**8. Craft designs**

**Figure 10.** Levi O'bem Yakubu, Chief Executive of Dajo Pottery Limited, Makurdi, Benue State, Nigeria (2012).

**Figure 11.** Ceramic test kiln, constructed by a Higher National Diploma student of the Federal Polytechnic, Auchi, Edo

Graphical design is all about us, in our daily newspapers, on our commute to work, on book covers and in logos, websites, advertisements, bill boards, product packaging and posters, etc. Graphics has been used as a tool of communication, like journalists in media organizations, radios and newspapers, and so is an artist in advertising. The mode of communication requires the use of graphical signs and symbols as a medium through which creativity is expressed, generating a societal response that is either positive or negative. Apart from the fact that products are advertised over and over until the public develop a strong feeling of acceptability for them, traditional graphics' inscriptions are influential media products that are vital to society for information dissemination, education, entertaining the public and contributing to

State, Nigeria (Ogunduyile, S.R, 2006).

234 Advances in Industrial Design Engineering

**7.4. Graphics**

#### **8.1. Calabash decoration**

Calabashes - or gourds - are the fruits of several varieties of creeper, some of which are grown along with farm crops. Their creation involve carving and sawing, burning (pyro-engraving) and scorching with heated metal tools, colouring with karan dafi dye and whitening with clay.

**Figure 13.** Calabash decorations by Cynthia Oldenkamp (source: http://www.uni.edu/gai/Nigeria/Lessons/Cala‐ bash.html).

#### **8.2. Woodworks**

Osogbo, Benin, Oyo and Akwa have been acknowledged as centres of woodcarving and technology. The carvers have flourished extensively in the southern part of Nigeria from time immemorial, making figures for shrines, masks, portraitures representative of the spirits of the sky, sea, earth, forest, stream, fire and thunder. Many of the old carvers' works are found in museums and public places. Prominent among these woodcarvers is Lamidi Olonade Fakeye (figure 14), who introduces decorative doors into modern architecture (carved doors in low relief) using Yoruba graphic symbology through the mix of traditional interlaces, circles and linear designs based on curves and squares, blending them with figurative images. He was an apprentice to the master carver George Bamidele Arowoogun. In 1978, he became an instructor at the Obafemi Awolowo University in Ile-Ife, Nigeria, where he unveiled his incredible statue of *Odudua* (a Yoruba legend) nine years later. Between 1989 and 1995, Lamidi served as artist-in-residence at several prestigious American universities. He uses a lot of political themes in order to promote national unity among the Yoruba, Hausa and Igbo. Examples of his work can be found at:

for upholstered baby cots, side tables and hamper baskets. The prominent production centres are Lagos, Abeokuta, Ibadan, Onitsha and other commercial centres. The industry possesses the functional capability to serve human needs in homes, offices and outdoor engagements as their processes have unique characteristics which distinguish them from machine-fabricated

Visual and Material Culture in the Context of Industrial Design: The Contemporary Nigerian Experience

http://dx.doi.org/10.5772/54548

237

(a)

(b) (c)

drummer beating the drum, Source: http://yorupedia.com/subjects/education/yoruba-music/

**Figure 15.** a) Typical Nigerian cane furniture (2012), b) A Yoruba talking drum with the stick hanged on it, c) Yoruba

This is used as a Yoruba talking drum called "Dundun" - a double membrane hourglassshaped tension drum. They are used in activities such as ritual performances, ceremonies (burials, marriages and chieftaincy), for communication in heralding a visitor's arrival and as a source of information for kings and villagers. The production relied upon wooden frames and leather membrane fastening with rope. They are operated with a drum stick referred to as "Opa Ilu" made from a wood called "Ita" or "Agboyin", which has the characteristics of been curved at one end permanently at such convenient that it can be used to beat the talking drum. The talking drum has a percussion stick (a 1 – ½ foot long beating stick with a curve

substitutes (Kayode, 2004).

**8.4. Leather works**

end knob)


**Figure 14.** Great Master Carver Lamidi Fakeye (source: http://37thstate.tumblr.com/post/20410112677/great-mas‐ ter-carver-lamidi-fakeye).

#### **8.3. Cane works**

Cane work is one of the major craft industries in Nigeria, with its raw materials of cane and willow sourced from the forest. The production method is conducted through weaving by crossing them over and under one another at right angles in three-dimensional forms, such as for upholstered baby cots, side tables and hamper baskets. The prominent production centres are Lagos, Abeokuta, Ibadan, Onitsha and other commercial centres. The industry possesses the functional capability to serve human needs in homes, offices and outdoor engagements as their processes have unique characteristics which distinguish them from machine-fabricated substitutes (Kayode, 2004).

**Figure 15.** a) Typical Nigerian cane furniture (2012), b) A Yoruba talking drum with the stick hanged on it, c) Yoruba drummer beating the drum, Source: http://yorupedia.com/subjects/education/yoruba-music/

#### **8.4. Leather works**

**8.2. Woodworks**

236 Advances in Industrial Design Engineering

Examples of his work can be found at:

**3.** Catholic Chapel door at the University of Ibadan.

Ife in 1955.

ter-carver-lamidi-fakeye).

