PDP-14-300-MANSI ART EXPORTS.pdf

Professional Design Project

PDP-14-300

DESIGN INTERVENTION IN TOYS AND HANDICRAFT MATERIALS

PHASE 1

DELIVERABLE

• Market research & demand analysis.• Swot analysis

• Trend study , style study & product range mapping.• Packaging requirement

• Overall numbers of design in the range and product specifica tion with required material.

ACKNOWLEDGEMENT

Special thanks to “NMCP, Development com-missioner (MSME), Ministry of Micro, Small, Medium, Enterprises, Government Of India” and their team to organize the ‘Design Clinic Scheme Programme’ and showing their trust over us to accomplish the program and taking us as consulting designer.

We would also like to thank, National Institute of Design”, who has given us an opportunity to accumulate an intensive report after realizing our strength, potential and past experience.

We would also like to thank Mr. Harish pan-war, unit head , “Mansi arts” who has given us great support during the Design audit.Without their kind involvement & assistance We would have been unable to understand the cluster’s background & their present status. Their constant honest expression has thorough-ly helped us to come up with such informative, structural, analytical and design intervention opportunities.

FOREWORDThe sectors of Handicrafts embody the rich traditional, historical and cultural diversity that distinguishes India from the rest of the world. The small and medium scale industries in handicrafts business play a very important role in the Indian economy as they provide employment to about 14 million persons and contribute to 45% of the industrial production, equivalent to 8% of the gross Domestic prod-uct. Besides, the sector generates 40% of the country’s direct exports.

Despite their cultural and economic impor-tance, however, both toy and handicrafts sec-tors suffer from perennial problems of weak infrastructure, inadequate availability of inputs at regular prices, poor supp ly chain systems and ineffective marketing and sales practices.

Limited private entrepreneurial support has increased the sectors’ dependence on Govern-ment resources and the lack of a universally recognized definition of ‘handicraft’ remains a challenge. The sectors, therefore, need to be administered with greater synergy. Man power for ameliorating the export deals.

The “ Design intervention in Toys and handi-craft material” project tends to open new ave-nues for “Mansi Art” and those engaged in toy and handicrafts manufacturing at micro level.

The project basically focuses on design inter-vention in Toys and handicrafts material in terms of innovation in make, material, pre-sentation and sales. Through this project, the client “Mansi Export” will have an excellent opportunity to develop its approach of better metal crafts, better proportions, improved pre-sentation skills and more trained and skilled

INTRODUCTION............................................................................ABOUT JODHPUR........................................................................ History Climate DemographicsHISTORY OF HANDICRAFTS....................................................INTRODUCTION TO JODHPUR CRAFT.............................MARKET RESEARCH & DEMAND ANALYSIS................... Aim........................................................................................ Procedure..........................................................................LITERATURE REVIEW..................................................................CATEGORIZATION OF PRODUCT Based on material.........................................................COMPETITOR ANALYSIS............................................................RISK ANALYSIS.................................................................................MARKET MIX MODELING.........................................................SWOT.................................................................................................TREND AND STYLE STUDY.......................................................PRODUCT RANGE MAPPING BASED ON MATERIAL................................................. BASED ON DEMAND.................................................PACKAGING REQUIREMENT...................................................INTRODUCTION TO WOODENTOY...................................INTRODUCTION TO METAL TOY..........................................HISTORY OF METAL TOYS.........................................................MANUFACTURING PROCESS OF METAL TOY...............CURRENT SCENARIO OF INDUSTRY...................................MANSI ART.......................................................................................ABOUT COMPANY......................................................................MANUFACTURING......................................................................PROBLEM..........................................................................................DECIDING PRODUCT RANGE................................................RANGE WISE PRODUCT SPECIFICATION..........................FINDINGS..........................................................................................RECCOMENDATION...................................................................CONCLUSION................................................................................APPENDIX 1.....................................................................................APPENDIX 2.....................................................................................BIBLIOGRAPHY...............................................................................

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The rising appreciation for Indian handicrafts by consumers in developed countries, widspread novelty seeking, cheap and skilled labour and large supply of handicraft has made the Indian metal & wood industry one of the important suppliers of handicrafts to the worldmarket. This industry provides employment to over thousands of artisans , it supports and provides major opportunity of employment to rural sec-tions. In addition to the high potential for em-ployment, 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 revenue share of the handicrafted toy is close to 17.91% of the total handicraft industry (US$0.85 billion) in Jodhpur. The In-dian handicraft sector is the one of the largest employment provider after agriculture. The exported metal articles market in India has a varied range of products including small gifts and decoratives, toys, statues,and simple mas-terpieces,furniture and household products.

Some of the prominent centers of Handicraft-ed toys in India are based at Moradabad, Sam-bhal, Aligarh, Jodhpur, Jaipur, Delhi, Rewari, Thanjavur, Madras, Mandap, Beedar, Kerala & Jagadhari

INTRODUCTION

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The project on “Design intervention in toysand Handicraft material” is being impliment-ed by “Sikarwar’s design” in Mansi Art Jodh-pur. Different data sources have provided inputs to this project for carrying out the le-gal compo- nent and capacity building com-ponents of the project (refer- bibliography).

The chosen project site is the city of Jodhpur. This survey was carried out in Jodhpur to in-vestigate, scrutinize and examine the supply chain of the toy based handicraft industry in Jodhpur. The aim of this survey was to docu- ment:

1. Sourcing species of metal and wood used in different quality handicraft items

2. Location of resource extraction (i.e. where raw material can be procured)

3. Uses of metal and wood for handicrafts in four distinct categories: furniture, toys, deco- rative, and accessories.

4. Amount and percentage of items exported

5. Document the countries that are recipients of jodhpur toys and artifacts

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JodhpurJodhpur is located in Western Rajasthan at a comfortable distance of 300 kms. from Jaisalm-er and 330 kms. from Bikaner. The city was once known as Marwar, meaning ‘Land of Death’, re-ferring to the harsh desert climate.

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During the British Raj, the state of Jodhpur was the largest in Rajputana, by land area. Jodhpur prospered under the British Raj. Its merchants, the Marwaris, flourished endlessly. They came to occupy a dominant position in trade throughout India. In 1947 India became inde-pendent and the state merged into the union of India. Jodhpur became the second city of Ra-jasthan.

At the time of partition, ruler of Jodhpur Han-want Singh did not want to join India, but final-ly due to the effective persuasion Maharana of Mewar and Sardar Vallabh Bhai Patel, the then Home Minister at centre the princely state of Jodhpur was included in Indian Republic. Lat-er after State Reorganization Act, 1956 it was made part of the state of Rajasthan.

Jodhpur history revolves around the Rathore Clan. The Rathores were driven out of their original homeland, Kaunaj, by Afghans. They fled to Pali, near to the present day Jodhpur. Rathore Siahaji married the sister of a local prince. This helped the Rathores to establish and strengthen themselves in this region. In some time they ousted the Pratiharas of Man-dore, just 9 km of today’s Jodhpur. Initially, Mandore served as their capital, but, by 1459, Rathores felt a need for a secure capital and thus it lead to the formation of Jodhpur, the Sun City, by Rao Jodha the chief of the Rathore clan.

The Rathores enjoyed good relations with all the Mughals, except Aurangzeb. Maharaja Jaswant Singh even supported Shahjahan in his struggle for succession. After Aurangzeb’s death, Maharaja Ajit Singh drove out Mugha-ls from Ajmer and added it to Marwar (now Jodhpur). Under the reign of Maharaja Umed Singh, Jodhpur grew into a fine modern city.

History of jodhpur

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The blue city

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In blue that Jodhpur is often known as the “Blue City”. Royal palanquins, costumes, weapons, paintings and portraits of the royalty and other articles used by the royalties can be found here.

The hospitality and the amiable behaviour of the native Marwari people of Jodhpur can be seen while travelling the streets of Jodhpur. Even while speaking in hindi, the typical Mar-wari accent is very strong, making these people sound very welcoming and friendly. The city is known as the “Sun City” for the bright, sunny weather it enjoys all the year round. It is also referred to as the “Blue City” due to the vivid blue-painted houses around the Mehrangarh Fort. The old city circles the fort and is bound-ed by a wall with several gates. However, the city has expanded greatly outside the wall over the past several decades. Jodhpur lies near the geographic centre of Rajasthan state, which makes it a convenient base for travel in a region much frequented by tourists. Jodhpur topped the Lonely Planet’s list of most extraordinary place to stay in 2014

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Jodhpur Climate is of an extreme type, with the variations in temperature range being very high. Weather in Jodhpur, Rajasthan is dry and hot, a typical desert weather. The average an-nual rainfall is approximately 32 cm. In sum-mer, the maximum temperature is around 42 deg and the minimum temperature is around 37 deg C. In winters, the maximum tempera-ture is around 27.5 deg C and the minimum temperature is around 15.5 deg C. Jodhpur is bright and sunny throughout the year. The best season to visit the city is between October and March, when the climatic conditions in Jodh-pur, are at their best.

