THE DESIGN FEATURES OF STUDIO CERAMIC TABLEWARE SETS AND ITS ACCEPTANCE IN MALAYSIA: A PROPOSED MODEL

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1 International Journal of Mechanical Engineering and Technology (IJMET) Volume 9, Issue 11, November 2018, pp , Article ID: IJMET_09_11_116 Available online at ISSN Print: andISSN Online: IAEME Publication Scopus Indexed THE DESIGN FEATURES OF STUDIO CERAMIC TABLEWARE SETS AND ITS ACCEPTANCE IN MALAYSIA: A PROPOSED MODEL *Siti Maryam Ali Yasin and Suhaimi Tular Fakulti Seni Lukis dan Seni Reka, University Teknologi MARA, Kampus Seri Iskandar, Perak, Malaysia. *Corresponding Author Hamdzun Haron Pusat Citra Universiti, University Kebangsaan Malaysia, Selangor, Malaysia Zuliskandar Ramli Institut Alam dan Tamadun Melayu (ATMA), University Kebangsaan Malaysia, Selangor, Malaysia Mohamad Noorman Masrek Fakulti Pengurusan Maklumat, University Teknologi MARA, Selangor, Malaysia ABSTRACT A good ceramic tableware product is derived from a combination of design features that would accentuate its aesthetic beauty and usefulness. Product design features which are visually presentable to a potential buyer and user have become one of the main factors in a product purchasing decision. In light of the current problem of lack of demand for local ceramic products, this study would propose a conceptual model which incorporates five design features for studio ceramic tableware set. At the same time, the Malaysian public acceptance of the said product will be gauged by using a Technology Acceptance Model. As such, this paper would attempt to discuss five identified design features which include shape, decoration, colour, texture and design based on fitness use. These features allow for diverse choices of design in line with the current improvement in quality of life. Simultaneously, it would attract the attention of researcher, designer and businessmen of ceramic products in addition to those who are involved in the field of art and design of products in enhancing their understanding of requirement, desire and satisfaction of and that would be buyers and users. Keyword head: Design Features, Studio Ceramic, Product, Tableware, Conceptual Model, Acceptance editor@iaeme.com

2 The Design Features of Studio Ceramic Tableware Sets and Its Acceptance in Malaysia: A Proposed Model Cite this Article: Siti Maryam Ali Yasin, Suhaimi Tular, Hamdzun Haron, Zuliskandar Ramli and Mohamad Noorman Masrek, The Design Features of Studio Ceramic Tableware Sets and Its Acceptance in Malaysia: A Proposed Model, International Journal of Mechanical Engineering and Technology, 9(11), 2018, pp INTRODUCTION Today, diverse products are offered for sale on the market to meet the ever demanding consumer desire for new, technologically advanced and elegance product. For example, companies that produce consumer items such as cars, mobile phones, watches, handbags, shoes, clothing, interior decorations, landscape and other items are always competing in offering new design for their products to attract the attention of their customers. Such a scenario has encouraged the creation of diverse product design which has evolved over a period of time. Design encompasses problem solving in a creative and artistic manner in both arts as well as engineering field (Fiell, 2013). Designers on the other hand play an important role in producing designs of a product based on their knowledge, creativity, imagination, skills, thoroughness and their thinking. The role of product design is essential and is a key factor in the marketing strategy. It brings happiness to the consumers thus gives pride to the community from one generation to another (Holmes, 1927). A successful product is most often associated with a beautiful and functional design which the consumers and buyers do like and value. Prior studies had shown that there is a need for both specific study on design features and also for a community acceptance in an effort to maximize the product appearance and performance (Holmes, 1927; Kotler & Rath, 1984; Kamarudin, 1990; Crilly et al., 2004; Hamdzun Haron et all, 2014; Zahra, 2014; Dehua, 2015; Ishardita et al., 2015; Rosen et al., 2016, Radzi, 2016, Rozana, 2016). However, the study on community product acceptance on local ceramic products is very much lacking. Based on the observation and interview with the local ceramic designers, handmade studio tableware produced by the Malays has a distinctive potential, provided it is given a proper attention (Yasin, S.M.A et. al. 2018). Symbolical perception of love value that goes into the making of each product encompassing product quality, uniqueness, originality and pride. Hence, this paper would attempt to discuss the five design features for the studio ceramic tableware set comprising of shape, decoration, colour, texture and design based on its fitness use. A conceptual model is proposed in order to attract the attention of designers in the field of art and design of ceramic product in enhancing their understanding of the needs, desires and consumers and buyers satisfaction. 2. LITERATURE REVIEW 2.1 Design In principle, design is defined as a plan pattern, shape and other similar variables that would create an arrangement, structure or other aspects in a building and so forth (Kamus Dewan 2014). Design also is a word that represents a verb and a noun or as an action and corresponding result. Majority of the designers consider design to mean that of their experiences, observation and the situations which they have gone through. The meaning of design has given inspiration to other designers in their interpretation of formulating their products and masterpieces. In the context of the Malay traditional handicrafts, design is traceable through emotional experiences and visual principles. Emotional experiences are the internal elements such as emotions, expressions and thinking, while visual elements include colours, lines, textures and forms (Hamdzun & Narimah, 2013; Norhasliyana et all, 2018) editor@iaeme.com

