Exploring technology for improving livelihood of craftsmen by Dhyan Suman (09633004) Guide Prof. Anirudha Joshi Submitted in partial fulfillment of the requirement for the degree of Master of Design in Interaction Design Industrial Design Centre Indian Institute of Technology Powai, Mumbai 2011 Interaction Design Project 3
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Exploring technology for improving livelihood of craftsmen
byDhyan Suman(09633004)
GuideProf. Anirudha Joshi
Submitted in partial fulfillment of the requirement for the degree of Master of Design in Interaction Design
Industrial Design CentreIndian Institute of TechnologyPowai, Mumbai2011
Interaction Design Project 3
Declaration
I declare that this written submission represents my ideas in my own
words and where others’ ideas or words have been included, I have
adequately cited and referenced the original sources. I also declare that
I have adhered to all principles of academic honesty and integrity and
have not misrepresented or fabricated or falsified any idea/data/fact/
source in my submission. I understand that any violation of the above
will be cause for disciplinary action by the Institute and can also evoke
penal action from the sources which have thus not been properly cited
or from whom proper permission has not been taken when needed.
_________________________________
(Signature)
________________________________
(Name of the student)
_________________________________
(Roll No.)
Date: __________
Approval sheet
The Interaction Design—Project 3 entitled ‘Exploring Technology for
Livelihood of Craftsmen’ by Dhyan Suman is approved, in partial fulfill-
ment of the requirements for the degree of Masters of Design in Inter-
action Design.
Guide:
Chairman:
Internal Examiner:
External Examiner:
Acknowledgement
I would like to acknowledge the support of the following people for
their contribution and thank them for making it work out in a very suc-
cessful manner.
First of all I would like to thank my parents and family for their love,
blessings and support.
My special thanks to Prof. Anirudha Joshi, for his invaluable guidance
and support. I would also like to thank Prof. Ravi Poovaiah and Prof.
Pramod Khambete for their time to time inputs.
Also Sanjay Chippa and Mukesh Jajpura for helping me in user studies.
Contents
1. Overview
Abstract 1
Objective 3
Introduction 4
2. Literature review
Research papers & articles 6
3. Primary Study
Finalizing on User group 10
Pharad: about craft 13
The process 15
User study 21
The System 33
People and Process 37
4. Problems & Insights 38
What are the things that drive a craft 42
Experts views on craft 43
Why people buy 44
Consumer’s view 45
5. Parallel Study
Organizations working in craft sector 46
Business models 49
Grameen Bank 49
Amul 53
Ebay 57
Selling online 58
6. Design Brief
Design directions 59
Design Goal 61
7. Early Concepts 63
Concept 1 65
Concept 1.2 67
Concept 2 69
Concept 3 71
Concept 4 73
Concept 5 75
Concept 6 77
8. Final Concept 79
Working of system 82
Explorations 103
Final Interface 113
9. Evaluation 115
Reference 116
Bibliography 117
1
Abstract
The aim of the project is to use technology to help craftsmen in mar-keting/ reaching out to more customers. The project proposes a system involving Indian Postal Service and mobile technology to connect craftsmen to consumers on an online buyer-seller portal.
As part of this project various organizations working in craft sectors were analyzed and different types of business models (especially deal-ing with social benefit) were studied. A detailed analysis of Pharad craft from Bagru town was done.
The online portal is proposed to be one dedicated only to crafts where the buyers would be enlightened with crafts’ history, making process and to information about all the craftsmen connected to the system.
Also it was taken care that the solution should not force craftsmen to learn new technology to get benefited. A simple way of accessing to the online world of selling with the present knowledge of technology; in this case it was use of a basic mobile phone.
Keywords:Craftsmen, System design, mobile application
1. Overview
2
3
Objective
The earlier projects I did at IDC were mainly focused on learning
about electronics and tangible interaction, this time I wanted to ex-
pand my horizon by learning other skills in interaction design.
In this project I wanted to work for a real cause, issues inspired from
my past experience, thus I chose working for craftsmen. I always had
inclination towards crafts and through this project I would get a better
understanding of the business model followed and the opportunity to
come up with some solution that would help them. I also wanted to
do more user study and contextual inquiry based project to hone my
skills of interviewing and researching.
4
Introduction
India is land of vast variety, a land of vast diversity in climate, culture,
traditions, cuisines and crafts. The range and diversity of Indian craft
is incredible, it’s a reflection of connections with social, economic,
cultural and religious forces. The craft is a mirror of the deep-rooted
culture, rich heritage and the true character of Indian-ness; be it the
Papier-mache of Kashmir, the mashroo fabrics of Gujarat, the durries
of Rajasthan, the Chikankari of Lucknow, the meenakari and kundan
works of North India and many more.
Handicrafts and handloom is not source of livelihood of 130 lakh
weavers and artisans, buts also an environment friendly, energy sav-
ing form of art that has secured India’s presence in millions of home
across the globe[1].
These craft persons equipped with inherent skill, technique, and tra-
ditional craftsmanship are finding it difficult to compete with the vast
force of globalization. The local markets filled with cheap replicas of
crafts and all mass-produced items, makes it difficult for the crafts per-
son to survive; the look alike Banarasi saree and Kanchivaram sarees
mass produced in china, made up of synthetic yarn, might be very
reasonable and functional, but do not have the authenticity of place,
handmadeness and emotional value attached with the crafts. With
vanishing local haat culture (in detail in chapter 6), majority of Indian
craftsmen suffer from limitations in accessing and understanding pos-
sible new markets.
This project is an attempt to help the craftsman to create a niche for him-
self that would help him in sustaining himself and his family and to gener-
ate employment through his traditional knowledge and craftsmanship.
5
Methodology
Literature review•
Primary research•
Findings, insights and observations•
Identifying problem•
Design goal•
Initial concepts•
Final concept•
User testing & feedback•
6
Research papers & articles
In India, crafts is one of the major industry and India being one of the
important suppliers of the handicrafts to the world market. There has
been rapid growth of handicraft items in export and domestic market
since last few years (table 1 & 2). Though recent recession has also ef-
fected the handicrafts exports, employment has increased since 90s till
now; 19.7 % increase in 1994-95 (table 1) and there has been a con-
stant growth in number of people employed in handicrafts (table 2).
Paradoxically, with the growth in handicrafts, the struggling craftsmen
are not benefited. A report on Andhra Pradesh weavers by Gopinath
Reddy have harsh and tragic stories where talented and skilled weav-
ers have died from starvation or have committed suicide [2]. The
example of Andhra weavers is an extreme one, but a vast majority of
possessors of traditional knowledge are struggling to earn a living.