**8.3. Cane works**

Osogbo, Benin, Oyo and Akwa have been acknowledged as centres of woodcarving and technology. The carvers have flourished extensively in the southern part of Nigeria from time immemorial, making figures for shrines, masks, portraitures representative of the spirits of the sky, sea, earth, forest, stream, fire and thunder. Many of the old carvers' works are found in museums and public places. Prominent among these woodcarvers is Lamidi Olonade Fakeye (figure 14), who introduces decorative doors into modern architecture (carved doors in low relief) using Yoruba graphic symbology through the mix of traditional interlaces, circles and linear designs based on curves and squares, blending them with figurative images. He was an apprentice to the master carver George Bamidele Arowoogun. In 1978, he became an instructor at the Obafemi Awolowo University in Ile-Ife, Nigeria, where he unveiled his incredible statue of *Odudua* (a Yoruba legend) nine years later. Between 1989 and 1995, Lamidi served as artist-in-residence at several prestigious American universities. He uses a lot of political themes in order to promote national unity among the Yoruba, Hausa and Igbo.

**1.** The Kennedy Centre panel door for the cultural centre, Washington DC, USA.

**2.** House posts for the Edena gate house of the Oni of Ife's palace, Aderemi Adesoji's at Ile

**Figure 14.** Great Master Carver Lamidi Fakeye (source: http://37thstate.tumblr.com/post/20410112677/great-mas‐

Cane work is one of the major craft industries in Nigeria, with its raw materials of cane and willow sourced from the forest. The production method is conducted through weaving by crossing them over and under one another at right angles in three-dimensional forms, such as

This is used as a Yoruba talking drum called "Dundun" - a double membrane hourglassshaped tension drum. They are used in activities such as ritual performances, ceremonies (burials, marriages and chieftaincy), for communication in heralding a visitor's arrival and as a source of information for kings and villagers. The production relied upon wooden frames and leather membrane fastening with rope. They are operated with a drum stick referred to as "Opa Ilu" made from a wood called "Ita" or "Agboyin", which has the characteristics of been curved at one end permanently at such convenient that it can be used to beat the talking drum. The talking drum has a percussion stick (a 1 – ½ foot long beating stick with a curve end knob)

The crafts belong to cultural industries which place emphasis on those industries whose inspiration is derived from heritage, traditional knowledge and the artistic element of

Visual and Material Culture in the Context of Industrial Design: The Contemporary Nigerian Experience

http://dx.doi.org/10.5772/54548

239

In most countries with advanced design practices, industrial designs are registered in order to be protected under industrial design law. As a general rule, for registration, the design must be "new" or original. Generally, a rule may vary across countries but "new" means that no other identical or very similar design is known. In the Nigerian context, industrial designs are yet to fully evolve into modern creative expression, despite a vast heritage of a rich visual and material culture which is manifested well in the arts and crafts. With a seeming limitation in access to modern technological design tools, industrial design practice had been side-tracked into placing more emphasis on the profusion of cultural elements in local objects' functions over the development of technical features which are also indispensable tools in optimizing product quality and efficiency. In the recent trend where Nigerian product users are increas‐ ingly exposed to the aesthetic and functional capabilities offered by modern design products, the appreciation of local products tends to be disfavoured. This is not to say that local design products are performing poorly on the functional level, but there seems to a technological gap that must be filled by local products in order to favourably compete with the highly standar‐ dized design products. Of course, industrial design in Nigeria has the potential to increase the value of manufactured products, improve living conditions and provide the continent with a weapon to wage a war on substandard products from other continents. However, industrial designers must wake up if they are to harness the rich cultural heritage within their borders with the necessary technical know-how so as to become relevant in the socioeconomic

The concept of sustainable product development in Nigeria captured the subject through notions of development, poverty, trade, population, social and cultural conditions. All of these matter in addressing the supply and demand of economics. This study further observed that early industrial designers' work was primarily focused on physical products but, today, this requires applied behavioural science, rapid prototyping, statistical knowledge and the ability

The study reveals further that the development and diffusion of domestic and improved technologies in cultural products' design within small-scale industries offers a lot in terms of enterprise productivity, employment generation and import substitution. The development of product designs is significant to the economic life of any nation. It has the tendency to

**10. The dilemma of the interface between local crafts and modern**

advancement of the 21st century (Ogunduyile & Akinbogun, 2006).

creativity.

**technology**

**11. Conclusion**

to develop experimental designs.

**Figure 16.** Leather works made in Northern Nigeria (bags, sandals and wristwatch straps).

### **9. Entrepreneurial product development**

The concept of sustainable product development should satisfy public demand for services. It addresses both the demand and supply side of the economic equation. Product designers are traditionally concerned with the relationship between manufactured artefacts and people, enhancing the link between the environment and society through environmentally friendly products. It seeks to do this by attaching sustainable criteria to the quality and value of products.

Skilled and talents are used creatively in the production of traditional crafts items which gave birth to the creative product industries. The industries have their origin in individual creativity, skill and talent, which have a potential for wealth and job creation as well as the generation and exploration of intellectual property (e.g., blacksmithing, goldsmithing, pottery, leather‐ work, woodwork and calabash engraving).

The crafts belong to cultural industries which place emphasis on those industries whose inspiration is derived from heritage, traditional knowledge and the artistic element of creativity.
