Green OL 1-0
Green OL 1-9
Black OL 2-3
Black OL 2-0-E
Black OL 2-0
Brown OL 3-2
Brown OL 3-4
Brown OL 3-5
Pink OL 0-1
Blue OL 4-2
Blue OL 4-1
Blue OL 4-0
Blue OL 5-0
martes, 29 de diciembre de 2009
Colores Olucha samples after firing
In the present document I want to share with you several photos that we took from our samples after firing. They are not high quality photos but they can give you an idea about the intensity that our products are offering to ceramic tiles companies. There aren't companies that could offer same intensity as we do, and there aren't companies that could say that they're Nº1 in the world in quality production of ceramic pigments, we're Nº1 in production of high performance ceramic colours, why don't you test them??????
Green OL 1-0
Green OL 1-9
Black OL 2-3
Black OL 2-0-E
Black OL 2-0
Brown OL 3-2
Brown OL 3-4
Brown OL 3-5
Pink OL 0-1
Blue OL 4-2
Blue OL 4-1
Blue OL 4-0
Blue OL 5-0
Green OL 1-0
Green OL 1-9
Black OL 2-3
Black OL 2-0-E
Black OL 2-0
Brown OL 3-2
Brown OL 3-4
Brown OL 3-5
Pink OL 0-1
Blue OL 4-2
Blue OL 4-1
Blue OL 4-0
Blue OL 5-0
miércoles, 23 de diciembre de 2009
COLORES OLUCHA
Con estilo propio
En este nuevo numero del Boletín Mensual de Colores Olucha S.L vamos a continuar con el analisis y presentacion de la empresa, en el numero anterior vimos como eran cada uno de los productos de que dispone la empresa en su paleta de colores, en el numero actual vamos a analizar la idiosincrasia de una empresa que nace en 1987 como empresa familiar y que hoy en dia continua con el mismo sistema de trabajo, habiendo sabido adaptar cada uno de sus procesos a los nuevos tiempos.
De este modo el nacimiento de Colores Olucha SL se realiza con la intencion de llegar al sector ceramico nacional como una empresa que genera colores de alto rendimiento, de alta calidad.
Desde el primer momento la empresa se especializa en la fabricación de productos de alta calidad, para de este modo diferenciarse de otras empresas que llevan mas años en el sector o tienen una mayor fortaleza economica o de recursos.
Aunque este primer planteamiento pueda parecer sencillo sobre el papel, para llegar a dar validez al mismo han hecho falta muchas horas de trabajo y un gran esfuerzo tanto tecnico como humano. Asi la empresa desde el principio crea su propio sistema de trabajo diferenciado de grandes referentes historicos del sector y crea sus propios controles y estandares de calidad. Con esta definición propia de la empresa es como se llega a lograr una empresa individual y particular alejada del modelo conocido en el sector ceramico.
El estándar del año 1987
Recordar que estamos en el año 1987, hace por tanto 22 años, en este momento es cuando toma forma toda la estructura tecnica de la empresa que posteriormente ha ido evolucionando con los años.
En este primer momento es cuando la estructura tecnica de la empresa define la etica de trabajo y el proceso de fabricación y control, es cuando la empresa decide que en el sector ceramico los principales problemas en fabricación aparecen cuando hay una gran variabilidad dentro de la materia prima. Cuando a pesar de los estandares de calidad que se adoptan en las diferentes empresas, nuncas se logra en las empresas ceramicas recibir el mismo producto exactamente dos veces seguidas desde los distribuidores de materia prima.
De este modo se generan las PRUEBAS DE CONTINUIDAD por medio de las cuales la empresa logra asegurar que SIEMPRE el producto que va a llegar al cliente final va a ser el mismo que nuestros tecnicos manejan en laboratorio, sin tolerancia y sin modificaciones sobre las muestras que se ofrecen a los clientes para probar.
• Carmin
• Verde
• Negro
• Marron
• Azul
• Amarillo
Aunque a simple vista pueda parecer una gama de colores corta, estos productos hacen por representar los colores primarios y secundarios que se obtienen de la difracción de la luz.
De este modo y a la espera de algun nuevo de desarrollo que la empresa espera disponer entre final de año y principios del proximo, la empresa pretende representar con esta paleta de colores las necesidades que se plantea en la teoria del color sobre colores primarios y secundarios.
A continuacion se adjuntan imagenes de cada uno de los colores principales que componen las familias de colores de la empresa.
Marron:
Negro:
Verde:
Carmin:
Amarillo:
Azul:
Con estilo propio
En este nuevo numero del Boletín Mensual de Colores Olucha S.L vamos a continuar con el analisis y presentacion de la empresa, en el numero anterior vimos como eran cada uno de los productos de que dispone la empresa en su paleta de colores, en el numero actual vamos a analizar la idiosincrasia de una empresa que nace en 1987 como empresa familiar y que hoy en dia continua con el mismo sistema de trabajo, habiendo sabido adaptar cada uno de sus procesos a los nuevos tiempos.