Source: Offices of the Development Commissioner (Handlooms, Handicraft s), Ministry of Textiles, New Delhi , India.
Table 2 Performance of Handicraft sector during 11th five year plan
-VE•eat up lot of profit ofthe product•mentality ofproducing more-lowskills and bad qualityproducts
+VE•marketing no hasslefor craftsmen•do not need to replyon final consumer formoney•gets bigger orders•He is the link to globalmarketing•adds value to productby nice presentation
Govt./NGOsexhibition
-VE•lottery system•Govt. offices giveless money•bribing people toget schemessanctioned
+VE•direct contactwith customers•exposure to newmarket•workshops andschemes forcraftsmen
consumer
Figure 19. From manufacturing to final product and people involved
37
People and Process
I have tried to look at positive side and negative side of process and
people involved in the system. Lets start with the manufacturing pro-
cess (fig 19).
For Pharad craft it takes around 8 steps of washing, dyeing and print-
ing stretched over a period of 8 to 11 days, to make a final product. It
is quite lengthy and time taking process, and involves lot of washing
by a group in the printers’ community. Washing in it self is not a craft
and mechanizing the washing process could save time and manpower.
But if look at the positive side, other printers and dyers do not need
to worry about the washing part as there a dedicated group for doing
that. The washing starts early in the morning around 4am and finishes
by 11 am, thus the washer men have the whole day almost free.
The final product is then passed through three type of groups before
reaching to the customer – 1)home/shop, 2)dealers, and 3) Govt. &
NGOs organized exhibitions.
1. Home/shop – Few of the craftsmen have made a small outside
their houses or in the local market or sometimes deal directly from
their home. These types of setup definitely help them and provide a
platform to reach the local customers and clients directly, without the
middleman.
2. Dealers – here by dealers I mean the wholesalers, the showroom
owners, the exporters and designers. We always have a stereotypical
image of the middleman, who only thinks of his profits and exploits
the producers to the fullest, but it’s not case in real life. They provide a
hassle free marketing to the craftsmen; it came out from the user study
that most of the craftsmen wanted to have the mediator to handle the
transaction and paper work part, because they do not want to get into
complexity. The craftsmen also need not reply on the final customer
for money, the middleman directly pays them. It’s through the media-
tors that the craftsmen are able to get bigger orders. He is their link to
the global market. Dealers like showroom owners and designers add
value to the craftsmen products. The middleman seems to have lot
of positive effects on craftsmen but as said and believed they do take
a major portion from the profits. Getting bigger order and demand
of competitive price have resulted in developing a mentality among
craftsmen of producing more with compromise on the quality.
3. Govt. & NGOs organized exhibitions – the exhibitions
provide lot of opportunity for the craftsmen to get directly connected
with clients, exposure to new places and new markets. Indirectly these
exhibitions help craftsmen to improve on their presentation part. These
organizations also conduct workshops for craftsmen and have welfare
schemes for them. But getting a space in exhibitions is very difficult, as
numbers of booths are limited and very less as compared to number of
craftsmen eager to exhibit. The booths are allotted on lottery system.
Govt. introduces a lot of schemes for the rural and craftsmen sector,
but to get benefit of that one needs to bribe officials at various level in
govt. offices.
38
Problems & Insights
Challenges with the craft
Raw material sourcing
Raw material for natural dyes is not easily available. The craftsmen
have to go to Jaipur to buy it.
Lengthy manufacturing process
Due to so many steps involved in Pharad, the final product become
very expensive as compared to the other products available in market.
Being a lengthy process also hinders production or taking orders for
large quantity.
Deteriorating skills
With very less demand of high quality products, craftsmen have lost
their skills of doing fine work. A common mentality has developed to
produce more than focusing on quality of the product. So for a craft
person who wants to produce quality Pharad, the availability of skilled
craft person is difficult.
Season dependent
The craft has lot of steps in process where the fabric needs to be dried
under the son, hence winter and monsoon are not good period for
printing and dyeing.
4. Problems & Insights
39
Limited buyers
According to users the most difficult part of the craft is finding clients.
Today consumer wants reasonable and durable product, and would
not mind buying machine made/ printed fabric. The customers for
Pharad are very limited; only once who know and understand the
beauty of this craft buy it. With earlier business model where crafts-
men used to sell his product at haat bazaar to customers, he never had
to go and find customers. Customers used to come to them to buy.
With local markets gone and crafts person do not have access to the
global market and lacks awareness about potential new markets.
Information gap
The user wanted to know more about natural colors and techniques,
which he could not find from any source.
Three out of four users talked about exports, their fears related to it
and some stories of failed attempts to do export by other people. There
is lot of desire to grow in this craft, but fear of not knowing what to do,
holds them back.
Not many craftsmen knew about Government schemes and other
scholarships available for crafts persons’ children in education.
Exposure to market
The problem I see here is that the final profit does not go to the pro-
ducers, because they are working as laborers now for the middle-
man or the business man today. The system of division of work is very
similar to of any industry, but the main problem is that all these groups
work as an independent group and not as parts of a single organiza-
tion.
With many gaps in the system it become easy for middle man to enter
the system, and with each new middle man in the system reduces the
profit for craftsmen and increased price for customer.
Only few of the craftsmen who are exposed to the market and know
what sells, have been successful in getting connected with customers
directly.
40
Figure 21. A design sample from a buyer
Figure 20. Receipts and invoices from clients
41
Insights
Necessity of middleman
Based on user study few behaviors of users were noted down which
might be helpful in understanding the user. All the users agreed that
having a middleman is important. Its surprising because these are the
people whom we blame that are not letting the profit reach the craft
people. But I guess the craftsman do not want to tackle the hassle of
finding clients, getting orders, doing shipping and maintaining re-
cords.
Self esteem
It was seen in the older generation of craftsmen that they never go and
ask for work to people. If someone wants to get work done, they have
to come to the craftsman’s place. They get work through their social
network and known links. Though the users said that they do not ask
for work, during the interview one of the user asked me to get work
for him, this way he would not asking for work directly to people. I
think this is why they feel mediators are important.
A way of marketing their skills
The place where hand block printing is done is usually attached with
the craftsman’s house. It is a room, which has doors opening towards
the road outside house. It serves as a purpose of a shop, where the
craftsman wants others to know about his profession and the open
doors are an indication that he is open for taking work. It is like mar-
keting yourself.