Climate of jodhpur

As per provisional reports of Census India, population of Jodhpur was 3,685,681 as in 2011; of which male and female nearly consti-tute 52.62 percent and 47.38 percent respec-tively. Average literacy rate of Jodhpur city is 81.56 percent of which male and female literacy was 88.42 and 73.93 percent respectively. Total children under 6 years of age constitute nearly 12.24 percent of city population. Jodhpur city is governed by its Municipal Corporation which comes under Jodhpur Urban Agglomeration. The Jodhpur Urban/Metropolitan area include Jodhpur, Kuri Bhagtasani, Mandor Ind. Area, Nandri, Pal Village and Sangariya. Its Urban/ Metropolitan population is 1,137,815 of which 599,332 are males and 538,483 are females.

Demographics

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History of handicrafts

The land of Rajasthan boasts not only of its rich cultural and historical legacies, but also for its out-standing handicrafts. These splendid handicrafts of Rajasthan are popular throughout the world for their unique quality. Every corner of the state re-veals a different tale of Rajasthan handicrafts. Ra-jasthan is a major centre of all forms of handicrafts whether it is jewelry, marble work, metal work, leather work or textile of wooden work. One can find from the history of Rajasthan that the Kings were patrons of art and handicraft. History reveals that the kings have also encouraged the craftsmen in promoting the art and craft.

Some of the handicrafts of Rajasthan include the beautiful carpet and durries. The carpets are gen-erally hand knotted woolen clothes. The Rajas-than paintings are yet another fascinating art of the state. The miniature and the folk styles of the paintings on wood and cloth represent the excel-lent blend of color, composition and theme.

Jodhpur district of Rajasthan is specially known for their wood and metal handicrafts. The local people of the districts make handicrafts with the locally available resources. But the technique for applying paints to the product is similar to that in other parts of the state. Rajasthan handicraft uses lively colors to impart distinct and attractive look to the metal craft. The dyed, fabric work and em-broidered textiles of Rajasthan are one of the most fascinating artwork

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Jodhpur (in Rajasthan State), is India’s major craft cluster and is known for its export excellence. This former princely state has emerged as a hub of metal artistic furniture and handicrafts inspired by centu-ries old traditions and legacy.

The toys handicrafts industry forms an important share of the total handicraft industry in Jodhpur. The three decades old business has shown an expo-nential growth. This industry is largely controlled by young entrepreneurs. Europe and USA are the major export markets of the toys manufactured in Jodhpur, these include small gift articles, carved items, toys, small utility items and furniture prod-ucts. Jodhpur is the biggest toy craft industry of the country providing employment to more than thou-sands of people, and generating exports of more than 8.5 crores. The majority of the people are ar-tisans working either at their homes or in the big manufacturing units. The other categories of the people include handicraft manufacturers (medium and large firms), timber traders and other raw ma-terial suppliers, exporters and other office staff at these units.

There are more than 500 handicraft manufacturing units in Jodhpur itself, and among those around 250 are handicraft export units. Jodhpur is also famous for its variable handicraft articles like textile, iron, and jewelry of gold, silver, metal (studded with pre-cious and semi-precious stones).

There is an association for Handicraft Exporters called “Jodhpur Handicraft Exporter Association”. It has been established by the exporters of Jodhpur to facilitate its members for resolving their issues regarding customs, exports, and issues regarding laws and regulations. There are around 250 mem-bers associated with this Association.

Introduction to jodhpur crafts

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MARKET RESEARCH &DEMAND ANALYSIS Market research is any organized effort to gath-

er information about target markets or custom-ers. It is a very important component of busi-ness strategy. Market research is a key factor to maintain competitiveness over competitors. Market research provides important informa-tion to identify and analyze the market need, market size and competition. Market research, which includes social and opinion research, is the systematic gathering and interpretation of information about individuals or organiza-tions using statistical and analytical methods and techniques of the applied social sciences to gain insight or support decision making.

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The major aim of market research is to bring the design intervention in toys and handicraft-ing materials. The foremost need of the market research is to identify the designs prevailing in the local handicraft market of Jodhpur. Along with that optimizing the potential export of handicrafted toys, to boost their commercial values, to endow innovation in the current toy and handicrafted market, to estimate the cur-rent production cost and forecasting the cost of manufacturing for desired design intervention.

The need arises due to the deceleration in toys and handicrafts market. The studies suggest that the potential threat to toy and handicraft industry arise due to lack of innovation, mini-mum design intervention. In market economy, emphasis is given to the consumption pattern of the people. If the customer wants a product, it must be available, even if the social costs are high. This leads to the monotonicity in the de-sign and make of handicraft leading to sluggish in demand and supply.

In any market segment, buyer and seller rela-tionship is very crucial. For market expansion, it is very vital to scrutinize the demand of the product. Demand majorly depends upon the quantity, quality and utility of the product in the prevailing scenario. The effective way of in-creasing demand of product is to broaden the targeted market.

The Jodhpur toy and handicraft market should look inward. The sluggish global demand in current scenario stipulates the need to find in-novative ways to increase volume in domestic markets. The government should actively en-courage artisans to create products which are suitable to Indian markets and help them im-prove their marketing ability.

Aim

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Markets are changing rapidly, becoming com-plex and competitive. It is difficult to keep pace with the rapidly changing demand and supply patterns as an entrepreneur is unable to re-spond quickly to a such a dynamic environ-ment. He needs better market understanding and a market survey puts him in contact with the market. A systematic use of this tool can reduce risks in decision-making.

The study has been undertaken in two broad phases:

First part of the study included preparation of a detailed baseline report on the basis of sec-ondary data and literature. The study focused on an in-depth analysis of the present competi-tive environment in the aftermath of the open-ing up of the Indian economy and its impact on Toys and handicraft material. Besides, the study team also analyzed all available published and unpublished information and data on toy sector over the years with a view to gauge the growth and development potential of selected product categories in terms of sales volume andmanufacturing practices.

The study also focused on the overall produc-tivity and competitiveness of Indian toys and handicrafts on both domestic and export mar-kets. The available research studies on the sec-tor have been referred while arriving at suitable analytical framework including SWOT analy-sis of the sector.

Procedure

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Second part of the study focusses on discus-sions with industry associations and field sur-veys of manufacturing units. Toy Manufactur-ing units have been randomly selected from major production clusters at various locations in Jodhpur. A sizeable proportion of manufac-turing units from each product category has been contacted for a detailed field survey to find out segment-wise productivity and com-petitiveness parameters for the sector. The field survey covered a total of 38 small and large scale toy manufacturing units.

Adequate care has been taken to include both successful as well as not so successful cases in the selected sample. Major manufacturing units from each of the product categories are select-ed for detailed study and survey. The manufac-turing units have been intervened with a struc-tured questionnaire.

While conducting the market survey the main focus was on :

• Determining the Size of the market and the anticipated market share in terms of volume and value• Pattern of demand—seasonal or fluctuating in time (in a month, day, etc)• Market structure • Buying habits and motives of buyers • Unique selling proposition of certain prod-ucts/services• Past and present trends affecting the selected product or similar product

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Background

Toys are perhaps as old as the mankind. India has a glorious tradition in toys. Toys act as cultural ambassadors reflecting 5000 years of Indian civilization. The people of India have a very special affection for toys because of inner mysteries, traditions and myths of their Cul-ture. Once upon a time, toys were given away as wedding presents to the child bride. Today, toys not only provide a diversion but also a colorful canvas for depicting Indian life in its plethora of cultural beauties.

From early times, various materials have been used to make toys and dolls. The oldest toysDate back to Indus Valley civilization. The per-fect modeling of human and animal figures atMohenjo-Daro and Harappa are testimony to the technical skills of craftsmen who could castimages in metal using the wax process. They could cast in clay and chisel in stone with ease,creating an art, worthy of these great centers of civilization. The excavated toys and dolls Found in Harappa and Mohenjo-Daro have been carefully preserved by the museums in India.

In the recent years, commercial mass produc-tion of toys has come up. Currently a largevariety of materials is used for manufactur-ing the toy and it is made all over the country.

Whether it is Rajasthan, Andhra Pradesh, Orissa or Haryana, toys reflect Indian culturaldiversity in the range of items manufactured.

