GOVERNMENT POLYTECHNIC COLLEGE

NEYYATTINKARA
COMMUNITY SKILLS IN INDIAN KNOWLEDGE SYSTEM (4001)

FIELD VISIT REPORT

POTTERY PRODUCTION CENTRE THOZHUKKAL

SUBMITTED BY:

GOKUL.G
(2201132513)

SEMESTER 4

DEPARTMENT OF COMPUTER ENGINEERING

Batch(2022-2025)
 DEPARTMENT OF COMPUTER ENGINEERING
GOVERNMENT POLYTECHNIC COLLEGE NEYYATTINKARA

CERTIFICATE

This is to certify that the FIELD VISIT report of POTTERY

PRODUCTION CENTER, Thozhukkal, Neyyattinkara is done by
GOKUL.G (Regno : 2201132513) in partial fulfillment of the subject
Community Skills In Indian Knowledge System (4001) and requirement
for the award of Diploma in Computer Engineering of the Department of
Technical Education Kerala.

Guided by,

ANILKUMAR .V.J AMBILI. M

Lecturer In Mechanical Engineering. Head of Department

Internal Examiner. External Examiner

 VISION AND MISSION OF THE INSTITUTION

VISION

To be an institution moulding globally competent professionals having

strong ethical values to meet the industry and societal needs.

MISSION

• To inspire, educate and mentor students by facilitating quality

engineering and management education.
• To promote entrepreneurial skills and ethical values among the
students for the upliftment of society.

VISION AND MISSION OF THE DEPARTMENT

VISION

To facilitate and transform the students to adapt rapidly changing

technology on computer and allied domains with social commitment.

MISSION

• To provide quality education in computer engineering to meet the

need of profession and society.
• To Provide a learning environment to enhance problem solving skills,
team spirit, leaderships, innovation and ethical responsibilities.
TABLE OF CONTENTS

ACKNOWLEDGMENT

ABSTRACT

PHOTOGRAPHS

• INTRODUCTION
• HISTORY OF POTTERY PRODUCTION
• RAW MATERIALS USED
• POTTERY PRODUCTION PROCESS
• MIXING
• PRODUCTION USING POTTERY WHEELS
• HOW THE CLAY IS SHAPED
• FURNACE
• PRODUCTION DETAILS
• MARKETING AND SALES
• LIMITATIONS
• SUGGESTIONS FOR IMPROVEMENT
• QUESTIONAIRE
• CONCLUSION
• REFERENCE
 ACKNOWLEDGEMENT

First of all, we thank God for providing us with a strong will to complete this
field visit successfully,

I express my sincere thanks to, Mr.SHIBU RS , principal for providing the

necessary facilities for doing this field visit.

I offer my heartily thanks to Mrs.AMBILI M , the Head of. Department of

Computer Engineering for enterprising attitude, sustained inspiration,
encouragement and help.

The motivation and driving force behind this report is our coordinator
Mr.ANILKUMAR V J, Lecturer in Mechanical Engineering. I am deeply
indebted for the cooperation and guidance in the preparation of the field visit.
I also stand grateful to all the teaching and non-teaching staff for their
valuable assistance.

Finally, I am forever indebted to our parents for their blessings and supports.
Last but not the least I intended my sincere thanks to my friends for their
constant help and support.
ABSTRACT

The field visit report conducted at the pottery production center in

Thozhukkal, Neyyatinkara, provides a comprehensive overview of the
facility’s operations and processes. The report begins with an introduction to
the location, highlighting its significance within the pottery industry. It
delves into the center’s infrastructure, detailing the layout of the premises,
including kilns, workstations, and storage areas.

Furthermore, the report discusses the production process, from clay

preparation to the shaping, drying, and firing of pottery items. It explores the
techniques employed by artisans, showcasing their craftsmanship and
traditional methods. Additionally, the report examines the quality control
measures in place to ensure the consistency and excellence of the final
products.

Moreover, the report evaluates the center’s socio-economic impact on the

local community, considering aspects such as employment generation, skill
development, and cultural preservation. It also addresses challenges faced by
the center, such as access to resources and market competitiveness, offering
recommendations for improvement.