Importance of networking
Networking within the community was observed. As mentioned earlier
that social network helps in getting work, freelance printers try to work
in different units to make more contacts. It is like securing ones future.
Awareness towards their rights
Bagru has a committee of printers and they have applied to get pat-
ent of Bagru prints, after which an authentic seal would be provided
by Govt. to them. Awareness about getting authenticity seal, patent or
craftmark is developing in craftsmen.
Trading methods
In this craft, no transaction or deal is recorded on paper within the
printer’s community. For buyers, yes they do have proper order sheets,
bills that are given to clients and design and color samples for produc-
tion (fig 20 & 21).
Inheritor of the tradition
Having son decides if the craft would be passed on to the next gen-
eration or not. The girls are not taught this craft since they will get
married and go away, so girls are not looked up as someone who will
continue the tradition of craft.
Influential people
Most of hand block printers work on orders from the buyers or media-
tors of bigger clients. The buyer is a very important part of influencing
the craft, since they are the once who indirectly control the produc-
tion and the price.
42
What are things that drive a craft
After the user study I was thinking over a point that why craft products
sell? What are the things that add value to any craft product? What are
the elements to a particular craft product which increases its perceived
value?
With my understanding and experiences, its the skill of the crafts
person which adds value to the product. How well and intricately is
the work done is most important among the things that drive a craft.
Next thing would be the process or the technique used to perform that
skill, for example a fine handwoven shawl from Kashmir; here ‘fine’ is
the skill and ‘handwoven’ is the process or technique used. Later on
comes the material used to make that product and then the design or
motifs/pattern.
The whole charm of buying a craft product is the story of the craft and
craftsmen who has put in so much effort to make the product. Stories
sensitize the buyers towards the skills, process, material, design and
the efforts. Imagine you got a gift of a pair of wooden shoes made in
some part of Europe. What value does it have to you, just that it is
foreign made... nothing? But when someone tells you the story behind
that product, the value of that thing actually increases a lot.
We can also analyze at craft products from point of view of Don Nor-
man’s three level of design: Visceral (appearance), Behavioral (func-
tionality) and Reflective (emotional)[15]. Lets see it through an ex-
ample, a handwoven carpet from Kashmir is beautiful to look at with
its intricate patterns and also fulfills the its function as a carpet, but
what distinguishes it from the other machine made carpets is emotions
attached to it. Don Norman’s says that reflective level is about the
message, the culture and about the meaning of a product. The value
of the Kashmir carpet is in making process, its history and association
with place. Hand-crafted products are more than owning a product,
they reflect the buyers belief in the culture, the eye to appreciate effort
of the craftsmen and a contribution towards helping craft & craftsmen.
43
Experts views on craft
There are some great examples of organizations that have tried and
been successful in promoting craft’s value in India and abroad. One
of the organizations was Craftsbridge India Pvt. Ltd. started by Shibani
Jain.
“It was exciting to visualize a situation where we could be the bridge
between the rural/grass roots producer who has no market access and
the end buyer who has no idea about the craft producer and their sto-
ries. It was interesting from a social and creative perspective.”
–Shibani Jain [9]
Craftsbridge’s one of the main marketing tool was through Internet,
and their web site worked more as a promotional tool than getting
real business. Shibani suggested to have unique offerings, good tie-ups
with partner sites to get attention of right people and to have constant
renewal of content and offerings to promote one’s web site and make
it more productive in terms of generating business.
Another great example is Industree Crafts Pvt. Ltd. by Neelam Chib-
ber and Gita Ram who believes that charity doesn’t work if you want
people to be self-sustainable in livelihood, one needs to make profits.
“If you focus directly on your primary stakeholders, you cannot give
up on them.” – Neelam Chibber [10]
Industree crafts model works similar to Grameen bank model; the
stakeholders of Industree are the craftsmen who create the products.
Industree crafts also have a non-profit organization (Industree crafts
foundation) which assist the craftsmen in becoming entrepreneurs,
with micro loans and information on trends, techniques and materials.
“Handicrafts can make a great statement. People relate to the cultural
underpinning of a craft item when they pick up one,” says Adarsh
Kumar, one of the founding members of the All India Artisans & Craft
workers Welfare Association (AIACA) [11]
AIACA has been involved in reviving dying art and crafts across the
country. AIACA is also the one who has launched a certification trade-
mark called ‘Craftmark’. It’s a seal of authenticity on handmade prod-
uct accentuating that they are not machine-made. Craft producers,
organizations and companies can apply for Craftmark and a nominal
fee is charged for the same. Till now Craftmark is the only certifica-
tion mark for handmade craft products and a lot of big organizations
are using it like FabIndia, Dastakar, Anokhi, The Next Shop etc.
“Handcrafted items will always be in vogue,” says Kumar. According
to him, anyone who look for exclusivity for themselves or their home
go for handcrafted products, it’s stylish to own pieces that are not
churned out in industrial quantities.
44
Why people buy
According to Maslow’s hierarchy of needs human beings are animals
who constantly want. No matter how many of their needs have been
satisfied, they always struggle to reach higher levels and Maslow has
defined these needs in five levels. The first is of lowest and most pow-
erful needs, which includes hunger, thirst, sex, air and rest. The second
level is of security and safety needs. Third level of love and belong-
ing needs; human seek friendship, love, affection and will eventually
want to start a family. Fourth level is the level of esteem needs, where
people need respect, recognition, independence, importance and ap-
preciation. The fifth and the highest level is the self-actualization.
About 75% percent of buying decisions are based on unconscious
needs and wants, such as prestige , habit, or perceived values. Accord-
ing to marketing point of view, satisfying lower level needs first should
have priority; if the lower demands aren’t presently being met, selling
products that meet people’s higher needs would not help [12].
While buying customers especially women buyers go on the recom-
mendations from friends and acquaintances before they buy, and
if they are happy with a product or service, they will talk it up and
recommend it to others. Buyers look for products with warranties and
guaranties [13].
45
Consumer’s view
Retail buyers
Buying craft products online is not very ususal in India especially an
finding people who have bought craft product onoine was another big
task. After trying out contacts here and there, I decide to to talk to buy-
ers who buy or have bought garments or accessories online recently.
Informal telecommunications with them explained their concerns
about the authenticity of the web site and the brand (for web sites
where international brands are sold on discounted rates). To test the
system or gain confidence two of them chose the option of cash on
delivery for the first order. Those who used their cards ordered the
least expensive product initially.
