Branding Kondagaon

Graduation Project 2017
Craft city Branding : Kondagaon
MOHIT ACHARYA
Graphic Designer
Faculty Guide
Prof. Rajendra Thakre

1. Introduction
2. City Branding
3. Research
4. User study
Why City Branding
Why Kondagaon
The Potential
Approach
Types of User
Current Scene
Pain Points
Delight Points
What can be done?
What is City Branding
Craft City Branding
Case Studies
Kondagaon = Craft + City
Kondagaon City
Crafts of Kondagaon

5. Scope
6. Brand Identity
Defining the Scope
User Touch Points
Inspiration
Design, Color
Final Identity
Brand Assets
7. Brand Application
Digital Application
Merchandise
Environmental Graphics

1. Introduction
Why City Branding
Why Kondagaon
The Potential
Approach

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Mohit Acharya //// Graphic Design
Why City Branding?
City branding presented the
`opportunity for end to end exploration
as well as a glimpse of the culture around
which I have considerable exposure.
The love for Bastar and its people has led me to put the skills
and knowledge to test. The purpose was to make the life
bastarias better by solving problems.
I believe that Branding and Advertisement has the
potential to change the way people percieve things. The aim
was to create a strong and memorable narrative to position
kondagaon as the creative hub of Bastar handicrafts.

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The Potential
The city of Kondagaon shows great potential for a Place Brand identity. The city is
famous for Dhokra or bell metal craft. It has a rich handicraft legacy.
Several villages around kondagaon are skillfully engaged in making other kinds of
Handicraft. Kondagaon being the epicentre, lying in the National Highway makes it a
favourable destination for Tourists, artist, opportunist to visit and savour the place.
In addition to this the extravagant festivals offers an authentic tribal enthnic experience
while exploring the delicacy of crafts.
Why Kondagaon City?
When I tell people, that I am from Chhattisgarh, the reaction generally starts with a
little bewilderment followed by exclamations like “Ranchi is its capital Right?“ and “Its
beside U.P. na”. I don’t blame their Geography. I could no longer get it associated to
anything but Naxals.
At a time, when Chhattisgarh is on the driving seat of Industrial, Infrastructure and
Tourism Development, things are changing rapidly. Tourism is playing a great role in
preserving the natural and cultural heritage that Bastar is. Such a pot of opportunity is a
place called ‘Kondagaon‘ where craft and culture meet.

13Mohit Acharya //// Graphic Design
Craft City Kondagon
Strategy
Presently, a lot of things had been done in the
uplifting of Artisans and their Handicraft culture at
Kondagaon. It has no doubt have put Kondagaon on
a pedestal of fame and name.
So to understand the present reality, a strategy was
devised to felicitate the research, scope and to
design a plan to action.
To do this I followed 3As rule
1. Absorb -
Identify the significant bits, A reconnaissance
visit,neutral observation, examine existing litera-
ture, data collection, taking interviews
2. Analyse -
Data analysis, finding out delight and pain points,
User study, define the scope
3. Action -
Plan of action, approach, visual language, design
details, implementation

2. City Branding
What is City Branding
Craft City Branding
Case study

Craft City Kondagon
What is city branding
Place branding (including place marketing and place promotion) is a new umbrella term
encompassing nation branding, region branding and city branding. Place branding is the
process of image communication to a target market. It is invariably related to the notion that
places compete with other places for people, resources, and business; the global
competition of cities is estimated to host 2.7 million small cities/towns, 3,000 large
cities, and 455 metropolises Place branding can be defined as the process employed by
public administrations to intend to create place brands, networks of associations in the
target groups’ minds “based on the visual, verbal, and behavioural expression of a place,
which is embodied through the aims, communication, values, and the general culture of the
place’s stakeholders and the overall place design” (Zenker & Braun,2010).
It therefore aims to affect the perceptions of a place and position it favourably in the minds
of the target groups. Place branding can even be considered as a “governance strategy for
projecting images and managing perceptions about places” (Braun, Eshuis, & Klijn, 2014, p.
64). Place branding thus suggests that places, cities, regions or countries could be
considered as brands, as long as perceived so. In this regard, many public
administrations are implementing place branding strategies.
Place branding is the process of image
communication to a target market.