3 Siti Maryam Ali Yasin, Suhaimi Tular, Hamdzun Haron, Zuliskandar Ramli and Mohamad Noorman Masrek Ocvirk et al., (2002) also added visual elements consist of shapes, values and spaces beside colours, lines, textures and forms as the universal design elements for art and design artworks. Design in Malay handicraft would also mean of giving a focus on the aspects of functional design such as shape and form as well as esthetical design such as decorations and patterns. Risatti, (2007) are also of the opinion that esthetical experiences are greatly influenced by the observer s, consumer s and buyer s acceptance and understanding. While in a ceramic product design functional factors have been studied by researchers in creating a good product design which will bring satisfaction to the consumers (Norton, 1956; Rice, 1987; Quinn, 2007; Zainal & Hamdzun; 2014). 2.2 Shape Shape in scope of ceramic is define as an idea in two dimensions and is an important feature in the process of design comprising of a sketch drawing of the initial model before a product is produced (Quinn, 2007). In the process of product creations, shape and form goes hand in hand within the two dimensional shape thus, converted to three dimensional form. Shape categories are organic, geometry, classic, elegance and retro (Quinn, 2007). Norton (1956) and Ishardita (2015) have highlighted that shape is from the angle of straight line, circle, parabola, ellipse and S curve. Whereas (Rice, 1987) stated that shape is a collaboration between building structure, function, decoration and appeal rate which does constitute ceramic shape. In creating a design form and shape, we always follow the human anatomy for guidance which will be interpreted into the production of various ceramic designs from the earliest production of ceramic goods. Production of ceramic shape is mutually related to emotional design and product shape has to be created based on the mutual relation between consumers life environment as well as cultural community (Dehua, 2015). Figure 1: Ceramic Shapes 2.3 Decoration Decoration and pattern on the ceramic surface gives splendor and beauty to the ceramic product. In addition, its smooth surface is easy to use and also acts as waterproof surface (Rice, 1987). In the field of ceramic, decoration is produced from various materials employing different techniques and processes in order to derive a specific character or a desired decoration previously planned. Materials used are engobe (clay that has been dissolved in water), commercial colouring ceramic stain, coloured clay, ceramic pencil, ceramic crayon, ceramic water colour, decal and glaze. These materials are used in various techniques and processes such as inlay, stencil, sgraffito, wax resist, hand panting, trailing, piercing, carving, sprigging, stamping and mocha magic (Wood, 1999; Quinn, 2007; Taylor & Doody 2014). Based on observation, decoration is intertwined with production of patterns which would always reflect the country s cultural heritage. In order to produce decoration that meets the taste of the global community, the designer must take into consideration the community life style, cultural background, traditions and also the community behavior editor@iaeme.com

