Hand Made in India
Major Project Report Shravan Muralidhar M A Graphic Branding & Identity MUR14409501
Shravan Muralidhar | MAGB&I
Major Project Report
Handmade in India
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Handmade in India Major Project Report Shravan Muralidhar M A Graphic Branding & Identity MUR14409501 London College of Communication University of The Arts London
Major Project Report
(SWETHADHAARA 2014)
Hand Made in India
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Shravan Muralidhar | MAGB&I
Contents
Hand Made in India
Major Project Report
Acknowledgements 9 Introduction 11 Aims and objectives 14 Field of study 15 Setting the context 17 Research & Methodology
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Metaphors 29 Indian Handicrafts 57 Output 79 Conclusion 101 Appendices 105 Bibliography 110
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Acknowledgements
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Major Project Report
(Lotussculpture 2014)
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Shravan Muralidhar | MAGB&I
Hand Made in India
Major Project Report
I would like to thank my course co-ordinator, Grant Rose, whose openness to share his deep insights and useful resources has always been helpful through my research. His dexterous program management skills and efforts to assist students is deeply commendable. While the project just remains a concept in our heads, Grant’s help infuses flesh and blood to it. I would also like to thank John Bateson and Eugenie Dodd for their continuous support and the wide variety of academic and industry perspectives which has helped us understand our design problems better in a real life scenario. Last, but not the least, I would like to thank my brother, Chandan for helping me edit the content and be critical of my grammar and language skills in addition to giving his timely inputs on the ideas. His contribution has made a significant difference to this project.
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Introduction
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Major Project Report
(Familysearch 2013)
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How do metaphors help to build a holistic brand experience? Metaphors are a commonly and most widely used tool in writing as a figure of speech to describe a context within a literary piece (Turnbull. 2011). Metaphors are a shortcut to explain the most complex connotations in simpler forms and sizes with perhaps greater emphasis and tenacity than intended. For instance, when there is a need to provide higher importance and deeper meaning to a concept, we say it is ‘heavy’. Thus, such metaphoric expressions are most often influenced by our physical, environmental and social transactional behaviours and experiences (Hendrix 2013). In that context, the question is, how do metaphors fit in, in the visual communication space? Can metaphors be used in visual communication as powerfully as they can be in verbal and literary spaces? This project/study intends to investigate deeply into the concept of metaphors and their use in visual communication and design space and consequently their relation with the outcomes intended and those actually delivered. The study approaches finding solutions to whether metaphors can be exclusively and entirely used to brand identities without the ancillary support of other mediums of communication. Metaphors have deep relevance in their appeal to the five sensory perceptions of humans. The project investigates through several methods to find the correlation between metaphors and sensory perceptions. Metaphors are sometimes contextual and are used as geography-specific stereotypes. So the project tests whether such standardized connotations of metaphors can be made global.
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Objectives To set the context very particularly to one culture and geography, the study aims to explore the Indian arts and handicrafts industry and how Indian metaphors (very own and local to the Indian culture) can be used to communicate the brand image on a global scale. Through the study, it intends to discover whether such metaphors have cultural and geographic limitations or are capable to communicate globally. Will they set the large global context for the viewer as intended?
Audience As an audience, the study targets the Indian handicrafts industry at large, and specifically the stakeholder community would include the artisans and craftsmen in India. The output of the work is a representation of this community. As end users, the consumers from the west play a pivotal as a key demography of audience since visually it is targeted at them. As an ancillary target audience, the designer community at large will benefit from the study as it intends to create new methods and ideologies for designers to approach branding projects with. And the success or otherwise of the project will demonstrate if an approach like this would work efficiently or not.
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Field of Study As discussed earlier, my field of study primarily pertains to the application of visual metaphors in the branding and design space and to create a more focused context, I have chosen the Indian handicrafts industry. The main reasons behind my choice of the industry are: India, with its rich cultural and traditional history, can be a vast playground to explore about metaphors in detail. The handmade crafts in India carry with them a rich set of heritage and cultural values and are pivotal in contributing significantly to the Indian economy. In addition to the high potential for employment, the sector is economically important from the point of low capital investment, high ratio of value addition, and high potential for export and foreign exchange earnings for the country. The field of handicrafts is increasingly becoming less popular, owing to limited marketing opportunities, especially with the digital native generation. They are migrating to big cities in search of more prospective career options letting the art form die its natural death. So, if a solution to communicate this globally can be carved out, it could open new market opportunities and help sustain these arts and crafts. In order to seek answers to the questions above, I have gone about conducting a variety of experiments to understand how branding concepts and approaches are perceived in the eyes of professionals and laymen. These create a platform for my study to pick the best approach to create a branding solution for the Indian handicrafts industry.
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“A metaphor is a kind of lie to help people understand what’s true” - Terry Pratchett
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Setting the context
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(Nadig 2013)
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Area The fundamental premise in which these questions and the need to find answers to them occur, is the assumption and the large belief that the sense of vision in human beings is the most predominant medium of understanding the external world and especially so, in the context of visual communication & designs. As a process, our eyes see things, help us perceive the idea and eventually form an opinion, sometimes even stereotype what we see. So, evidently, there is scope for positive and negative paradigms to be formed through this strong communication pattern. With that, when we funnel down our thoughts and ideas to the branding and design industry, there appears even wider scope to explore the tool of metaphors and begin asking questions more pertinent to the area of study. “Are metaphors self sufficient or should they be supplemented with other forms such as ‘verbal communication’?”“How do metaphors cater to the five senses?” and so on. More specifically to the point of my subject, ‘Can metaphors from the local context (India) be its face for a global brand recognition?’ In order to answer these questions, it is important that metaphors are studied in quite detail and their use and impact in different kinds of artistic fields be analysed. More importantly, the already existing use of metaphors in the design and visual communication space should be closely looked at to determine the possibility of a brand being entirely visually communicated to the extent that the name also becomes less significant for communication. In a traditional approach to branding and design, the name of an entity assumes the maximum importance and most designs are centered around it. The name gives clues to brand attributes and such attributes suggest a metaphor, an abstraction or a style. This may also be due to the emotional connect with the name that the business owners carry and need not entirely be attributed to the design industry. So, can the same process happen without the name being present in the loop? ‘Can a brand identity exist entirely without the support of the name?’ Fig 1 & 2 in the next page are examples of such experiments in the past.
