturdiness Usability - Size and Shape Outcome - Color, design, appearance. The post-production solution would require an implementation of each parameter followed by a quality check in each phase.
28 Temples
Current Markets The current markets for leaf plates or traditionally called “patravalli� are used in various markets such as temples, food stalls, restaurants, fairs, weddings and exports to other countries such as Sweden.
Food Stalls
The pattravali market has been steady for years now due to its traditional values, health benefits and the cost of product. Products: Bulk Orders of plates and bowls.
Restaurants
Sweden specifications - no glue, machine stitched, three layers. no holes, no black marks, 1,00,000 plates per month. Fairs/Mela
Weddings
Exports
29
Stakeholder map
Cluster head
VSS community
Aasha workers
Government Religious centres
Primary health centres
Local traders
Panchayat Forest department
Schools
SHGs Ration shop vendors
Women
Doctor clinics Bus and auto drivers
Industree collector Employer for labour
Anganwadi helpers Livestock aid centers
Revenue Inspector
Hospitals
Industree staff on ground
Colleges
Family
Naxals Industree clients Banks
City markets Industree staff Bengaluru
30
Analysis To comprehend the information put together in the research phases, using different methodologies so as to find a suitable intervention.
31
Brainstorming and content collection at the end of each day of our trip to understand what we have collected and how we can categorize that.
32
Content included day in the life of, family economics, SHG Hierarchy etc.
33
Affinity mapping, a technique we used where we combined facts, assumptions, observations and insights together under different sections such as village, women, techniques places etc. To gather our insights which came up to approximately 25 at the end of this group effort.
34
35
Situational Analysis Women The women earn approximately Rs800-1000/- from processing of SalSiali.
The wages for the women come from the number of chakkis sold, number of plates pressed and the number of hours work.
Industree Industree foundation has two pressing units, one in Sirla and another in Lundruguda currently.
Introduction of new hydraulic machines on 29th December 2019 at Lundruguda pressing unit.
The machines will be shifted to a new Baliguda unit which is a larger space as compared to the other units.
•
• New training for the women. • Scheduling and space arrangements. • Quality of plates improved.
• •
Provide training for fine stitch and machine stitch of khalis. • Training for pressing of plates on older machines.
Re-training for other SHG’s. Deisgn of space and motion.
36
Value Chain Analysis After researching on the crucial elements of space, people, economics, culture and religion I looked at the current value chain to find a suitable intervention.
Pre-Production
Production
Post-Production
SHG meetings Collection of Sal-Siali leaves Segregation of leaves Training
Stitching of leaves into khalis. Transporting to pressing unit. Gluing of khalis. Pressing of the khalis.
Storage Transporting to market Sale
There is increased attention on this phase of production due introduction of new machinery, and training for women.
Focus Area: The increased supply can be put to use with increased demand.
37
Insights Based on the situational as well value chain analysis along with thorough affinity mapping we found approximately 25 insights, out of which the following three were shortlisted for personal project.
The women are not fully aware about what happens to their product at the end of the value chain.
The Sal and Siali plates are only available at wholesale markets and hence there is a need to identify new markets for the same.
The women need money for immediate disposal and therefore do not hoard their khalis.
Sal/siali plates were not seen in many retail stores.
The khalis are sold directly to the trader and therefore they don’t know how much it can be sold for in the market.
Used only for particular markets like temples, events. Prevalent only in Odisha markets, haven’t really spread the supply to other states as per current market research.
There is a preference for clean and hygienic plates by the customers. Siali has antibacterial properties and is used in ayurveda. During a customer preference survey people mentioned that leaf plates have healthy aspects and is related to religion.
38
Proposed Design Brief Emphasis is placed on the production of goods produced from NTFP materials, and lack of attention is paid to the post-production process that holds the potential for creating demand
Talking to families, Lundruguda.
39
Objectives
Research Questions
Based on customer preferences understanding level of quality and type of product required. Current preferences for products is based on hygiene, quality, stability and usability. To go in greater depths with regard to this and its competition in order to understand the possible preferred outcomes and incentive for the consumer to switch from competition.
Looking into the current markets and finding newer spaces and trends for the product to flourish within. In the current scenario, most NTFP products are sold in the wholesale market and not many are found in other spaces, to understand the cause and effect behind this and create demand through more channels.
Understanding the value chain for other NTFP materials, process and multiple uses it can have. Sal and Siali leaf plates have been dominating the product creation sector in these clusters, exploring the end to end process of the same and other NTFP materials is crucial.
What are the other markets that can be explored to increase demand?
What can we do to turn the seasonal nature of the NTFP materials make it into stable income?
How can we involve the women to be a part of the end to end value chain?
What are the other unusual channels to bring in an everyday product such as a plate and making it interesting?
What can be done with the waste produced and include that in the value chain?
What are the current measures that can be taken to standardize the process of collection?
40
Self Evaluation At this stage of the project I had started formulating ideas of what I wanted to achieve but lacked data to support it. Through the first seminar with some of the feedback regarding points concerning markets and availability had come up and so for my next phase I decided to look at content closely, understand interesting channels of portraying this humble product in a rather unique manner. Some of the points I picked up from the Seminar : 1. What do people do when they need it in a store and don’t have enough time to order online? 2. What channels can you introduce to set it apart from the existing products? (The panel members for this were Nandini, Janak and Dharun)
41
RESEARCH PHASE II
42
Methodologies For the second level of my research I had a combination of the previously mentioned PRA techniques along with Urban market research, Secondary research and on location content collection for possible outcomes.
43
On Location - Pradhan Based on the collected research for markets and prices, we interviewed an official from the Pradhan establishment to understand his take on Strategies for women, packaging, prices, and their protocol for quality checks.
44
Content collection for output The next step was to collect content for possible outcomes in form of stories, videos, processes, techniques and photographs. Collecting textures
Understanding tribal tattoos
Capturing Emotions and stories
Still from videos shot during collection
45
Market Research To understand the existing products in the market I visited different types of stores to see products of different price ranges, stores, and did a comparison on the basis of branding, packaging, story telling, store infrastructure and quality.
Turmeric
Qty : 500gms Price: Rs 60
Qty : 100gms Price: Rs 40
Qty : 100 gms Price: Rs50
Qty : 100gms Price: Rs 80
Qty : 100gms Price: Rs 150
Honey
300ml Rs 100
300ml Rs 150
300ml Rs 200
300ml Rs 500
400ml Rs 1000
Adivasi Mela
Grameen Angadi
Natures Basket
Fine Foods
The Organic World
46
Price Analysis To understand the existing products in the market I visited different types of stores to see products of different price ranges, stores, and did a comparison on the basis of branding, packaging, story telling, store infrastructure and quality.
47
Online everyday products To understand branding and cost structure on everyday products I looked at online and physical stores selling combs, pads, tiffin boxes etc.
SteelBox “ForEarthsSake”
Cutlery kit, From Brown Living.
Combs Rs. 199
Pads from Carmesi.
48
Competitor analysis There are various kinds of brands currently working with sustainable tableware in India, each with their own quality, material and social impact. The different kinds of a materials currently being used: Sugarcane Bagasse plates, Cornstarch plates, Bio-Plastic plates,Areca plates Plant Fibers Increased Social Impact
Less Sturdy
Sturdy
Prices for 10� plates Pappco Rs 10 Chuk Bio-Lutions Eco-ware India Rs 4.5
Decreased Social Impact
Bio-green bags Rs 18
49
Skrap In order to find newer markets met the founder of Skrap, an environmental sustainability firm that helps firms, festivals, events adopt a zero-waste lifestyle.