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Craft City Kondagon
2.1 Case Study
Sargalaaya
Craft Village
ShilpRamam
Gaatha

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SARGAALAYA, Kerela
Vacation mode
• Warm and welcoming
• Nature
• Local Craft
• Tour Packages

Craft City Kondagon

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Craft Village, Delhi
Creative Zone
• Charkha or wheel symbolises solidarity
• Promote rare crafts of india
• Offers programs and workshops
• Residential facilities

Craft City Kondagon

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ShilpaRamam, Hyderabad
Traditional
• Rural, Local
• Telegu Script style
• Platform for Artisans and Performance

Craft City Kondagon

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Gaatha, NID
Contemporaty
• Minimal
• Innovative
• Cross Design Diciplinary
• Co-creation
• Research and Archive

Craft City Kondagon

3. Research
City of Kondagaon
Crafts of Kondagaon

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City of Kondagaon
Kondagaon was known as Kondanar in the past. According to a very
popular legend by Manoj Kurre, A marar (panara) family were travelling
in these regions. The wheel of their vehicle got stuck and entangled into
a wine of kanda (kand) tree. This happened near Hinglajin Temple. The
marar family had to stay there for the night. At night, the chief of that
family had a dream. A Devi with big eyes appeared before him and
ordered him to settle down in that very place. The next morning, Chief told
everyone about that dream and the Devi who appeared. He was told that
the Devi’s name is Hinglajin and because of her big eyes she is called
“Konda Devi”. The chief after realising that the land was very fertile
decided to live. In this way, the word “Konda” gave birth to this place as
“Kondanar”.
Konda Devi’s Village.

Craft City Kondagon

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The tribal people of bastar are mostly non vegetarian and their
non-vegetarian dish are usually enriched with hunted animals
from forests. Rearing of hen is very common among them.
Pej
A kind of gruel prepared from broken rice is their item of food.
Occasionally kodo, madia rice are cooked as main dished.
Curries are prepared from tubers and vegetables supplemented
by chutneys made of root, red ant, tuber, fruits etc.
Salphi
It is the sweet juice tapped by cutting spadix of caryota urens.
The juice is collected in big earthen pot. It is sweet and sour
and good in nourishment if one drinks it in fresh condition.
Chhind
It is tapped from phoenix sylvestris and consumed mainly in
south Bastar.
Toddy
Toddy is also collected and tapped from Borassus flabelliferr.
It is consumed widely in south and west Bastar
Mohuwa Liquor
This is prepared from mohuwa flower by its distillation.
Alcoholic percentage is very high and almost all tribal are
having knowledge for its preparation.
Landa
It is prepared from paddy flour by fermentation process and
mostly used in the south and west bastar region. This drink
contain high calorie value and nutritious and also has cooling
property. During summer this is common drink among local
tribes. According to tribal people this drink is useful to
protect them from scorching hot spell during summer
season.
Eateries of Kondagaon

Craft City Kondagon

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Five elements and their respective mortal- immortal,
Static- dynamic energies or powers together define what is
called nature. The word ‘Nature’ itself is meaningfully
widespread. Trees-plants, leaves-flowers, forests,
mountain-trenches, river-ravines, flatland-falls, and
animals-birds constitutes the noun called nature.
The trees of Sulfi, taad, and chhind provides liquor for the
villagers. That is the reason why villages see it as a boon tree.
They conceive multiple benefits from the tree. They drink the
juice as well as sell it. The fruit of Taad and chhind are edible
and their leaves are used to make objects.
When Sulfi, taad or chhind’s juice is taken for the first time,
the tree is worshipped and rituals are performed. It is true
that nature is with everyone, but not necessarily every one is
with nature. This marks the difference among tribal people
from other.
Patdev and Aangadev are the most popular and
credible forms in the Bastar region. Their symbol is very
similar throughout. This symbol is made with bel wood on a
tentative ritual date. Five hand long and two cylindrical thick
wood is set at a parallel position. This dev is the most
significant in the region. By just hearing Patdevs name,
thieves-dacoits, ghosts-goblins and disease-sorrow flee.
In the land of Bastar Devi-power is the supreme power.
Social equality is the spine of tribal culture. Even though
they live in different groups or clans but they live in a social
setting. Their dev gudi (temples), mela-mandai, folk music,
and their various traditions and believes, their birth to death
everything seems socially induced.
In mela –mandai the deities are offered with faith
bhakti and wishes. In this occasion dance music and fun
environment flourishes. Thus, the youth generation does
fulfils their wishes. In these mela, the deities from
neighbouring villages take part. With them their vahan
(vehicle), chatra (umbrella) travels. Ghanta, shank (conch),
mohri (shenai), tudbudi, todi etc musical instruments also
reverberates. Samities or panchayats organise these melas
and mandai.
CULTURAL LANDSCAPE