De este modo el nacimiento de Colores Olucha SL se realiza con la intencion de llegar al sector ceramico nacional como una empresa que genera colores de alto rendimiento, de alta calidad.
Desde el primer momento la empresa se especializa en la fabricación de productos de alta calidad, para de este modo diferenciarse de otras empresas que llevan mas años en el sector o tienen una mayor fortaleza economica o de recursos.
Aunque este primer planteamiento pueda parecer sencillo sobre el papel, para llegar a dar validez al mismo han hecho falta muchas horas de trabajo y un gran esfuerzo tanto tecnico como humano. Asi la empresa desde el principio crea su propio sistema de trabajo diferenciado de grandes referentes historicos del sector y crea sus propios controles y estandares de calidad. Con esta definición propia de la empresa es como se llega a lograr una empresa individual y particular alejada del modelo conocido en el sector ceramico.
El estándar del año 1987
Recordar que estamos en el año 1987, hace por tanto 22 años, en este momento es cuando toma forma toda la estructura tecnica de la empresa que posteriormente ha ido evolucionando con los años.
En este primer momento es cuando la estructura tecnica de la empresa define la etica de trabajo y el proceso de fabricación y control, es cuando la empresa decide que en el sector ceramico los principales problemas en fabricación aparecen cuando hay una gran variabilidad dentro de la materia prima. Cuando a pesar de los estandares de calidad que se adoptan en las diferentes empresas, nuncas se logra en las empresas ceramicas recibir el mismo producto exactamente dos veces seguidas desde los distribuidores de materia prima.
De este modo se generan las PRUEBAS DE CONTINUIDAD por medio de las cuales la empresa logra asegurar que SIEMPRE el producto que va a llegar al cliente final va a ser el mismo que nuestros tecnicos manejan en laboratorio, sin tolerancia y sin modificaciones sobre las muestras que se ofrecen a los clientes para probar.
• Carmin
• Verde
• Negro
• Marron
• Azul
• Amarillo
Aunque a simple vista pueda parecer una gama de colores corta, estos productos hacen por representar los colores primarios y secundarios que se obtienen de la difracción de la luz.
De este modo y a la espera de algun nuevo de desarrollo que la empresa espera disponer entre final de año y principios del proximo, la empresa pretende representar con esta paleta de colores las necesidades que se plantea en la teoria del color sobre colores primarios y secundarios.
A continuacion se adjuntan imagenes de cada uno de los colores principales que componen las familias de colores de la empresa.
Marron:
Negro:
Verde:
Carmin:
Amarillo:
Azul:
FELIZ NAVIDAD
Desde Colores Olucha os deseamos a todos que paseis una Feliza Navidad y tengais un prospero Año Nuevo, nos vemos el proximo dia 4 de Enero de 2010.
Un saludo
Dpto. Marketing
Colores Olucha
jueves, 10 de diciembre de 2009
Frit is a ceramic composition that has been fused, quenched to form a glass, and granulated. Frits form an important part of the batches used in compounding enamels and ceramic glazes; the purpose of this pre-fusion is to render any soluble and/or toxic components insoluble by causing them to combine with silica and other added oxides.
In antiquity, frit could be crushed to make pigments or shaped to create objects. It may also have served as an intermediate material in the manufacture of raw glass. The definition of frit tends to be variable and has proved a thorny issue for scholars. In recent centuries, frits have taken on a number of roles, such as biomaterials and additives to microwave dielectric ceramics. Frit in the form of alumino-silicate can be used in glaze free continuous casting refractories.
Ancient frit
Archaeologists have found evidence of frit in Egypt, Mesopotamia, Europe, and the Mediterranean.[2] The definition of frit as a sintered, polycrystalline, unglazed material can be applied to these archaeological contexts. It is typically colored blue or green.
Blue frit
Blue frit, also known as Egyptian blue, was made from quartz, lime, a copper compound, and an alkali flux, all heated to a temperature between 850 and 1000°C. Quartz sand may have been used to contribute silica and calcium to the frit. The copper content must be greater than the lime content in order to create a blue frit. Ultimately the frit consists of curprorivaite (CaCuSi4O10) crystals and “partially reacted quartz particles bonded together” by interstitial glass. Despite an argument to the contrary, scientists have found that, regardless of alkali content, the cuprorivaite crystals develop by “nucleation or growth within a liquid or glass phase.”
However, alkali content—and the coarseness of the cuprorivaite crystals—contribute to the shade of blue in the frit.[9] High alkali content will yield “a large proportion of glass,” thereby diluting the cuprorivaite crystals and producing lighter shades of blue. Regrinding and resintering the frit will create finer cuprorivaite crystals, also producing lighter shades.
The earliest appearance of blue frit is as a pigment on a tomb painting at Saqqara dated to 2900 BC, though its use became more popular in Egypt around 2600 BC. Blue frit has also been uncovered in the royal tombs at Ur from the Early Dynastic III period. Its use in the Mediterranean dates to the Thera frescoes from the Late Middle Bronze Age.
While the glass phase is present in blue frits from Egypt, scientists have not detected it in blue frits from the Near East, Europe, and the Aegean. Natural weathering, which is also responsible for the corrosion of glasses and glazes from these three regions, is the likely reason for this absence.