LITERATURE REVIEW

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Considering the importance of the toy sector in India as a major source of employment andincome generation, Department of Industri-al Promotion and Policy (DIPP), Ministry of Commerce & Industry, has entrusted National Productivity Council to undertake a detailedstudy of the sector with a view to suggest ap-propriate policy recommendation to make thesector more productive and competitive in the wake of increasing global competition.

Each region of India has various traditional handicrafts reflecting the dexterity of its local craftsmen and tradition. Andhra Pradesh state in the south of India is no exception, has the distinction of having many important catego-ries of handicrafts, practiced at different tradi-tional locations, spread over different parts of the state. Some of such traditional handicrafts places considered and the authors visited are Nirmal, Etikopakka, Kondapalli, Udayagiri, Pemberthi and Ushegoan. Nirmal wooden toys are made in a small town called Nirmal in Adilabad district. The Nirmal toys are named after Mr. Neemanaik, a village headman, under whose guidance carpenters carved toys during 14th century and later the Nawabs of Hyder-abad tapped the skills of these craftsmen and became generous patrons of this craft (Kazim , et al., 2012). The artisans produce articles of high artistic features inspired from the local life and environment. Variety of birds, animals, fruits and vegetables are famous in the craft. A typical nirmal bird is shown in figure-1. Etiko-pakka is a small village in the district of Vi-sakhapatnam and the artisans practicing this craft are mainly

Vishwa Brahmin, Devanga, Gouda, PadmasaliKonda, SettyTRADITIONAL HANDICRAFTSbaliga, Kapu castes. The craft of making wood-en lacquered objects goes back many genera-tions and is said to have been practiced since 300 BC.

Joshi, et al., (2001) stated that the wooden toys of Etikopakka are world famous owing to the natural dyes used in the production process for finishing.

The product range includes toys, decorative animals, birds, key chains, bowls, boxes etc. Figure-2 shows a crane toy from this craft. Kondapalli wooden toys are produced in a village Kondapalli, under Krishna district of Andhra Pradesh and the craftsmen belong toAryakshatriya community. The Reddy king Annavema Reddy brought craftsmen from Ra-jasthan for sculpting the temples built by his dynasty. King Sri Krishnadevaraya gave boost to this craft and encouraged more number of people to take up this occupation. The toys are mainly inspired from mythology or village life and the product range includedasavatharam, Lord Sita Ram Laxman, elephant, ambari, wed-ding, farmer, ploughing, jiggery seller, bullock cart etc.

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Toys are made from a wide range of mate-rials such as plastic, metal, clay, glass, cloth, woods etc. Use of new materials and tech-nologies have added value to a variety of toys. Selling a toy often involves selling to three individuals simultaneously, namely the child, who will use the toy, the mother, who is concerned about safety, space to play, etc., and the father who controls the purse strings. The target market for the toy sell-ing firms is middle class and upper income group. According to a study conducted by Funskool, most of the toys are for kids in the age group of 2-5 years (31% of sales) with a particular skew towards the male child (60%).

According to (Dale Hoiberg and Indu Ram-chandani, 2000) Indian toys can be catego-rized into four groups:

1. Toys developed and produced by crafts-people2. Mela toys, dynamic folk toys developed and produced by the artisans (skilled and semi skilled person)3. Toys developed by the layperson or in-vented by children themselves for their ownunique purposes.4. Factory made toys

Categorization of product based on material

A brief discussion on various toys made from a variety of materials. In jodhpur handicraft market along with the place which are popular for these type of craft are given below:-

Metal Toys

Copper and bronze were the earliest non-fer-rous metals which man shaped into tools. Ref-erences to the casting of bronze images were found in ancient texts like the Matsya Purana. Gujarat and Uttar Pradesh in the north and Tamil Nadu and Andhra Pradesh in south India are known for their bronze and copper items.

Clay Toys

Terracotta is the most ancient and original form of expression of clay-art.Terracotta figurines in India, ranging over a period of 3,000 years, be-longs to times both before and after the use of stone in sculpture. Though it is fragile and dis-integrates quickly, a continuous stream of art throughout different stages of civilization can still be found. Pottery in India has deep reli-gious significance. Figurines of Gods and God-desses are made of clay during festivals like Durga Puja in Bengal and Ganesh Chaturthi in Maharashtra. Also popular are the gram dev-tas (village deities) regularly created by local craftsmen. Delhi is known for its blue pottery which is almost translucent. The Jaipur Blue pottery is even more unique with its arabesque.

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Clay toy

Metal toy

Fabric Toys

The cloth doll has been in existence for almost as long as cloth itself. Dolls were made of cloth in ancient Egypt and cloth-dolls have been made ever since. They have been more popular in some periods of history than others, but they have never been forgotten. The main reason for this is that cloth is the easiest of all materials for a woman to find. A mother could always use at least an old rag to fashion a doll for her child. Besides the fact that it is always available, cloth is easy to work with and requires practically no tools. With the advent of modern technology such as electronics and mechanics, the toy in-dustry also has become highly sophisticated.

Wooden Toys

Workmanship on wood has flourished in India over the centuries. Dolls made from wood are very popular. Sikkim is known for its carved objects and dolls. Traditional designs are carved on wood and then painted over giving the whole object a rich effect.

Wooden toy

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The competitive analysis is a statement of the business strategy and how it relates to the com-petition. The purpose of the competitive anal-ysis is to determine the strengths and weak-nesses of the competitors within your market, strategies that will provide you with a distinct advantage, the barriers that can be developed in order to prevent competition from entering your market, and any weaknesses that can be exploited within the product development cy-cle.

Mansi Arts’s,being the micro industry ,its pri-mary competitors are, Misha arts and Studio Iron. Both are small scale metal toys manufac-turing unit situated at Jodhpur.

After detailed study at both the units, follow-ing are prominent competitive areas,

• Maisha arts excelled in better evaluation of costing of metal toys and handicrafts being exported.• The coloring scheme rendered on the toy products was better and untainted.• Studio Iron, outrivals its competitors in terms of proportion in metal toys. The im- peccable perfection of shape and sizes de- rives the buyer to place more orders.• Innovation in design rendered the Studio Iron, a much better positioning in Jodhpur toy marketThe much better hold at marketing and promo-tional skills, renders the fortune exports, the another competitor of mansi arts, a better posi-tioning in the export market. At Hempush arts, all their processing is inhouse which saves a lot of funds and time in manufacturing of toys giv-ing it an edge over its competitors.

CompetitorAnalysis

RiskAnalysis

Risk analysis is a technique used to identify and assess factors that may jeopardize the success of a project or achieving a goal.

This technique also helps to define preventive measures to reduce the probability of these fac-tors from occurring and identify countermea-sures to successfully deal with these constraints when they develop to avert possible negative effects on the competitiveness of the compa-ny. After the survey the major threats detected were:

Cost beneficiality

The buyer mansi arts is catering to majorly stipulates the traditional and designer art. As discussed above, the major share of business comes from seasonal and festival inspired products. To increase the requisition in mar-ket, innovation is required in both design and make. The accurate proportions is what that would bestow the firm an edge over competi-tors. Innovation comes with price and Business needs profit. So, costing poses a major risk in delivering the required benefit. As ROI is very important for any profitable business. But, with proper vision and structured plan-ning this risk can be mitigated. Successful in-novation is not just about coming up with good ideas. The real challenge lies in selecting and successfully implementing the best ideas in a timely fashion. Precautions are still tak-en to prevent the leakage of ideas outside the firm. Innovation presents both risks as well as opportunities and those risks need to be man-aged in a coordinated way.

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Problem with exact prototyping

Another major risk involved is in prototyping. The accurate cutting and imparting correct pro-portions require skilled manpower and precise molding. The lack of skilled manpower would pose threat to perfection in prototyping. The skill development of manpower is required to address the current limitations of the prototyp-ing in terms of lack of skilled manpower for the production of high value added and diversified products as well as limited managerial capacity to run sustainable enterprise.

Making of die

The major risk regarding construction of dies is cost involved in production of single die. A toy construction entailes number of dies for its completion. Dies are manufactured for masss production of toys as huge cost is involved in its fabrication. Producing it for a prototype, would be an added cost .

Availability of skilled artisans

Perfection requires skill. Inadequacy of skill in terms of designing, drafting and cutting leads to disproportions in toys thus leading to slow-er business. To have better product output, the manpower needs to be imparted with knowl-edge of metal crafting.