For the cards security one of them look of secure word in the web ad-
dress and others look for the verisign and other security logo. Most of
the times they are recommended by their friends and known people to
such websites. Most of the websites also have no. of friends who have
liked it.
Before buying all of them followed the website for quite sometime.
One of buyer has stopped buying from her favorite discount web site
because of the price fluctuation. She explained the reason that once
she bought a watch and was pretty happy with the deal, but then after
a month or so the same model was available for really less.
Designers
A brief conversation with designers working with craft sector cleared
that whenever they need to look for a craftsman, they mostly prefer to
work with recommended ones, because it helps to assure the quality
of work, pricing of the products and reliability of deliverable. Word of
mouth seems to be most powerful among the designer community for
searching a craftsman. They also look if the crafts person has earlier
worked with designers or not, it helps since few craftsmen are not very
comfortable in making products other than their traditional ones.
46
Organizations working in Craft sector
There are many NGOs, organizations and companies working in craft
sector. A breif study of such organization would help me comparing
and analyzing my solution with what they are doing. I looked at few
organizations working helping people in craft sector.
Craft Council of India:Craft Council of India is a voluntary non-profit organization working
for the welfare or craftsmen and craftswas established in 1964. CCI
conducts workshops for craftsmen to learn about new techniques,
designs, new tools and new materials. CCI also have scholarship
programs for craftsmen’s children. Other than that CCI also focuses on
research and documentations of crafts.
Kala Raksha: Established in 1993 as a society and trust, Kala Raksha was started
as model for development through handicrafts, by preserving the age
old traditions and generating income with contemporary work. Kala
Raksha today work with around 1,000 embroiders and seven ethnic
communities [6]. Kala Raksha artisans also attend Preventive Health
Care and Basic Education programs.
5. Parallel Study
47
Industree crafts:Industree is a hybrid social enterprize started in 1994 in Bangalore,
supporting livelihoods of rural producers and agricultural workers.
Industree connects two ends of the spectrum - the producer and the
market, for this there are two entities , Industree Crafts pvt ltd with the
Mother Earth brand and Industree Crafts Foundation. Industree Crafts
Foundation was set up in the year 2000 to focus it’s work with rural
producers on developing design, technical and skill initiatives in the
natural fibre sector [14].
Rural Mart: Rural Mart are a collaboration of National Bank for Agriculture and
Rural Development (NABARD) and the Human Welfare Associa-
tion (HWA). NABARD has opened the first Rural mart in U.P. and
has launched the scheme of setting up Rural mart at district and sub
district level [5]. The aim is to facilitate both artisans and buyers, by
cutting down the middlemen. The Rural mart would be linked to the
website of the Consortium of Handicraft and Artisan Society.
Rural Mart as a concept sound quite similar to my project, where its
trying to cut down the middleman and provide opportunity to crafts-
men to meet buyers directly online. I do not know the details of how
Rural mart website system works, but my project also looks at giving
information about the craft, the process and the system mainly works
towards making it easier for the craftsmen to sell online.
48
Group of 5Center
(comprising of 8-10groups)
Area OfficeCentral Branch
Zonal Office
Figure 1. Workings structure of Grameen Bank
1,253,160 groups144,106 centers
2,562 Branch offices
Branch Office (comprizing of 50 centers)
83,458 villages covered7,970,616 members
49
Business Models
The craft field is huge in variety and it’s easy to get puzzled, as there
could be many ways to approach the subject. With advice of my
guide I started looking through different types of business models and
see how do they work, since in the end my project was to improving
craftsmen livelihood, or one can say generating more opportunity for
them.
Grameen Bank
Grameen Bank formaly established as Bank in 1983, reversed the
conventional banking practicing by removing the security and started
a system based on mutial trust and participation [7].
Grameen Bank is social business, a business that is cause driven rather
than profit driven. Muhammad Yunus describes that a social busi-
ness is company that is cause driven rather than profit driven, with
the potential to act as a change agent for the world. A social business
has to be self-sustaining, self-propelling, self-perpetuating and self-
expanding.
50
51
No one who borrows from Grameen Bank stands alone. Each belongs
to a self made group of five friends, no two them can be closely re-
lated. So when one wants to take out a loan, she needs approval from
the remaining four. 8-10 such group have their weekly meeting at
‘Center’.
Fifty of such centers for a ‘Branch’ office of Grameen bank, and then
five branch offices makes ‘Area’ office. Five area offices makes a Zonal
office and all zonal offices to the Central office (fig 1).
Similar to Grameen Bank where poor people were benefited, my
project also aimed at helping the craftsmen, who come in the bottom
of the piramid. Though I was not planning to help the craftsmen finan-
cially but by creating more opportunities for them to earn based on
their skills and knowledge. Looking at Grameen Bank’s case study and
its system increased my understanding towards social business models
and how we can use the cultural and social factors in the system.
52
Figure 2. Workings structure of Amul
53
Amul
Amul was founded in 1946 in leadership of Tribhuwandas Patel with
guidance from Sardar Vallabh Bhai Patel and Morarji Desai, to stop
the exploitation of milk producers by the middlemen. It started with
two villages and 247 ltr. of milk [8].
Amul is a cooperative system which places the instruments of the de-
velopment in the hands of farmers. It is owned by the 2.6 million milk
producers of Gujarat, who daily travel to give the milk at the Village
Dairy co-ooperative Society. In village dairy a managing committee
is chosen by milk producers, who choose the chairman. The price of
milk is given on basis of quality and quantity.
The milk then travels to District Unions for packaging and for other
milk products. District union owns and operates a balancing dairy
plants. a borad of directors is chosen by chairmen of Village Dairy Co-
opeative society. The board of directors then choose their Chairman.
54
55
The milk and milk products then go to the State Federation, from
where the centralized marketing, common branding and quality con-
trol takes place.
The District Unions also provide good quality cattle feed for bet-
ter quality of milk, Vet services, Rural health schemes, dividends on
shares and bonus to Village Dairy co-operatives to benefir milk pro-
ducers (fig 2).
Amul is one of the great examples of unity of people against exploi-
tation and developing a co-operative system which benefited their
people directly. In present scenario of the craft I studied for project,
the craftsmen are competing with eachother and thus giving more op-
portunity for middleman to take advantage. It would be an ideal situa-
tion where all the craftsmen of a place work as a co-opeartive society,
but for it we need great leaders from the craftsmen’s society.