Overall, the field visit report provides valuable insights into the pottery
production center, shedding light on its significance, operations, and
potential for growth.Our purpose and objectives to visit the pottery
production center were to observe the skills practiced by the artisans who
worked there and the socializing between them. Also, connect the traditional
knowledge of the pottery-making process and tools to our basic technical
knowledge.
PHOTOGRAPHS
 INTRODUCTION

During our recent field visit to the Kerala Gandhi Smarak Nidhi Pottery
Production Centre in Thozhukkal, Neyyatinkara, we were immersed in the
rich heritage and craftsmanship of traditional pottery making. Located
amidst the serene backdrop of Neyyatinkara, this center stands as a testament
to the age-old artistry passed down through generations. From the moment
we arrived, the air was filled with the earthy aroma of clay, and the rhythmic
sounds of skilled artisans shaping their creations echoed through the facility.

Our exploration delved deep into every aspect of pottery production, from
the initial preparation of raw materials to the intricacies of shaping, firing,
and glazing. We witnessed firsthand the meticulous techniques employed by
the artisans, honed over years of practice and expertise. Additionally, we had
the opportunity to engage with the artisans, learning about their experiences,
challenges, and aspirations in preserving this traditional craft amidst
modernization.

Moreover, the report evaluates the center’s socio-economic impact on the

local community, considering aspects such as employment generation,
skill development, and cultural preservation. It also addresses challenges
faced by the center, such as access to resources and market competitiveness,
offering recommendations for improvement.

Overall, our visit to the pottery production center in Thozhukkal was not just
an educational experience but also a journey into the soul of Neyyatinkara's
cultural heritage. Through this report, we aim to capture the essence of our
observations, shedding light on the significance of pottery in the region and
the efforts required to sustain this invaluable tradition for generations to
come.
 HISTORY OF POTTERY PRODUCTION

India boasts a centuries-old tradition of pottery making, dating back to the

Indus Valley Civilization, where pottery served both utilitarian and artistic
purposes. Over time, various regions developed distinct styles and
techniques, influenced by cultural, geographical, and technological factors.
Similarly, pottery holds a significant place in the history of global
civilizations. From the ancient civilizations of Mesopotamia and Egypt to
the renowned pottery of China’s Tang Dynasty and Japan’s exquisite
ceramic art, pottery has been integral to human culture and development.
The field visit illuminated the continuity of traditional methods alongside
modern innovations in pottery production, underscoring its enduring
relevance and adaptability.

Pottery production centers exemplifies this blend of tradition and innovation,

contributing to India’s vibrant pottery heritage while embracing
contemporary demands and market trends. India boasts a centuries-old
tradition of pottery making, dating back to the Indus Valley Civilization,
where pottery served both utilitarian and artistic purposes. Over time,
various regions developed distinct styles and techniques, influenced by
cultural, geographical, and technological factors.Pottery is the process and
the products of forming vessels and other ceramic materials, which is fixed
at high temperature giving them a hard, durable form.

Earthen pots are heat resistant, support low cooking, and require less amount
of oil for cooking as compared to other cookware, and cooking food in clay
pots increases immunity.The field visit to the in Smarak Nidhi pottery
production Centre started in 1980 in Thozhukkal, Neyyatinkara.. It has been
working for more than 42 years provided valuable insights into the rich
history of pottery production in India and globally. There were about 40
employers and now there are only 15 employers. Those working here have
received up to 5 awards as they have been working in this field for a long
time.
 RAW MATERIALS USED

Pottery is made by combining naturally occurring raw materials, such as

clay, sand, earthen minerals, and water, and shaping them into the form using
pottery wheels.clay is the basic raw material used for pottery production
which is collected from fertile fields in Amaravila. These raw materials are
available in a moderate climate. In the rainy season, the collection of clay
and other materials is difficult. some other tools such as bamboo sticks, metal
blades, thread, and small iron sticks are used to do the decoration work on
the clay bodies.once shaped, the clay body is driven and fixed in a kiln at a
high temperature to be hardened and heat resistant.
 POTTERY PRODUCTION PROCESS

Pottery production involves several key processes, including:

1. Clay Preparation: Raw clay is collected and refined to remove

impurities, then mixed with water to achieve the desired consistency.
2. Forming: There are various techniques for forming pottery, such as
hand-building (using coils, slabs, or pinching), wheel-throwing (using a
potter’s wheel), or mold casting.
3. Decoration: Pottery can be decorated through methods like painting,
carving, stamping, or applying glazes before firing.
4. Drying: Once formed and decorated, the pottery needs to dry slowly to
prevent cracking. This may take several days to weeks, depending on the
size and thickness of the piece.
5. Bisque Firing: The dried pottery is fired in a kiln at a relatively low
temperature to harden it without vitrifying it completely. This process is
called bisque firing.
6. Glazing (optional): Glazes, which are liquid suspensions of minerals,
can be applied to pottery to add color, texture, and protection. After
glazing, the pottery is fired again at a higher temperature to fuse the glaze
to the surface.
7. Final Firing: The pottery undergoes a final firing at a higher temperature
to fully vitrify the clay and glaze, making it durable and waterproof.
8. Cooling and Finishing: After firing, the pottery is allowed to cool slowly
in the kiln before being removed. It may then undergo additional finishing
touches such as polishing or attaching handles.
 MIXING