Tableware at grub fest, Bengaluru
50
To find newer markets, it was important to understand places where there was a requirement. After a conversation with Divya (Founder of Skrap) she informed us about the needs they have in the industry, the problems with current options and finally a need for alternatives.
51
Bio-Green Bags To understand the existing products in detail and also figure out substitute materials for packaging or transport, we visited Bio-green Bags a sustainable Eco ware company in Bengaluru.
52
Bio-green bags uses Sugarcane and corn starch to create bio plastic that mimics the texture and material properties of existing plastic. The visit was to understand the competition as well as see alternatives for packaging that could be used.
53
Potential Markets After visiting and analysing the different spaces I shortlisted couple of potential markets.
38 percent said they would pay higherthan-average prices for products made with sustainable materials.
Other places visited were a music event to understand the requirement by caterers and smaller cafes, and to see the response by consumers using sustainable products.
Online Organic Stores
Good Earth Karnival LastForest Brown Living
Grub Fest, Bengaluru
Supermarkets
Stores focused on source
Natures Basket Spar BigBazar Reliance Mart
Go native FabIndia Foodhall Grameen Angadi
FabCafe,Bengaluru
FoodHall,Bengaluru
Grameen Angadi,
“About 88 per cent people responded, saying the absence of affordable, eco-friendly alternatives in the market is why they find it difficult to switch to sustainable options.�
54
Customer Behaviour To understand customer behavior we had conducted a small research to see their preferences in a plate, and to understand where most people buy organic and sustainable products.
What people look for in Sustainable brands?
Where do people buy handmade products from?
Functional Benefits Cost efficient Hygienic Safe to use
Government stores
34%
Altruistic Benefits
Branded Stores
35%
Beneficial to environment Promotes better living conditions Pay for a good cause
Exhibitions
Social Benefits
48%
Local Markets
Responsible Citizens High Status
Artisans
Other Benefits
Online Stores
Attractive packaging Homegrown effect Natural aromas
72%
Boutiques
19% 6%
17%
Percentage of people
Customet Research done by Namah Raval, Srishti Institue of Art, Design and Technology 2017
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Self-Evaluation After the second level of research I found new spaces through which I could bring the product into the market, and also understood what the customers needed and where they would go and find it. Based on the research a couple of things that people are interested in, and would be important to reflect through the brand. - Quality -Source -Image -Emotional Quo. At this stage the tougher part was continuing the project due to the beginning of the Virus and not being able to conduct a deeper market research like expected for the output.
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Final Design Brief Introducing a sustainable brand to urban and younger audiences, through post production processes such as advertising, storytelling and other creative channels.
Lundruguda, SHG President.
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Lundruguda.
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BRAND DEVELOPMENT & STRATEGY
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BRAND DEVELOPMENT
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Based on the customer behavior study and the different kinds of existing markets there are, the aim was to create a brand that comprises of what the audiences are looking for based on the type of markets. It is a sustainable brand that brings natural leaf plates and bowls to the consumers right from the source of production. The brand focuses on being fresh, and natural while supporting the women that are working on this in the Kandhamal District of Odisha . The brand aims to increase demand by appealing to newer markets and audiences by being modern and premium, while staying true to the roots.
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Value Proposition Canvas Value Proposition Canvas 1 : Highlights the need for quality and sustainability.
Gains Creators
Gains Good quality products makes the clients social status higher.
Packaging that is sustainable too. Fully degradable products that practice environmental conscious practices.
Wants something sturdy and hygienic.
Products are priced nominally. Branding and communication which come with handcrafted plates that add to a social status. Impacts real lives, hence comes with a “feel good factor”.
Products/ Services
Products that are environment-safe from production itself. Wants products to look classy and aesthetic.
Leaf plates
Customer Jobs Find a good sustainable tableware company. Manage the theme of an event.
Plates with sections
Pain Relivers
Side plates
Pains
Reduce carbon footprint.
Bowls
Organic products come with a thin film of plastic.
Be different
Branding and communication which conveys the source, information and material properties
Antibacterial products
Paper plates look cheap.
Information regarding production through communication
Using disposable plates brings down social status.
Enhanced quality of products that feel, and look good.
Can’t find aesthetic tableware products easily and regularly.
Communication which gives the customer the information regarding the benificiary factors of the product.
Can’t Find Online.
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Value Proposition Canvas 2 : Highlights the need for handcrafted goods, fair trade and sustainability.
Gains Creators
Gains
Packaging that is sustainable too. Fully degradable products that practice environmental conscious practices.
Wants something handcrafted and traditional Impact someones life with tiny efforts.
Products are priced nominally. Branding and communication which come with handcrafted plates that add to a social status. Impacts real lives, hence comes with a “feel good factor�.
Products/ Services
Wants tableware which is not only aesthetic but also safe to him and the environment
Customer Jobs Wants single use tableware which is non-toxic
Leaf plates
Use tableware that is made from natural materials
Plates with sections
Pain Relivers
Side plates
Pains
Products that are ethically designed, and narrate this context thoroughly.
Bowls
Wants something handcrafted and traditional
Find traditional product.
Branding and communication which conveys the source, information and material properties
Antibacterial products
Impact someones life with tiny efforts.
Information regarding production through communication Enhanced quality of products that feel, and look good. Communication which gives the customer the information regarding the beneficiary factors of the product.
Wants tableware which is not only aesthetic but also safe to him and the environment
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Value Proposition Handcrafted traditional utility tableware, which are not only a sustainable way of living but also align with the values and impact the tribal communities for a better standard of living. The value proposition is based on the morals that come from the four pillars of sustainability and from those that make the product. The tribal community of Kandhamal have an innate nature of being frugal, returning to their resource provider, and sustaining themselves with what is available. These tribal sensitive practices align with those of the sustainability pillars and create a circular economy, with reduce, reuse and recycle. Fair-trade relationship of the brand with its producer ensures that the chain of returning the producer is completed and we make our consumers “conscious consumers�.
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Target Audience Based on the “Diffusion Curve Theory� developed by E.M. Rogers, the target audience for Native trail would be : Innovators: these are people who want to be the first to try the innovation. They are venturesome and interested in new ideas. Early Adopters - These are people who represent opinion leaders. They are already aware of the need to change and so are very comfortable adopting new ideas.
Early Adopters 13.5
Innovators 2.5%
Early Majority 34%
Late Majority 34%
Laggards 16%
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Reena Joshi Demographics 24 years old Bio-chemist Single Lives in Bangalore
Behaviour She has a single room in Bengaluru and manages it by herself, she tends to buy most of her products online due to busy work schedules.
Goals
Pains
She wants to buy eco tableware Online for events.
Most of the traditional eco-ware available Online is not sturdy.
Wants to access something traditional and aesthetic.
The product brings down her social status in front of audiences.
Vikas Sehgal
Behaviour
Demographics
Vikas enjoys traveling and generally collects things from all across the world.
32 years old Dermatologist Married Lives in Mumbai
Goals He wants to switch to using Indian eco-ware for his events at work. Wants something that directly causes and impact on the society.
He has switched to a sustainable lifestyle along with his wife 2 years ago and grows his own veggies.