56
Seller Buyer
Lists theitems at Ebay
Highest bidderwins
Buyer pays for the item plusshipping charges and
handling fees through ebay.
A fee is paid by sellerto ebay for the solditem
Buyer ships the itemto seller
Figure 3. Ebay’s business model
57
Ebay
Ebay is actually a broker which brings buyers and sellers together and
takes fee or commission on successful transactions (fig 3). The advan-
tages of having an online platform are:
Not effected by the space limitation. Its a virtual space and there •
is no actual limit to it. More and more sellers can put up thingsfor
sale without worrying about space.
No limitation of location. Since it is online and not fixed at par-•
ticular place, anyone with internet connection and browser can
connect to Ebay.
The auction broking system of Ebay is such that it continues on its •
own.
Geographical locations do not mean anything. Any product put up •
on Ebay would cost same all over the world, even if the seller lives
right next to your house.
•
The system of Ebay was studied to understand things involved in an
online buyer-seller platform. Ebay and other portals provide a place
where the manufacturer can contact the consumers directly without
a lot of middlemen in the cycle. It can provide a good opportunity to
craftsmen to reach its consumers all over the world.
Till now, such portals required buyers and sellers to have good knowl-
edge of operating computers and have credit card, company name
and other bank requirements, which seems too much to ask from the
user group I was dealing with.
58
Selling online
A few parameters to keep in mind while selling online:
Making people safe when they order from your web site. Using a •
secure server for payment and affirming that all their information
will be kept confidential.
Its important to remind people to visit your web site through e-•
mags, subscriptions, alerts etc. People usually don’t purchase at
the first time they visit. The more they visit your site, greater the
chances they will buy from your web site.
Customers feel comfortable when they know from whom they are •
buying. It is advisable to have ‘about us’ section with business de-
tails, history of company and contact information.
Having a professional look to your web site helps in building trust •
with customer. The web site should be easy to navigate through.
Accepting different modes of payments.•
Your advertisements and marketing techniques should attract •
you’re your target audience.
Creating urgency to buy your product. If there is no urgency, •
people put off buying for later on even if they are interested in a
product.
59
Design directions
Based on the user study and the analysis of the process, I could see
two broad approaches towards designing the solution.
1) Improved and streamlined production process:
Better washing & drying solution for the manufacturing process, •
which consumes less water
Making block making fast and easier to use.•
Making use of the rejected blocks.•
Better packaging for value addition to the product.•
Less time consuming patterns that also go with global trends.•
Introducing new materials and new products.•
Developing more shades with natural dyes.•
A system that makes manufacturing process more efficient; con-•
suming less water, faster production with no compromise on qual-
ity.
2) System for marketing and selling craft:
Designing a cooperative system for Bagru printers where instead of •
competing with each other they will make mark in global market.
This would also help them in handling bigger orders and because
of no competition among themselves; they can quote their desired
price. The profit would also come directly to them, which can be
used for their community’s welfare.
A system for authenticating the craft; Govt. Seal, Craftsmark, Intel-•
lectual property rights for their designs.
Empowering craftsmen with information/opportunities.•
Bridging the gap between craftsman-consumers.•
6. Design Brief
60
Exposure to the online world of selling products.•
Connecting craftsmen and designers.•
Making a directory of craftsmen with details for their expertise.•
Making easy to source raw material and dispatching orders.•
Improving on marketing skills and techniques.•
Conceptual model of how to start export and approach buyers. •
Improvement in production process is an interesting direction to work
on, but most of the ideas I could think of were related to product de-
signing or textile designing and to come up with a system for efficient
production, first the printer community needs to have a unity or work
as a team. Through literature review and primary research, problems
of information gap, reaching the consumers and marketing were
among the main problems. So I opted for second approach towards
designing the solution ‘system for marketing and selling crafts’. Based
on it the Design Goal was defined.
61
Design Goal
Designing a system that
Bridges gap between craftsmen and consumer.•
Provide exposure to the online world of selling online.•
Empower craftsmen to required information.•
62
63
Early Concepts
The solution was a system design and from beginning I was sure that I
wanted to infuse other existing system in my proposed system design.
It was observed from other ICT projects that creating a totally new
system might not really work; the best example is the kiosk system,
which weren’t a hit among targeted users. I feel that it’s always better
to add something to the existing system or combine two-three systems
and create a new one.
7. Early Concepts
64
Figure 22. A Kiosk based system model with local cyber cafe’ person involved
65
Concept 1
A craft product gets its value adding only when there is a story at-
tached to it. If a buyer who doesn’t have any knowledge of a craft,
might not cherish a handcrafted product well unless he knew the his-
tory of craft, the cultural/religious value and the hardship went behind
that product.
This concept is about a portal of Crafts in India, similar to a web ver-
sion of ‘Handmade in India’ book, which tells the tale of the craft, the
makers of it and then links to a platform for buying that craft products
(fig 22).
The products can be uploaded by craftsman from a kiosk set up at a
cyber café in his village. Here, I have tried to involve the cyber cafe
guy who will actually do the uploading process and he can charge a
small amount per use/ per upload. The idea was inspired from present
scenario of booking train tickets with help of cyber café person, who
acts like an agent.
The kiosk suggested here is a tiny tabletop kiosk always connected to
the server with a camera fixed with pre installed settings. For transac-
tion purpose the craftsman can submit his account information in his
account on the server through kiosk.
It’s advantage
Till now there haven’t been good online information portal that takes
through the journey of Indian crafts, craftsmen and also have the op-
tion of buying craft products directly from craftsmen. The concept tries
to fill that missing link and provide an opportunity to craft producer to
connect to the global market.
Through this model the craftsmen need not to learn about comput-
ers and how to operate Internet, the cyber café person who is already
have become a comfortable with that technology can help the crafts-
man and earn an extra income.
It’s limitations
As learnt from the earlier projects in ICTD in India, kiosks have not
been very successful (give Kentaro’s paper ref). From the user study
that most of the craftsmen would never go and ask for work to people.
If someone wants to get work done, they have to come to the crafts-
man’s place. So chances of them going to kiosk with their product are
a bit less.
Till the product is small and easy to carry, it is possible to get it to the
kiosk, but if it is furniture or a product in stone, something big in size,
it will become difficult for the craftsmen and the cyber café person to
upload the image.
