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The Ceramic Tableware Design Elements of Local Studio Ceramic Designers

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International Journal of Mechanical Engineering and Technology (IJMET)
Volume 9, Issue 5, May 2018, pp. 1041–1048, Article ID: IJMET_09_05_114
Available online at http://www.iaeme.com/ijmet/issues.asp?JType=IJMET&VType=9&IType=5
ISSN Print: 0976-6340 and ISSN Online: 0976-6359

© IAEME Publication Scopus Indexed

THE CERAMIC TABLEWARE DESIGN

ELEMENTS OF LOCAL STUDIO CERAMIC
DESIGNERS
Siti Maryam Ali Yasin
Fakulti Seni Lukis dan Seni Reka, Universiti Teknologi MARA, Kampus Seri Iskandar,
32610 Seri Iskandar, Perak, Malaysia

Hamdzun Haron
Pusat Citra Universiti, Universiti Kebangsaan Malaysia,
43600 UKM Bangi, Selangor, Malaysia

Zuliskandar Ramli
Institut Alam dan Tamadun Melayu (ATMA), Universiti Kebangsaan Malaysia, 43600 UKM
Bangi Selangor, Malaysia

Mohamad Noorman Masrek

Fakulti Pengurusan Maklumat, Universiti Teknologi MARA,
40450 Shah Alam, Selangor, Malaysia
Suhaimi Tular
Fakulti Seni Lukis dan Seni Reka, Universiti Teknologi MARA, Kampus Seri Iskandar,
32610 Seri Iskandar, Perak, Malaysia

ABSTRACT
Design is a term used in the various fields of arts and product invention. Design
refers to a combination of a noun namely art of design and pattern and a verb namely
planning or drawing produced in showing the appearance and function or working of
a product before it is made. Product design would often emphasize on aspects of
design elements that resulted in a good product and the studio ceramic tableware set
is not excluded. Owing to the fact that only a few research has been done on local
ceramic products, this study would attempt to focus on the ceramic tableware design
elements produced by the local studio ceramic designers. As such, this paper would
attempt to discuss five identified design elements which include (1) Shape, (2) Form,
(3) Color, (4) Decoration and (5) Texture. The research approaches via literature
review in addition to interviews with the local studio ceramic designers and
observations have been used in identifying the design elements of the product. The
research finding reveals design elements of local studio ceramic tableware set is
strongly influenced by the designer’s knowledge, education, experience, expression,
environmental conditions and surroundings. The study of these elements of design

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 The Ceramic Tableware Design Elements of Local Studio Ceramic Designers

would be an inspiration and knowledge to designers in particular to ceramic

designers in diversifying their local ceramic products. Premised on this study, it is
hope that various studies or researches on design elements can be undertaken and
expended. The findings of such endeavour would certainly enhance the development of
design of ceramic products embodying the identity and culture of local community.
Keyword: Design Elements, Ceramic Product, Studio Ceramic Tableware Sets, Local
Ceramic Designers
Cite this Article: Siti Maryam Ali Yasin, Hamdzun Haron, Zuliskandar Ramli,
Mohamad Noorman Masrek and Suhaimi Tular, The Ceramic Tableware Design
Elements of Local Studio Ceramic Designers, International Journal of Mechanical
Engineering and Technology, 9(5), 2018, pp. 1041–1048
http://www.iaeme.com/IJMET/issues.asp?JType=IJMET&VType=9&IType=5

1. INTRODUCTION
Inspiration, a two dimensional visual artwork or a three dimensional product designed creates
a communication and interaction between the artist and the designer with the universal human
life. In the context of a three dimensional design, design elements become the main factor in
creating a design that meets the criteria of a good product’s beauty, esthetic, splendor and
functionality (Siti Zainon 1986; Syed Ahmad 1992; Ocvirk et. al 2002; Hamdzun et.al 2014).
Emphasis on the final three dimensional products has been made by the designer based on the
cultural background of a particular race or country. This is done in light of the emergence of
various home ware products which has a contemporary design, elegance, simple and easy to
use suitable for current modern living.
In Malaysia, IKEA, Home Pro, Index Living, Living Quarters, Ombak Asia and SSF are
among the notable establishments which offer home ware products. Sales of imported home
ware products in particular the ceramic tableware by these establishments have encouraged
further creations of these products of various designs. In light of such current positive
developments in ceramic tableware in the market, local studio ceramic designer has also
played a role in offering products collectively known as Studio Ceramic Tableware Sets.
Ceramic products which are handmade by the Malay local ceramic designer are very unique
and creative. Prior studies on local ceramic products are mainly focused on Malay traditional
pottery (Salwa 2008; Azmi et. al 2010; Hamdzun & Narimah 2013; Zahirah et. al 2013). A
study of local ceramic from the point of view of design elements of studio ceramic would be
useful in providing knowledge to the designer as well as the community of the existence and
potential of studio ceramic products.
Thus, this study would be discussing on five design elements of studio ceramic tableware
namely Shape, Form, Color, Decoration and Texture. Among the notable local ceramic
designers are 1) Ilham Studio; 2) Bendang Studio; 3) Bangkita Studio and 4) Nizan Design. It
is envisioning that this study would be an important study in an effort to introduce to the
society the local studio ceramic products as well as to further develop the local ceramic studio
industry.