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Fig 1 - Hay Notebooks - branded notebooks designs by Hay Studios. These completely rely on visual forms without having the name anywhere (Studio H. 2014)
Fig-2 - No Name Brand -The No Name brand is unique because it doesn’t have a name or a logo. You know this bargain brand by colour yellow. The packaging is what sells this brand more (Zilliondesigns, 2014)
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This project attempts to answer some of these critical questions as we research through the concept of ‘metaphors’ and their inclusion and implication in the design industry. In order to illustrate the ideas more concretely, the project considers the Indian Arts & Handicrafts, which as an industry does not carry an exclusive and whole identity, and hence, experiments with metaphors to create an identity for this industry. India being a country replete with rich history of culture and heritage is a host to a plethora of a variety of arts and crafts that have developed and evolved over centuries and passed on from one generation to the next. Some of these crafts are not only functional but also sustaining livelihoods even today. These crafts are highly valued in the local and international markets for the precision of craftsmanship involved and give a strong reason to be considered for global branding project. The fact that makes the case even more interesting is that India is culturally so strong and almost at the opposite end of the spectrum in relation to the western countries but still has found a lucrative market in the west. So the question to ponder whether a global brand image for such handicrafts from India would help represent it adequately becomes all the more fascinating to explore. So, this project factors the interests of the entire arts and crafts community to identify and experiment a solution to represent the entire industry using a combination of local and global metaphors to augment and enhance its recognition on a mass scale. The conclusions of the project throw more light on this area of research with interesting observations.
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“Metaphors have a way of holding the most truth in the least space� - Orson Scott Card, Alvin Journeyman
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Research & Methodology
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The Process In this section, I introduce the methodology I have followed through the project to build the idea up. This pertains specifically to my project but also can be used as a mechanism for similar branding projects. At the beginning, I was not entirely sure of what the final output of this project was going to be. I was studying about metaphors as a whole concept and not necessarily within a specific context. I researched and studied in detail the characteristics of metaphors in a range of different areas such as religion, literature, art, design, advertising, and so on. My initial studies aimed at deciphering the similarities in the use of metaphors between these different domains and if there were some unique attributes that such usage were showing. Gradually the upsides and limitations of the use of metaphors in these areas started to surface. For instance, the use of metaphors in literary areas such as poetry, prose, etc., was very effective. The medium used was serving the exact purpose of exaggerating the emphasis a context contained within it, which regular words and expressions could not accomplish as efficiently. To cite an example, Shakespeare said, “All world is a stage�. It was bang on target! So, metaphors had an obvious advantage to be used in the literary field. Relatively, when it came to religion, I discovered that metaphoric usage almost became a norm as a cultural practice over a period of time. For example, in the Indian context, vegetables and fruits such as lemon, pumpkin and so on are used as tools to ward off evil. And the same practice, surprisingly, are still in vogue in majority of India. So the strength of such metaphors within religion have stood the test of time despite the influence of a radical thinking western mindset. Relatively, I considered the field of advertising and here I figured that the
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fig 4
fig 5
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Fig 1 - (GMASCO, 2008), Fig 2- (Vegad, J, 2014), Fig 3-(02varvara, 2014), Fig 4 - (Webneel 2014), Fig 5-(Nelson, D., 2013)
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fig 2
fig1
fig 3
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use of metaphors was somewhat skewed and in some ways, unethical. The exaggeration brought about by such use was catastrophic creating stereotypes and having impact on the lives of people, many times in a negative sense. To illustrate an example, use of a naked woman in an advertisement for a men perfume brand would suggest that a woman could simply be enslaved by men simply because of that product, whereas in reality it was hurting the dignity of a group. After studying these in detail, it was important to test these observations into real life experiments. And to be more contextual, I funnelled down the idea into the specific context of Indian handicrafts industry. My intention was to explore whether the use of metaphors was effective in the branding and design space and if yes, could they be used to impact an entire industry positively. There are metaphors that cater to different senses and I have tried to analyse through a series of experiments (detailed below) what different elements within visual designs could metaphorically communicate as “Indian� to a western audience. As a tangential experiment, I also attempted to test what styles in logos came across as fun, corporate and so on and so forth. This would give scope for the use of graphic metaphors. As a culmination of all my learning from the studies and experiments above, I have attempted to create a Brand experience for the Indian Handmade Products industry. The idea is to retain the essence of Indian art in a western brand styling.
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“Metaphor is the omnipresent principle of language. We cannot get through three sentences of ordinary fluid discourse without it” — I.A. Richards
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Metaphors
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Metaphor
“A figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance.” (Oxford Dictionaries. 2014)
Metaphor is a technique used in language to figuratively connotate a meaning by not really communicating it literally. It uses examples, analogies and other forms of comparisons to convey the meaning intended. However, just ‘being indirect’ does not offer a distinctive status to metaphors from the rest of the language uses. Metaphors as a group need a common characteristic by which they can be differentiated and given an identity (Cohen 2014).