Craft City Kondagon

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Lachmi Jagar is a ritually enacted myth performed by
women for women but not exclusively so. Men may attend the
celebrations and some men have become singers. The ritual
performance, a harvest festival, can last up to 11 days and can
be held at any time during the cold season (October to Febru-
ary). It can start on any day of the week but must always finish
on a Thursday (Lakhimbar, Lachmi’s day) when the singing
lasts all night. The word jagar can be translated as ‘Wake’ in
the strict religious senses of that term. On the final day of the
ritual, abstinence from sleep and food is practised as a religious
observance. But the ritual also has entertainment values.
This is especially seen the next last day when the ritual reach
its climax and he divine marriage of mahalakmi and Narayan is
performed. This wedding follows the general form of an actual
wedding and, as such, involves much frivolity and dancing. The
jagar can be hosted by a community or and individual
household. The men of the hosting household are obliged to
participate as ritual actors because they along with their wives,
assume the role of the central characters in the epic as it is
sung. People say that the general purpose of the ritual is to
ensure wealth.
The singers
The principal singer of the lachmi jagar epic is a women
called a pat gurumai. She is assisted by two assistant
singers called cheli gurumai. The principal singer is often a
women of grandmother status and her assistants are often
mothers in their late 30s who are able to take up learning
the songs when their children reach their teenage years and
they have more free time. Singing is not the occupational
specialisation of a particular group; singers come from many
different communities including musician/watchman (ganda),
Brass caster (ghadwa), distiller (Kalar), priest (Bairagi),
Gardener (Marar), and so on. Singers do not get paid for sing-
ing, but the host of a performance is obliged to present them
with gifts at the conclusion of the ceremony.
Lachmi Jagar

Craft City Kondagon
Jagaar Gurumai Singing And playing
Dhankul Musical Instrument

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The musical Instruments
The instrument the singers play in Kondagaon is an assemblage
consisting of a two-meter hunting bow (Dhankul dandi), a bowstring
(Jhikan dori), a split bamboo comb for striking (chirani kari), an earthen
pot is put on a stand made of straw and th mouth of the pot is covered
with a winnowing basket to form a resonator. One end of the bow is
pt on top of the basket and the other on the floor. The right hand side
of the bow has a serrated edge and the singer sits on the small stool.
With her left leg over the bow. She swishes the serrated edge of the
bow with the bamboo comb to produce a steady rasping char-char-
char-char. At the same time, she plucks the bow string with her left
hand on the first and third beat. The result is a regular loud-soft-loud-
soft-soft beat. Thus the instrument combines the function of a musical
bow, musical rasp and a drum.
The story
Many oral epics tend to be episodic in structure but a remarkable
feature of the lachmi jagar epic is its classic narrative structure. Four
clearly defines sections are apparent. The first section constitutes the
prelude where the story of the origin of the world is told. The next two
sections constitute the exposition. This consists of two embedded
narratives: the story of Mengin and the story of Parbati. The final
section, the story of mahalakhi covers the development of the plot, the
climax denouncement and resolution.

Local Art done during Jagaar festival, It depicts the tale of Lachmi.

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Mandai
It is one of the most important annual festivals of bastar when
they worship all the deities. It is stared during the month magh
(January - February). It may also be performed during fagun
(February – March) and it ends before holi except in abuj mard
region and in the ghotpal region(situated near Geedam) of
bastar where the people perform Madai during the month Chait
(March – April). The date of Madai varies from place to place.
Generally they keep it on the day of their weekly market.
The villagers perform this ritual collectively for which they
collect contribution from each and every household of the
village. The village priest officiates the ritual.

During night they arrange for some cultural functions where
tribals dance, sing, play and commonly play nat.
In connection with madai festival they hold a fair known as
madai mela. They perform madai for the welfare of the village
and the villagers. Tribals have a belief that if they do not
perform it or participate it as an invitee, there will be natural
calamity, they and their cattle will die.