Undesired outflow of innovation and design

The facsimile of design and innovation ren-dered poses another threat to the feasibility. e imitation is common in the toy and handicraft, a company’s best competitive strategy is to con-tinually introduce new designs, which in turn contributes to the speed with which the market changes.It needs to be checked that the design proposed should remain in vault so as to pro-vide the industry and competitive edge over its counterparts.

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The marketing mix model is a widely-used tool to evaluate Return on Investment (ROI) and inform optimal allocation of the marketing budget. the model structure is derived from microeconomic theories of consumer demand ranging from single equations of product de-mand to full interactive systems of product choice.

The econometric techniques are used to esti-mate demand response to marketing invest-ments, separating product sales into base and incremental volume.

Base volume

Base volume consists of products that are long running and trending for a year round. They are generally fixed priced.

For smooth functioning of business and main-tain the ROI throughout the year, the firm should be making the business all the way through. We introduced product categories that can be manufactured throughout the year irrespective of the season or festivals. In base stock, we introduced wall décor, garden accessories and utility items which are in de-mand throughout the year, and in turn help in maintaining the Return on Investment.

Market mix modeling

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For this we need to consider the incremental volume, which are seasonal in nature but order comes in large quantity which helps the enter-prenuer to execute mass production thus pro-viding huge turnover for that specific season. But as the season passes the non-availability of business effects the entire ROI unfavourably, so we ought to support it by taking Base volume in consideration. So that the summation of base volume and incremental volume benchmarks with the desired profit and proceedings.

Incremental volume

They are short running in nature capturing month to month sale, temporarily selling price, multi by promotion, multi designs on a single festive theme. The products which were in-spired from festivals abroad are of seasonal na-ture i.e. their orders are being placed in festival seasons around Christmas, Easter and Hallow-een. As per buyers requirement the products manufacturing also revolved around some In-diann deities, Indian festivals. On specified req-uisition they also manufactured toys and home décor celebrating the spirit of Game, FIFA. These kind of product are festival focused and are subject to seasonal demand. But main busi-ness came from these seasons as buyer orders considerable quantity during the period. So all these festival oriented products are man-ufactured in Incremental volume.

Mix Market Model

The summation of base volume and increamen-tal volume is thus converted into incrimental revenue i.e profit. and is benchmarked against cost of manufacturing to calculate return on investment(ROI).

In our case, we have tried to maintained the ROI against the summation of Base stock and incremental volume. The balance between both the marketing mix models is beneficial in generating the adequate revenues for smooth working of business.

If we have considered only base volume, then we wouldn’t be able to generate the targeted revenues and it would affect the business ad-versely. As the base volume products are slow moving and the order quantities are not pass-able for profit generation.

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• The craftsman possess good engineering skills ,hence the outcome of the product is both qualitative and quantitave.

• Raw materilas are easily available and need not procure from other cities.

•The exporters possess good communication skills and are able to sell their articles to differ-ent parts of the world.

• With new technological advancements the exporters find themselves connected to the world in a better way.

• There is large product variety and range is available because of diversified culture.

• It has strong, diversified and supportive ex-port potential

• Need low capital investment.

• Cheap labor rates that result to competitive price.

• Low barriers of new entry.

• Lack of novelty in design and color.

• As the products are made manually there is less in production.

• The problem in terms of packaging still per-sists.

• Unable to take part in international exhibi-tions due to lack of monitory funds.

• Craft Still confined to rural areas and small cities and untapped market

• Unawareness about international require-ments and market.

• Lack of co-ordination between government bodies and private players.

• Inadequate information of current market trends.

• Less interest of young people in craft indus-try Still confined to rural areas and small cities and untapped market.

• Lack of promotion of products.

Strength Weakness

S W

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• Apart from the decline, the product has strong international market demand.

• Infrastructure focused on developing design-ers and design clusters (by Government) are creating a new scope for the market.

• Demand of such product is rising at expo-nential pace in Domestic Market as well.

• Rising demand for handicraft products in developed countries such as USA, Canada, Britain, France, Germany, Italy etc.

• Developing fashion industry requires handi-crafts products.

• Development of sectors like Retail, Real Es-tate that offers great requirements of toys and handicrafts products for their interior design.

• Development of domestic and international tourism sector.

• e-Commerce and Internet are emerged as promissory distribution channels to market and sell the craft products

Opportunity Threat

O T

• Decline in international market due to eco-nomic imbalance in west.

• Monotonous growth graph.

• Increasing labour rates.

• NAREGA programme.

• Neck to neck competition between domestic manufacturers.

• Imbalance between high demand and supply.

• Quality products produced by competing countries like China, South Africa.

• Better Trade terms offered by competing countries.

• Increased and better technological support and R&D facility in competing countries.

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TREND AND STYLE ANALYSIS

Trend analysis often refers to techniques for ex-tracting an underlying pattern of behavior in a time series which would otherwise be partly or nearly completely hidden by noise. A simple description of these techniques is trend estima-tion, which can be undertaken within a formal regression analysis. Trend analysis often refers to the science of studying changes in social pat-terns, technology and consumer behavior.

A key characteristic of today’s global toy and handicraft market is the speed with which fash-ion styles, product designs, and colors change, resulting in increasingly shorter product life cycles. Ten years ago, some products could be kept in stock for years; today, a typical life cycle is six months. As retailers strive to stay ahead of their competition, new products replace old ones with greater frequency than in the past. Producers, in turn, are forced to keep abreast of trends and constantly develop new designs and products.

In our case we used questionnaire to retrieve data over a number of 53 MSME’ s and one on one interview were organized with more than 20 msme’s. Data were collected through the use of ques-tionnaires, although sometimes we directly in-terviewed subjects. Surveys were of qualitative (e.g. open-ended questions) and quantitative (e.g. forced-choice questions) measures.

The result of which are as follow:

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Changes in terms of process

CUTTING

Intially the metal sheets were being cut using gas cutting technique. Some of the small scale industries uses scissor or manual cutting which is time taking and imprecise. With the intro-duction of laser, the toy industry volution in terms of precise and lucid cutting of metal for intrinsic work and more finished product.

COLORING

A decade before the products fabricated were mainly monocolored and inspired by the tradi-tional art. Due to lack of technological know-how, mostly metal toys were painted in black to conceal the welding joints. The products fash-ioned were mainly lamps, lanterns, lamp shades etc. In terms of coatings and paintings, the toys saw colorful drift. Many types og colorful and glittering paints made their way. Matte finish sprays and galvanized coating boosted the toy sales and thus the toy handicraft industry saw modernization.Toys which were Hand painted once are spray painted now. Extensive use of glitter to increase the noticebility of the toys. electro platting is used on metal toys for permanent coloring.

DESIGN

With the advancement of technology and need of innovation and modification in demand from foreign buyers, the industry showed some innovative move. They came up with more funky, artistic and creative toys. The toys were inspired from western festivals and important celebrations. The advancement of export mar-ket opened the gates of innovative , colorful and groundbreaking desingns.

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Wooden Toys and handicraft

Wooden toys comes in various form s and cate-gories. Jodhpur has potential market for wood-en toys. Since decades, it is famous for mak-ing wooden animals, games, castles, kings and queen, kitchen sets, wooden vehcicles, farmers and various traditional toys.

Metal toys and handicraft

Metal toy and comes in various shape, colors and design. The metal wall décor, wall hangings and garden accessories are carved brilliantely out if brass, copper and iron. Along with that easter bunnies, chritsmas toys, eggs, Halloween pumpkins, and other funky and colorful toys have created niche in the market.

Ceramic Toys

Ceramic toys, though fragile nad sophisticated, form and important part in product range. The clay and ceramic is easily moldable and forms a finished products. The color gets settled on the layer so brilliantly that toy and handicrafts look vivacious. The villiage carts, animals like buffaloes, cows and dogs, the artistic pots and dolls are catered by ceramic kind.

Fabric Toys

The fabric toys and handicrafts history lies long back. The kathputlis made in rajasthan, are world famous all over. The vibrant cloth and sequins used on the toys and handicrafts make them lively and perky.

Product range mapping based on material

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Festive collection

The outcome of the survey indicates that ma-jor markets of these metal products are UK and US. So the products are directed towards their two major festivals, Christmas and Eas-ter. Eventually most of the products like santa, bunny, Easter eggs, and reindeers follow the same theme.

Rooster is an emblem of France ,so it is in de-mand throughout the year.

Product range mapping based on demand

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Wall decor

Apart from the festive collections, the com-panies also manufactured household articles.These were meant to add beauty to the wall.The products also possessed ulititarian properties like clocks, candle stand, mirror etc.