At Amarna, archaeologists have found blue frit in the form of circular cakes, powder residues, and vessel fragments. Analysis of the microstructures and crystal sizes of these frits has allowed Hatton, Shortland, and Tite to deduce the connection among the three materials. The cakes were produced by heating the raw materials for frit, then they were ground to make powders, and finally, the powders were molded and refired to create vessels.
In On Architecture, the first century BC writer Vitruvius reports the production of ‘caeruleum’ (a blue pigment) at Pozzuoli, made by a method used in Alexandria, Egypt. Vitruvius lists the raw materials for caeruleum as sand, copper filings, and ‘nitrum’ (soda). Indeed, analysis of some frits that date to the time of Thutmose III and later show the use of bronze filings instead of copper ore.
Stocks suggests that waste powders from the drilling of limestone, combined with a minor concentration of alkali, may have been used to produce blue frits. The powders owe their copper content to the erosion of the copper tubular drills used in the drilling process. However, the archaeological record has not yet confirmed such a relationship between these two technologies.
Green frit
Evidence of the use of green frit is so far confined to Egypt. Alongside malachite, green frit was usually employed as a green pigment. Its earliest occurrence is in tomb paintings of the 18th dynasty, but its use extends at least to the Roman period. The manufacture of green and blue frit relies on the same raw materials, but in different proportions. To produce green frit, the lime concentration must outweigh the copper concentration. The firing temperature required for green frit may be slightly higher than that of blue frit, in the range of 950 to 1100°C. The ultimate product is composed of copper-wollastonite ([Ca,Cu]3Si3O9) crystals and a “glassy phase rich in copper, sodium, and potassium chlorides.”
In certain circumstances (the use of a two-step heating process, the presence of hematite), scientists were able to make a cuprorivaite-based blue frit that later became a copper-wollastonite-based green frit at a temperature of 1050°C.
On some ancient Egyptian wall paintings, pigments that were originally blue are now green: the blue frit can “devitrify” so that the “copper wollastonite predominates over the lesser component of cuprorivaite.” As with blue frit, Hatton, Shortland, and Tite have analyzed evidence for green frit at Amarna in the form of cakes, powders, and one vessel fragment and inferred the sequential production of the three types of artifacts.
Relationships among frit, glass, and faience
An Akkadian text from Assurbanipal’s library at Nineveh suggests that a frit-like substance was an intermediate material in the production of raw glass. This intermediate step would have followed the grinding and mixing of the raw materials used to make glass. An excerpt of Oppenheim’s translation of Tablet A, Section 1 of the Nineveh text reads:
“You keep a good and smokeless fire burning until the ‘metal’ (molten glass) becomes fritted. You take it out and allow it to cool off.”
The steps that follow involve reheating, regrinding, and finally gathering the powder in a pan. Following the Nineveh recipe, Brill was able to produce a “high quality” glass. He deduced that the frit intermediate is necessary so that gases will evolve during this stage and the end product will be virtually free of bubbles. Furthermore, grinding the frit actually expedites the “second part of the process, which is to…reduce the system to a glass.”
Moorey has defined this intermediate step as “fritting,” “a process in which the soluble salts are made insoluble by breaking down the carbonates, etc. and forming a complex mass of sintered silicates.” A frit preserved in a “fritting pan fragment” kept in the Petrie Museum “shows numerous white flecks of unreacted silica and a large number of vesicles where gases had formed.” Ancient writers like Theophilus describe the importance of “stirring” for many hours during the fritting process.
But whether this “fritting” was done in antiquity as a deliberate step in the manufacture of raw glass remains questionable. The compositions of frits and glasses recovered from Amarna do not agree in a way that would imply frits were the immediate precursors of glasses: the frits have lower concentrations of soda and lime and higher concentrations of cobalt and alumina than the glasses have.
Scholars have suggested several potential connections between frit and faience. Kühne proposes that frit may have acted as the “binding agent for faience” and suggests that this binder was composed predominantly of silica, alkali, and copper with minor concentrations of alkali earths and tin. But analysis of a wide array of Egyptian frits contradicts the binder composition that Kühne offers. Vandiver and Kingery argue that one method of producing a faience glaze was to “frit or melt the glaze constituents to form a glass,” then grind the glass and form a slurry in water, and finally apply the glaze “by dipping or painting.” However, their use of “frit” as virtually synonymous with “melt” represents yet another unique take on what a “frit” would constitute. Finally, Tite et al. report that frits, unusually colored blue by cobalt, found in “fritting pans” at Amarna have compositions and microstructures similar to that of vitreous faience, a higher-temperature form of Egyptian faience that incorporated cobalt into its body.[48] In their reconstruction of the manufacture of vitreous faience, Tite et al. propose that the initial firing of raw materials at 1100-1200°C produces a cobalt-blue frit, which is then ground, molded, and glazed.
In general, frits, glasses, and faience are similar materials: they are all silica-based but have different concentrations of alkali, copper, and lime. However, as Nicholson states, they are distinct materials because “it would not be possible to turn faience into frit or frit into glass simply by further, or higher temperature, heating.”