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While the research on metaphors enable us to find answers to many questions, it also raises several questions alongside. Owing to its qualitative nature, there has been no successful attempt to universalize the theory. Nevertheless they have set several contexts, which are integrated with each other, 1) metaphors contain meanings 2) metaphors are a form of pragmatics and 3) we think in metaphors. Depending on the perspectives of the author, the relevant aspects of a specific context will apply accordingly (Catherine Wilson. 2014).
“All metaphor breaks down somewhere. That is the beauty of it. It is touch and go with the metaphor, and until you have lived with it long enough you don’t know when it is going. You don’t know how much you can get out of it and when it will cease to yield.” - Frost
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Metaphors & Language
“Your friend George is just a big baby!” “You are my guardian angel” “Johnny’s mouth is a huge metal factory” “His students are puppets on a string” “I wish you weren’t always such a chicken” “That girl over there is one beautiful fox” “The Kids at that school are all brains” “Javier thinks he is the class clown” ‘Life is one long scary roller coaster”
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Proverbs and idioms
“Failure is the stepping stone to success” “All that glitters are not gold” “The pen is mightier than the sword.” “No man is an island.” “The early bird catches the worm.” “Don’t bite the hand that feeds you.” “One man’s trash is another man’s treasure.” “Too many cooks spoil the broth.”
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Metaphors in Literature & Poetry
“All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts”
- William Shakespeare
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Allegory
Coral life forms in myriad swarms,
Allegory is a representation of
Feast in the Cambrian chyme,
abstract ideas or principles by metaphors, while generally liter-
Dividing their cells and forming
ally false, are difficult to label as
their shells,
literally false. (Chris, 2004)
To end on the sea floor as lime. The Angel Inside - Roy Jerden
Catachresis
Whose woods these are I think I know.
Catachresis is the use of a
His house is in the village though;
strained figure of speech, such as a mixed metaphor.
He will not see me stopping here To watch his woods fill up with snow. Stopping by Woods on a Snowy Evening - William Ward,
Parables
A sower went out to sow his seed; and
Parables can be a short story
as he sowed, some fell along the path,
designed to illustrate or teach some truth, religious principle, or
and was trodden under foot, and the
moral lesson. These are similar to
birds of the air devoured it.
allegory except that they teach a moral in the end.
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The Sower And The Seeds - The Parables Of Jesus
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Metaphors in Advertising
(scjdesign, 2014)
(GMASCO, 2008)
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(Brands of the world, 2014)
Metaphors in Branding
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Metaphors & Art
‘Persistence of Memory’ by Salvador Dali (Suculente 2014)
(Aminotes 2014)
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Metaphors in Religion
1
1 - (Thenakedconvos 2014) , 3 - (Arnabchat 2010), 4 - (downloadpolitics 2014)
2
3
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5
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People make meaning anyway Art is an area of work and thought that is normally associated with emotional and sentimental values. Artists are considered a group that has been bestowed with the gift of creative and artistic skills. And more often than not, it is assumed that there was an external and, in some way or the other, a necessarily past history and inspiration that urged an artist to pursue their passion. And when a piece of art emerges out of self created inspiration, it becomes a hard task to explain in words since there is a loss of context to do so (Designmodo. 2011).
“In order to revolutionize the stereotypical thinking process of the people, Wake Felderman came up with his own style of art. He showcases his creative pieces as a metaphor of things that do not really have any hidden, complicated meaning in them. But when people look at them, they try to project their own interpretations� (Designmodo. 2011). Looking at things and trying to make meaning out of them is a basic human instinct. Wake Felderman took this as an advantage and created this series of art works. When I showed these images to a group of people to gather their inference from out of it, I figured that the more complex the metaphors are, the longer the time taken by respondents to decipher it. Such an exercise will result in the image etching in their long term memory due to their efforts in trying to identify it. Nevertheless, this is still a hypothetical statement and needs more analysis and testing to be proven, of course.
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(All Images copyrights - Wake Felderman, 2014)
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Experiment 1
How scale, placement composition and other design laws can change the way a metaphor is perceived?
No. of test takers 35 Age : 25 - 40 years Designers & non designers
Graphic design has the flexibility to encode different meaning into communication. Can a metaphor be made to be perceived in a different way just by using different compositions, increasing or decreasing the scale, changing the proximity of different element in the design and so on? In this experiment, I wanted to test how such flexibility in design can change the meaning of the metaphors. For this, I have taken a set of images as metaphors and used them in 4 different compositions. Then I showed the 4 compositions to 4 different groups of people and asked the viewers what do they understood from it. With deep analysis of their responses, I could see similarities in their perceptions exclusive for each image.
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Composition 1 This Image was perceived by most of the people as ‘Growth’ or ‘Ambition’. Some of them put themselves in the place of the horse. They perceived the cloud as their goal and the triangle as life, pathway or upward path towards their goal. A few of them perceived the triangle as an obstruction hindering the movement of the horse.
Composition 2 People perceived this as ‘Success’. the triangle being a peak, the horse rising beyond the cloud emphasized its accomplishment in reaching the pinnacle and being outstanding.
Composition 3 This image was perceived that the horse was being blessed. The cloud construed to be the heaven where the god resides and to be the source of the blessing. The triangle was perceived as a ray of blessings.