Craft City Kondagon

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Crafts of Kondagaon
Types of Handicraft
Based in Kondagaon, there are Four Handicraft
activities prevailing flourishing in Kondagaon.
1. Dhokra Shilp (Bronze casting craft)
2. Terracotta (Mati Shilp)
3. Loha Shilp (Wrought Iron craft)
4. Tuma Craft (Gourd Craft)
More than 70 percent of the inhabitants of Kondagaon are active in Handicraft
related work. The credit for Kondagaon’s success goes to precedent artists.
By their sheer talent and vision. They made these craft recognised at the na-
tional and international level. There are many types of craft being practiced in
Kondagaon but major there are four types.

Jhitku Mitki, the Tribal Couple

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Dhokra shilp
The term “Dhokra” is believed to be deriving from the word “dhokna”,
which means to cast. “Dhokra Shilp” is the regional word for
the craft of bell metal casting. It is one of the most distinguished craft
of Chhattisgarh. It is also famous for its traditional lost wax technique
which has been carried forward since thousands of years of its origin.
Artefacts similar to the present craft form have been discovered at the
sights of Mohenjedaro and Harappa. Dhokra shilp is widely practiced by
the Ghadwa community of Bastar. The handicraft includes traditional
ornaments, animal and tribal figures, idols of the local deities, which are
most popular in the region.

A tribal goddess, Dhokra Craft

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Loh shilp
Lohshilp or wrought iron craft is one of the most unique
and the oldest craft form in Bastar region. It has an
aesthetic appeal in-spite of its simplistic form. The art
originated from the ironsmith community that used to make
farming and hunting implements for tribes. Over the years,
the craft has beautifully evolved into an artistic form and so
has its worldwide demand. Wrought iron work is mainly
concentrated in Bastar district of Chhattisgarh with
Kondagaon, Umargaon and Gunagaon being the main
centers.

Craft City Kondagon

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Terracotta
Terracotta, the word stands for baked earth. It is made from natural clay,
which gives it a characteristic reddish-brown color. The inexpensive and dura-
ble craft form is also widely used in decorative arts. Traces of terracotta pot-
tery can be found in one of the earliest civilizations of Mohanjodaro, Harrapa,
Kausambi, Mathura and Kashi. Vedic period also displays a significant tradition
of pottery and terracotta prevalent at those times. This craft of Bastar, which
is known for its unique and intricate style, is famous for its elephant and horse
figures. The craft form is an outcome of various social, religious, and functional
needs of the region.

Craft City Kondagon

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Tuma Shilp
Tuma craft, which uses dry gourds, is considered as one of the
unique crafts of Chhattisgarh. A recently developed craft is an
example of craft innovation and exists in the region of Bastar in
Chhattisgarh. Dried gourd is etched with hot knifes with beautiful
patterns and made into various products ranging from wall
hangings to pendants. Jagat Ram Devangan of Kondagaon is the
craftsman behind the innovation of the Tuma craft.

Craft City Kondagon

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4. User Study
Types of User
Demographics
Psychographics
Pain Points
Delight Points

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Types of Users
Demographics
• Local residents
• Artisans and Craftsmen
• Administration
• People from around the area and the same state
• People visiting from neighbouring state
• Researchers
• Investors and enthusiast
• Artists
Gender
Age
Occupations
Income Level
Education
Location
Religion
Martial Status
Male, Female
25 and Above
Any
5 to 15 lacs per annum
Educated
Any
Any
Any

Craft City Kondagon
Psychographics
- People who have a knack for arts and crafts are attracted to handicraft
items. Since, they have the eye to appreciate it.
- People who have exposure to handicrafts through melas and Fairs are
potential buyers and stackholders.
- Tourist who want to save for memento or gifts.
- Tourists looking for new experiences.
- Opportunist who want to expand their market through collaboration.
- Artist usually get invited or ordered certain commissions to work on. Artist
gain fruitful experience.
User Research and Persona is created on the
basis of interviews given by Artisans and
People of Kondagaon