The use of frit as pigments and as entire objects does give credence to the idea that frit-making was, to some extent, a “specialized” industry. Indeed, scientists have determined that frit objects, such as amulets, beads, and vessels, have chemical compositions similar to those of powder frits designed for use as pigments. Nevertheless, determining the exact technical relationships among the frit, glass, and faience industries is an area of current and, likely, future scholarly interest. The excavations at Amarna offer a spatial confirmation of these potential relationships, as the frit, glass, and faience industries there were located “in close proximity” to one another.
Fritware
Fritware refers to a type of pottery which was first developed in the Near East, where production is dated to the late first millennium AD through the second millennium AD. Frit was a significant ingredient. A recipe for “fritware” dating to c. 1300 AD written by Abu’l Qasim reports that the ratio of quartz to “frit-glass” to white clay is 10:1:1. This type of pottery has also been referred to as “stonepaste” and “faience” among other names. A ninth century corpus of “proto-stonepaste” from Baghdad has “relict glass fragments” in its fabric. The glass is alkali-lime-lead-silica and, when the paste was fired or cooled, wollastonite and diopside crystals formed within the glass fragments. The lack of “inclusions of crushed pottery” suggests these fragments did not come from a glaze. The reason for their addition would have been to release alkali into the matrix on firing, which would “accelerate vitrification at a relatively low firing temperature, and thus increase the hardness and density of the [ceramic] body.” Whether these “relict glass fragments” are actually “frit” in the more ancient sense remains to be seen.
Iznik pottery was produced in Ottoman Turkey as early as the 15th century AD. It consists of a body, slip, and glaze, where the body and glaze are “quartz-frit.” The “frits” in both cases “are unusual in that they contain lead oxide as well as soda”; the lead oxide would help reduce the thermal expansion coefficient of the ceramic. Microscopic analysis reveals that the material that has been labeled “frit” is “interstitial glass” which serves to connect the quartz particles. Tite argues that this glass was added as frit and that the interstitial glass formed on firing.
Frit was also a significant component in some early European porcelains. Famous manufacturers of the 18th century included Sèvres in France, and at Chelsea, Derby, Bow, Worcester and Longton Hall in England. At least one frit porcelain remains in production at Belleek, County Fermanagh, Northern Ireland. This factory, established in 1857, produces ware that is characterised by its thinness, slightly iridescent surface and that the body is formulated with a significant proportion of frit.
Modern uses of frit
Frits are indispensable constituents of most industrial ceramic glazes which mature at temperatures below 1150°C. Frits are typically intermediates in the production of raw glass, as opposed to pigments and shaped objects. But they can be used as their own entities in a number of high-tech contexts. Frits made predominantly of silica, diboron trioxide, and soda are used as enamels on steel pipes. Another type of frit can be used as a biomaterial. Molten soda-lime-silica glass can be “poured into water to obtain a frit,” which is then ground to a powder. These powders can be used as “scaffolds for bone substitutions.” Also, frits can be added to high-tech ceramics. Scientists have made such frits by milling ZnO and H3BO3 with zirconium beads, then heating this mixture to 1100°C, quenching it, and grinding it. This frit is then added to a Li2TiO3 ceramic powder. This addition is beneficial: the ceramic can sinter at a lower temperature while still keeping its “microwave dielectric properties."
In antiquity, frit could be crushed to make pigments or shaped to create objects. It may also have served as an intermediate material in the manufacture of raw glass. The definition of frit tends to be variable and has proved a thorny issue for scholars. In recent centuries, frits have taken on a number of roles, such as biomaterials and additives to microwave dielectric ceramics. Frit in the form of alumino-silicate can be used in glaze free continuous casting refractories.
Ancient frit
Archaeologists have found evidence of frit in Egypt, Mesopotamia, Europe, and the Mediterranean.[2] The definition of frit as a sintered, polycrystalline, unglazed material can be applied to these archaeological contexts. It is typically colored blue or green.
Blue frit
Blue frit, also known as Egyptian blue, was made from quartz, lime, a copper compound, and an alkali flux, all heated to a temperature between 850 and 1000°C. Quartz sand may have been used to contribute silica and calcium to the frit. The copper content must be greater than the lime content in order to create a blue frit. Ultimately the frit consists of curprorivaite (CaCuSi4O10) crystals and “partially reacted quartz particles bonded together” by interstitial glass. Despite an argument to the contrary, scientists have found that, regardless of alkali content, the cuprorivaite crystals develop by “nucleation or growth within a liquid or glass phase.”
However, alkali content—and the coarseness of the cuprorivaite crystals—contribute to the shade of blue in the frit.[9] High alkali content will yield “a large proportion of glass,” thereby diluting the cuprorivaite crystals and producing lighter shades of blue. Regrinding and resintering the frit will create finer cuprorivaite crystals, also producing lighter shades.