Pains Most eco-ware products have an industrial look. The fair trade factor is not clear in
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Brand Archetype and Hero’s Journey
The primary archetype of the brand is everyman as it evokes the emotion of “belonging�. The brand gives the consumer an opportunity to belong to something larger than themselves and make them empathetic towards each other.
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As a brand our aim is to transform and provide resources to those people who already have an inclination of wanting to adapt a newer sustainable lifestyle. As a mentor we can give them the strength to cross the threshold and get past their allies by making ourselves available and create a conscious approach.
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Concept development along verticals Different aspects of product and source were grouped and re-grouped to understand patterns and repetition. This helped me understand what the brand values, tone of voice, type structure, logo requirements etc. Images were taken to understand the different features and emotions each of them expressed.
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Studying Spaces and Structures.
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Studying forests and resources.
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Customer
Technique
People
Structure
Product
Feel good factor
Sorting
Cluster
Innate
Green
Original
Intricate
Eager
Tall-Forest
Rounded
Clean
Aesthetic
Happy
Clean
Raw
Hygienic
Planned
Loyal
Rounded
Clean
Inexpensive
Segregation
Strong
Public
Hand-picked
Handcrafted
Minimal
Patient
Open houses
Sturdy
Aesthetic
Maximized use
Warm
Steep- Forest
Vibrant
Inclusive
Quick
Welcoming
Wide Roads
Natural
Instinctive
Brick
Pure
Community
Clay/Mud
Fair Trade
Inclusive
Slanted roofs
Multipurpose
Primal
Resource provided
Hand-stitched
Transparent
Fresh/Natural
Anti-bacterial
Frugal
Rural
Layered
Transparent
Imperfect
Bio-degradable
Organic Sustainable Available Accessible Premium Round Plates
Discussion Collection Round Plates Quality Raw Human Innate Multi-Skilled
Frugal
Quality
Clean
Patient
Organic
Functional
Happy Index
Locally sourced Handcrafted
For example: Text/Logo : needs to be rounded, clean, layered etc. as they repeat.
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BRAND STRATEGY
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To draw an understanding and commonality amongst the different types of verticals I looked at social, emotional, altruistic and functional benefits. These were then aligned with the mentioned target audience to create a brand strategy that is inclusive as well as out there to achieve an influx or demand.
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TONE OF VOICE Traditional
Inclusive
Factual
Inspiring
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The process for the breaking down of verticals looked like this, were grouping and re-grouping of words lead to the formulation of the brand strategy.
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BRAND VALUES Native
Fair Trade
Sustainable
Quality
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Mission & Vision Statement
Brand Attributes
During this phase of the strategy development, I had multiple conversations with Jacob who helped me get a clear understanding of the brand and we decided a few things that would be kept standard from Industree.
Different human attributes were taken into consideration to create a brand that aligns with the people.
Vision Industree builds sustainable livelihoods in the farm and creative manufacturing sectors to ensure that underemployed women can have high and regular incomes, decent and equitable working conditions, and resilience to life crises.
Mission Becoming an Indie house hold brand that narrates the story of a small community nested in Odisha, to different people across the world. We believe that when producers have access to an enabling ecosystem they are able to pursue their futures with dignity, and that when women earn they are empowered at home and in their communities.
Functional Benefits Disposable plates that can be used for any event due to its sturdiness and anti-bacterial qualities.
Social Benefits To feel like a responsible consumer by creating a positive impact on the society and the environment.
Emotional Benefits Achieve a feel good factor every time the product is used in front of people.
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Naming Nomenclature The names and parameters were based on the different categories mentioned earlier, and these names were then discussed with the client.
Based on the brand strategy the name was something, descriptive due to the product features and source. Naming Criteria: Descriptive Pronunciation Avoiding common words such as Natural, Organic, Eco etc. Extended timeline and Meaning
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Product
Khali Chakki Sturdy Primitive Traditional Patravalli Fair Trade Organic Sustainable Date Palm Khajur Bundle Indian Story
PattaKata A story of the leaf
Place
Baliguda Lundruguda Hills Mountains Dense Houses (Ghar) Jungle Local Native
Technique
People
Customer
Stitch De-stitch Pluck Pick Segregate Press Heat Handpicked Walking/Trekking Collect
Women (Mahila) SHG Empowering Training Tribal Origin Community Ethical Journey Cluster Kui
Sustainable Organic Aesthetic Sturdy Buffet Food Meal Single Use Ease
Resources
Sal Siali Sun Water Forest Hills Leaf Stick
Intial Names
Natrive StitchedLives ForestPick FreshPick YourPlate GreenPlate PriTree LeafyStitch Forest Story BioLeaf SeedFeed Hindi Patralli Thali
Nine Native Leaves (The number of leaves in each khali) The idea of brining together a community of people to make something valuable.
Hills to Meals A journey from the hills to your meal.
A leaf tale Story of the product
21 Native stitches Number of stitches in each plate, and the idea of a community
Native leaf The humble leaf and its story
Trupt The satisfaction after eating a traditional meal with hands.
Her Native Stitch The woman and her story
Seed to feed From the source to your plate
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Naming Nomenclature Feedback -After the initial names that I gave him he suggested I looked more into the customer aspect of it and what they wish out of the product. Customers : Organic + Sustainable Affordable + Accessible Aspirational Equitable to Source -Avoiding Indian names for exports
Second set of names: 1. Earthpact (A pact = an agreement with earth) 2. Her native will (I personally liked this one as, it combines the essence of the customer and the “native/indigenous” will and the story of the source” 3. Leaf to Tree (A leaf plate to the forest has a reverse impact, which is what the consumer should think about) 4. NativeCircles (Circle symbolizes a complete chain and native meaning traditional and innate) 5. Re-Leaf (Like reforestation - there is reusing, recycling, reducing and also sounds like Relief) 6. The ForestSwitch (Urging people to switch sustainability
The final name was selected to be Native Trail. After a long process which involved multiple iterations and of making descriptive words, combinations, etc. Native Trail was the one that brought out the real emotion as well as fit the parameters of the criteria.
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native trail A native trail suggests a path that each person is supposed to take, and as a conscious consumer our native trail is to reduce, re-use and recycle. Native Trail also has an indigenous sound to it and brings forest to the minds of the people, which talks about the source.
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Pidama, collection day.
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BRAND VISUAL LANGUAGE
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Moodboard & Inspiration Board The first step of the visual identity was to create a moodboard for inspiration and understand textures, colors, type, tone of voice etc.
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Collection, Pidama. Warmth and support during collection. Pidama collection.
Pidama SHG meeting.
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Experimentation for visual identity For the visual identity I started with exploring the line types, and imprints that the leaves made along with the kind of alphabet structure with an organic material to bring our the idea of the brand.
Sal leaf Imprint
Siali Leaf Imprint
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Alphabets using Bamboo Strips
Alphabets using Date Palm Sticks
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LOGO
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The prompts for the logo were to bring out the source of the product while keeping it simple inspired from the structures and the people.
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Logo Parameters The process for creating the logo began with creating a few parameters based on what the meeting with Jacob as well as the concepts through the verticals.
The criteria for the logo was to make it: Small Round Minimal Something that can be printed on various materials (if needed)
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Logo Iterations The prompts for the logos were: Women Hand Created Routes Stitching Leaf Forest mountains
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Iterations Set 1. The ideation process involved using prompts such as circles, plucking and stitches to make something simple.
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Iteration set 2. Taking forward the concepts simplifying them furthermore into routes, customer need and sense of completion.