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Composition 4 People had very confused reaction to this composition. The elements were perceived to be very ambiguously arranged without making much sense to some of the audience, whilst very few of them thought that the ‘horse dreamt to fly�
Conclusion Although there were a few-more different perception of the above images, I have consolidated them and given a majority viewpoint. Through this experiment, I was able to understand how the same images can carry different metaphors when differently composed. The Size, Scale, Proximity, Composition, etc., can affect the meaning of the image. This kind of a multiple metaphor usage can be seen in the works of artists. They place each and every element in a very planned way so as to convey their implied message to the viewer.
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Experiment 2
How do people group things into different categories metaphorically. Metaphor is all about comparison. It is to take a core evi-
No. of test takers 30 Age : 25 - 40 years Non designers Multicultural Mix
dent attribute of one thing and mapping it on to the other to exaggerate the attribute of the latter. In this experiment, I have tried to decode how people make connections with two completely different groups - one being automobiles and the other being animals. I spread out the pictures of these groups and asked people to make pairs out of it. Later, I asked them what was the reason and rationale behind their opinion. I have tried to analyse what attributes do people see before making the comparison - Is it physical? Or character based? Or based on abilities? and so on.
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Most of them chose Tiger for the Hayabusa. There were a significant number of people who chose Lion. It was surprising that some chose the rhino as well. Reasoning behind these were very interesting. Most of them chose tiger as they felt that is the right animal for the bike given the combination of ‘bulk’ & ‘speed’. Some chose Lion because the form of the bike looked more similar to it than to the tiger. The people who chose Rhino said that they were influenced by the colour and form of the bike more than its speed. People chose cheetah for the Dirt Bike. Although these bikes are not made for high speeds, their attributes of flexibility and manoeuvrability are comparable to those of the cheetah, which made them connect these two together. Some also chose the Grate Dane dog. The physical form of the bike mainly urged that decision. Can these physical forms also be considered as metaphors or is it just the attributes?
Although the name of the automobile is itself ‘Bull-Dozer’ there were a few choices other than the bull. Those who chose the bull, when asked for the reason, explained that the front carrier resembled the horn of a bull. The bull is normally perceived to not be deterred by any impediment on its way and the automobile’s look and feel qualified the same. The once who chose a rhino and the carrier of the automobile to the horns of these animals.
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All Logos - (Flickr, 2014)
elephant had identical reasoning - they connected the front
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A moped is most likely used by female motorists. The shape and the attributes are designed in a way to appeal to the girls. The choices of metaphors for the moped were varied but mostly equally split between the fox and the bee. The common reasoning for this was that the moped looked cute and less manly to them. The bee was chosen by many as it had cuteness which is similar to that of the moped. Many chose a fox as foxes are usually attributed to females and also the form of the moped seemed to have taken inspiration from the fox. This shows how even physical forms can act as metaphors.
Conclusion Through some of these outcomes, we can see that there are many reasons why people perceive an object as a metaphor of something. It can be the qualities, abilities, physical form, etc. One main thing that can be observed in this experiment is that the physical qualities of any object living or not can be used as a metaphor without any cultural barriers. The Cheetah can be used to convey speed, the bull for power, the fox for femininity and so on. These physical attributes can be perceived without cultural barriers. Using the fox for cunningness, the dog for faithfulness may have certain cultural barriers in understanding the metaphors.
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Experiment 3 No. of test takers: 32 Age : 25 - 35 years Designers & non designers
Are there graphical metaphors? How do people perceive shapes forms and colours as attributes of a brand? As a first experiment, I went about picking sample logos from the industry to survey with a group of volunteers about their perception of these logos and how and what categories do they group them into. For this, I had chosen a set of logos - a mix of some logos that are predominantly metaphoric in their appearance and some others were abstract while the rest had the same visual metaphor but a different graphic style. The logos were converted into cards which the participants had to group them into different boxes of attributes such as fun, royal, corporate and sporty. Once they made their choice, they would be asked to reason about it and specifically pick an attribute that influenced their decision. The volunteer group participating in this exercise total up to about 32 and fall into the age bracket of 20 to 35, so predominantly young adults, youth and young working professional population. Since my project is designed and targeted towards a mix of population such as designers and otherwise, it was important to bring in the element of diversity in the group. Hence, it comprises 18 respondents with no design background and 14 others with some knowledge and background of the designing field. The idea of this experiment is to ascertain what specific elements of a logo influence the viewer/user perceptions to enable them grasp the communication behind it. The form, metaphors, colour and composition of the logos are key elements here. And the primary categories intended to come out of this exercise are corporate, fun, sporty, royal. However, this list is not limited, meaning if the viewers emerge with an opinion outside of this list, the experiment is open to exploring such ideas assuming there was a logic behind it.
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The results of the experiment have been compiled and represented as a graph (see appendix 1). This graph depicts the percentage of votes each of the chosen logos secured under each category and the reason why they were chosen. In addition, the logos that have similar reasoning behind their choice have been compiled together. This allows to find similarities in the logos and understand what attributes of the logo forms convey a particular message.
Corporate
1
2
3
The above were the logos which got the highest votes for the category ‘corporate’. Most commonly offered reason was the form and the colour, blue, which is widely associated with the corporate world. Other than these, some respondents felt the geometric shapes of 10
these logo forms inspired them to pick the ‘corporate’ category. On the ancillary side, logo number 2 above was considered as ‘fun’ owing to its colourfulness. While the colour gave scope to some ambiguity, the geometric shape compliments to bring the balance between ‘fun’ and ‘corporate’ nature of it. Logo no.10 was also perceived to be corporate although a section of the sample population thought it was sporty as well. The metaphoric flying eagle gave a ‘sporty’ feel to it while the geometric shape again All Logos - (Brandsoftheworld, 2014)
helped balance it towards ‘corporate’.