2. LITERATURE REVIEW
2.1. Design
A three dimensional design is formed from design elements which can give a good splendor,
beauty and the usefulness of a product. It is also being defined as planning a pattern, form etc.
so as to establish an arrangement, structure or building aspects and so forth (Kamus Dewan

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 Siti Maryam Ali Yasin, Hamdzun Haron, Zuliskandar Ramli, Mohamad Noorman Masrek
and Suhaimi Tular

2014). To a majority of designers, design refers to their past experience, observation and
situation. Among others, design must focus on materials, technology and innovation as well
as the energy that would be uniting the whole community (Rossella & Stefania 2014;
Hamdzun & Narimah 2014) design is an instrument to help a particular race (Starck 2016);
the creation of a design requires excitement in giving a new perspective, dare to take risk,
intuition and delighting (Diez 2016); and a good design must possess useful traits and
emotion so as to establish a creation of a real feelings (Aixing et al. 2016).
The definition of design by these designers is an inspiration to other designers in
translating their product innovation to the society. The process of designing of studio ceramic
product requires thoroughness starting from the early stages including the process of
sketching the two dimensional view, and then followed by creation of a three dimensional
model using material such as clay, Plaster of Paris as well as other materials depending on the
desire and objective of the product designer. In the process of design, the designer must take
into consideration the product’s function and its useful traits. The final product is produced
with choices of colors, decorations and textures, through a process and techniques which
would give the surface quality of the product its’ beautiful, exquisite, long lasting and ease of
use.

2.2. Shape and form

According to Quinn (2007), shape in the field of ceramic is defined as ideas in two
dimensions. It is important features in designing process which include model sketches before
a particular product is being produced. Among the elements, the shape that is most often
highlighted by designer are organic and geometrical while classic, elegance and retro are
based on designer’s experience and excitement towards arts as well as design (Quinn 2007).
Both Studies by (Norton 1956; Ishardita 2015) highlighted shape as straight line, circle,
parabola, S curve and ellipse. Shape is defined by Rice (1987) as collaborations between
building structures, function, decoration and proportion which form the shape of the ceramic.
In producing of a shape and form design, anatomy of the human body can be used as a guide
and interpreted in the production of various form of ceramic products. Form encompasses
proportion of height including diameter of ceramic base and ceramic lip; volume of the
product; and surface quality which are product surface lip design and size.

2.3. Color
Colour does provide prominent appearance to a product and gave expression to viewers as
well as attract the attention of buyers. In the field of ceramic, ceramic material handling and
type of application does give different effects (Quinn 2007). Ceramic colours come from
ceramic colour materials such as cobalt, copper, chromium, red iron, rutile, manganese and
nickel. Colours in glaze of ceramic spectrum can change depending on the atmospheric
conditions of kiln use (Robin 2013). Study of colour in the field of ceramic by (Ishardita
2015) with employing the Kansei Engineering and Kano model in interpretation of
consumers’ perception has categorised colour into four segments: 1) ceramic product using
one colour; 2) many colours; 3) blocked/solid colour and 4) colour gradation. Production
techniques of glazed colour by means of dipping, spraying, combination of colour by
overlapping and the use of tools such as brush, pencil and crayon from ceramic materials give
diversity and attraction to consumers.

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 The Ceramic Tableware Design Elements of Local Studio Ceramic Designers

2.4. Decoration
Decorations, in the field of ceramic, are produced from various materials and undergo various
techniques as well as processes in arriving at a special features or the intended decoration
planned from the beginning. Materials used are engobe (clay which has been undiluted with
water), commercial ceramic stain colour, coloured clay, ceramic pencil, ceramic crayon,
ceramic water color, decal, lustre as well as glaze. These materials are then used in various
techniques and processes such as inlay, stencil, sgraffito, ceramic wax, hand painting, trailing,
piercing, engraving, sprigging, stamping and mocha magic (Robin 2004; Quinn 2007;
Norhasliyana Hazlin Zainal Amri et.al 2018). From the observations of interconnected
decorations to patterns of production always reflect the cultural heritage of a country. To
produce a decoration that meets the needs of the universal society, the cultural background,
customs and behavior of a society should be guided by the designers (Dehua 2015).