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Iterations Set 3. Inspired from a tribal style, I created logos that looked rough had a raw look and illustrated the idea of a route and people.
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Iteration set 4. Simplify and type. To create a raw look that could be aligned with the logo itself.
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Final logo. The final logo is a simple form that can be drawn and hand printed.
Woman
Leaf
Route
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Logo Stamping To try if hand-printing would work I tried to test a couple of different ideas if they would be possible or whether the design needed to be simplified.
Materials: Stamp: Mount board Ink: Stamp Pad Tools: Cutter, Ball point and other carving tools.
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TYPE
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To create a complete logo form, I explored different kinds of styles such as hand-written, digital and typed to see what looked best and added to the emotion the brand expressed.
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native trail plates from our roots
Museo Slab
Museo Sans
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A super family such as Museo, is the perfect contrast to the logo. With three styles and different weights Native Trail is dominated by the singular font for all purposes print or digital. The raw yet contained look of the logo symbol accompanied with the modern yet substantial typeface creates a complete word mark.
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The heading
Museo Slab 700
A few words to describe the heading.
Museo Sans 700 Italic
“
This is the pull out text example. To keep the integrity of the brand we must highlight crucial information with increased readability and bold weight Museo Slab 700
�
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Simagnimi, idio tem et od es nulparchita neceresti bercid magnim re sequia dolores eaquia sit, tendebi tassit quibusae exerovi dessinc iaectus ulparum sanimporpore sam isquis qui ipsanda cum aut atur aut quia quaeceaque mos dolo etur, alit dis magnimil exereperitet autas sus eatent.
Simagnimi, idio tem et od es nulparchita neceresti bercid magnim re sequia dolores eaquia sit, tendebi tassit quibusae. exerovi dessinc iaectus ulparum sanimporpore sam isquis qui ipsanda cum aut atur aut quia quaeceaque mos dolo etur, alit dis magnimil exereperitet autas sus eatent. Museo Sans
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Museo Slab Header/Logo/Pull-Out
Mueso Slab 700
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Mueso Slab 300
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Mueso Slab 500
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Logo
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Museo Sans Body/Sub-header
Mueso Sans 700
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Mueso Sans 300
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Mueso Sans 500
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Museo Header/Logo/Pull-Out
Mueso Slab 700
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Mueso Slab 300
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Mueso Slab 500
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Logo and Type Guidelines
native trail
native traiil tra
native trail
native trail
native trail
native trail
Do not change proportions, orientation, or angles.
Do not give outlines, Drop Shadow or change colors
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COLOR
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The colors were kept raw and from the space of context, which added to the visual identity in order to provide a clear a brand experience of native and natural.
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Trial & Error After picking colors and seeing their tones, hues, vibrancy and impact I tried and tested them in different combinations to see how it works together.
native trail
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#2c613c
C: 59% M: 0% Y: 69% K:62% R: 44 G 97 B 60
Primary
Secondary
#e2ddcb
#6b8745
#9fe25f
C: 3% M: 4% Y:14% K:8% R: 226 G 221 B 203
C: 35% M: 0% Y: 74% K:44% R: 107 G 135 B 69
native trail
native trail
native trail
native trail
plates from our roots
plates from our roots
plates from our roots
plates from our roots
native trail
native trail
native trail
plates from our roots
plates from our roots
plates from our roots
#ceae69
C: 0% M: 16% Y: 58% K:22% R: 206 G 175 B 105
#2c613c
C: 40% M: 69% Y: 80% K:41% R:109 G 67 B 46
#da7c49
C: 11% M: 60% Y: 79% K:1% R:218 G 124 B 73
C:335% M:44% Y: 67% K:9% R: 150 G 130 B 95
Final color pallet for the brand, which has been divided into Primary and Secondary based on contrast and importance.
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Color combinations to the left are suitable where as color combinations to the right are suggested to avoid.
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Primary color combinations.
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Secondary Color combinations.
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GRAPHIC ELEMENTS
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Graphic elements for the brand were about objects adapted from the surroundings and made into more tangible ideas.
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The entire brand identity has been pieces of the process joined together. The lines and the structure of the logo are taken from the hand prints of sal and siali leaves, where as the type and color have been taken forth from the original location, its people and the simplicity. The Tagline “Plates from our roots� again is an inspiration not only of the sustainability but again the traditional aspect of the plates and their utility since an age old time.
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Evaluation At this stage Seminar 2 was done, on which I received constructive feedback regarding my core brand strategy, logo, typeface and brand collaterals. As for the core there was a need for me to include a specific brand essence to bring tie the entire strategy together, for which I added “Fair to the planet and its planet� which summarized the two crucial elements I discuss in my brand. For the logo the panel members were worried regarding loss of quality and hence I created guidelines so that there would be no problems. For the brand collaterals the panel suggested I worked on scenarios so that I had a clear understanding of what the brand needs to reach and what should be created which I took forth in the coming section. I also had feedback from Jacob during this work period which helped me really get a clear idea about the target audience, as he explained the diffusion theory. Before which I was looking at actually attempting to create a different target audience where the aim was to make people believe in sustainability and change mindsets which he warned against.
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Collection Day, Lundruguda.
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BRAND COLL ATERALS
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Brand Collaterals Based on the market research and studying where products are bought the most a list of over head spaces was created, with subdivisions that included different kind of collaterals that would be suitable for the brand purpose. Step 2: To do scenario mapping and see the importance of collaterals that needed to be created for the brand to be significant and noticeable in different kinds of spaces.
Where do people buy handmade products from?
Government stores Branded Stores Exhibitions Local Markets Artisans Boutiques Online Stores
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BRAND MANUAL
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The first collateral was to design a brand manual so that all other collaterals would be consistent and follow the same guidelines.
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PAC K AG I N G
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Based on the scenario mapping I realized packaging was the first look and identity that people came across and hence i began working around traditional yet modern designs.
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Packaging Parameters Packaging for plates involved meeting a few criteria given by clients as well other requirements while introducing them to urban markets.
Shape
Material
Sale Value
Community
Branding
Shape of the plates should not be compromised in the packaging.
Easily available material.
Should be dust free.
Story telling through branding.
Sustainable alternatives to existing materials.
Visibility of plates on shelf for comparison with competition.
Learning curve for packaging should not be high. Easily adaptable for community to mimic.
Eye Catching
Easy disposal. Less usage of material.
Should not be very expensive.
Try mimicking skills they already are aware of for packaging.
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Understanding Space and Dimensions Packaging for plates involved meeting a few criteria given by clients as well other requirements while introducing them to urban markets.
I. Current Packaging II. Current placement in stores.
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Inspirations and Concepts The inspiration for packaging was to create something that came was traditional, and used natural materials.
As Hideyuki Oka (2009) a designer who champions Japanese traditional packaging, characterises packaging as being as ‘born out of necessity meant to preserve food and make it easily portable, made of whatever material found at hand in the rural areas of their origin�
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Ideation The ideation process began with scribbles of forms, materials, and alternatives to existing products
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Ideations 1 The inspiration for packaging was to create something that was traditional, and used natural materials.
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Idea Inspired from a traditional dabba, I thought it would be interesting to see a packaging that could be adapted into the form that opens to the wonders of story telling , and is a carry-able box with a see through top for people to see the freshness.
Pros Story telling can be on the front line. There is enough space to see through and check the quality. It can accommodate as many boxes with an expandable sleeve.
Cons Can be costly. Needs extra material for making. Learning curve for women would be high.