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Fun
7
8
9
Going to the next major category, the above were the logos people thought had a ‘fun’ feel to it. While colour was a major determinant factor behind this choice, it could be inferred that the form played a significant role as well. When investigated in detail, it was clear that the cuteness and vibrant nature were the chief reasons. Another observation here is that none of these logos which were chosen as ‘fun’ had sharp edges. And as in the case of logo no.2, the geometric shapes urge viewers to perceive a logo as more ‘corporate’ than anything else.
Royal
4
5
6
Amongst the above logos that got highest votes as being perceived
All Logos - (Brandsoftheworld, 2014)
as ‘Royal’, logo No.5 & 6 had metaphors as the major influence for the test takers’ decision. And behind logo 4, the colour gold was the most important determinant. Further discussions with the participants revealed that while visual metaphors like lion, crown and so on made them choose this, it was more the style of these logos that influenced them the most.
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Sporty
10
11
12
The above logos were the ones with highest votes for being ‘sporty’. Most of the respondents expressed that the visual metaphors were the main reason for their decision. To be more specific, the aggression in the forms suggested this category. The sharp edged forms and the bright contrasting colours also played a significant role. As discussed before, the colour blue in Logo 7 inspired some respondents to categorize it as ‘corporate’.
Similar metaphor, different meaning
1
12
Another inference from this experiment is that the visual treatment on For instance, logo no.1 and no. 9 above were thought of as ‘corporate’ and ‘sporty’ respectively, although they had the same metaphoric form, due to the difference in visual treatment and elements such as emotions, colours and forms.
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All Logos - (Brandsoftheworld, 2014)
similar metaphors can convey different meanings and connotations.
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Conclusions This experiment helped me decipher how people’s perceptions are developed over a given visual and influenced by visual aids like colour, form, style and so on. But an extended question is whether these perceptions are based on stereotypes forced by the design industry? Should a ‘sporty’ logo always be sharp edged? Should a ‘fun’ logo always be colourful? Should a ‘Royal’ logo always be intricate in nature? So on and so forth. As a result, is it safe to just pursue this approach or should new perceptions be created without skewing the brand message? Changing perception means creating new categories; inducing a viewer into a new visual message. And in this, attempting a drastic change may be risky. The best way to pursue would be to strike a balance between existing perceptions and new radical ideas.
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“The arts and crafts of India are, in a way, a response of the connect between the craftsmen and the vast natural landscape” — M P Ranjan
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Indian Handicraft
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India is a subcontinent in itself with an extreme variety of bio diversity and climatic zones including coastal settlements and hilly areas covered with snow. Multitudes of cultures have taken birth allowing arts and crafts of a wide variety to flourish within such diversity. The history of such cultures date back to more than 5000 years characterized by rich tradition and epic stories shaping the country the way it is, today. And India is at a rapid pace of adaptation to a distinct identity that is on another end of the spectrum from the historical influence on the country. The arts and crafts of India are, in a way, a response of the connect between the craftsmen and the vast natural landscape. Within the country too, several different geographic zones have contributed to the evolution of the crafts industry. Despite the change of the face of the country into westernization today, arts and crafts have stood the test of time in some regions transforming raw material into strong creative and artistic expressions. The fact that makes the case even more interesting is that India being culturally so strong and almost at the opposite end of the spectrum in relation to the western countries, has still found a lucrative market in the west. So the question to ponder whether a global brand image for such handicrafts from India would help represent it adequately becomes all the more fascinating to explore. In addition to the high potential for employment, the sector is economically important from the point of low capital investment, high ratio of value addition, and high potential for export and foreign exchange earnings for the country. The export earnings from Indian handicrafts industry for the period 1998-99 amounted to US$ 1.2 billion (India Exports. 2014). While the US consumed the most of these export markets for these products, several European markets like the UK, Germany and others have been lucrative as well. The following pie chart describe these numbers graphically.
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Hand Made in India
Major Project Report
A SWOT Analysis on the Indian Handicrafts
While the industry largely generates income
industry has shown that there is rising
from the west significantly, the overall buy in
appreciation for the Indian handicrafts
from the younger generation is diminishing
especially by consumers in the developed
owing to more lucrative offers to generate
countries. And this demography of consum-
income externally, the invasion of services
ers have a large disposable income at their
industry in India and the lack of a single
discretion. And with e-commerce platforms it
identity for the industry as a whole. The artists
has become easier to reach the consumers
only invest efforts to create their work while
directly. And in favour of the industry, there
the middleman or the agent who sells them
is abundant and cheap labour available and
ends up making most money in the scheme
so price competition is not a challenge at
of things since the artists themselves do not
all. The industry requires very low capital
handle all the marketing and sales end of
investment and relatively the returns are quite
things. So the premise in which I am exploring
big. The exporters are willing to handle even
and approaching this project is whether an
small orders and that is an advantage since
identity for these artists can eliminate the
the handicrafts are to be carefully made with
need for middlemen and create higher returns
attention to the smallest detail (GFE. 2014).
for the artists themselves and also create a better standard of living for them.