The earliest appearance of blue frit is as a pigment on a tomb painting at Saqqara dated to 2900 BC, though its use became more popular in Egypt around 2600 BC. Blue frit has also been uncovered in the royal tombs at Ur from the Early Dynastic III period. Its use in the Mediterranean dates to the Thera frescoes from the Late Middle Bronze Age.
While the glass phase is present in blue frits from Egypt, scientists have not detected it in blue frits from the Near East, Europe, and the Aegean. Natural weathering, which is also responsible for the corrosion of glasses and glazes from these three regions, is the likely reason for this absence.
At Amarna, archaeologists have found blue frit in the form of circular cakes, powder residues, and vessel fragments. Analysis of the microstructures and crystal sizes of these frits has allowed Hatton, Shortland, and Tite to deduce the connection among the three materials. The cakes were produced by heating the raw materials for frit, then they were ground to make powders, and finally, the powders were molded and refired to create vessels.
In On Architecture, the first century BC writer Vitruvius reports the production of ‘caeruleum’ (a blue pigment) at Pozzuoli, made by a method used in Alexandria, Egypt. Vitruvius lists the raw materials for caeruleum as sand, copper filings, and ‘nitrum’ (soda). Indeed, analysis of some frits that date to the time of Thutmose III and later show the use of bronze filings instead of copper ore.
Stocks suggests that waste powders from the drilling of limestone, combined with a minor concentration of alkali, may have been used to produce blue frits. The powders owe their copper content to the erosion of the copper tubular drills used in the drilling process. However, the archaeological record has not yet confirmed such a relationship between these two technologies.
Green frit
Evidence of the use of green frit is so far confined to Egypt. Alongside malachite, green frit was usually employed as a green pigment. Its earliest occurrence is in tomb paintings of the 18th dynasty, but its use extends at least to the Roman period. The manufacture of green and blue frit relies on the same raw materials, but in different proportions. To produce green frit, the lime concentration must outweigh the copper concentration. The firing temperature required for green frit may be slightly higher than that of blue frit, in the range of 950 to 1100°C. The ultimate product is composed of copper-wollastonite ([Ca,Cu]3Si3O9) crystals and a “glassy phase rich in copper, sodium, and potassium chlorides.”
In certain circumstances (the use of a two-step heating process, the presence of hematite), scientists were able to make a cuprorivaite-based blue frit that later became a copper-wollastonite-based green frit at a temperature of 1050°C.
On some ancient Egyptian wall paintings, pigments that were originally blue are now green: the blue frit can “devitrify” so that the “copper wollastonite predominates over the lesser component of cuprorivaite.” As with blue frit, Hatton, Shortland, and Tite have analyzed evidence for green frit at Amarna in the form of cakes, powders, and one vessel fragment and inferred the sequential production of the three types of artifacts.
Relationships among frit, glass, and faience
An Akkadian text from Assurbanipal’s library at Nineveh suggests that a frit-like substance was an intermediate material in the production of raw glass. This intermediate step would have followed the grinding and mixing of the raw materials used to make glass. An excerpt of Oppenheim’s translation of Tablet A, Section 1 of the Nineveh text reads:
“You keep a good and smokeless fire burning until the ‘metal’ (molten glass) becomes fritted. You take it out and allow it to cool off.”
The steps that follow involve reheating, regrinding, and finally gathering the powder in a pan. Following the Nineveh recipe, Brill was able to produce a “high quality” glass. He deduced that the frit intermediate is necessary so that gases will evolve during this stage and the end product will be virtually free of bubbles. Furthermore, grinding the frit actually expedites the “second part of the process, which is to…reduce the system to a glass.”
Moorey has defined this intermediate step as “fritting,” “a process in which the soluble salts are made insoluble by breaking down the carbonates, etc. and forming a complex mass of sintered silicates.” A frit preserved in a “fritting pan fragment” kept in the Petrie Museum “shows numerous white flecks of unreacted silica and a large number of vesicles where gases had formed.” Ancient writers like Theophilus describe the importance of “stirring” for many hours during the fritting process.
But whether this “fritting” was done in antiquity as a deliberate step in the manufacture of raw glass remains questionable. The compositions of frits and glasses recovered from Amarna do not agree in a way that would imply frits were the immediate precursors of glasses: the frits have lower concentrations of soda and lime and higher concentrations of cobalt and alumina than the glasses have.
Scholars have suggested several potential connections between frit and faience. Kühne proposes that frit may have acted as the “binding agent for faience” and suggests that this binder was composed predominantly of silica, alkali, and copper with minor concentrations of alkali earths and tin. But analysis of a wide array of Egyptian frits contradicts the binder composition that Kühne offers. Vandiver and Kingery argue that one method of producing a faience glaze was to “frit or melt the glaze constituents to form a glass,” then grind the glass and form a slurry in water, and finally apply the glaze “by dipping or painting.” However, their use of “frit” as virtually synonymous with “melt” represents yet another unique take on what a “frit” would constitute. Finally, Tite et al. report that frits, unusually colored blue by cobalt, found in “fritting pans” at Amarna have compositions and microstructures similar to that of vitreous faience, a higher-temperature form of Egyptian faience that incorporated cobalt into its body.[48] In their reconstruction of the manufacture of vitreous faience, Tite et al. propose that the initial firing of raw materials at 1100-1200°C produces a cobalt-blue frit, which is then ground, molded, and glazed.