Recycled products

As per the demand to use sustainable prod-ucts across the world,the metal craft industry also followed the trend.It started to use waste tins, metals and converted it into various useful products like photo frames, clocks etc.

Ulility products

Other than just a show piece, various articles are made that possess certain utility in them. For example, clock embedded in any animal forms, placing mirror to certain wall decors.

Decorative items

The products in this category included wind chime,flower vase, wall hooks, lamp shades, lantern etc.

Garden accessories

Apart from the festive toys ,there is huge de-mand of garden accessories which includes wa-ter cans, garden sticks and figured pots.These products are generally inspired from different animal forms like monkey, peacock, pig, toads, horses, dogs, cow etc.

APPENDIX 1

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APPENDIX 1

WOOD PRODUCTS

The wooden products tends to flake due to the paints imparted on them. To protect them from wearing away, a proper packaging is required. The toys are first wrapped with brown paper overlaying it with the bub-ble wrap then they are laid in corrugated sheets which are stuffed with either hays or shredded paper. Then, they are gift wrapped with paper.

In bulk order, number of pieces are put togather in square cartons which are packed and secured with cellophane tapes.

METAL PRODUCTS

The metal products are prone to rust and corrode due to oxidization of metal. Certain oils paints are used to protect them from oxidising. the colors imparted on them already have those special oils which form the protective layering along with rendering colors.

The packaging of the product remains same as that of wooden products.

PACKAGING REQUIREMENT

CERAMIC PRODUCTS

Ceramic products are very fragile and sophisticated to they need to be packed with extra care. To provide it with extra protection, the corogate sheets are shred-ded and stuffed into the small carton boxes so that the product does not break.

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INTRODUCTION TO WOODEN TOYS

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There are production centres in jodhpur and other places. The carvings of elephant, am-bawari, peacock and other cultural elements on these wooden planks which make them unique pieces which are used for decora-tion of homes and presenting gifts to friends and relatives. The instruments employed by the artisans are extremely simple, viz., a saw, plane, mallet hone or fine-grained hard stone, an assortment of various shapes and sizes of chisels and a few engravered tools for some extremely minute and delicate intricacies. The operation is started by drawing the pattern intended to be produced on the smooth wood or on a piece of paperpasted over its surface. It is then engraved or outlined in every detail; the interspaces between the lines are next cut away, thus leaving the pattern in low relief; lastly the design itself is carved out in the mi-nutest detail keeping the intricacies and subtle light and shade effects, every desired curve, expression and texture is fully portrayed.The wooden toys have an extensive market abroad. Traditional bullock carts toys, ca-parisoned elephant toys, village backdrop toys are quite famous all over the world.The most popular toys are elephant with Ambari, palanquin-bearers carrying the bride and bride-groom, toddy tapper, set of village craftsmen,be-sides animals. The papier mache swinging doll is a favourite among many clients and buyers.The Manufacturing stage include procuring the wood, seasoning the wood, cutting the wood into the desired shapes, pruning and carving the toys, applying the colours and finally pol-ishing the finished product. Vegetable dyes are used in the colouring process to ensure that the toys and dolls are safe for use by children.

Wood is used for production of beau-tiful handicraft items depicting various symbols of Indian rich cultural heritage.

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Jodhpur is India’s major metal craft cluster and is known for its export excellence. This former princely state was emerged as a hub of metal ar-tistic goods and handicraft inspired by century’s old tradition and legacy.

The metal craft industry forms 17.91% share of the total handicraft industry in Jodhpur. Since decade old business has shown an exponential growth. Europe, USA and Germany are the major export market of the metal product man-ufactured in Jodhpur; these include small article toys, wall décor, small utility items and furniture products.

The majority of the people are artisans working at home either at the manufacturing unit.The other categories of the people includes handicraft manufacturers (medium and large firm)

There are more than 150 metal handicraft units in Jodhpur itself and among these 50 are the ex-port units.

INTRODUCTION TO METAL CRAFTS

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HISTORY OF METAL CRAFTS

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The history of Rajasthan Reveals that kings were patrons of art and handicrafts. Land of Rajasthan boasts not only of its rich cultur-al and historical legacies, but also for its out-standing handicrafts. These splendid handi-crafts of Rajasthan are popular throughout the world for its unique quality. Every corner of the state reveals a different tales of Rajasthan hand-icrafts. Rajasthan is the major center of all form of handicrafts whether it is jewelry, marble work, leather work, textile work, metal work or wooden work.

The history of the metal handicrafts dates back to time of Mr.R.K.Singhal who was founder of Rajasthan Art Emporium, Who nourished and flourished this craft.

In this emporium, he kept on selling antique metal toys, gift articles, which reflect the Ra-jasthan culture to the tourist visiting the place. Years after years the popularity of the metal ar-ticles reached its zenith, other than the antique article, people now started for the new articles (in term of designs, utility, color etc.) with the demand and popularity overseas reaching its peak. Buyers from the various countries moved towards India in search of metal products. This led to the opening of export opportunities for the people of Jodhpur. Within few years the no of exporters increased.

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MANUFACTURING OF METALCRAFTS

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Process

The following process take place in the manufacrturingof the metal toys

DesigningCuttingBendingEmbossingWeldingColorPackaging

The manufacture of metal toys includes various processes which are carried step by step to ob-tain the complete product. Outline of different parts are sketched on paper, keeping in mind the dimensions of the object. The parts are pasted on the iron sheet and are cut accordingly. Spe-cific measures are taken to convert 2D sheets into 3D objects. During the complete process of cutting, bending, embossing, welding and finishing it is kept in mind that the items does not deform or is out of the desired shape.

DesigningInitially designing starts with the basic sketch-es on paper with proper measurement so that the design is easily traced on the metal sheet before cutting.

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Waterjets can cut just about any material that can be made into a sheet and placed in front of them. The most popular materials are metals (espe-cially aluminum, because it's relatively soft and cuts quickly), because waterjets can cut intri-cate shapes to a high precision quickly and eco-nomically. Since metals are the most common material cut by machining shops, waterjets tend to cut a lot of metal.Waterjets also commonly cut stone and glass, because the waterjet can get intricate shapes not possible using traditional machining meth-ods. These materials are popular with artists who like to work with these materials and wa-terjets because it lets them create almost any-thing they can envision.

Waterjet cutting

Cutting

Metal components have to be cut to length or adjusted in size, in order to meet given size or space requirements on the construction site.Conventional metal jigsaw blades are often unsatisfactory where cutting speed and life-time are concerned, and therefore do not meet the expectations of professional users. The new jigsaw blades in the Speed for Metal series offer unrivalled cutting speed and superior lifetime when cutting metal, e.g. sawing thick perforat-ed sheet metals or thick-walled metal profiles.

Jigsaw cutting

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In oxy-fuel cutting, a torch is used to heat metal to its kindling temperature. A stream of oxygen is then trained on the metal, burning it into a metal oxide that flows out of the kerf as slag. Sometimes called a "Gas Axe".

Torches that do not mix fuel with oxygen (combining, instead, atmospheric air) are not considered oxy-fuel torches and can typ-ically be identified by a single tank (Oxy-fu-el cutting requires two isolated supplies, fuel and oxygen). Most metals cannot be melted with a single-tank torch. As such, single-tank torches are typically used only for soldering and brazing, rather than welding.

Oxy-fuel cutting

The first such technology to be considered is the form of laser cutting. A laser is an intense-ly concentrated beam of light which can be reduced to a tiny point of very high tempera-ture and controlled in a way which means that complex and very exact shapes can be cut out of the metal. Often, the laser will be controlled by a computer which has the pattern required programmed into it. The accuracy and focus of the laser beam results in a very clean cut and a top rate finish.

Laser cutting

In the current scenario,the craft industry uses either jigsaw cutting or uses scissors to seperate the tempelate from the metal sheet.

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Embossing refers to the creation of an impres-sion of some kind of design, decoration, letter-ing or pattern on another surface like paper, cloth, metal and even leather, to make a relief. In regular printing or an engraving, plates are pressed against the surface to leave an imprint. In embossing however, the pressing raises the surfaces adding a new dimension to the object.

Embossing is an elegant process that changes the nature of the material that has been em-bossed. More often than not it elevates the stan-dard and quality of the product. A notary’s em-bossed seal can give much weight to a regular piece of paper. Similarly, an embossed wedding card immediately changes the entire meaning conveyed by the invitation. The recipient is in-formed not only about the wedding but also that it is going to be a high profile wedding and an elegant ceremony.Embossing thus makes things more beautiful than they originally are. The simplest of object can become pieces of art worthy of the highest praise by using a technique as easy as emboss-ing. Of course, how good an embossed object looks depends entirely on the quality of em-bossing. Poor quality embossing can complete-ly kill the appeal of an object. However, good quality embossing can make an object positive-ly breathtaking.