66
Figure 23. A Telemarketing service initiated system, to upload data through phone
67
Concept 1.2
This concept is similar to the earlier concept; the basic difference is
that the registration, uploading of product and other information is
handled by the telemarketing service centers (fig 23). Since most of
the craftsmen own mobile, its not very difficult to reach them.
The process is that telemarketers ask through sms to craftsman if they
want to be listed on the server, on replying ‘yes’ the telemarketers call
them and open their account with their details and also sends a small
app to their phone. The app would be embedded with tutorials of how
to use the system, with facility to sending the images of their products
to the telemarketers company. The telemarketing company then up-
loads images of the product to various online portals like ebay, rediff,
amazon, etsy etc. sms alerts are sent to craftsmen on sell, transactions,
or any changes.
It’s advantages
This system gives the craftsman the freedom to upload his products’
images, his information, and access account from his mobile. As com-
pared to earlier concept, the craftsman need not to take his products
to any kiosk and the issue of size of product is also taken care. The
craftsman can also upload videos of the craft products.
It’s limitations
To have full advantage of this system, the craftsmen are required to
have a cell phone supporting good quality image & video facility and
GPRs/3G connection. The uploading of images & videos and access-
ing account might cost them a bit, since the mobile network provider
would provide this service. Teaching them to use this application
would be another task in itself.
68
Figure 24. Craftsmen have different prices for different buyers
69
Concept 2
This concept is based on scenario where the craftsman has different
prices for different buyers (fig 24 & 25). Based on user study research,
craftsmen usually have separate price for retail buyers (when they sell
directly to the customer), the wholesalers or the merchants who buy
in bulk and for designers who buys in less but have lot of experimen-
tations.
It is an addition to the earlier
concept and here we assume
that the craftsman has the service
to register, upload products and
add other things on the server.
It’s advantages
The craftsmen have the facility to
have separate prices for different
buyers.
It’s limitations
This concept cannot be a whole
system in itself; it can be an add-
on the system.Figure 25. A Phone application which helps craftsmen in putting separate prices of a same product for different buyers.
70
Figure 26. Virtual Haat system
71
Concept 3
The model of Haat bazaar was that it used to happen weekly or fort-
nightly and gave the craftsman opportunity to deal with the final user.
This concept tries to create a virtual haat online where the craftsman
can put on his products throughout the week and it would be open
only on a particular day (fig 26).
Another feature is that it has the option of bargaining. The buyers can
negotiate with the price put by the craftsman through the virtual haat
server. The craftsman gets alerts of each bargain done by buyers and
he can either accept or deny it.
Craftsman’s cell sim can work as his user ID and login can be based
on voice recognition system.
It’s advantages
The craftsman can accumulate products throughout the week for sale,
instead of uploading daily. This feature would also give buyers lot of
options to buy from. Similarly to a Haat bazaar, the sale would be for
limited time, which would create rarity and an urgency to buy. The
craftsman also needs not to wait for 10-15 days to know whether his
products got sold (as in ebay).
It’s limitations
The bargaining feature might be a little time taking, as both, the buyer
and seller might not be available at the same time.
72
Figure 27. A voice based information portal
73
Concept 4
This concept aims at scenario where craftsman need information re-
lated to craft, marketing and new techniques and materials. It’s a voice
based information portal, where people can ask questions, reply to
questions and listen to other questions and answers (fig 27).
The portal can be taken cared by organizations like Dessert Craft Han-
dloom and Export Promotion Council of Handicraft. When a question
is answered the craftsman gets an alert on his mobile with a link to
listen the answer. He can also download the answer and save it for
future references.
It’s advantages
At present for any inquiry related to exhibitions, schemes or other
information related to craft, the craftsmen of Bagru, had to either ask
their peers or go to the DCH. This system provides the craftsman of fa-
cility of asking/replying questions, listening to experts’ comments and
saving the answers without going anywhere.
It’s limitations
The limitation of an IVR system would be that high level of interaction
would not be available. To find the right question might take a lot of
time that might demotivate the users for using the service in long run.
74
Figure 28. Craft tour based system to get exposure with help of social media
75
Concept 5
This concept is about using social media for promotion of craft. The idea
is developed around tourism, which would lead to sharing experiences,
images, and videos about craft by tourists on social networking sites,
which finally would help craftsmen to generate extra income (fig 28).
Craft tour advertisements/information would be added to travel blogs,
ticket booking sites, review sites like trip advisor or raahi and also at lo-
cal travel agencies by the craft community, who will organize these craft
tours. Tourists would be taken around the craft community, they will
get a first hand experience of making of handcrafted products and get
the chance to meet the crafts person. The tour can end at the craft com-
munity’s shop and tourists would now have lot to share, which would
indirectly authenticate the craft and also open up opportunities the craft
producers.
It’s advantages
The power of social media for promotion of the craft is explored in this
system. The story and the value is added to the craft product through the
tour.
It’s limitations
Though the social media might help the crafts person indirectly in long
run, the emphasis in this concept is more on tourism then the craft.
76
Figure 29. An order and supply chain management system for printer’s co-operative society.
77
Concept 6
This concept is on a hypothetical situation where the printer commu-
nity has formed a cooperative society and works as a single entity. The
concept is about dealing with information of raw materials, products,
payments, events and schemes by the managing team of society and
all members (fig 29).
78
Figure 30. A system involving Indian Postal Service to help craftsmen get exposed to online selling.
Ramlal has heard about peopleselling on internet, but doesnʼtknow how to operate computer.He has knowledge of basic phone.He wants to get more opportunity
Open the App- New user- fill details of the craftsman- voice recognition/thumbprint as login ID- clicks photos of productand upload it to site- can also upload video aboutcraftsmenSMS alerts on
- account confirmation- product sold withdetails
CRaftsman
Postman
meRChant
DesiGneR
Retail buyeR
Desi haat PoRtalBuyer pays to the portal
A small commission is kept by the portal and rest sent to India Post
The product is sent using India Post
Money is trans-ferred as money order
The postman gets an incentive on products sold
Merchants and designers can
directly contact the carftsman for
deals/inquiries.
79
The final concept has to rise above the limitations of the concepts
mentioned and has to incorporate as many as possible advantages in
it. The final concept focused on bridging the craftsman-consumer gap
by providing a direct contact through Internet, enabling the craftsman
to deal with different buyers differently, making the system and inter-
face user friendly for both; craftsmen and consumer and involving an
existing system (fig 30). The system mainly focuses on the crafts per-
sons that do not get to reach the consumers and are mainly based in
villages.