In general, frits, glasses, and faience are similar materials: they are all silica-based but have different concentrations of alkali, copper, and lime. However, as Nicholson states, they are distinct materials because “it would not be possible to turn faience into frit or frit into glass simply by further, or higher temperature, heating.”
The use of frit as pigments and as entire objects does give credence to the idea that frit-making was, to some extent, a “specialized” industry. Indeed, scientists have determined that frit objects, such as amulets, beads, and vessels, have chemical compositions similar to those of powder frits designed for use as pigments. Nevertheless, determining the exact technical relationships among the frit, glass, and faience industries is an area of current and, likely, future scholarly interest. The excavations at Amarna offer a spatial confirmation of these potential relationships, as the frit, glass, and faience industries there were located “in close proximity” to one another.
Fritware
Fritware refers to a type of pottery which was first developed in the Near East, where production is dated to the late first millennium AD through the second millennium AD. Frit was a significant ingredient. A recipe for “fritware” dating to c. 1300 AD written by Abu’l Qasim reports that the ratio of quartz to “frit-glass” to white clay is 10:1:1. This type of pottery has also been referred to as “stonepaste” and “faience” among other names. A ninth century corpus of “proto-stonepaste” from Baghdad has “relict glass fragments” in its fabric. The glass is alkali-lime-lead-silica and, when the paste was fired or cooled, wollastonite and diopside crystals formed within the glass fragments. The lack of “inclusions of crushed pottery” suggests these fragments did not come from a glaze. The reason for their addition would have been to release alkali into the matrix on firing, which would “accelerate vitrification at a relatively low firing temperature, and thus increase the hardness and density of the [ceramic] body.” Whether these “relict glass fragments” are actually “frit” in the more ancient sense remains to be seen.
Iznik pottery was produced in Ottoman Turkey as early as the 15th century AD. It consists of a body, slip, and glaze, where the body and glaze are “quartz-frit.” The “frits” in both cases “are unusual in that they contain lead oxide as well as soda”; the lead oxide would help reduce the thermal expansion coefficient of the ceramic. Microscopic analysis reveals that the material that has been labeled “frit” is “interstitial glass” which serves to connect the quartz particles. Tite argues that this glass was added as frit and that the interstitial glass formed on firing.
Frit was also a significant component in some early European porcelains. Famous manufacturers of the 18th century included Sèvres in France, and at Chelsea, Derby, Bow, Worcester and Longton Hall in England. At least one frit porcelain remains in production at Belleek, County Fermanagh, Northern Ireland. This factory, established in 1857, produces ware that is characterised by its thinness, slightly iridescent surface and that the body is formulated with a significant proportion of frit.
Modern uses of frit
Frits are indispensable constituents of most industrial ceramic glazes which mature at temperatures below 1150°C. Frits are typically intermediates in the production of raw glass, as opposed to pigments and shaped objects. But they can be used as their own entities in a number of high-tech contexts. Frits made predominantly of silica, diboron trioxide, and soda are used as enamels on steel pipes. Another type of frit can be used as a biomaterial. Molten soda-lime-silica glass can be “poured into water to obtain a frit,” which is then ground to a powder. These powders can be used as “scaffolds for bone substitutions.” Also, frits can be added to high-tech ceramics. Scientists have made such frits by milling ZnO and H3BO3 with zirconium beads, then heating this mixture to 1100°C, quenching it, and grinding it. This frit is then added to a Li2TiO3 ceramic powder. This addition is beneficial: the ceramic can sinter at a lower temperature while still keeping its “microwave dielectric properties."
miércoles, 9 de diciembre de 2009
INDIA CERAMIC INDUSTRY
Industry Highlights
Ceramic Tiles today have become an integral part of home improvement. It can make a huge difference to the way your interiors and outdoors look and express.
The Indian tile industry, despite an overall slowdown of the economy, continues to grow at a healthy 15% per annum.
Investments in the last 5 years have aggregated over Rs. 2000 crores and production during 2006-07 stood at approx. 340 million sq mts.
The Indian tile industry is divided into organized and unorganized sector.
The organized sector comprises of approximately 16 players. The current size of the unorganized sector is about Rs 3000 crores
The unorganized sector accounts for 55% of the total industry bearing testimony of the attractive returns from this sector. The size of the unorganized sector is approximately Rs 3500 crores
Revenue earning industry - excise mops up over Rs. 350 crores annually from the organized sector itself.
Indian ranks in the top 5 list of countries in terms of tile production in the world.
With proper planning and better quality control our exports (presently insignificant) contribution can significantly increase.