2.5. Texture
Texture is imprint or surface quality of a particular material, goods or product which can be
felt by touch. Texture also gives psychological impact to consumers and always related to
milieu, experience and object (Ocvirk 2002). Ishardita (2015) put forward three types of
categories which represent ceramic texture which are glazed texture, Matt and Porous. Firing
temperature is greatly emphasized by the maker in order to get the desired textural effect.
Although texture features in the production of ceramic product is less studied by researchers,
based on observation and interview with local ceramic designer namely Iqbal; Khairul; Radzi;
Rozana (2016) it is found that texture features do give the product its expressional effect,
interaction and communication with consumer. A food dish served on ceramic tableware does
influence and accentuates the dining experience and thus generates the appetite for consuming
the various colored dishes.

2.6. Local studio ceramic tableware

According to Copper (2010), the establishment of Craft Centre of Great Britain in London in
1948 had boosted the involvement of studio pottery designer in hand made pottery. This
product which has features such as dark colored glaze, minimal decoration and thick wall
thickness are sold to the public at an affordable price. These pottery products continue to
remain with traditional influence throughout the years of 1950s and 1960s. While in 1970s,
ceramic product is showing good progress from the point of view of diversity of material
used, color, technique and decorations which comes from a number of countries namely
Britain, America, France, Greece, New Zealand, Italy, Japan, Korea and Taiwan. Ceramic
products continue to progress showing the identity of the designer as well as its community
culture (Copper 2010; Zainal Zakaria & Hamdzun Haron 2013). In Malaysia, studio ceramic
is relatively a new concept being put forward in art and design world of local ceramic product.
This new concept does possess its own potential if given proper attention and opportunity by
all levels of society.
The specialty of studio ceramic tableware is in its handmade production by local Malay
designers who are graduates in the field of ceramic from local universities as well other local
educational institutions. It represents the seriousness of local designer, appreciative of local
cultural values and heritages. Handmade product gives a symbolic perception of love towards
one’s effort, product quality, uniqueness, originality and pride. Product potential is having a
good opportunity considering that studio ceramic product has been introduced by Director
General National Visual Arts Development Board (Prof. Dato Dr. Mohamed Najib Ahmad
Dawa) as daily use products to the local society at the Ceramic Studio 2016 Exhibition held at
Hotel Seri Pasifik, Kuala Lumpur. This research attempts to highlights part of the product

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 Siti Maryam Ali Yasin, Hamdzun Haron, Zuliskandar Ramli, Mohamad Noorman Masrek
and Suhaimi Tular

produced by local ceramic studio designers consisting of ceramic plate, bowl and cup. The
emergence of diversity concept of café, restaurant, resort and hotel has given an opportunity
to ceramic studio designers to produce studio ceramic tableware sets according to the theme
desired by their clients.

3. FINDING
3.1. Ilham Studio
Ilham Studio was established by artist and ceramic designer Mohamad Radzi Ismail.
Langkawi, Kedah, being his birthplace, has become his main source of inspiration in
highlighting studio ceramic products. The design of studio ceramic tableware product has
been inspired by sea life theme. As such, many studio plates product has his identity like a
small sea coral placed on the product’s lip surface. Product design showed durability with the
combination of geometrical shape and organic as well as fusion between symmetrical and
unsymmetrical shape. Form with different sizes of product thickness giving consumer choice
of use based on type of choice of meal. Product colours derived from colored glazed materials
characteristically contrasting would be embellishing the plate background space and the front
in such a way that a focus would be on the food dishes. Colours various from dark brown,
light brown, dark blue, light blue, dark green and grey are derived from metallic oxide such as
cobalt, red iron and nickel would give a balance effect of the product. Product decoration is
more concentrated on combination of overlay technique between two glaze colours which
create a different colour as well as to show the effect like an image on surface of sea water.
Swirl lines texture and spotted effect showed that this product has been inspired by the local
life of nature. Studio ceramic tableware set product by Mohamad Radzi has had a demand and
been commercialized in the country in particular at hotels in Langkawi, Kedah and Kuala
Lumpur.

3.2. Bendang Studio

Rozana Musa is the owner of Bendang Studio located at Kampung Sungai Petai, Alor Gajah,
Melaka. Her persistence, seriousness, steadfastness and determination in the field of studio
ceramic have become a point of departure to step further in her endeavour. Her design of
studio ceramic tableware set is modern and retro with selections of color diversity and
decorations. Design element of shape encompasses geometrical shape and most of the product
possesses symmetrical shape based on production technique of throwing machine. Basic
shape of this utensil such as plate, bowl and drinking cup without stalk has been used as a
guide in product making. The studio ceramic tableware can be purchased as a set or
separately. Colour plays a significant role in accentuating Rozana’s studio ceramic product
identity. Rozana employs a combination of natural colors such as brown, white and black in
order to reveal the color prevalent in her village. Blue and white as well as a combination of
unglazed circular pattern appear as retro and modern. The use of pink, point pattern technique
and luster from gold enamel create a different to the product; it looks harmonious as well as
exhibits tenderness characteristic and appears luxurious.