Embossing involves the creation of an impres-sion by placing the dies in contact with the stock under high pressure. Different kinds of paper show different kinds of embossed effects.

Embossing

There are also many different kinds of emboss-ing that can be done like blind embossing, tint embossing and glazing to achieve different re-sults. The process of embossing is relatively in-expensive and has many uses.

Embossing is used for aesthetic purposes as well as functional uses in industries. From em-bossing names on credit cards to embossed Braille books for the blind, embossing has a wide range of applications and uses.

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The casting equipment and the metal dies rep-resent large capital costs and this tends to limit the process to high volume production. Man-ufacture of parts using die casting is relatively simple, involving only four main steps, which keeps the incremental cost per item low. It is especially suited for a large quantity of small to medium sized castings, which is why die casting produces more castings than any other casting process. Die castings are characterized by a very good surface finish (by casting stan-dards) and dimensional consistency.

Two variants are pore-free die casting, which is used to eliminate gas porosity defects; and direct injection die casting, which is used with zinc castings to reduce scrap and increase yield.

Die casting

It is a metal casting process that is character-ized by forcing molten metal under high pres-sure into a mold cavity. The mold cavity is cre-ated using two hardened tool steel dies which have been machined into shape and work sim-ilarly to an injection mold during the process. Most die castings are made from non-ferrous metals, specifically zinc, copper, aluminium, magnesium, lead, pewter and tin based alloys. Depending on the type of metal being cast, a hot- or cold-chamber machine is used.

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Blind Emboss

A blind emboss is one which is not stamped over a printed image or with a foil. The colour of the embossed image is the same as the co-lour of the surface. You can also call it a self emboss or same colour embossing.

Single-Level Emboss

In this kind of embossing, the image area is raised to just one flat level.

Multi-Level Emboss

In this kind of embossing, the image area is raised to multiple levels having different depths. This gives the embossed image texture and added relief and makes it all the more in-teresting.

Printed Emboss

In this kind of embossing, the embossed area registers with printed image. Depending on customer requirements and specifications, the bevel can stay inside the printed image or go outside it.

Combo Emboss

This refers to an embossed image that is also foil stamped.

Debossing

The surface is depressed instead of raised as in embossing.

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The term joining refers to welding, braz-ing, soldering and adhesive bonding. In these process a permanent joint between the parts is formed and cannot be sepa-rated easily.

The term assembly usually refers to me-chanical methods of fastening the parts together. Some of these methods allow easy disassembly, while others do not.Welding is a material joining process in which two or more parts are coalesced (joined together) at their contacting sur-faces by a suitable application of heat and/or pressure. Sometimes parts are united together by application of pressure only without external heat.

Welding

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Types of Welding

Gas metal arc welding (GMAW)

commonly termed MIG (metal, inert gas), uses a wire feeding gun that feeds wire at an adjust-able speed and sprays an argon-based shield-ing gas or a mix of argon and carbon dioxide (CO2) over the weld puddle to protect it from the outside world.

Flux-cored arc welding (FCAW)

almost identical to MIG welding except it uses a special tubular wire filled with flux; it can be used with or without shielding gas, depending on the filler.

Submerged arc welding (SAW)

uses an automatically fed consumable elec-trode and a blanket of granular fusible flux. The molten weld and the arc zone are protect-ed from atmospheric contamination by being "submerged" under the flux blanket.

Electroslag welding (ESW)

a highly productive, single pass welding pro-cess for thick (greater than 1 in/25 mm up to about 12 in/300 mm) materials in a vertical or close to vertical position

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Shielded metal arc welding (SMAW)

It also known as “stick welding”, uses an elec-trode that has flux, the protectant for the pud-dle, around it. The electrode holder holds the electrode as it slowly melts away. Slag protects the weld puddle from the outside world.

Gas tungsten arc welding (GTAW) -

It also known as TIG (tungsten, inert gas), uses a non-consumable tungsten electrode to pro-duce the weld. The weld area is protected from atmospheric contamination by an inert shield-ing gas such as Argon or Helium.

Gas tungsten arc welding is being used in the metal industry in the present days

It also known as “stick welding”, uses an elec-trode that has flux, the protectant for the pud-dle, around it. The electrode holder holds the electrode as it slowly melts away. Slag protects the weld puddle from the outside world.

Gas tungsten arc welding (GTAW) -

It also known as TIG (tungsten, inert gas), uses a non-consumable tungsten electrode to pro-duce the weld. The weld area is protected from atmospheric contamination by an inert shield-ing gas such as Argon or Helium.

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To finish successfully art metalwork, whether copper, brass silver, or gold, one must always keep in mind that the metal must be perfectly clean and free from any trace of oil or grease. Even so slight a thing as the moisture from the hands is a frequent cause of failure along this line. The metal may be cleaned by friction, that is, by rubbing with emery cloth, powdered pumice, or a wire brush, or polishing oil a lathe; or it may be cleaned by dipping for a few sec-onds in strong acids.

THE BRIGHT DIPS

When using the “acid dip” method on copper and brass the work must be fastened to a piece of copper or brass wire (do not use iron wire), and hung in the solution for about five to thirty seconds, the length of time depending upon the strength of the solution. The work must then be thoroly washed off in cold running water. Care must be taken to avoid getting any of the solu-tion upon the hands or clothing. A few of the best of these dipping solutions are as follows:1. Sulphuric acid, one part. Nitric acid, one part.

2. Sulphuric acid, one part. Nitre, one part, Water, one part.

3. Yellow aqua fortis, 1 quart, Sulphuric acid, 1 quart, Muriatic acid, I gill, Water, 1 pint.

4 Sulphuric acid, 1 quart, Nitric acid, 1 pint.

5. Hydrofluoric acid, 4 quarts, Nitric acid, 3 quarts, Common salt, 2 tablespoonfuls.

Editors note: This is not the sort of thing to try at home without supervision and experi-ence.

Finishing

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THE ORMOLU DIP

There is still one other acid dip that is very useful when finishing art metalwork, the "ormolu dip." This dip gives to brass a golden yellow color, and is commonly used on com-mercial goodsto imitate gold finishes. It is prepared as fol-lows:No. 1. Nitric acid, 2 pints, Hydrofluoric acid, 2 pints, Zinc scraps, 2 ounces.No. 2. Sulphurie acid, 2 quarts, Water, one-fourth pint, Nitre, 3 pounds, Add slowly to above solution Muriatic acid, 1 quart.

As hydrofluoric acid will dissolve glass or crockery, any solution, that has hydrofluoric acid in it should be kept in a jar that has been painted thoroly on the inside with Sapolin or asphaltum varnish.

After any one of the preceding bright satin or ormolu dips has been used on art metalwork, the work should be immediately dried and lac-quered by dipping in banana oil, or it should be warmed and coated with a thin coating of Johnson's black furniture wax, and then lightly polished with a soft cloth when it is cold.

THE SATIN DIPS

Beside these so called “bright dips” there is an-other class of dips that are handled in the same way, but give a slightly different result. These are called “satin dips.” They are very similar to the bright dips, but in addition they give the work a slightly granulated effect that is known as satin finish. This satin finish may also be ob-tained by the use of a satin finish wire brush on a lathe revolving at high speed. Some of the acid satin finish dips are are as follows:No. 1. Hydrofluoric acid, 1 pint, Water, 3 pints.No. 2. Hydrofluorie acid, 2 pints, Nitric acid, 1 pint, Muriatic acid, one-half pint, Water, 5 pints.No. 3. Hydrofluoric acid, 1 pint, Nitric acid, one-half pint, Water, 5 pints.No. 4. Hydrochloric acid, 1 pint, Sulphuric acid, 6 pints, Water, 6 pints.Immerse the brass in the solution for about r/2 hour.

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Rajput architecture flourished in the medieval Rajasthan that was historically classified un-der the ‘Ajmer Subah’ by the Mughals, and lat-er on as the Rajputana Agency’ by the British. Despite these imposed political boundaries, a strong need to emphasize individual identity prevailed among the ruling Rajputs.The region always remained an assemblage of warring princely states with sub regional identities in the medieval times. This aspect reflected in the cultural milieu with different styles of paintings, variation in the local dialect, different styles of tying turbans, sporting moustaches and dress wear distinct these distinct sub regional variations though it often gets categories of the local place, and even the pattern of jooties (footwear) that vary from area to area. Clearly, the Rajput period archi-tecture within Rajasthan expresses rised under one broad segment of the Rajput style.