In the mixing process, first of all, the workers filter the sand and separate the clay
from hard stones, plastic, etc.then they mix the clay and sand with sufficient water
using their legs. after that, this mixture will pass through pugmill machines. The
pugmill machine acts as a grinder here, it grinds the clay mixture. Bypassing the
clay mixture through the pugmill continuously 5-6 times, it grinds the clay
mixture thoroughly, disturbing water through the clay until it is at a perfectly
workable consistency.
 PRODUCTION USING POTTERY WHEELS

In pottery, a potter wheel is a machine used in the shaping (known as throwing)

of clay into round ceramic ware. The wheels may be used during the process of
trimming excess clay from leather – hard dried ware.a pottery wheel has a circular
plinth or wheels head that rotates whilst the potter’s hands are free to shape the
clay.

The potter uses pressure against the centrifuge force of the clay to shape it. The
wheel head can be made to move manually or with an electric motor.The main
feature of a pottery wheel is a rotating circular metal disc. This is called the wheel
head. The wheel head is attached to a shaft (or pole) that disappears into the body
of the wheel.

Usually, there is a plastic pan that sits beneath and around the wheel head if the
pottery wheel is an older model, this might be wooden or metal. This is called the
splash pan. The splash pan is designed to catch any water, clay, or slip that comes
from the pottery as it’s being formed.
 THE CLAY SHAPES

Clay is placed on the center of the wheel head and attaches to the wheel head.
The potter uses their hands to shape the clay as it turns on the wheel. The clay
needs to be wet and slip under their hands and fingers potter uses a combination
of pressure and finger sand hand position to form the pottery. The wheel relies
on the principle of centrifugal force. This is the tendency for materials to be
thrown outwards from the center of the rotating wheel. The potter uses their hands
with and against the centrifugal force to shape the clay (source). The process is
known as throwing on the wheel.
 FURNACE

A kiln or furnace is a thermally insulated chamber, a type of oven, that produces

temperatures sufficient to complete some process, such as hardening, drying, or
chemical changes. Kilns have been used for millennia to turn objects made from
clay into pottery. Furnaces get their name from the Greek word “fornax,” which
means oven. The first furnaces were stone or clay structures.
 PRODUCTION DETAILS

In this centre almost 15 potters are worked, and each person can make 50 pots
per day. In every 5 minute they can make one pottery product with good quality.
The table shows the daily production of products in the centre.

Daily production units

Item Production/day(Nos)

Jug 4x2 inch 30

Fell 1 inch 100
Plant port 10x4 inch 50
Plant port 8x4 inch 50
Plant port 4x4 inch 55
Plant port 5x3 inch 60

Daily production cost

Item Production Cost/unit (Rs)

Jug 4x2 inch 400

Fell I inch 0.5
Plant port 10x4 inch 180
Plant port 8x4 inch 170
Plant port 4x4 inch 160
Plant port 5x3 inch 140
 MARKETING AND SALES

Making beautiful pottery out of a hunk of clay takes creativity and skill. The next
step requires letting prospective buyers know about your work if you want to
remove it beyond the hobby stage. Pottery starts with identifying your target
market to help refine the message you want prospective buyers to see. Then it’s
a matter of trying different tactics to let buyers in your target know your product
is for sale.The restaurants, hotels, furniture accessory stores, and others to see, if
they would be willing to buy the product on consignment, it increased marketing.

Sales price of products

Item Sale Price/unit (Rs)

Jug 4x2 inch 420
Fell 1 inch 2
Plant port 10x4 inch 190
Plant port 8x4 inch 180
Plant port 4x4 inch 170
Plant port 5x3 inch 160

LIMITATIONS

The paucity of working capital is another main problem of the pottery sector.
Because of the lack of adequate working capital, potters are not in a position to
buy the raw materials of the required quantity, and the low investment cause low
production in turn low production. This industry is facing different kinds of
challenges or problems like shortage of raw materials, manpower, and lack of
space to dry the formed pottery, firing pottery to store the finished goods along
with different raw materials. The climate is affect pottery production. In the rainy
season, the pottery dries very difficult. So the production process terminated.
decreasing the production of pottery.
 SUGGESTIONS FOR IMPROVEMENT