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 The Ceramic Tableware Design Elements of Local Studio Ceramic Designers

3.3. Bangkita Studio

Muhammad Iqbal Awang Damit’s involvement in ceramic business world began in 2012. He
has been making ceramic products since then in his studio known as Bangkita Studio. Today
a diversity of studio ceramic tableware set has been produced from his studio. He has gained
vast experiences in this field firstly as a student of ceramic in local Public University,
secondly as participant in ceramic workshops conducted both locally and externally and
thirdly as a participant in an intensive learning program conducted at Incheon Ceramic
Village, Korea. He has been able to create various studio ceramic products by employing
throwing machine and hand built technique efficiently and consistently. The studio ceramic
tableware products are made from clay obtained directly from Kuala Kangsar, Perak. Iqbal
product shape design consists of a combination of geometry and organic. Shape and form of
various sizes and unsymmetrical highlighted the designer’s expression of being fond of
experimenting with materials and techniques of production. At the request of clients, a
combination of shinning glaze comprising of the colors of blue and white, brown and blue as
well as white and dark blue are highlighted. Decorative motif and pattern is derived from
natural plant available in the designer surrounding. Motif and pattern have been arranged in
stamping technique so as to exhibit a unique textural design effect and showing local touch of
contemporary pattern. By his participation in Trade Fair Ambiante in Frankfurt, Consumer
fair L’Artigiano in Fiera, Milan, Consumer fair Foire de Paris, Consumer fair Bazaar Berlin
German, Festival Kraf and Art Bazaar, Iqbal’s products have gained attention and demand
from a number countries mentioned above. Carrier in the field of ceramic is viewed by Iqbal
has great potential and opportunities. In light of this, he intended to open a café in which
studio tableware products from his Bangkita Studio are used.

3.4. Nizan Studio

Nizan Design is relatively a new local ceramic studio established in 2017. Khairul Nizan
Mohd Aris being the founder has gained his knowledge and experience in the field of ceramic
from his formal studies in Malaysia, Japan and England. He has in-depth knowledge of arts
and designing of studio ceramic products. Khairul Nizan’s product designs comprise of shape
and geometrical form, organic and streamlined. His choice of colors is characteristically blue
pastel, green, light yellow and a combination of black. The texture is satin and semi matt.
Thus, his product looks pleasing and comfortable to the eyes. Studio ceramic tableware
products consist of various sizes with right proportion which can be stack together owing to
the product’s rounded corner. Pastel colours of the product have an effect of food dishes of
various colour looks prominent. Hence, it has a psychological attraction for the consumer to
enjoy the dishes and at the same time use the product. In producing this product, combination
of the following techniques is used i.e. throwing machine, press mould and hand built; as for
the glaze colour: dipping and spraying technique are employed. These products have gained

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 Siti Maryam Ali Yasin, Hamdzun Haron, Zuliskandar Ramli, Mohamad Noorman Masrek
and Suhaimi Tular

recognition and attention from a number of countries. Khairul Nizan’s participation in the
recent Arts and Design Exhibition held at Bandung, Indonesia has open new door of
opportunity him to collaborate with other designers and businessman dealing in ceramic to
expand and promote the local ceramic business.

4. DISCUSSION
Design elements play an important role in the production of studio ceramic tableware
products. Adequate knowledge of design elements i.e. shape, form, colour, decoration and
texture can be used as a guide to designer in producing and delivering the products to
consumers via expression of the usage of the said elements. In addition, knowledge, learning
process, experience, expression, surrounding circumstances as well as designer natural
surrounding can also be used as guidance to a designer in his effort to sharpen his skills,
knowledge, creativity, material experimentation and techniques continuously. Based on this
research, other researches in the field of ceramics can be pursued such as a study of
production of ceramic products based on consumer or clients’ desires both from local and
external clients. Thus, this process would enable the designer to create products that meet the
taste of a universal society. Innovative study on ceramic product invention identifiable with
the national heritage by way of design elements can also be undertaken so as to provide
information to designer for the expansion of ceramic field.

5. CONCLUSION
The objective of this paperwork is to highlight the design elements of studio ceramic
tableware set by the local ceramic designer. These five design elements comprising of shape,
form, decoration, colour and texture are the contributing factors towards a good design
appearance. Thus at the same time, a good design appearance does project well the identity of
the designer as well as the local studio ceramic products. These design elements can be used
as guidance to researcher and designer who are involved in arts and product design. It is hope
for that by this study, a significant expansion in field of ceramic can be achieved in terms of
production of local ceramic products and may the local studio ceramic products continue to
grow and expand. It is envisioning that the expansion of the local ceramic industry would
attract new local designers to be born and be involved in ceramic business world.

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