Indian Postal Service has its reach in the nook and corner of India
and integrating it in system would help to reach the craftsmen even
in smallest village. We assume that most of the craftsmen would have
access to some mobile and the organization, which will handle the
online craft portal, would provide the postmen with special mobile
with internet facility for this system. The shipment of product and pay-
ment of money is handled by the Indian Postal Service.
My contribution in this system, as an Interaction designer would be at
three points -
1. Smart mobile application of Desi haat on handset given to postman
2. Simple mobile with the craftsman
3. The server or the portal where information about crafts is provided
with a online shopping option.
8. Final Concept
80
81
Site Map
82
Working of the system
SellerRamlal is a block printer at Bagru village. He has learnt this craft from
his father and has continued the tradition of passing on the art to next
generation. Earlier he and other craftsmen used to go to a weekly Haat
bazaar in a near by city to sell there craft products. Now the scenario
has changed and he sells his product to a seth in local village and
other wholesale dealers. He has heard about people selling products
online, but does not have any idea to whom to go and how to do it.
He does not know how to operate a computer. The technical knowl-
edge he has is of operating a basic mobile phone.
One day the postman of their area was on his regular visit and came
to Ram lal’s house on the way. He told Ram lal about the new facility
of India Post and an NPO (non-profit organization) to help craftsmen
reach global market.
83
The postman fills in the details
of Ram lal like name, craft ex-
pertise, village, experience and
phone no.
On Ram lal’s request the post-
man takes out the handset given
by organization to open Ram lal
online account.
After that he asks Ram lal to
swipe his finger twice for ac-
count security. A visual feedback
is also given when on confirming
the finger print match. Within
few seconds Ram lal receives a
welcome sms from the Desi haat
server and details about his ac-
count.
84
Once account is made postman
helps Ram lal to login through
the handset and asks if he wants
to put some product for sell.
He selects the upload prod-
uct option, which turns on the
camera of the handset with front
view suggested on screen of the
handset.
For better images Postman would
be given a white sheet foldable
structure for background of the
product.
Similarly other views like side
view, top view and close up are
taken and the summary page of
product upload is comes.
85
This page shows asks to fill in
detail of the product and prices
according to number of pieces.
Once information is filled in, by
pressing upload key, all images
with details are sent to the Desi
haat server.
Similarly with help of postman
Ram lal can add more informa-
tion to his profile, add videos of
making of craft products, put in
request for any query to the dis-
cussion forum, see his transaction
details and present orders.
86
Buyer
The Desi haat web site changes its interface and the content layout
according to the buyer. Based on user study three type of buyers were
identified 1) designers, 2) wholesalers or merchants, and 3) retail buy-
ers,. For designers and merchants the system would require to know
their profession or the purpose to visit the web site, so as it can show
related content. The user registration for them can be done in begin-
ning or in parts through the task flow.
1. Designer - The home page for designers would have ‘Newly add-
ed crafts’ and ‘Recommended craftsmen’ (fig 20). The ‘Newly added
crafts’ (fig 31.1) would have the making of the crafts, details of crafts-
men and the history of it. For a designer its important and advantage to
know about the craft, where is it done and how is it done, so as they
can design accordingly.
87
1.
2.
4.
3.
Figure 31. Home page for a designer
The Second main focus on the home page is the ‘Recommended
craftsmen’ (fig 31.2) ; since designers usually look for skills of crafts-
men, a list of recommended craftsmen would help them to decide
with whom they want to get their samples/products made.
The designer can connect his linkedin account with the site (fig 31.3),
which would tell how many of his friends are using the site (which in-
directly creates trust towards the system), and how many of them have
recommended which craftsmen. The number of likes and number of
people shopped creates trust with the system (fig 31.4).
In the search option here searches craftsmen rather than products.
88
One can search craftsmen by various parameters. Through the search
results, designer can have option of comparing craftsmen on basis of
ratings, punctuality, quality. This feature can be optional since it feels in-
human to compare people and it will make them feel as products. In a
particular craft there might now be so many options that one needs to
compare. Various craftsmen can be selected sent inquiry directly from
the web site.
On selection of a craftsman’s profile, the page would have his latest
Figure 32. On search for craftsmen Figure 33. Comparing and sending inquiry
89
product in focus and rest at bottom (fig 34.1). The benefit in designer’s
and merchant’s interface is that they would be shown all the product
from starting till now, by that craftsmen. Since designers and mer-
chants would be buying in large quantity and the deadline for order
completion can be discussed by them offline.
The craftsman’s profile page also shows his connection to or number
of designers he has worked with (fig 34.2). A percentage of custom-
ers is also shown who would deal with him in future again (fig 34.3).
These features authenticate the person and his service.
A feature of customer order inquiry (fig 34.4) is only available in de-
signer’s interface, since designers get a lot of sampling done before the
final order. On sending customer order inquiry, the craftsmen gets an
alert on his mobile with detail of the buyer.
Figure 34. A craftsman’s profile
1.
2.
3.
4.
90
On rolling the cursor over the image of product (fig 35.1), the right
side of page turns into a zoom in version of the image (fig 35.2). A
small translucent box appears in place of cursor and the user can navi-
gate through the details of the image.
1.
2.
Figure 35. Details of the product
91
On clicking read feedback, the web site connects to a forum where
buyers have commented and given rating to the craftsman. The forum
also lets buyer to connect to another buyer who have written com-
ments, through server’s mail service (fig 36).
The ratings and comments are translated in local language and sent
to craftsman’s mobile as sms. This feature would help craftsman to
improve and also positive feedbacks would help him in gaining confi-
dence in himself and his skills.
Figure 36. Feedback forum
92
2. Wholesaler/merchant - A merchant’s need would be different
from a designer and from a retail buyer. The price of the product is in
their priority list and merchants usually do not design products, they
go with regular designs going in the market. According to their needs,
their home page would have ‘best prices’ (fig 37.1) of products and
‘latest products’ (fig 37.2) as main focus columns.
93
Figure 37. Home page for merchants
1.
2.
3.
The ‘best prices’ feature would let them compare products based on
prices, material, punctuality of the craftsmen and maximum order the
craftsmen can take.
The search option of merchant would have an additional parameter
- ‘maximum order’ (fig 37.3). This feature would allow him to search
through craftsmen’s capacity of production and help him distribute his
order among craftsmen.
94
The compare feature would let him select various products and send
inquiry in a click. All the craftsmen, whose products are selected will
be notified through sms with details of the buyer.