BACKGROUND
Apart from their decorative looks, Ceramic Tiles are primarily hygiene products and that is how our broad spectrum of consumers view the product. This is fairly evident from its varied usage from bathrooms and kitchens in average Indian households to medical centers, labs, milk booths, schools, public conveniences, shopping malls and numerous other centers; which dot our day to day life. A ceramic tile is basically a "utility product" and that remains our promotional slogan. Popular housing projects are increasingly switching over to Ceramic Tiles moving away from the traditional use mosaic and even granite or marble, owing to several factors viz. ease in laying ability, versatility, low price and hygiene.Nevertheless, this decorative aspect of a Ceramic Tiles has forever been in the forefront. Heavy churning out of bolder and colorful designs by the industry are testament to the fact that most households regard a ceramic tile as an "adornment" for an otherwise "drab look" of their age-old floorings or an unfurnished wall.
OVERALL PICTURE OF THE INDUSTRY
Ceramic tiles as a product segment has grown to a sizeable chunk today at 340 Millions Square meters production per annum. However, the potential seems to be great, particularly as the housing sector, retail, IT & BPO sectors have been witnessing an unprecedented boom in recent times. The ceramic tiles sector has been clocking a robust growth of 12-15% consistently over the last few years. Today, India figures in the top 5 countries in the world manufacturing ceramic tiles.The key drivers for the ceramic tiles in India are the boom in housing sector coupled by government policies fuelling strong growth in housing sector. The retail boom in the Indian economy has also influenced the demand for higher end products.
Overall the bullish growth estimates in the Indian economy has significantly influenced the growth of the Indian Ceramic tile industry.The main product segments are the Wall tile, Floor tile, Vitrified tile and Porcelain tile segments. The market shares are 35%, 53% and 12% respectively for Wall, Floor & Vitrified/Porcelain tiles. The tiles are available in a wide variety of designs, textures and surface effects. They cater to tastes as varied from rustics to contemporary marble designs in super glossy mirror finishes.Both, traditional methods of manufacturing (tunnel ) and the latest single fast firing methods are deployed in manufacturing.
Some of the latest trends in manufacturing methods can be seen in India. The investments in the last five years are approx. Rs 2000 crores. The industry also enjoys the unique distinction of being highly indigenous with an abundance of raw materials, technical skills, infrastructural facilities despite being fairly capital intensive. A total of over 5,50,000 people are employed in the sector. Out of this, 50,000 people are directly employed and 5,00,000 are indirectly associated. The potential is huge considering the per capita consumption of ceramic tiles in India. Currently it is at 0.30 square meters per person in comparison to over 2 square meters per person for like countries like China, Brazil and Malaysia
WHERE WE STAND AND WHAT WE MUST DO?
As a foreign exchange earner or a global player, Indian Tile industry has captured the attention of the world in the ceramic tiles segment. India is projected to figure in the top 3 countries manufacturing ceramic tiles by 2010.
This however is subject to policies favorable for the tile industry to complete with international players on an even ground.
To compete internationally, our plants must be geared up to large units currently operating in China and Turkey are driven by economies of scale.
These will also help us in lowering our cost of production significantly. Also, infrastructural support is a key factor that determines the speed of growth. Better infrastructure will bring in better growth in terms of consistency and sustenance.
Freight, supply of power and gas remains the key cost-related issues impacting the industry. Availability, consistent supply and reasonable rates are extremely important for the growth of the ceramic tile industry.
Also, the prevailing anomalies pertaining to Basic Customs Duty on import of ceramic tiles from China and raw materials imported from abroad need to be corrected to prevent dumping of tiles from China. Rural thrust should be enhanced by favorable excise duty and MRP structure.
CURRENT STATUS OF THE INDUSTRY
The ceramic tiles industry in India has followed similar trends internationally which have been characterized by excess capacities and falling margins. Countries like Malaysia, Thailand, Indonesia, Sri Lanka and Vietnam are setting up their own plants.
China has emerged as a major competitor. Producers from Spain and Italy have the advantage of lower transportation costs while exporting to USA and Germany.
In India, the per capita consumption is as low as 0.30 square meters per person compared to China (2 square meters per person), Europe (5 to 6 square meters per person) or Brazil (2.5 square meters per person). Rising disposable incomes of the growing middle class and 40 million units of housing shortage hold out a great potential.
A major change that took over the ceramic tiles industry, was the introduction of vitrified and porcelain tiles. These new entrant product types are said to be the tiles of the future. Internationally these tiles are already the major sellers. These category of products account for 13% of all organized sales in this industry.
These new products and the conventional wall & floor tiles have together made the organized industry grow to a formidable Rs. 3000 crores industry. This coupled with a spate of expansions by many players make the industry look very promising in the future.The Indian Industry has developed an export market although at the lower end. In volume it constitutes less than half a percent of the global market. (Presently India does not figure in the list of major exporting countries). But this reality could change as Indian exports are rising at the rate of 15% per annum.
The top-end of the global export market is presently dominated by Italy (40.8%) and Spain (26.4%).
(Source: Compiled using information from Corporate Catalyst India, ASCER and other associations.)
CERAMIC TILE INDUSTRY STATISTICS:
1. World production: 6900 Million sq.mt.
2. India's Share: 340 Million sq.mt..
3. World ranking (in production): 5
4. Per capita consumption: 0.30 sq.mt.
5. Global Industry Growth Rate: 6%
6. Growth Rate (India Domestic Market): 15%
7.