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Ideations2 The inspiration for packaging was to create something that came was traditional, and used natural materials.
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Idea Idea inspired from the existing materials and technique in the context, a box with a bamboo woven basket (Which is abundantly found in the area) with a woven cover or a plastic cover and a branding sleeve around.
Pros Easily found materials. No learning curve. Can be sturdy enough to hold plates and keep them safe.
Cons Might ruin edges. Becomes bulky. Might need extra material.
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Ideations 3 The inspiration for packaging was to create something that came was traditional, and used natural materials.
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Idea A simple idea, to keep the plates safe and dust free from the surroundings, using alternative materials such as bio plastic to keep it see through and sustainable.
Pros No harm to the plates. See through. Dust free. Reusable box.
Cons High cost
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Ideations 4 The inspiration for packaging was to create something that came was traditional, and used natural materials.
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Idea The idea was inspired from not just the Indian dabba of opening something, but also the way the current Khalis are tied and transported. To take a pick up packaging with least amount of materials.
Pros Easily found materials. Attractive and different looking. Low learning curve.
Cons Edges might get frayed. Knots might make stacking hard. Branding is minimal and will get lost in stacks.
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Renders Set 1 To understand an idea clearer I did a few 3d models.
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Self-Evaluation • Sustainable. • Packaging free products and minimalism are the new trends amongst people from across the world, this allows Native trail to enter newer markets and attract a different sector of audience. (Millennial/Gen -Z) • Aesthetic and functional, sets the product apart from the current eco-tableware available in the market. • Minimalistic packaging lets the product do the talking. • Packaging that tells a story is also one of the upcoming trend for 2020, with its inspiration from the dabba and the community technique the packaging makes it experiential. • Adjustable according to number of plates.
Shape
Material
The shape can be protected with the longer pieces of cardboard on top and bottom, and face the impact of distortion.
Naturally available materials can be used. Sustainable Bio Plastic costs 350/kg
Community The technique is the same as current packaging of khalis and hence easy to adapt.
Sale Value Attracts more audiences of different sections.
Branding Minimal branding.
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Feedback and evaluation At this stage when I started working on the packaging I was in a fix due to the unavailability of the original plates which were sitting in my PG, and hence had to find alternatives to work with. Sketching was attempted but the desirable result was not found. Which brought me to rendering, which was something I had never attempted before but had to learn so I could visualize different concepts in a more realistic manner before I finalized anything (Lucky for me the lock down gave me plenty time to learn an entire software) Here is when, I had a feedback session with Tulip and Dharun (Project Guides) who brought to my attention key issues with the packaging : Such as the number of dishes and the measurement, the loss of branding through a tag, and the possibility of damage. Taking these points ahead I had to re-iterate and look at my products with a different light and find further more newer alternatives to get a clearer idea to make something viable.
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PROTOTYPING
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Taking iteration 4 forward I began prototyping to actually understand the size and behavior of knots, and pieces. (This was done with alternative plates due to unavailability of original plates.)
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Prototype 1 Prototyping Idea 4 after receiving feed back for size protection and branding.
Trial 1. Packaging with thin cardboard and long strings for tying.
Trial 2. Thicker cardboard and right amount of string.
Trial 3. Stacking two sets together to check balance after tying.
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What worked After the first three trials: - The pieces of cardboard needed to be thicker in order to keep them from bending. - The string needs to be cut according to size or it stretches the pieces. - Pieces of cardboards needed to be longer than plates circumference to keep them protected from any damage.
What doesn’t work - The knots get bulky at the top, causing the stacking to be imbalanced.
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Prototype 2
Trial 1. Keeping one knot on top where as other knot on the bottom.
Trial 2. Interlocking pieces so that inside piece folds.
Trial 3. Stacking two sets together to check balance after tying.
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What worked After the Second set of trials: - The knot structure helped the balancing of the stacks. Interlocking pieces kept one piece inside to protect the shape where as one held the plates together.
What doesn’t work Ideation for branding was remaining.
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Prototype 3 What worked It gives the brand enough space to advertise and story tell while keeping the see through aspect as it is. The idea was tried and tested by walking with it, stacking it, and dropping it multiple times. https://drive.google.com/ file/d/1Rh4OIjYk4S7tR84 ErEANQDbaeUMaFphs/ view?usp=sharing Link and code for video to trials Putting a branding sleeve across the cardboard.
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Key Points •
The string/Natural material must be cut to the length of the diameter and edges. • The threads and pieces should alternate to keep the structure sturdy and protective. • One knot must go under while one remains on top so the plates aren’t bulky. • Sleeve must be put on before knotting the top string.
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Dimensions
Length of the cardboard pieces.
Length of the branding sleeve.
Length of the rope.
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Branding Sleeve A sleeve that goes around the entire packaging comprising of the information as well as an illustration that narrates the story of the place and people.
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Cardboard/Bamboo strips.
Jute/Siali Fiber
Shrink Wrap
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Branding Sleeve Brown Paper
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Transport Box A design for the transport box that can carry the packaging.
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ADVERTISING
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Advertising involved getting the word out for which I though it would be interesting to add a digital as well as print solutions.
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CATALOG
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The first advertising piece was a catalog design, to attract customers in different spaces such as exhibitions, markets etc. As it is a piece of work that can be kept on the front desk and has accessible information about different products. The idea is to communicate the story as well as highlight the product as a modern look.
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Render Iterations Different kinds of styles & settings were tried for the catalog before creating the final pieces.
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Render Iterations Different kinds of styles & settings were tried for the catalog before creating the final pieces.
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Catalog The theme of the catalog is to create a story through the pages along with the size. Th layout and choice of render style was to keep it earthy, pastel to bring out the plate contrast and highlight them.
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Structure comprises of the technical details on the left page whereas more story telling along with the products on the right page. Pages with the images of the women were put through the catalog to enhance the visual story telling.
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PRINT ADVERTISING
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Print advertising comprising of Billboards, magazine ads, Thank you cards and posters. Each for different spaces such as in stores, inside metro stations, at exhibitions etc.
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Key areas of intervention According to the customer research and initial feed back the key concern was the unavailability of finding stores or products near by and hence opting for other competitor products. Requirement : Bring it onto google maps. How? Create an easy scan QR code that redirects you to your nearest store.
Scan me
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Magazine Ad
Generating women employment in rural Odisha.
A magazine advertisement that highlights the quality of the product, by showing the liquid from a very traditional and well known Indian sweet, Gulab Jamun. It shows the sturdiness and still focuses on the traditional note of the brand value.
Icons created for the same. 100% Bio-Degradable.
Sturdy and lightweight.
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Bilboard Ad The billboard advertisement was a focus on the product itself with very little body copy to keep the product as the center image. Color pallet was kept soothing considering the space and audience.
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Print Poster Ads Poster advertisements can be used in different spaces such as inside and outside supermarkets, large buildings, offices etc. The content for this due to the spaces was more oriented towards story telling through images and attaching an emotional quo.
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DIGITAL ADVERTISING
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Digital advertising involved looking at different scenarios such as offices, people who enjoy reading and also people who have a shorter attention span.
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Mailer design Email design to acquire audiences through story telling and also by creating weekly audiences. Structure of the mailer: • Email Banner Design • Shop section • Photo journal • Excerpts • Story • Shop section repeat
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Elements of Mailer
Banner Design
Introduction
Shop Section/2
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Layout
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Stories and Excerpts The stories and excerpts for the mailer were collected during the collection journey I went on with the women. Each are specific to the believes, techniques, duration and nature of the surroundings.