INSPIRATION FROM LOCAL VILLAGES

Villages were an important inspiration for the developments of the craft. People took inspi-ration from local village things like horse, el-ephant,bullock,roosters etc.These animal and bird forms were extracted, studied and later put to some toy forms.

Designing

JODHPUR ARCHITECTURE

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CURRENT SCENARIO OF THE INDUSTRY

The last three years were the worst for the handicraft industry. Due to recession period and financial crisis in USA and other countries, the buying capacity was very low and the busi-ness suffered from the serious crisis. The im-pacts on handicraft industry were so harsh and the graph of turnover had touched the lowest point.

The business has recovered gradually but has still not been able to achieve its prior capacity to manufacture, export and consume. But there is a major problem facing the industry these days - labour problem. Due to labour prob-lems, manufacturing units have been affected and production has been decreased.

Labours are from surrounding villages and dis-tricts. Under NAREGA program, labour gets 100 days guaranteed work in their village only. They are entitled to Rs100 for each day and this discourages them from coming to Jodhpur. Hence, the handicraft industry of Jodhpur is facing a big problem.

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MANSI ART EXPORTJodhpur

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ABOUT COMPANY

The company “Mansi Art” was started by Mr.Harish Panwar in the year 1996. Initially the company was into manufacture of metal furnitures. As a production unit it got orders from various export houses. The product main-ly included bar chair, coffee tables etc. with the furniture the company also started to man-ufacture metal toys as required by the export houses. The toys varies in shapes and sizes ac-cording to different purpose. Seeing the boom of metal toys in the market the company finally established itself to Mansi exports from just a manufacturing unit. It mainly works in iron handicrafts. Its target market of the products is: - United States, UK, India, Now it started deal-ing directly with the buyers and got the prod-uct made with specific references. During the period 2006-10 the metal toys business was at its peak. after 2012 the business declined rap-idly and hence, no order has been taken since feb2014.

The main reason of business declination is lack of new form design and color. With the same product by all the exporters, the competion tough hence, the exporters started decreasing the rates. this led to drop in sales to some of the export houses.

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The products are directed towards their two major festivals, Christmas and Easter. There-fore most of the products like santa, bunny, Easter eggs, and reindeers follow the same line.

Christmas decorative products

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Clock frame Candle stand

Silver coated products

Roosters

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Garden accessories

Water cans

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Making of a toy

DesignsMaking pattern on the paper according to the finallised concept with the proper measure-ment of the different part of the product indi-vidually

Cutting The design is being pasted on the metal sheet on which the cutting is done.

Bending bending can be carried out with or without die

WeldingDifferent parts are welded to get the desired shape. Gas welding is being done.

Finishing finishing is done to remove excess of welding

ColoringGenerally a white coating is done by spray paint to avoid corrossion. After this process the required paint of various color is applied by hand with paint brush.

Packaging Products are wrapped with brown sheet and bubble rape and fit into container for ship-ment

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Proportion : Distortion in the proportion of fi-nal product puts a difficult situation in front of us . Scaling up the design and maintaining the beauty of its original size is difficult , the prod-uct tends to look distorted with disproportion-ate unsoothing effect to eye.

Cost : The higher production time and process-es like embossing the metal sheet leads to high-er production cost of product. On top of that the old technology and unskilled workforce add up to a very severe situation.

Curves and lines : the product need to be eye soothing but the geometry makes it difficult to cut the corners and giving it desired soothing shape.

Design: Lack of new designs, designs which are available they few seasond back

Color : In the coloring area the colors used are very basic and there is no skilled persons for such thing which effects the finishing of the product.

presentation: The company lacks to present its product to the buyers. They dont have any proper formats like brochures, pamphelets to showcase their work.

PRESENT PROBLEMMaking of a toy

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A product range of 30-35 products is proposed for final production. As discussed before, the product mix is segregated in terms of base volume and incremental volume. In incremental volume, the themes which are selected would cater the toys inspired by :

Christmas: As the festival is widely celebrated throughout the World, we are focusing on this season. The elements of inspiration being Santa claus, Christmas tree, stars,Moons, lighting birds etc. Since, these are epitome of Christmas, the final deliverables will be stimulated by above mentioned products.

Easter : Easter marks the reincarnation of jesus Christ, which is an another important festival in Eu-ropean market. The elements of inspiration being eggs and easter bunnies.

Halloween: Halloween is a major festival celebrated in month of October, which will derive sales in this season, that is why this theme has been chosen. The elements of inspiration being pumpkin, haunted castles, withches, chocolates and candies etc.

For base volume, the themes which are rendered are:

garden accessories which are inspired from Bugs life and fairy garden. We would play around vibrant colors, funny characters.

Wall décor and utility items are taken into consideration for production as they are sourced all the year round.

DECIDING PRODUCT RANGE

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CHRISTMASInspiration: Santa claus, Christmas tree, stars,Moons, lighting birdsMaterial to be used: Metal, woodNo. of products: 5-6

EASTERInspiration: eggs and easter bunnies

Material to be used: Metal, woodNo. of products: 5-6

HALLOWEENInspiration: pumpkin, haunted castles, with ches, chocolates and candiesMaterial to be used: Metal, woodNo. of products: 5-6

WALL DÉCOR AND UTILITY ITEM:Material to be used: Metal and wood

No. of products: 5-6

GARDEN ACCESSORIES: Inspiration: Bugs life and fairy gardenMaterial to be used: Metal and woodNo. of products: 5-6

RANGE WISE PRODUCTSPECIFICATION

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FINDINGS

While interviewing the artisans and entrepre-neur’s at Jodhpur, the major problem we came across was the lack of design innovation. Al-most all artisans accepted that there is mono-tonicity in design among the all players of toy and handicrafts.

Some entrepreneurs complained about the lack of infrastructure and technological advance-ment in the field. The government intervention and policies supporting the proper infrastruc-ture are inevitable requirement.

Skills are necessary in the field of toys and hand-icrafts. In interview, we got to know about the lack of skills in metal ware cutting at Jodhpur. The lack of training and inadequate imparting of knowledge in the field of technology has put the artisans in vulnerable state.

Rather than just focusing on the showpiece, the product must possess some utility, was suggest-ed by many entrepreneurs as buyers demand for more utility products.

After the assessment opf questionnaire, follow-ing points came into notice:

• 70% of the artisans are facing problem re-garding taking part in the exhibitions which is required to promote their skills indomestic and international market.• 90% of the exporters supported the fact that innovation in design is required to stimulate the sales of their handicrafts and toys• 80% exporters lack the technological know-how and innovation in the field of handicraft making.• 40% exporters face packaging problems and have faced return of the entire shipment which puts them in the vulnerable situation.• 60% exporters support the fact that more government intervention is required.

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Technological advancementAt mansi arts, the current prevailing cutting techniques are manual cutting and sometimes jig-saw as per the order requires. These types of cutting do not provide the perfection which is vital for handicrafts. Laser cutting is recom-mended for smooth and faultless cutting as it would leave no room for imperfections.

Ameliorating Finishing techniquesAt mansi arts, the finishing techniques were not up to the mark. The brush strokes were visible and the color density was erratic throughout the product. Galvanizing techniques should be considered as it imparts the product with even color density leaving no room patchiness. Elec-troplating in metal toys can be a thoughtful in-novation in the field.

Developing presentation and commu-nication skillEffective communication skills are fundamen-tal to success in many aspects of business.A bet-ter presentation and communication skill will endow the enterprenuer with more clientels in the list. A proper brochure for all handicrafted articles, more negotiating skills are an inevita-ble requirement for the exporter to enhance its market span.

Enhancing marketing and promotional skillsMarketing and promotion is of utmost require-ment in the field of artistry. It is very necessary to promote the handcrafted articles by taking part in various exhibitions, trade shows and fairs. Promotion using the social media has seen a exponential boom in recent years and has inarguably helped the entrepreneur’s to come in notice and expends their business.

This project features the recommendation and solutions for the hitched faced by the company, to stimulate their exports and also bridging the skill gap between the contende

DesignMetal carving and molding is an intricate task when it comes to toy manufacturing. The smaller pieces are difficult to mold into propor-tionate and balanced forms. So, the prerequi-sites for smoother and sound toy making is to have neat, clear , simple yet attractive designs which can easily be personified to 3D from flat 2D designs using the metal. Complex designs are opined to be avoided for focusing on neat formation of 3D models.

Innovation is the key to successful enterprise. In the field of handicrafts and toy making, new designs opens the gateway for more business and expansion of buyer as it create niche for the exporter in the international market and attract the new buyers. Monotonicity in designs fails to keep the buyer interested for long as newness is always in de-mand.