Kerala is known for its heritage of pottery. The way the traditional artisans of
kerala mold clay to make beautiful pots and other household utensils will
certainly surprise everyone. Get involved with craft fairs, farmer’s markets, and
art shows open to the public to get the word out about your pottery. Practicing
self-care, prioritizing organization, and acquiring new skills are fundamental
practices that can help you improve work performance. Areas of improvement
are skills, qualities, or abilities that an employee could develop or enhance.
Companies must maintain raw materials inventory availability to ensure a smooth
production process with good quality, on-time, and affordable cost.
 QUESTIONAIRE

Worker: 1

1. How many years you had working here.?

35 years

2. what about wage settlement.?

Rs: 4500-5000pm

3. How may products you had made in a day.?

50
4. How may time need you to complete a product?
minute

5. Do you have any disease due to this job?

No
6. Are you satisfied in the job?

Yes, it is my passion, but low salary.

7. Did you recommend any youngster to join this job with this experience?

No, I will not

8. How many working days in a week.?

6 days

9. Did you get any insurance in this job?

No
10. Any recommendation about this job field.?

Give salary hike, Give insurance for us

11. Is there is any quality checking technique.?

 No

12. How you transport your product.?

In a lorry
13. Did you export the product to the other country?

No
14. Did you take bulk order from merchants?

Yes
15. Did you sell any products in the production unit?

Yes
16. Did you tried to sell products to international market.?

Yes, but not possible

17. Where did you get the clay?

From Amaravila.
18. Why Kerala clay is used.?

It is good for making pots

19. Why did you make kitchen products?

It will take more time for making and our clay is not good for that.

20. Is this production unit is profitable.?

No
 CONCLUSION

That pottery making was a household affair is supported by the fact that each
vessel is a unique combination of characteristics. The beauty of this art is the
essence and culture that the craftsmen have still maintained for many years. It
becomes a tradition to carry this art form for generations. The art is influenced by
the history and past methods used by the craftsmen and has evolved since then. It
shows a perspective of life when we observe the hard work and interest that they
show in this field. The themes that they use and work on e.g. – religion or culture,
are inspiring.
However, It is a little disappointing that art forms such as pottery do not get
enough support both socially as well as economically. It is very tough to see such
an Art form fade away when it has such a great history associated with it. Also,
there is more scope for educating such artists in both domains of art as well as
business. In terms of art, the artists can learn what other experiments they can
carry out and what happens in the world that they can absorb and implement. In
terms of business, they can learn how to copyright and sell their products and also
implement fast machines and manpower if required.
Our exploration delved deep into every aspect of pottery production, from the
initial preparation of raw materials to the intricacies of shaping, firing, and
glazing. We witnessed firsthand the meticulous techniques employed by the
artisans, honed over years of practice and expertise. Additionally, we had the
opportunity to engage with the artisans, learning about their experiences,
challenges, and aspirations in preserving this traditional craft amidst
modernization.
 REFERENCE

• Gupta, K.C. Progress and Prospects of Pottery Industry in India: A Case

Study of U.P. Delhi: Mittal Publications,1988

• Perryman, Jane. Naked Clay- Ceramics Without Clay. London: A.&C.

Black Publishers Ltd., 2004.

• Fuller, Dorian Q. “Ceramic, seeds and culinary change in Prehistoric

India”. Antiquity79. Pp. 761-777. 2005

• Misra, Dr, Awadhesh. (Eds.). “Prachay Mein Navya Avbhodh: Kripal

Singh Shekhawat.” Kala Dirgha. Vol 10 Issue 20, 2010.

• Shrirao, Sawai and Handa. “Design of Mechanism For Specific Profile On

Earthen Pot Making.” International Journal for Innovative Research in
Science &Technology. Vol 1 Issue 7, 2014.

• Kumari, Preeti. Krishnan, Radha. & Sharma, L.K. “Energy Efficient

Tunnel Kilns With Superlative Firing Atmospherefor Ceramic. Industries.”
International Journal of Innovative Science, Engineering & Technology.
Vol 2 Issue 7, 201

• M. Lalithambika, Modernization of Traditional Pottery, IRTC Monograph

Integrated Ural Technology Centre, Mundur, Palakkad, November 2016.

• Dinesha. P.T, Rethinking Skill Development and Women Empowerment,

Centre for study of Social Exclusion and Inclusive Policy University of
Mysore, Mysore, Karnataka, 2016.
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