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Persona 1
Name
Gender
Age
Occupations
Income Level
Martial Status
Raghu Rajan
Male
45
Banker
8.6 Lakhs per ann.
Married with two kids
Generally the transit to Baster is either via
Vishakhapatnam (A.P.) or Raipur (C.G.). On
the way near Jagdalpur Lies Kondagaon on
the national Highway. This gives us ample
opportunity to attract the Traversing
travellers.
Raghu is a bank manager. Raghu and family have come to Raipur to see Baster.
Raghu’s brother in law stays in Jagdalpur, he will pick Raghu’s family when they reach
Jagdalpur. The family likes weekend vacations and also travelling to specific locations
around India and the world. Suddenly, they catch eye of the ad about Kondagaon craft
city. They had researched it before coming to Baster. Now they are planning to visit on
the way back . Grab some memento and gifts on the way back.
Mrs. Raghu is a school teacher, she has a keen eye on decorating her house, and she has
done Warli paintings and stuck them up a wall at her house. She likes collecting things.
Rest are kids’ one boy and one girl who also shows knack for things like her mother.
Its vacation time

Craft City Kondagon
Persona 2
Name
Gender
Age
Occupations
Income Level
Martial Status
Preeti Mallick
Female
28
Furniture Designer
12 Lakhs per ann.
Unmarried
Artist have the most exposure when they showcase
their work in national level fairs like Suraj Kund Festi-
val. There they meet different people and are viable to
opportunities and growth. Tiju Ram Baghel was asked
to come to Mumbai and design some art. This gave
Tiju Ram an understanding of what people need. Thus
he evolved his style which is distinct and attracting.
Preeti is 28 years old. She is very dictatorial and authoritative. Successful in career and social
life. Senna is an illustrator and a furniture designer and an ardent traveller. She is very particular
about design and likes ingenuity in the products she buys. She has a showcase full of articles
collected during her travel.
Her sister Prerana visits her occasionally; they both go out to eat, try different eateries. They try
different things, look for interesting experiences. Both the sisters want to begin a start-up and
are looking for opportunities. They visit different fairs and flea markets. Both of them are keen on
design and has been gathering interesting resources. Last Saturday, she wanted to try her hands
on pottery. It was a fun experience.
Lets check out this fair

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Persona 3
Name
Gender
Age
Occupations
Income Level
Martial Status
Jay Patel
Male
55
Artist
12 lakhs per ann.
Married
Many artist researchers geologist sociologist
have explored Bastar. They make frequent
visits, They live amongst the artisans, study
their crafts and life style. This persona group
are constantly seeking for inspiration and
they have enjoyed their stay at Kondagaon.
Jai is a sculpture artist. He has done several shows in India, He is constantly looking for
Inspiration. His present work included studying of Tribal Crafts. So, he choose to come to
kondagaon to learn Loha craft. He collaborates with Artists and makes new and
innovative ideas for the products and want to sell them back home. He stays in with his
other Artist friends in a village which is famous for Loha Craft or Iron Craft. He has got
a guide who is a resident of Kondagaon and is well accustomed with the people around
as well as greeting the tourists. He learned to play Mohri the tribal Shenai as he is very
fond of the culture of Kondagaon.
Handmade things have life in it

Craft City Kondagon
Persona 4
Name
Gender
Age
Occupations
Income Level
Martial Status
Budha Ram
Male
24
Dhokra Artisan
1.5 L per ann
Unmarried
73 percent of the People of Kondagaon block are
involved in Handicraft activities. This widespread
success is credited to Sathi Samaj Seva Sanstha who
for the first took the artists together and taught them
to use better technique for Production. A lot of visitors
from India and abroad visit Sathi Samaj to learn and
craft and contribute. This has led to exposure and in-
creased marketing of the Products of Kondagoan.
Buddha Ram took training from the Shabari Art training centre in Parchanpal Bastar. He is
working under a well settled artisan Suresh waghmare. Buddha Rams work has a low quality
output as he has just stepped out of training centre. He visits Kondagaon craft center for work.
There he is given a chance to collaborate, Learn , Showcase his Skills and look for opportunities.
I need to upgrade my skills.

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Craft speak
Delight Points
Products have evolved according to the contemporary market needs.
Prospering business, High demand on specific articles.
Kondagaon is projected as a ‘craft city’. A dedicated complex is being
built to further this vision.
Artisans are being exposed to the market by exhibiting their products in
and out of India.
Regular income of tourists during season.
People and artisans are fairly accustomed to foreigners and tourist alike.