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Hand Made in India
Major Project Report
(Unique Graph, 2014)
fig1
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Hand Made in India
Major Project Report
Experiment 4 No. of test takers: 32
Researches from the past have proven how brand identities are
Age : 25 - 35 years
influenced severely by sensory perceptions. What is loud is construed
Euorpeans, English &
as boastful and noticeable while quiet is considered simple and
Americans
somewhat, lost and unstated. Visually, a moving effect is perceived as dynamic and energetic while bright colours suggest cheerful and positive connotations. A rough surface or paper indicates a rustic feel to a product, while strong and warm touch add the feel of masculine, industrial and comforting appeal (Hendrix 2013). Factoring such theoretical observations, as an extension of experiment 1, my second experiment drills down deeper into specific sensory perceptions of a brand image for the Indian handicrafts industry. For this, I have picked typical, somewhat stereotyped elements that have historically represented India in a strong way to see whether such elements have to be included in my solution or not. In the following pages you can see some images in each sensory category - vision, touch, smell and audio to test the Indianness in them.
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Major Project Report
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2
3
4
5
6
7
8
9
Visual metaphors such as Taj Mahal, Elephant, etc.. have been included here to see how powerful they are to the Indian context and how instantaneously or otherwise do they enable the viewer to connect to India. Based on the results, I will be using these elements or parts thereof actively or otherwise in the brand image and identity of Indian Handicrafts.
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1- (murthy 2012), 2-((Pre-Raphaelites 2014), 3-(Durfey 2010), 4-(Samyukta 2014), 5-(Worldwildlife 2014), 6-(Rajasthanifashion 2014), 8-(Peacockparadise 2014), 9-(Dhirad 2014)
Metaphors in Vision
Hand Made in India
Major Project Report
Metaphors in Touch 10
11
12
13
14
15
Indian handicrafts carry a rustic look and feel to them. Materials used in rural India come extremely handy here to prove the point. For this, I have used jute bags, textured papers, etc., to bring in that feel. In addition to the feeling aspect, these elements also support the visual aspect of the product.
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Major Project Report
Metaphors in Smell 16
17
18
Subconsciously, the brand perceptions are influenced by the aroma of products or the place where they are sold. Here, I have tried to bring in the Indian context by introducing typical aromas such as that of sandalwood or the incense emanating out of sticks used during religious occasions in India. If proven positive, such aromas on the handicrafts product packaging would go a long way in establishing
Metaphors in Audio 19
20
21
Traditional Indian classical music are a delight for the listeners and have found a wide audience across the globe. Instruments such as Sitar, Tabla, Flute, etc., have made a mark in the world and have carried Indian music across the seas. Through the experiment, I have tried to explore whether such classical instrumental music brings audience closer to their origins. If so, the store selling the Indian handicrafts products should essentially host the ambience sound of Indian musical instruments - mostly of classical genre - to add that feel.
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16-(Dhawalfragrances 2014), 17-(Essentialoil 2014), 18-(Allinexporters 2014), 19-(Indrositar 2014), 20-(Meinlpercussion 2014), 21-(Sangitamiya 2014)
the connect between them and India.
Hand Made in India
Major Project Report
Survey Results Below graph is an approximate visualization of the survey data.
Atypical Indian
Typical Indian
1. Elephant 2. Mango Motif 3. Arches 4. Bindi 5. Tiger 6. Pagadi Headgear 7. Mehandi 8. Peacock 9. Taj Mahal 10. Bamboo 11. Gray Stone 12. Jute 13. Khadi Cloth 14. Jute strings 15. Recycled paper 16. Incense sticks 17. Sandalwood 18. Eucalyptus 19. Sitar 20. Tabala 21. Flute
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Major Project Report
Fig 1 - Layout of the semantic tool
Fig 2 - Back end Data Visualisation excel sheet
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Hand Made in India
Major Project Report
The Semantic Tool For this experiment I have used the semantic tool developed by Prof. Uday Atvankar from IIT Bombay. This tool enables us to easily collect data and also automatically consolidates the results into a graph which gives us a clear understanding of the data collected. The figure-1 beside shows layout of the tool, the rightmost column has all the images needed to be tested and the rest of the columns are divided into Very Typical, Typical, Not so Typical, Not so Atypical and Atypical. The test taker can click and drag an image to the relevant column according to his perception whether the image is typical Indian or not. When the user clicks the submit button it generates a numeric data according to the users selection. This data is then fed into an excel sheet (figure-2) which gives us a graphic visualisation of which images were considered typical Indian and which were not. I have used images for testing the visual elements but to test the materials I have used the actual material to give the test taker the exact feel and have put the corresponding image in the testing tool. Similarly for smells and audio.
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fig3
fig4
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Fig 1 -(Dhirad 2014), Fig 2- (Anca 2009), Fig 3- (Dhirad 2014) , Fig 4 - (myworldhut, 2014).
Hand Made in India Major Project Report
fig1
fig2
Shravan Muralidhar | MAGB&I
Hand Made in India
Major Project Report
Conclusions This experiment has mainly helped me understand the western mindset. It was quite a learning to know the difference in perceptions of westerner about Indian context. What is considered ‘Indian’ is not necessarily so in a western context. For instance, ‘elephant’ is associated with India widely, but the test showed results that were not quite in line with such assumptions. The strong elements in visual metaphors were the Taj Mahal, ‘Pagadi’ (the Indian turban), Mehndi (the design on a woman’s palm), Mango motif and the Peacock. Jute and khadi textiles were perceived very Indian too. The recycled paper, which I personally believed would be construed Indian, was not perceived so by the test takers. The Indian fragrance incense sticks and sandalwood were substantially and almost instantaneously accepted as ‘typical Indian’. Amongst the three Indian musical instruments and sounds, hindustani tabala (drums) was clearly the most well known Indian sound. Of course, the style of music and the concert was considered more Indian than the sounds from the instruments themselves. On that front, even sitar was perceived ‘Indian’. These inputs will help me create a holistic brand experience to create a comprehensive sensory perception.