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Video For digital advertising th second ad concept was to create a video design which captures the essence of the place without the use of words v
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Video 1 First video type was a process narrated, and explained how plates are created. This was visually heavy rather than text so people can see and get engaged. They were adapted as instagram ads for the millennial audience. All videos were shot by me during my trip to Odisha. https://rb.gy/ela0lb Click on link or Scan to see Ads. Stills from the ads
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Video 2 The second video comprises of facts regarding the amount of plastic waster adding up on our planet and the need to save it. This was for the kind that have believes in sustainability and its notions.
https://rb.gy/ela0lb Click on link or Scan to see Ads.
Stills from the ads
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Video 3 Third video was about the Pandemic that we are in and the increasing number of people who are switching to single use goods again.
https://rb.gy/ela0lb Click on link or Scan to see Ads.
Stills from the ads
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Video 4 The final video acts as billboard ads as well as digital video ads, they speak about the process and quality of what sets the product apart from the other plates available. It brings the experience together by using real audio from the location which was collected during the trip.
https://rb.gy/ela0lb Click on link or Scan to see Ads.
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Compilation of various moment from the trip.
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FINAL OUTPUT
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Final output The initial idea for this project was to focus on Post-production processes such as branding, advertising and storytelling to create demand and increase the income for the women. My final output has been a complete reflection of my research phase which helped me understand what I needed to create, the requirements and what would help. Therefore the output I thought that would make most sense was a holistic brand encompassing different techniques of story telling such as Advertisements print and digital, a stand out packaging, and a brand guideline. In this coming section I will highlight all these and what part of research led to the same.
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native trail plates from our roots
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Strategy and Solution The first output involved developing a strategy that makes sense to the product and the context. The product would only be bought if people knew about it, and found it easily (based on customer preference study) Hence the first step was to develop a strategy and a feasible solution.
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Developing what people want Functional Benefits Disposable plates that can be used for any event due to its sturdiness and anti-bacterial qualities.
Emotional Benefits Achieve a feel good factor every time the product is used in front of people.
Social Benefits
To feel like a responsible consumer by creating a positive impact on the society and the environment.
“Fair to the planet and her people�
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Making it availabe. (Finding the market)
Scan me
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In addition to acquiring different markets, the idea is to make the code available in all spaces so anyone can find them on their phone and direct themselves to shop easily through google maps.
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A holistic brand Creating the brand is my very first output which includes the strategy, brand values, tone of voice, its visual identity and its application guidelines. These all were created to introduce the product into new spaces which required a modern yet traditional brand based on the target audience and where people go to buy sustainable products. https://issuu.com/riashah1298/docs/brandbook_nt_v3
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Packaging A collateral that can create an impact on sight, from ideation to development this was designed with the focus of making it a packaging with easily available materials, say story on its own, and attract consumers.
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Cardboard/Bamboo strips.
Jute/Siali Fiber
Longer cardboards, for damage control
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Easy Pick Up
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Easy Stacking
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Advertisements The aim was to attract audiences through storytelling and create a transparent customer relationships and get them hooked onto the purpose along with the product. The content collected for this was from the trips I took to the location in Baliguda, Odisha. To do this I created : Digital Advertisements - Mailers, Social Media Advertisements. Print Advertisements - Catalogs, Magazine Advertisements and QR codes. https://rb.gy/ela0lb Click on link or Scan to see Ads.
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Digital Advertising Social Media Advertisements: Each add narrates a different aspect of the brand, such as the process, the product, and the factual information. All derived from the tone of voice and values to create transparency and show the benefits.
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https://rb.gy/ela0lb Click on link or Scan to see Ads.
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Mailer Design: A mailer is essentially a no-cost customer acquisition strategy which allows the brand to send out content and tell the customers the entire process and attract them on the basis of that. The content for this mailer designed here is a direct representation of anecdotes from the journey I took with the women of Lundruguda, and Pidama into the forest for the collection of Sal and Siali.
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Print Advertising - Catalog The first print advertising I designed was a Catalog, which can be made available in different places such as larger markets, exhibitions, to be handed to event managers, office managers, cafes, etc. As it is not only a product catalog but also acts as a coffee table book with stories and imagery. https://issuu.com/riashah1298/docs/catalog
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Print Advertising - Billboard The second Print adveritisng is for larger spaces where people simply look at the product, this can be displayed in spaces such as metros, road side billboards, malls etc.
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Print Advertising - Posters Public posters which can be adapted into standees, or product ads in the stores itself, these were made to bring out a campaign impact and make people feel like they are a part of something larger.
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Brand stationery
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REFLECTION
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Right in the beginning it was daunting for me to be one of the very few Visual communication students amongst almost all Industrial students, with time I got a clearer idea and settled in. Since then the project has been a life changing experience quite literally, the life skills learnt on and off field are unmatched. The visit to the village quite honestly was a brick in my face, after looking at the kind of life they lived there it emotionally shook me, nothing about it was even close to what I had seen before. With every visual that came across and every story heard, it started connecting us more and more every day so much that without a translator we (the women and me) both made efforts to communicate how we felt. The experience is something that wouldn’t be possible to find again: their idea of happiness is so unrelated to materialistic needs it amazes me how little one could need. An experience that stuck with me was during the collection trip with them, the terrain was slippery and extremely slanted, which made me trip and fall a couple of times. Here is when two women from the group held my hand all the way till we went back to the flat lands and made sure I walked and didn’t fall. It made me realize how selfless they are as not only would it slow them down, but they would have to go into the forest again to collect things they couldn’t due to me, and it changed the way I thought about being itself. Furthermore, the whole greater goal of doing for not just yourself but a community has pushed me right from the beginning to create something holistic and perfect. Creating a brand was something had done before but during this course of building I had a larger urge to make a complete end to end journey. Right from the start my project was heavily process oriented, without skipping any step so I can bring together and not miss anything essential. The idea throughout was to put the emotions experienced out there for others to live and believe. With the pandemic striking right in the middle of the project, it was quite disturbing and worrying about how would the project be created and end up being something worthwhile, as I left in a hurry and could not carry the plates, or any other materials along with me back home. The initial ideas involved doing product shoots and material explorations for packaging, but due to the unavailability there was a need to adapt and create something from what was available. Here is when I started learning blender, so that 3d models could replace product shoots. It was a long journey, with no knowledge about 3d modeling but over a period of time it got simpler as I found lessons Online and help from friends. Right from the beginning the project has been about learning every day to adapt, improvise and adjust. It has taught me to think on my feet and this has led me to create things that was hard to imagine before. It has been one of the greatest opportunities and I am thankful for the same.