4 The Design Features of Studio Ceramic Tableware Sets and Its Acceptance in Malaysia: A Proposed Model Figure 2: Ceramic Decorations 2.4 Colour Colour plays an important role since the Neolithic era which continues to play a major role in contemporary era and conceptual ceramic art. Colour gives a product a prominent look and expression thus tends to attract the buyers attention. Colour is also given emphasis not only in the field of ceramic but also in the design of other products. For example, the research of colour in respect of production of wrapping materials for children foods, has found that colour has a strong connection with the buyer s psychology. In the ceramic field, the handling of ceramic material and application of colour to the product could give different effects (Quinn 2007). Ceramic colour is derived from ceramic materials such as cobalt, copper, chromium, red iron, rutile, manganese and nickel. The ceramic spectrum has been divided into four segments 1) Hot to Trot -red, yellow, orange; 2) Play it cool- green/blue; 3) Mood indigo -the darker aspects and 4) Electric Palette- colours and colorants that behave well in electric kiln. Recently, the study of ceramic colour which employed Kansei Engineering and Kano model in the interpretation of consumer s perception has identified that product appearance is a factor to be given priority in the development of product design (Ishardita, 2015). The study also has categorised colour in four segments namely ceramic product with a single colour, various colours, blocked/solid colour and colour gradation and the result of the study showed that the people in Dinoyo, Malang Indonesia preferred the colour of ceramic product to be blocked/solid colour. Figure 3: Ceramic Colours 2.5 Texture Texture is the effect on the surface of a material, good or product which can be felt by touch. Texture does give a psychological effect to the viewer as to whether he or she like or dislike particular products or artworks. It is always related to the environment, experience, object or person based on our experience (Ocvirk et al., 2002). In the field of ceramic, texture relates to the surface quality of a product. Ishardita et al. (2015) put forward three categories representing texture namely Glaze, Matt and Porous. There is also texture effects known as satin, semi matt, burnished, volcanic and cracked which are mostly used by ceramic artists and designers in their contemporary artworks and products. Firing temperature is an important variable in attaining the desired texture effect thus must be given close attention by the designer. Concurrently, the interviews with the local ceramic designers and businessmen (Radzi & Rozana, 2016) revealed editor@iaeme.com

5 Siti Maryam Ali Yasin, Suhaimi Tular, Hamdzun Haron, Zuliskandar Ramli and Mohamad Noorman Masrek that texture can create an expression and communication effect of the tableware product with the users. Texture influences as well as enhances the appeal of the dishes presented on it. Figure 4: Ceramic Textures 2.6 Design based on fitness use Product invention based on function does closely relate to a particular product ergonomic (Quinn, 2007; Hamdzun & Narimah, 2014). Ergonomic in the field of ceramic has an interaction with humans. It is because ceramic product design needs to be adapted to human physical features so as to facilitate the usage of the product. Each anatomical form, shape, use of decoration, colour and texture in ceramic product needs to be scrutinized and planned by the designer and current consumers views and thinking need to put into consideration. Design feature based on fitness use highlighted by Norton (1956) refers to the aspect of stability, ruggedness, wash ability, compatibility with the surrounding, originality and wall thickness of the ceramic product. Stability means shape and form of product that depends on thickness and diameter of the product base and also matches with the product height. Despite the fact that certain ceramic products with thin wall look fragile, it does however exhibit its ruggedness. Ceramic product with smooth surface does make for an easy cleaning. This feature also becomes a study on ceramic products which have humanized design in line with the development trend of modern ceramic products. 3. MALAYSIAN STUDIO CERAMIC TABLEWARE SETS In Malaysia, studio ceramic tableware sets product is produced by local Malay designers who are former graduates in the field of ceramic from the local institution and university. Although product development happens piecemeal, its potential does have a good opportunity due the attention given and the acceptance from the consumers (Radzi & Rozana, 2016). The Chief Director of the National Visual Arts Development Board has introduced studio ceramic products for daily use to the local community and outsiders in an exhibition entitled Pameran Produk Seramik Studio 2016 which took place at Hotel Seri Pasifik, Kuala Lumpur, Malaysia. Tableware is utensils used for dining comprising of saucer, cup, bowl, plate and others (Kamus Dewan, 2014). Tableware consist of three categories: 1) dinnerware such as plate, bowl, cup, saucer and mug 2) glassware such as utensil made of glass and crystal used for serving drinks and 3) flatware that is utensils used for eating and drinking (Forkan & Ahmed, 2011). In the context of local Malay handicraft, studio ceramic tableware sets are handmade by the local Malays ceramic studio potters and designers. Handmade product gives a symbolic perception of love towards the product created, quality product, uniqueness, originality and pride. The product potential and privilege lies within its daily used items which represent the seriousness of the local designer in appreciating their tradition and cherishing their heritage editor@iaeme.com