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Major Project Report
Experiment 3 This experiment is very specific to the use of forms and figurative representations from the Indian arts, crafts and culture. It is somewhat difficult to mix the different elements from the Indian culture into one single unit since it is replete with many different varieties of forms and explorations. So this part of my experiment aims to explore and find out whether a specific and already complete and existing form of Indian arts and crafts be considered for its identity in entirety. For example, it is typical for Indian households to lay a design out of chalk powder in front of their houses called Rangoli. So can rangoli be used as a visual style for the brand? Or for another instance, Indian women apply a brown coloured paste on their palms during festivals as an adornment. This extremely skillful art is called Mehandi. So this experiment explores whether such techniques and forms can themselves serve as a style for the identity.
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Fig 1 - (Verma 2014), Fig 2 - (Artadmire 2014), Fig 3 - (ikolam 2011), Fig 4 - (Isha foundation 2013), Fig 5 - (Clifford 2013)
Hand Made in India
Shravan Muralidhar | MAGB&I
Major Project Report
Fig 1 Fig 2
Fig 3
Fig 5
Fig 4
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Major Project Report
Mehandi explorations
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Hand Made in India
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Rangoli explorations
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Further explorations digitally
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“The hands of a craftsman engaged in his craft are always pure” - Manu
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Output
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Hand Made in India
Major Project Report
Hand Made in India
Major Project Report
The Output All the learning and research thus far has led me to create a brand and identity called ‘Handmade in India’. As brand touchpoints, I have developed the following outputs: 1. Brand Logo After getting a clear understanding of the westerners’ perception of Indianness, I have chosen an accurate metaphor and style and have developed a brand logo. 2. Packaging To visualise the brand feel, I have developed a brand packaging keeping in mind the materials and fragrance that give us a feel of handmade and also were perceived as ‘Indian’. 3. Booklets & Posters I have developed a booklet and poster propagating the campaign concept of “Make it. Feel it.” 4. App Design In order to make the huge resource of Indian handicraft easily accessable, to provide a platform to buy handicrafts and to propagate the brand campaign, I have designed a mobile application
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Major Project Report
Concept
Indianness
Peacock
Style
Brand Logo
Mango motif Handmade
Mehandi
Art
Hand
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Major Project Report
Explorations
Basketry
Pottery
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Kalamkari
Rangoli
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Major Project Report
Logotype
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Hand Made in India
Major Project Report
Symbol
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Major Project Report
Brand Campaign I have created a campaign which sells the idea that not only do you buy a product from us but you also get a chance to learn it and experience it to get the exact feel of it. To do this, I have created a set of posters and booklets which demonstrate the process of a craft shown in 6 steps. These illustrations are sufficient to induce the customer to explore by visiting a store whereas they are not adequate in themselves to impart the entire experience. The purpose is to urge the customer to visit the store and increase the potential for sales.
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Major Project Report
Brand Application I have also created an application for the brand which helps in propagating the stories about the indian crafts in a easy way. The Application basically has 4 main section - Search, Scan, Buy & Make. The ‘search’ section allows people to browse through the different handicrafts of India - one can search by craft name, region or by material. This allows people with little knowledge about Indian handicrafts to explore it in different ways. Once selected, it takes them to the craft page which has detail information about the craft, process, tools, material, gallery and also buying options. With ‘scan’ option, one can scan the symbol on the tag which come along with the craft they bought. This takes them directly to the craft page which gives them complete details about the craft. The ‘buy’ section is a complete online e-commerce platform for people to buy handicrafts online. They also have the option of personalising their product in this section. The ‘make’ section is completely for workshops. In this section, people can access the details of the different workshops happening in their region. A map tracks your location and highlights the nearby places where there are workshops happening. One can book in for a workshop from this section. The main aim of this application is to give the audience an easy access to complete information about crafts in a simplified manner. To allow him to not only buy the product but also indulge in making it and experiencing the feel of it.
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Loading Page
Home Page
Search Page
Craft List Page
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Hand Made in India
Major Project Report
Craft Information Page
Search by Region
Scan Symbol
Worksop Page
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Major Project Report
Brand Packaging
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Brand Packaging
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Conclusion
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Hand Made in India
Major Project Report
Learning In conclusion, from the results of the experiment and research conducted, it was clear that the metaphors are very effective in creating a holistic brand experience through sensory perceptions. The logo alone could not communicate the message with adequate efficacy while when the entire brand was allowed to be experienced, it drove home the message very clearly. Such brand experience is very crucial as it helps create multiple touch points for the brand to reiterate its value proposition to the stakeholders. The Indian handicrafts industry would certainly benefit from having an overarching identity and presence to represent on a global scale and open up new opportunities for exports. In addition, the understanding of metaphors would benefit the branding community as a whole as it could pave way for new ideas and innovation in designing solutions. And very importantly, this project has been an interesting journey for me since the beginning. My knowledge in this area was limited and so working on this project required me to learn more and expand my understanding of the concepts and the industry of Indian handicrafts. Especially rewarding was knowing further about the use of metaphors in visual communication space. I personally feel that such research will go a long way further in enriching my skills and experience within the branding space. And the learning and methodology from here is easily scalable and replicable across industries of different types. I also understood the importance of conducting in-depth research into any subject while exploring the problems and solutions thereof. It has built in me a structured way of thinking and approaching a project. Although I believe there is much more to research and discover, I had to bring a logical conclusion to the project due to time and other resource constraints.