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Annexure - Proposal Abstract Forest communities have access to NonTimber Forest Produce that includes, leaves seeds, pods fruits and bamboo. The tribal community of Lundruguda and Sirla depend drastically on the available NTFP materials, for income, medicine, oils, food etc. Using design as a tool of social transformation that allows livelihoods to be enhanced how do we add value to the current system, by taking it into the post-production phase and building an efficient demand supply chain. This improved income will then allow the community to afford the products and services that give them access to health, education, clean water and sanitation, energy etc. Context Industree Crafts Foundation fueling Mission Creative Million was invited to the Partnership Collaboration Eco-System of OFSDP Phase II in Bhuvneshwar. Industree works on materials that include Hill-Broom, Siali leaf Plates and Kotpad weaving. The most prospective is Sal-Siali leaf plates which is considered as a key gsource of income for more than 5 Lakh tribal women
in Odisha. With this understanding Industree has already set up Sal-Siali plate pressing units in the clusters, and these spaces now need a complete value chain so that the tribal community can generate income and build a better lifestyle. Background Approximately 32.59% of Odisha’s population lives below poverty line making it the second amongst the bigger states, therefore increasing their reliance on multiple sources of income. The Kandhmal district of Odisha consists of 7 tribes that depend on multiple types of NTFP (NonForest Timber Products). NTFP refers to all biological materials other than timber extracted from natural forests for human and animal use. Besides the economic value, the non-economic value of NTFP for the forest dwellers is more important since quite a large number of such products do not enter into the market and are primarily consumed at local level with a little value addition. Within the Baliguda Forest range of Kandhamal there are 7 clusters, 5 out of which are Siali leaf clusters and 2 clusters (Sirla and Lundruguda) have good
potential in terms of availability of leaves, infrastructure, working capital and member strength which have been taken up by Industree foundation. Each cluster encompasses of multiple villages which thereby include a number of SHG’s (Self Help groups). The SHG’s of Sirla and Lundruguda work with collection of SalSiali leaf plates, stitching of the Khalis’ and finally pressing them to make plates amongst other jobs such as agriculture, road construction etc. making it their significant source of livelihood. Design Brief Research Statement: The products made in the clusters by the SHG’s have been sold in very specific kinds of markets where newer techniques of sale, different scopes of business, varied customer segments etc. have not been explored yet. There are various kinds of issues with the existing system regarding the supply chain such as quality check, transportation, storage, packaging, branding, marketing etc. which need to be taken into account. Problem Statement: Emphasis is placed on the production
256 of goods produced from NTFP materials, and lack of attention is paid to the postproduction process that holds the potential for creating demand Objectives: •Understanding the current skill sets. As of now the women are familiar with activities such as collecting different materials, stitching of different types, gluing and pressing. By finding out other skills that could be developed amongst them based on age, interest, understanding in order to create value addition. • Based on customer preferences understanding level of quality and type of product required. Current preferences for products is based on hygiene, quality, stability and usability. To go in greater depths with regard to this and its competition in order to understand the possible preferred outcomes and incentive for the consumer to switch from competition. • Looking into the current markets and finding newer spaces and trends for the product to flourish within. In the current scenario, most NTFP products are sold in the wholesale market and not many are found in other spaces, to understand the cause and effect behind this and create demand through more channels.
• Understanding the value chain for other NTFP materials, process and multiple uses it can have. Sal and Siali leaf plates have been dominating the product creation sector in these clusters, exploring the end to end process of the same and other NTFP materials is crucial. Establishing Position There is a need to communicate with the different kinds of audiences that exist in the current eco system to benefit all stakeholders from the same. As a designers’ role in this project it gives me the opportunity to create this communication between different audiences who have not gotten a chance yet due to constraints such as demography, geography, socio-economic classes etc. Along with this the project scope exposes me to field work which gives me a greater understanding of the real challenges that are faced by the community and allows me to explore various systems of design such as sustainability, livelihood, minimalism and market trends to create a smooth working system. Research • In Lundruguda and Sirla Cluster there are multiple SHG’s that reside, each SHG performs various kinds of activities in a day and as a group or individually. SHG meetings consist of discussion
based on money, problems of the village, personal problems etc. • The women of the Lundruguda and Sirla hone different kinds of skills such as collection and uses of NTFP materials, Stitching (Fine and rough), Pressing, Cooking, Harvesting, processing of various NTFP materials to make oil, other labor work. • Various kinds of trainings are provided to the women in an SHG by the Industree foundation to device better quality of products such as Machine stitching, sorting of material, pressing in old and new machines. Challenges during training are: - The women forget the training given to them if not practiced regularly. - Language and communication. - Understanding the of working of machinery. • Making of Sal and Siali khalis can happen individually at home on their own time and there is no specific schedule for this, (a khali comprises of 9-10 leaves and is sold at 10 paise/- a khali for sal and 25paise for Siali a Chakki comprises of 80-100 Khali’s), making it one of the possible reasons for lack of quality check in the product received by Industree. •The chakkis are directly bought by local traders/middlemen from the women. - The women sell it directly without
257 knowing the end market. - Selling a chakki can bring them immediate money for disposal. - They don’t have to spend on transport to reach the local market. - 90-100 Khalis of Sal cost Rs. 10. - 80 Khalis of Siali cost Rs. 50 • Leaf plates and bowls are currently sold in wholesale markets in urban cities for different prices depending on the kind of stitch, leaf, and quality, The average prices of leaf plates currently in the wholesale market of Odisha : Leaf (Siali) plate Rs. 1.25/plate – 6in. Leaf Plate (Siali) Rs. 3/plate – 8in Leaf plate (Siali) Rs. 3.30/plate –12in In Bengaluru the same plates costed between Rs. 2-5/•The current demand for leaf plates is of the biggest size 12”, this is used in various spaces such as temples, buffets, functions, fairs, hotels etc. •Based on a customer study conducted there is a preference for leaf plates if it is hygienic. •Leaf plates hold importance in certain religious aspects due to its cultural notions. (Banana leaf, eating while sitting on the floor etc.) Research questions
1) What are the other markets that can be explored to increase demand? 2) What are the current measures that can be taken to standardize the process of collection, sorting, pressing etc.? 3) How can we involve the women to be a part of the end to end value chain? 4) What can be done with the waste produced and include that in the value chain? 5) What can we do to turn the seasonal nature of the NTFP materials make it into stable income? 6) What are the other unusual channels to bring in an everyday product such as a plate and making it interesting? Approach/Process The initial process of research includes understanding the urban markets to see products made of NTFP materials, the competitor products available and the difference in prices and preferences. - To understand this, we compared the prices and products available in different geographic locations and different markets such as smaller wholesale shops and bulk orders or city market. - To follow this a detailed study on customer patterns and preferences amongst the leading competitors based on material, usage and quality will be conducted. To gather information on the community and the surrounding spaces tools of PRA
can be used such as: - Social Mapping – to understand the distance that they travel to avail their basic resources. - Shadowing - Helps in understanding the mannerisms of a person and the challenges they face while performing their activities. - Seasonal Calendar – Availability of various kinds of materials and activities performed at different times of the year by the community. - Observation – helps in understanding the existing patterns. - Interviews – gathering firsthand information to understand challenges faced, community etc. - Customer Behavior study – to gather insights into their preferences. To segregate the information and arrive at the focused target audience, the tools that can be put to use are: - Fishbone mapping - Affinity mapping - Aspects of Ecosystem - Fears and goals - Business Model Canvas and Value Proposition - Empathy mapping The future process for the same will be to: - Analyze the current skill sets and device a method to develop other necessary skills. - Finding other potential spaces for introduction of NTFP products through
258 designed programs. - Creating a brand analysis template to understand market and its trends. - Understanding the scope of culture and emotional notion that people share with products Timeline Phase I: Empathizing with the community and understanding their challenges. Market Research - existing markets. Primary Research – conducted in Odisha, Baliguda Phase II: Market research new markets. Customer study on preferences . Conducting in depth primary research with focused scope. Conceptualization of the proposed idea. Ideation using various tools and method Phase III: Creating iterations for the final output. User testing of the prototype to narrow down on particular iteration Reiterating based on feedback Final Output Documentation Book. Materials and resources People:
•Prafulla Nayak : Cluster manager of Sirla, his knowledge about the cluster its resources and the language is an invaluable source of information. •Srimanto Majhi : The training instructor of Industree at field. •SHG secretary: for any communication with the SHG it is important to build a rapport with the secretaries of all the SHG’s. •Suresh – Industree manager for Odisha NTFP project. •Subrajit – Marketing head for NTFP Odisha Products. •Subrat Mohanti – Manager of Manav Vikas pressing unit. •Aanganwadi Helpers •Forest Department: To function around the clusters, it is important to be informed about the policies and the people of the forest department in case of emergencies, requirements etc. •The women of the clusters who are the soul of the project scope. •Health Departments. – Doctor, National health mission. •School kids who helped us understand goals and aspirations. •Atree foundation Materials and Machinery The materials that can be availed from the forest for the use of product development, resources that are required to process this material in order to create product development for the markets and the
machinery set up by the Industree foundation to process and design. Learning Outcomes Creating an impact on someone’s entire live is not a one day job, the ability to have patience along with understanding the pain points of a community is a journey of self-exploration in itself. This process and context is extremely distinct from any other project I have participated in before hence accepting the challenges that come its way such as language, emotional impact, material failures etc. and yet continue to create something valuable in itself is an important learning curve for me.In design terms, it is crucial for me to challenge the grain of the problem to create relatable and apt communications and developing my existing skill sets.