Craft City Kondagon
Pain Points
No unity within the Craft community in this cluster
Every artisan has got their own style experience and methods. There is a prevailing com-
plaint that only some are getting the priveleges by the Government and the schemes. So
when the government has appointed a member to the handicraft development board,
there is a lack of support. This is beacause of lack of trust amongst artisans.
Lack of local level participation, awareness and involvement
Research showed that 76% of the residents of Kondagaon have never visited the craft
center and showed less interest.
Lack of technical Innovations
Since there is high demand, there is a need for technical advancement to quicken the pro-
cess of making of articles.
Lack of direct online marketing
Most of the craftsmen as well as the administration are unaware of the value of
social media has in online marketing.
Naxal problem
The repeated reports of Naxal violent activities and its projection over the media has left
an impression of terror in these regions. The Ground reality tells a differnet story. There is
absolutely no threat what so ever to the tourists. This is seriously deteriorating the Image
of Kondagaon and its tourist income every year.

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City speak
Delight Points
People are very welcoming
The festivals are a spectacle of unique cultures and traditions
City has the largest forest reserve, thus it is surrounded by forest.
The artisans communities are spread around the Kondagaon block
which is a fair experience for travelling.

Craft City Kondagon
Pain Points
No tourist information
centers available.
The administrative
website has limited
information.
Information only
available in Hindi on the
website.

5. Scope
Scope
Approach
Plan of Action

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The Approach
It is through the word of mouth that tourist
mostly visit Kondagaon. If people could be made
inspired and aware of their city’s speciality the
peer to peer marketing may increase.
The Scope
Kondagaon is the ‘‘Craft City” by 2022
Promotion of Local level involvement.
Strengthen the power of “Word of Mouth”
Face Lift Kondagaon
(Set up a positive perception by projecting local festivals)

Craft City Kondagon
Plan Of action
The task is to unify kondagaon with the help of a strong brand image.
City needs a visual system, a visual identity that would organise and simplify communication with the
citizens as well as tourists, bringing together the city and represent Kondagaon as the craft city.
Develop a visual language for the brand.
Extend the language on its requisite collaterals.
1. Craft city Centers
Brochures, Highway board, banners, posters, Shopping bag, price tag, diary.
2. Official Kondagaon Website
Extending the Visual language to its website with proper grid structure and a responsive website.
3. Local Level Workshops
Design of Flyers, Posters, Invites, Banners, pole bearers, Information brochures.
4. Promote local festivals Jagar and Mandai (Optional)
Posters.

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Positioning
Keypoints
Mind Mapping
Design
Final Identity
Typography
Visual Language
7. Brand Identity

Craft City Kondagon
Positioning
Inviting tourists, promoting the destination, informing the general
public and tourist.
The purpose of brand is to present craft and life of the city, to create a
unified symbol of the place and to redefine the city as tourist
destination.
A Craft center for better marketing and colaboration for artists, tourists and
business opportunitites alike.
The Brand offers an ecoethnic experience through
workshops for visitors and generate necessary
opportunities for the crafts men.

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Keypoints
Involving
To involve Target audience in the
making and creating of Handicrafts,
its manufacturing.
Interaction
Get a spectacle of rural life, tribal
culture be a part of it. Experience
Inviting
The brand should be attracting.
and eye catching

Craft City Kondagon
Mind Mapping
Ethnic
Simplistic
Organic
Ornate
Handmade
Rustic
Rough
Humane
KONDAGAON
Decorative
Earthy
Tribal
Traditional

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Approach
Amalgamation of Tribal culture and
Tribal Craft is what makes Kondagaon
so unique.
A visual library was made. Icons of Culture and
traditions as well as their Craft counterparts were
identified to make a unified Typographic symbol for
Kondagaon.
Handmade, Complete,
Hand drawn, Humanistic

Craft City Kondagon
Key Points
1. There is a mix refugees adivasis and immigrants in Kondagaon. They all club up to the name of
kondagaon. The diversity Craft, Diversity of People, Diversity of traditions.
2. In the local culture, every tradition is connected to 5 elements of nature
I.e., earth, water, fire, metal, and wood. Every handicrafts crafted here are an amalgamation of
these 5 elements which is by far what constitutes nature and us as a human being. Coincidently,
there are major 5 types of Handicrafts.
3. The overlaying patterns are the inspirations from nature, sparks of creation and innovations.
For example, wheat grain is used as beads for chains.
4. The Current commercial up throw has prompted a demand for faster production. Consequently,
Artisans are adopting new methods to felicitate their production cycle.
Handmade objects
1. Imperfections perfectly
2. Every article is unique but similar.
3. Humanistic form

Craft City Kondagon

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Mood Board

+ Kondagaon
Circular elements are inspiring and
attracting element
Complete,
wholesome
experience

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All the crafts have a different form
style which are organic, handmade

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Color
Color was an
affluent character
which stayed in my
conscious through out
the visit to kondagaon.
It was a visible and
unique element to
kondagaon. And gave
it a distinct
characteristic to
the visual library of
Kondagaon

Craft City Kondagon
Burnt
Dark Gray
Ash
Iron
Clay
Earth
Energy
Divine
Bronze
Earthy
Effluent
These colours were chosen, keeping in mind the Look and
feel the brand should have. The main characteristics of the
brand were earthy, rustic and handmade.