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Appendix
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Major Project Report
Appendix 1 - Experiment - 3 The below is the clearly visualised statistics of the experiment results. It shows the number of votes each of the logos got in each category and also the reason behind their choice. This not only let me analyse their perception but also helped me understand the reason behind their perception.
Category Corporate Fun Royal Sporty Reason
1
Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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All Logos - (Brandsoftheworld, 2014)
2
Form Colour Metaphor
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Major Project Report
Category Corporate Fun Royal Sporty Reason
3
Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
4
Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
5
Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor
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Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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All Logos - (Brandsoftheworld, 2014)
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Form Colour Metaphor
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Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor Category Corporate Fun Royal Sporty Reason
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Form Colour Metaphor
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Major Project Report
Appendix 2 - Experiment - 2 Test takers were asked to make pairs out of automobiles and animals. Below chart shows the number of votes each pair got. This lets us analyse the perception of the audience.
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Catherine Wilson, f. (2014). Circle. Ubc. [Online]. Available at: https://circle. Ubc.Ca/bitstream/handle/2429/12923/ubc_2009_fall_wilson_freeda.Pdf?Sequence=1 [accessed: 22 june 2014]. Chris. (2004). Mixing memory: metaphor i: a brief history of metaphors in cognitive science. Blogspot. [Online]. Available at: http://mixingmemory.Blogspot. Co.Uk/2004/10/metaphor-i-brief-history-of-metaphors.Html Clifford, r., 2013. Travels in textiles. Travelsintextiles. Available at: http://travelsintextiles.Com/craft-series-the-ajrakh-block-printing-of-kachchh-india/ [accessed november 2, 2014]. Clatworthy, g. (2011). Why a great logo design is all in the metaphor - designrfix.Com. Designrfix.Com. [Online]. Available at: http://designrfix.Com/logo/ great-logo-design-metaphor [accessed: 23 june 2014]. Cosomogirl. (2014C). Cosmo girl » dear foreigners. Welcome to the incredible rape capital of india. Cosmo girl. [Online]. Available at: http://cosmogirl. In/2014/01/15/dear-foreigners-welcome-to-the-incredible-rape-capital-of-india/ . Cohen, t. (2014). Metaphors. Department of philosophy, 1 (1). [Accessed: 19 june 2014]. Crow, d. (2010). Visible signs. 2Nd ed. Ava publishing. [Accessed: 26 june 2014]. Designyoutrust, 2014. Skullcandy New Ad: Music And Football. designyoutrust. Available at: http://designyoutrust.com/2014/06/skullcandy-new-ad-music-andfootball/ [Accessed November 3, 2014]. Designmodo. (2011B). Wake felderman - it’s a metaphor - designmodo. Designmodo. [Online]. Available at: http://designmodo.Com/wake-felderman/ [accessed: 18 june 2014]. Dhawalfragrances, 2014. Color incense sticks. Dhawalfragrances. Available at: http://dhawalfragrances.Tradeindia.Com/color-incense-sticks-292740.Html [accessed 2014]. Dhirad, 2014. File:taj mahal in march 2004. Wikipedia. Available at: http://en.Wikipedia.Org/wiki/file:taj_mahal_in_march_2004.Jpg [accessed october 31, 2014].
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D’source, 2014. D’source. Available at: http://www.dsource.in/ [Accessed November 6, 2014]. Durfey, s., 2010. Sharlene durfey photography. Sharlenedurfey. Available at: https://sharlenedurfey.Wordpress.Com/2010/07/09/arches/ [Accessed october 31, 2014]. Essentialoil, 2014. Essentialoil. Available at: http://essentialoil.Co.In/ images/20121223_124902.Jpg [accessed october 31, 2014]. Familysearch, 2013. Category:Pottery makingEdit This Page. Familysearch. Available at: http://familysearch.org/learn/wiki/en/Category:Pottery_making [Accessed November 6, 2014]. Forty. (2014D). Brand metaphors - forty. Forty. [Online]. Available at: http://forty. Co/brand-metaphors [accessed: 22 june 2014]. Flickr, 2014. Inspiring photography. Available at: http://www.flickr.com [Accessed November 3, 2014]. GFE, 2014. Gfe. Available at: http://www.Gfe.De/publication/indian%20handicrafts%20industry.Doc [accessed november 2, 2014]. Gmasco, 2008. Toyo: octopus. Adsoftheworld. Available at: http://adsoftheworld. Com/media/print/toyo_octopus?Size=original [accessed october 31, 2014]. Hay studio, 2014. Hey notebooks on behance, behance. Available at: https://www. Behance.Net/gallery/20318507/hey-notebooks [accessed october 30, 2014]. Hebbar, s., 2009. Turn turn turn. Available at: http://www.Flickr.Com/photos/ sudhamshu/3518668561 [accessed october 15, 2014]. Hendrix, m., 2013. Designing with metaphors. Metropolismag. Available at: http://www.Metropolismag.Com/point-of-view/september-2013/designing-with-metaphors/ [accessed october 29, 2014]. Howdesign. (2008). Master the metaphor | how design. How design. [Online]. Available at: http://www.Howdesign.Com/design-creativity/metaphor/ [accessed: 22 june 2014].
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Shravan Muralidhar | MAGB&I
Hand Made in India
Shravan Muralidhar | MAGB&I
Major Project Report
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Hand Made in India
Page | 120
Major Project Report
Shravan Muralidhar | MAGB&I