Skill DevelopmentIn order to ensure that firm is always in a pos-itive financial situation, its most important as-sets i.e manpower should be adequately skilled. The technological knowhow is very much re-quired so that artisans are updated with new technology and advancement in the field of toys and handicrafts.Conducting training for artisans specifying the needs of proper finishing, innovation in de-signs and exploring the new avenues.

RECOMMENDATION

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CONCLUSION

The visit and study of the Jodhpur metal and wooden handicraft cluster focuses on the mar-keting and production strategy of the cluster at different level. While learning and observ-ing about the existing policies of the cluster and imagining futuristic policies to continue and expand, this cluster will provide an oppor-tunity to an interactive sharing of knowledge and skills to plan their futuristic marketing and production strategies. Packaging and present-ing the products in a better way will work as a magnet for the clients and help expansion of business.

As mostly this cluster are having their monop-oly in the market of toy craft specially as most of them are dealing with direct fixed cliental and production demand. Presently the threat of continuous market research and design knowl-edge at various stages are not considered as an important factor of their business. This leads to lack in novelty of the product and innovation which is a major threat to the business. As the point above has described to develop the mar-keting space within other areas like in India it will lead to wider opportunity to the business.

As even Indian market is increasingly becom-ing more aware and conscious about indige-nous test and choice this opportunity is worth exploring and to adventure in to expanded market benefit within Indian. And at the same time substitute material can be introduced to help the craftsmen explore wider opportunities in the same craft.

With planned design strategy the cluster can also develop their own well designed products rather than just completely being dependent on the order base work. Efficiently organized workstation, better system design, training and workshops to marketing management as well as workers and craft man to be updated and to be more efficient, and an open attitude to adopt changes in demand and to develop changes can be very fruitful and strong to the development of the cluster.

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• SURAJ ART• HEMPUSHP ART• FORTUNE EXPORTS• MANSI EXPORT• MAISHA EXPORTS• STUDIO IRON• SAVITRI ART EXPORTS• THAR HANDICRAFTS• PAST AND PRESENT• NOBLE ART AND CRAFT HOUSE• JAI SHREE EXPORTS• AMNISHA EXPORTS• ART COLLECTION • BHAVYA ART• CREST EXPORTS• CROSS ADITYA• CROSS COUNTRY CLUB• CURIO CRAFT• MISS CRAFT• PARIGON EXPORTS• PRAKASH HANDICRAFT PVT.LTD• PRAYAS• R.K EXPORTS• R.L EXPORTS• RAJPRIYA IMPEX• SANJEEV KAHALI• SHREE BOHRA INTERNATIONAL• SHREE JI TRADING• SONU HANDICRAFTS• SUNCITY HANDICRAFTS• THE BARUN INTERNATIONAL

APPENDIX 1

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APPENDIX 2QUESTIONNAIRE

1. Is handicraft toy an important part of Jodhpur craft? (a) Yes (b) no2. Demand of the handicraft toys in the market. (a) Increasing (b) Rapidly increasing (c) Decreasing (d) Constant 3. Where did you get inspiration for the product? (a) Internet (b) Consumer demand (c) Market trend (d) All4. Where do you derive the colors and motifs from? (a) Forecast (b) Consumer demand (c) Exhibition and fairs (d) All5. Is there any multiple usage of the product? (a) Yes (b) no6. Generally, what are the various materialsWW used in toys? ………………………………………………………7. Cost variation of the product Minimum…………………… Maximum…… .8. Major part of the costing depends upon (a) Labour (b) Raw material (c) Packaging (d) all9. Major steps that can uplift the craft? ………………………………………………………10. Is there any major threat to this craft? (a) Yes (b) no If yes, then please specify …………………………………………………………………………………………………………….......................11.Major problem faced in this craft (if any) ………………………………………………………… …………………………………..…………………Name……………………………………………………………………….Company name…………………………………………………………Designation……………………………………Contact no……………

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BIBLIOGRAPHYhttp://www.embossingtechnologies.com/technology.htmhttp://diynovice.wordpress.com/2009/09/16/spray-painting-galvanized-metal/http://www.hubbardhall.com/chemical-apps-met-al-coloring.htmhttp://www.artsandcraftsmetalwork.com/c6a.phphttp://www.epch.in/index.php?option=com_con-tent&view=article&id=76&Itemid=181http://en.wikipedia.org/wiki/Die_castinghttp://www.artsandcraftsmetalwork.com/c6b.phphttp://www.whatisembossing.com/http://thelibraryofmanufacturing.com/sheetmet-al_cutting.htmlhttp://mmu.ic.polyu.edu.hk/handout/0102/0102.htmhttp://en.wikipedia.org/wiki/Machining

THEME- wall hangings

PRODUCT UTILITY- Wall hanging cum cum clock

COLORS PALETTE

MATERIAL -Iron plate - 22 gauge (for the clock) Iron net Iron wire (for the frame) COLOR- Base coat will be of rust proof primer by spray medium. final coat with the given color of oil paint

PRODUCT SPECIFICATION

MATERIAL USED IN METAL HANDICRAFT MANUFACTURING Iron Sheet

Types of Iron sheet

1. Half hard2. CR3. BP (Normal black sheet)

Pipe and Draw frame

1. Draw and normal pipe2. Bar3. Rerolling bar ( old bar)

Machinery use in Metal Craft making

1. Mig welding2. Grind cutter3. Little hand press4. Bass grinder5. Hand grinder6. Drilling machine

IF APPROVED

FLOWCHART

IF DISAPPROVED

IF DISAPPROVED IF APPROVED

METAL HANDICRAFT MANUFACTURING PROCESS

DESIGN MAKING

Design is the first step in metal craft. First the Designer make a suitable design according to the buyers requirement. Design is the main element in metal craft because if design is not perfect it can’t be feasible .

FRAME MAKING

Designing is followed by Frame making which is another vital process of Metal toy making. In frame making process, the 20-22 gauge metal sheets are used for cutting the various different components of the particular toy, according to the designs provided by designer.Majorly used tools for sheet cutting are metal cutting scissors, some intricate design require precise clean lucid cutting, for that laser cutting is outsourced.

PROTOTYPE DEVELOPMENT

Frame making process is accompanied by prototype development. In this process prototype is developed using the metal cut parts from frame making. If the prototype is as per the requirement and without flaws, the design is sent for mass production.

If the prototype isnt in compliance with the design, the frame making process is repeated until the artisans get it right.

CUTTING OF METAL SHEET IN BULK

After the prototype is according to the design, the design are sent for bulk metal cutting. Different Frame parts for designing are used in Bulk cut-ting. In metal sheet cutting there are different ways used for cutting: MANUAL CUTTING-

In Manual Cutting, workers cut metal sheet manually by using different cutting tool.

JIGSAW CUTTING

Some designs are very complicated in that case jigsaw machine used. In this cutting, paper is first sticked on metal sheet by using gum. After that metal sheets are kept on jigsaw machine and a worker cut the metal part according to paper design.

LASER CUTTING

Laser cutting is the best way of cutting metal sheet with absolute neat and clean edges. In laser cutting, the design proposed for cutting is installed in system, thus according to prescribed guidelines the machine cuts the metal sheet without any human intervension.

DIPPING

Dipping is a process in which a workers hammers on metal frame part and give a shape according to design. In this process, highly skill artisans are used . The skilled worker are equipped with techniques of how to hammer on a part of metal for getting the desired frame design.

FIGURING

After dipping figuring is done. Figuring is next step after dipping. In dipping artisan give shape to metal frame and in figuring artisan attach the vari-ous frame parts by solding .

WELDING

In this process, metal handicraft is welded so that parts could stick to each other strengthening the bond at the point of joint. welding provides strength to handicraft. It also provide the true shape to the toy/handicraft.

FINISHING

As the name suggest, in this process the metal toy is finished to provide it a perfect shape without any raw edges. The grinder is used to shape the curved parts, so that toys appears in proportion. COLORING

First the finished metal toys is sprayed with red oxide so as to form the white coating. After the coating sets, the toy is painted using the paint colors according to the design. Then they are kept for drying.

PACKAGING

Final step is packaging, in this the toy is first wrapped in bubble wrap, then they are placed in corrugated carton for final shipment.

SIKARWAR’S DESIGN

PHASE IV SUMMARY MANSI ART’S

PHASE 1 – RESEARCH

PHASE 2 – CONCEPTS

PHASE 3 – DRAWINGS

PHASE 4 – PROTOTOTYPE

FINAL PRODUCT