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Bibilography Secondary Research • • • • • • • • • • • • • • • • • • • • • • • • • • •
“Non Timber Forest Products India | Orissa | NTFP | Orissa Forest Development Corporation,” accessed February 11, 2020, https://www. odishafdc.com/products_ntfp_ofdc.php. Foundation, Industree. “Green Kraft.” Handover Report (2017). Foundation, Industree. “Green Kraft.” Annual Report (2019). “Odisha Second Bigger State in BPL Rank,” The New Indian Express, accessed February 10, 2020, https://www.newindianexpress.com/ states/odisha/2019/jul/20/odisha-second-bigger-state-in-bpl-rank-2006663.html. Narayanasamy, N. “Principles, Methods and Application.” Participatory Rural Appraisal (2009). “Consumer Preferences Continue to Shift Toward Sustainability, Market Research Shows,” accessed March 29, 2020, https://www. triplepundit.com/story/2018/consumer-preferences-continue-shift-toward-sustainability-market-research-shows/55496. “Time to Reinvent Businesses? Study Finds 88% Consumers Want ‘Green’ Products,” The Better India (blog), December 26, 2019, https:// www.thebetterindia.com/206891/sustainable-business-green-products-survey-mahindra-india/. “Go Native Jayanagar - Explore Products From These Hand Picked Brands.” “Diffusion of Innovation Theory,” accessed March 31, 2020, http://sphweb.bumc.bu.edu/otlt/MPH-Modules/SB/ BehavioralChangeTheories/BehavioralChangeTheories4.html Based on a reasearch by Aarti Kataria et al., “An Exploration of Consumers’ Perceived Value of Sustainable Brands in India,” Asian Journal of Business Research 6 (December 1, 2016), https://doi.org/10.14707/ajbr.160026. Muhizam Mustafa et al., “LOOKING BACK TO THE PAST: REVIVAL OF TRADITIONAL FOOD PACKAGING,” 2012. https:// www.researchgate.net/publication/274075774_LOOKING_BACK_TO_THE_PAST_REVIVAL_OF_TRADITIONAL_FOOD_ PACKAGING#:~:text=Traditional%20form%20of%20packaging%20mostly,twine%2C%20paper%2C%20and%20leaves. “Pappco - Eco Friendly, Organic, Bagasse, Sugarcane, Bamboo Disposable,” Pappco Greenware, accessed July 7, 2020, https://www. pappcoindia.com/. “Compostable Tableware | Sustainable Dinnerware | Eco-Friendly & Disposable Tableware | CHUK,” accessed July 7, 2020, https:// www.chuk.in/. Oliver, “Eco-Friendly Food Packaging Products Suppliers Bangalore,” Evirocor, accessed July 7, 2020, https://www.evirocor.com/. “Biogreen India’s 1st Biotechnology Company for Biodegradable Products,” accessed July 7, 2020, https://www.biogreenbags.com/. “Skrap,” Skrap, accessed July 7, 2020, https://www.skrap.in. “Good Earth | Stylish Sustainable Luxury Retail,” Goodearth, accessed July 7, 2020, https://www.goodearth.in/. “Shop Only Sustainable & Plastic-Free Products,” Brown Living, accessed July 7, 2020, https://brownliving.in/. “Zero Waste, Zero Plastic Café and Lifestyle Store,” For Earth’s Sake, accessed July 7, 2020, https://forearthssake.co.in/. “Foodhall | For The Love Of Food,” Foodhall, accessed July 7, 2020, http://foodhallonline.com/. “Last Forest - Garner.Nurture.Conserve,” Last Forest, accessed July 7, 2020, https://lastforest.in/. “Online Supermarket & Grocery Shopping Store in India - Nature’s Basket,” accessed July 7, 2020, https://www.naturesbasket.co.in/. “Best Organic Store in Bangalore,” The Organic World, accessed July 7, 2020, https://theorganicworld.com/. Aarti Kataria et al., “An Exploration of Consumers’ Perceived Value of Sustainable Brands in India,” Asian Journal of Business Research 6 (December 1, 2016), https://doi.org/10.14707/ajbr.160026. Saumya Tewari, “Brands Create Localised Packaging to Woo Young Consumers,” Livemint, February 12, 2018, https://www.livemint. com/Consumer/P6b3VFYW3IV5UHm2Kr1coN/Brands-create-localised-packaging-to-woo-young-consumers.html. “(Opinion) Why Indian Homegrown and Indie Brands Are on the Rise,” DEFINITELY CURRY. (blog), November 25, 2018, https://www. definitelycurry.com/emerging-top-indian-homegrown-indie-brands/.
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People and places during Primary Research. • • • • • • • • • • • •
Prafulla Nayak : Cluster manager of Sirla, his knowledge about the cluster its resources and the language is an invaluable source of information. Srimanto Majhi : The training instructor of Industree at field. SHG secretary: for any communication with the SHG it is important to build a rapport with the secretaries of all the SHG’s. Suresh – Industree manager for Odisha NTFP project. Subrajit – Marketing head for NTFP Odisha Products. Subrat Mohanti – Manager of Manav Vikas pressing unit. Aanganwadi Helpers Forest Department: To function around the clusters, it is important to be informed about the policies and the people of the forest department in case of emergencies, requirements etc. The women of the clusters who are the soul of the project scope. Health Departments. – Doctor, National health mission. School kids who helped us understand goals and aspirations. Atree foundation
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PRE- THESIS PROJECT 2020
Examiner 1 (name and signature):
PROJECT TITLE
Examiner 2 (name and signature):
Impact Edge
Examiner 3 (name and signature):
STUDENT: RIA SHAH PROJECT:
Native Trail
SPONSOR: Industree Foundation PROGRAM: Undergraduate Professional Programme AWARD:
Visual Communication and Strategic Branding
Final Examination Panel COMMENTS:
Date: Academic Dean:
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Ria Shah Thesis Project 2020 (Undergraduate Professional Programme) Srishti Institute of Art, Design and Technology Bangalore - 560064 Karnataka