82
1
2 3
4
5
6
7 8
9
Components
of logo

Craft City Kondagon
1
2
3
Ornamentation on the Dhokra statues with
Tribal Jewellery. Form K is inspired from Loha Dancing
figure. The design of the jewellery is inspired from nature
like the bead of a necklace is actually wheat grains.
Overlay patterns in Tuma and other crafts, similar
to Warli art. But unlike Warli it has a distinct
characteristics influenced by the region and culture
of Kondagaon. Especially, Jagaar paintings.
Dharam laat is seen during Mandai. The lats are a
symbol of godliness and higher power. They are a
representation of deities presence and its
sacredness.

84
4
5
6
Fish and star motif common in Tuma and
wood craft. These patterns are made by
etching with a red hot iron knife.
A Muria dancer dancing during Naat event.
The Naat happens on the next night of Mandai.
Khosa- The Hair style that women of Bastar
wear as a style. In this style of hair do, A ball
of cloth is taken and put around the hair to
make a ball. This ball is shifted to the right (as
shown in the figure)

Craft City Kondagon
7
8
9
A man extracting Sulfi from a Sulfi Tree.
When Sulfi, taad or chhind’s juice is taken
for the first time, the tree is worshipped and
rituals are performed. It is true that nature
is with everyone, but not necessarily every
one is with nature. This marks the difference
among tribal people from other.
Head of a Terracotta horse which is famous
for its peculiar style and embellishment. The
Horse and elephant are unique to these
regions.
Face of an adivasi as depicted in Local art.
This art is drawn on the walls during Jagaar
festival. It depicts the key events of Laxmi
purana. Jagaar is a celebration of
harvesting, Tribes worship earth in the
form of clay.

86
LogoType
A B C D E F G H I J K L M
N O P Q R S T V W X Y Z
a b c d e f g h I j k l m n o p
q r s t v w x y z
1 2 3 4 5 6 7 8 9 ! @ # $ % ^ &
* ( ) _ + : ” ; ’ < > ? , . / { } | [ ]
Coiny
C
c

Craft City Kondagon
Body Type
A B C D E F G H I J K L M N
O P Q R S T V W X Y Z
a b c d e f g h I j k l m n o p q
r s t v w x y z
1 2 3 4 5 6 7 8 9 ! @ # $ % ^ & *
( ) _ + : ” ; ’ < > ? , . / { } | [ ]
Muli
G
g

88
Logo+Type
Craft
City

Craft City Kondagon
Custom Type
Based on the letters created
for Kondagaon logo. A series of
letters were designed to facilitate
the Visual Language of the brand

90
Type
Option
By using the custom typo the
terms were written for
further use.

Craft City Kondagon
Visual
Element
Kondagaon is a landscape filled with Nature,
Tradition, Culture and Craft. Taking these
facts at hand, the following visual language
was created in relevance with Brands Visual
Identity.
An illustrative approach was devised to
generate the visual style.
Island of Sal Trees
Morning Rise
Terracotta
Loha Hanging
leaves
Village and fields
around it
Tuma (Lauki)
Hinglagin Mata
Dharam Laat
Hat of Muria dancer
Bison Horn Hat
Jagaar festival Rangloli
Pottery wheel
Bells Common to
Terracotta Elephant
Patterns found in
Dhokra art

8. Brand Appication
Digital Application
Merchendise
Environmental Graphics

Digital Application
The power of digital marketing cannot be undermined for the success of the brand.
Following was the purpose of amending a Digital platform.
1. Artisans can avail Online marketing benefits, sell their products, connect.
2. Spread the word, Reach out, invite tourist.
3. Project the workshop programs and highlight Artisans contribution, stories, profile.