Figure 38. Comparision of products and sending inquiry
95
The search option would let the buyer sort out products according to
recency, price, rating and most viewed (fig 39). As mentioned earlier,
all the products irrespective of the fact whether they are available for
sale or not are shown to merchant and designers.
Figure 39. Search result for product
96
3. Retail buyer - The retail buyer need not to register for buying any
product. The home page (fig 40) here would be the default one show-
ing ‘most viewed crafts’ and ‘featured products’. In this interface we
want visitors to have an option of going through the story of the craft.
97
Figure 40. Home page for retail buyers
On search of products the retail buyer would shown only the prod-
ucts that are available for sale.
98
While going through a product (fig 41), the retail buyer interface has
an additional feature called -’how would it look on you?’ The feature
gives the buyer on option of trying the fabric or accessory virtually.
Figure 41. Product details
99
On clicking ‘how would it look on you?’ (fig 42) would activate the
webcam of your PC or laptop and a dress or accessory would come as
a frame over that. The buyer can adjust himself accordingly and get a
feel of trying it on.
Figure 42. ‘How would it look on you?’
100
Figure 43. Order fulfilment, step one Figure 44. Order fulfilment, step two
101
Order fulfillment - Once buy option is selected , a three step pay-
ment interface uploads. First tab consists of details of buyer and the
order (fig 43).
Second tab is getting the card information of the user (fig 44). The user
can select the mode of payment suitable to him, i.e.; Debit card, credit
card, cash on delivery, cheque and demand draft. The order is recon-
firmed with buyer before final payment.
The payment button connects to secure payment gateway and after
that third tab confirms the payment with receipt of it with details of
delivery (fig 45). An receipt through email is also sent to the buyer. The
buyer also gets an option of printing the receipt.
Figure 45. Order fulfilment, step three
102
Figure 46. Backgrounds explorations for mobile application
103
Explorations
Various options were made for the background of the mobile applica-
tion that would go with the topic and theme of Indian Craft (fig 46).
Motifs from crafts and rangoli patterns were explored and a feel of
handmade was tried to achieve. The color theme followed was mainly
of warm colors going with the feel of village, dessert and handmade.
104
105
A few options for the web site’s layout and final look were also ex-
plored.
Figure 47. Layout exploration for website interface
106
Figure 48. Mock up exploration for website interface
In this option, I have tried to get
the feel of handmade with help
of textured paper in background.
The logo of Desi Haat is used just
as a suggestion for the final logo.
107
Figure 49. Mock up exploration for website interface
In this option, only the back-
ground has been changed. I
thought of using patterns from
Indian textiles and craft in low
opacity as backgrounds of pages
of the web site. The white, grey
background makes it more visu-
ally spacious as compared to the
earlier option.
108
As I explored the layouts, I real-
ized that in earlier options the
top portion of web site was not
doing the justice with space;
it was not being used smartly.
Here I have tried to use images
as buttons and the Desi haat title
bar has been reduced to a thin
ribbon. In addition, instead of
showing four options in smaller
sizes for featured crafts, I thought
of using a slide show option
for that. For search option also,
the extra options have been put
inside the advance search button;
users usually know what exactly
they are looking for. It makes the
web site less cluttered.
109
In this option, the buttons have
been moved from top to left
side, giving more space to use
to provide important informa-
tion without the need of scrolling
down the page.
110
With feedback from my col-
leagues, I tried to make the web
site to give to the point informa-
tion and more breathing space.
Another option of the same
layout with a darker background
was also made.
111
Here I was attempting to make
the look a bit asymmetrical with
giving option in form of logos in
left side. I am trying to use as less
text as possible on home page.
112
113
Final Interface
The final appearance of the web portal and the mobile application
was finalized based on discussion with guide and colleagues’ feed-
114
115
back.
There are various approaches to do evaluation of the final design;
evaluation of prototype on field: getting feedback of craftsmen, post-
men and end users of the system, evaluation on basis of innovation in
the system and evaluation of the system as a whole. For this design the
feedback would be taken from two groups of users –
1. Postmen and craftsmen’s feedback on concept and prototype of
smart mobile application. The application and concept would be eval-
uated on basis of learnability, its ease of use and appeal of the design.
2. The online customer’s feedback on the interface of the web site, its
appeal, the information imparted, their perception of the whole system
in terms of authenticity, trust and value.
9. Evaluation
116
Reference
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[2]Gopinath reddy, S., “AP weavers’s misery Spins out of control.” Indian Express, April 29, 2002
[3] Maureen liebl, Tirthankar roy, Handmade in India-traditional craft skills in a changing world, Poor peoples knowledge, a co publication of World Bank and Oxford University Press, 2004
[4] Ownership and intellectual property issues for Indian craftspeople, Handmade in India-Preliminary analysis of craft producers and craft produc-tion in India, 2001
[5]Unorganized sector gets a face, the times of India, http://articles.time-sofindia.indiatimes.com/2010-12-13/varanasi/28246515_1_rural-mart-unor-ganised-sector-handicraft, accessed on January 27, 2011
[6] Kala Raksha, http://www.kala-raksha.org/, accessed on February 2, 2011
[7] Grameen Bank, http://www.grameen-info.org/index.php?option=com_content&task=view&id=19&Itemid=114, accessed on February 10, 2011
[8] Amul Branding Strategy, http://www.docstoc.com/docs/65904925/Amul-Branding-Strategy, accessed on February 7, 2011
[9] Intrepid, Interview: Shibani Jain, CEO, Craftsbridge,http://desicritics.org/2006/12/21/002910.php, accessed on April 28, 2011
[10] Arundhati Basu , Down to Earth, http://www.telegraphindia.com/1101113/jsp/personaltt/story_13165430.jsp, accessed on April 17, 2011
[11] Susmita Saha, Creative Call, http://www.telegraphindia.com/1100703/jsp/personaltt/story_12635320.jsp, accessed on April 20, 2011
[12] Maslow’s motivation theory, http://en.wikipedia.org/wiki/Maslow’s_hier-archy_of_needs, accessed on April 15, 2011
[13] Martha Barletta, Wgat women buy and why, http://www.wharton.univer-sia.net/index.cfm?fa=viewArticle&id=613&language=english&specialId=83, accessed on April 10, 2011
[14] Industree Crafts, http://www.industree.org.in/ , accessed on May 21, 2011
[15] Donald A. Norman, Emotional Design: why we love (or hate) everyday things, Basic Books, New York, 2004
117
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