6 The Design Features of Studio Ceramic Tableware Sets and Its Acceptance in Malaysia: A Proposed Model Figure 5: Malaysian studio ceramic tableware sets (Radzi, 2016) 4. A PROPOSED RESEARCH MODEL In understanding the community acceptance, consumers behavior towards a particular product from the perspective of psychological interaction, consumers-product relationship must be thoroughly studied and understood. Theories and models such as Theory of Planned Behavior (Ajzen, 1991), Theory of Reasoned Action (Fishbein & Ajzen, 1975) and Technology Acceptance Model or TAM (Davis, 1989) are always employed in the study involving the forecasting of acceptance of a particular product. These theories and model are found based on the assumption that human being is a decision maker and would readily utilise all that are available to them. Current research which focused on acceptance of new technology also is gaining momentum and flourishing (Pantano & Pietro, 2012). Na Liu & Ruifeng Yu (2017) have employed TAM model in ascertaining acceptance and consumers behavior towards smart phones from the angle of design features factors and has found a comprehensive view of consumers preferences which certainly assist manufacturer in understanding the importance of design features towards product improvement. While the study conducted (Yoon et al., 2012) has identified that Perceived ease of use, Perceived Usefulness, Attitude and Purchase Intention which have significant relationship in understanding consumers behavior towards a clothing label. The finding shows that consumers that preferred clothing with label gave higher scores as compared to those consumers that purchased unlabeled clothing. As such, a thorough understanding of factors that would greatly enhance the prediction of the actual usage of a particular system or product by the consumers is of utmost importance. Thus, with such an understanding could provide valuable information to manufacturer and designer in building system or product tailored towards today s ever dynamic industrial marketing and ceramic studio business. TAM model consisting of Perceived ease of use, Perceived Usefulness, Behaviour Intention and Actual Behaviour is to be employed as a proposed model for evaluating the studio ceramic design features. Perceived Usefulness is one s level of belief that using the system or product would enhance his or her work productivity as well as quality of life. Perceived ease of use is one s level of belief that by using the product or system it would facilitate their life. Behaviour Intention in this research refers to one s intention in acquiring and using studio ceramic tableware set. Actual Behaviour on the other hand involves the satisfaction and joy that is derived from using the product. Design Features editor@iaeme.com

7 Siti Maryam Ali Yasin, Suhaimi Tular, Hamdzun Haron, Zuliskandar Ramli and Mohamad Noorman Masrek Figure 6: Proposed Research Model 5. CONCLUSION The objective of this paper is to highlight the proposed conceptual model of design features for studio ceramic tableware set and the acceptance of Malaysian society in using Technology Acceptance Model. The conceptual model proposed exhibits five design features which consist of shape, decoration, colour, texture and design based on fitness use are the contributing factors in a product s good appearance and excellence performance thus fulfilling customer s need and desire. From the proposed model also rise the research hypotheses which have been identified in Figure 6. The conceptual model can also be used as guidance for the researcher and designer in the field of art and design. Survey Method is suggested in validating the conceptual model and hypotheses testing. By undertaking this study, we hope the local ceramic product becomes one of Malaysia successful brands produced by the Malays, would continue to be of great interest and for acquisition by both the Malaysia society as well as those of outsiders. REFERENCES [1] Copper, R,. Making marks discovering the ceramic surface. Ohio, USA: The American Ceramic Society, [2] Crilly, N., Moultrie, J., & Clarkson, P. J. Seeing things: consumer response to the visual domain in product design. Design studies, 25(6), , [3] Davis, F. D,. Perceived usefulness, perceived ease of use, and user acceptance of information technology. MIS quarterly, , [4] Dehua, Y. Analysis on emotional design of daily ceramic products. International Conference on Arts, Design and Contemporary Education. Retrieved download.atlantis-press.com, [5] Fiell, C., & Fiell, P. The story of design. London, England: Goodman Fiell Book, [6] Fishbein, M., & Ajzen, I, Belief, attitude, intention and behavior: An introduction to theory and research, [7] Forkan, G. M., & Ahmed, K. F,. Marketing strategies of tableware ceramics industry of Bangladesh: Some empirical evidence from international players. ASA University Review, 5(1), , [8] Hamdzun Haron & Narimah Abd Mutalib. Technology and Production Process of Malay Traditional Heritage Pottery in Malaysia. Jurnal Teknologi (Sciences & Engineering) 64(1): 81 88, [9] Hamdzun Haron & Narimah Abd Mutalib. The Innovation of Labu Sayong Manufacturing Technology: A Technical Analysis, Jurnal Teknologi (Sciences & Engineering) 69(1): 53 58, editor@iaeme.com

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