94
Task Analysis
Function: Participate in an activity
Task: Book a Workshop
Function: Buy an Article
Task: Buying Transaction
Sub Task
Find Workshop Information
Search for a Particular Workshop
Select a Particular Workshop
Action Stimulus
Read Workshop Information
Find Particular Workshop
Know more about Workshop
Action Stimulus
Read Product Information
Find Particular Product
Know more Particular Product
Action
Scroll down, and Select
Scroll down and Select by hitting
text or Image
Select the Know more link
Action
Select and click a product thumbnail
Search on the dialog box.
Click on the Know more link
Sub Task
Find Products Information
Search for a Particular Handicraft
Select a Particular Product

Craft City Kondagon
Information Architecture
Function: Seek information
Task: Know about Craft
Sub Task
Find Craft Information
Search for a Particular craft
Select a Particular craft
Action Stimulus
Read Craft Information
Find Particular Craft
Know more about Workshop
Action
Scroll down, and Select
Scroll down and Select by hitting
text or Image
Select the Know more link
Home Workshop Craft Collection Register
About
News and
Events
Types of Workshops Types of Craft
Introduction,
History, People,
Place, Process
Products in sale,
Buy and Add to cart
Register,
Login

96
Wire Frame
Home page has the logo menu and banner. The top banners
features an introductory calling for A dhokra workshop. A user
can Know more through the link which directs to the Workshop
page.

Craft City Kondagon
Workshops page features a Loha craft workshop. It contained
the back story. Date, time, venue is also specified. Along with
this, there is an about the Artisans section. A user can book his
seat via link.
Users have further more types of
workshops in the line. Nomenclature is
done to make it sound interesting. Date,
Time and Venue is also specified.

98
Crafts page included sections of Four major types of crafts
practiced in Kondagoan. A link is added below the heading Dhokra.
It covers Crafts history, place, people, process. A user can get a
first hand information about the crafts from this page

Craft City Kondagon
Collection page features Products for sale. The
specifics are Basic info, type of craft, Dimension,
weight, price, book now and add to cart A user
can order Products online directly from the Craft
centers of Kondagaon.
Users have further more types of
Products in Showcase. Nomenclature is done to make it sound
interesting. Name of the product, dimension, weight and price is
specified below the image.

104
Mobile Website screens
Home page features Full
blown Invite to a dhokra
workshops.
A Brief information
about Kondagaon. There
is a know more optional
link to take

Craft City Kondagon
Workshop page to guide
a user to book a
participation
Artisan Page contains
profiles of the Artisans.
Projecting there story
and excellence

106

Craft City Kondagon

110
Trifold Brochure

Craft City Kondagon
Stationary

112
Book Marks

Craft City Kondagon
Price Tag

114
Dangler and standee option 1

Craft City Kondagon
Dangler and standee option 2

116
Pinup batch

Craft City Kondagon
Tote Bag

118
Shipping Box

Craft City Kondagon
Wrapping Paper

120
T shirt

Craft City Kondagon

122
Directional Signage

Craft City Kondagon
Road Sign

124
Wall Graphics

Craft City Kondagon
Wall Graphics

126
Ads
Facebook And Insta Ads

Craft City Kondagon
Newspaper Ad

Bibliography
Kondagaon District. Wikipedia. com
Bastar Handicrafts. Dsource.in
Atiit se Aagat tak Bastar, Pravir Krishna (Former Collector Bastar)
Bastar Bhushan
Saathi Samaj Sevi Sanstha “Organization Profile“
National Monthly Magzine “Kaksaad” Issue: April, 2017
www. ChattisgarhTourism.net
27th Nakshatra State, Bastar Bandhu news agency’s Special, Shushil Sharma
www. unexploredbastar.com
www.Udanti.Com
www.Trifed.com
“Lachmi Jagaar” Gurumai Sukdai’s story of the bastar rice goddess, C. A; Gregory
& Harihar Vaisnav, llustrated by Khem Vaisnav.
Suresh Pungati, Devrai Art Village.in, Panchgani
www.mockupworld.com

Mohit Acharya
Graphic Designer
T : 7999717884
E : acharya.mohit@gmail.com
Graphic Design Services
- Logo Design
- Stationery Design
- Illustration
- Photography
- Wayfinding and Signage design
- Branding
- Campaign Design (Social Media assets)
- Copywriting
- User experience design
- User interface design (Website and web app)

Branding Kondagaon

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