Organized industry turnover (India): Rs 3000 crores
Glazed Wall Tile share: 40%
Glazed Floor Tile share: 46%
Unglazed Vitrified Tile share: 8%
Glazed Porcelain Tile Share: 6%
Unorganised Industry Turnover: Rs 3500 crores
Glazed Wall Tile share:57%
Glazed Floor Tile share: 35%
Unglazed Vitrified Tile share: 6%
Glazed Porcelain Tile Share:2%
8.Investments in last 5 years: Rs 2000 crores
9.
Organized sector:
Share of Production: 56%
No. of units: 16
Revenue (excise duty): Rs 300 crores
10.
Unorganized sector:
Share of Production:44%
No. of units: 200 (approx..) (70% based in Gujarat region)
Revenue (excise duty): Rs 350 crores per annum or less
11. Job Potential:
50,000 direct
500,000 indirect
MEMBERS IN CERAMIC TILE INDUSTRY:
Anant Raj Industries Ltd.
www.romano.trade-india.com
Antique Granito Pvt. Ltd.
www.antiquegranito.com
Asian Granito (India) Ltd.
www.asiangranito.com
City Tiles Ltd.
www.citytilesltd.com
Century Tiles Ltd.
www.centurytiles.com
Deco Lights Ceramics Ltd.
www.decocovering.com
Euro Ceramics Ltd.
www.eurogranamite.com
Gokul Ceramics Pvt. Ltd.
www.vrundavanceramic.com
H. & R. Johnson (India) Ltd.
www.hrjohnsonindia.com
Jalaram Ceramics Ltd.
www.siddharthceramics.com
Kajaria Ceramics Ltd.
www.kajariaceramics.com
Lorenzo Vitrified Tiles Pvt. Ltd.
www.lorenzovitrified.com
Murudeshwar Ceramics Ltd.
www.naveenceramics.com
Nitco Tiles Ltd.
Oracle Granito Ltd.
www.oraclegranito.com
Orient Ceramics And Industries Ltd.
www.orienttiles.com
Radiant Floor Tiles Pvt. Ltd.
RAK Ceramics India Pvt. Ltd.
www.rakceram.com
Regent Granito (India) Ltd.
www.regentgranito.com
Restile Ceramics Ltd.
www.restile.com
Sentini Cermica Pvt. Ltd.
www.sentinicermica.com
Silica Ceramica (P) Ltd.
Sogo Ceramics Pvt. Ltd.
www.sogovitrified.com
Somany Ceramics Limited
www.somanyceramics.com
Spectrum Tiles Pvt. Ltd.
Suman Ceramics
www.sumanceramics.com
Surani Ceramic
Umiya Ceramic Pvt. Ltd.
Vita Granito Pvt. Ltd.
www.vitagranito.com
Varmora Granito (P) Ltd.
www.varmora.com
Vrundavan Ceramics Ltd.
www.vrundawanceramic.com
Industry Highlights
Ceramic Tiles today have become an integral part of home improvement. It can make a huge difference to the way your interiors and outdoors look and express.
The Indian tile industry, despite an overall slowdown of the economy, continues to grow at a healthy 15% per annum.
Investments in the last 5 years have aggregated over Rs. 2000 crores and production during 2006-07 stood at approx. 340 million sq mts.
The Indian tile industry is divided into organized and unorganized sector.
The organized sector comprises of approximately 16 players. The current size of the unorganized sector is about Rs 3000 crores
The unorganized sector accounts for 55% of the total industry bearing testimony of the attractive returns from this sector. The size of the unorganized sector is approximately Rs 3500 crores
Revenue earning industry - excise mops up over Rs. 350 crores annually from the organized sector itself.
Indian ranks in the top 5 list of countries in terms of tile production in the world.
With proper planning and better quality control our exports (presently insignificant) contribution can significantly increase.
BACKGROUND
Apart from their decorative looks, Ceramic Tiles are primarily hygiene products and that is how our broad spectrum of consumers view the product. This is fairly evident from its varied usage from bathrooms and kitchens in average Indian households to medical centers, labs, milk booths, schools, public conveniences, shopping malls and numerous other centers; which dot our day to day life. A ceramic tile is basically a "utility product" and that remains our promotional slogan. Popular housing projects are increasingly switching over to Ceramic Tiles moving away from the traditional use mosaic and even granite or marble, owing to several factors viz. ease in laying ability, versatility, low price and hygiene.Nevertheless, this decorative aspect of a Ceramic Tiles has forever been in the forefront. Heavy churning out of bolder and colorful designs by the industry are testament to the fact that most households regard a ceramic tile as an "adornment" for an otherwise "drab look" of their age-old floorings or an unfurnished wall.
OVERALL PICTURE OF THE INDUSTRY
Ceramic tiles as a product segment has grown to a sizeable chunk today at 340 Millions Square meters production per annum. However, the potential seems to be great, particularly as the housing sector, retail, IT & BPO sectors have been witnessing an unprecedented boom in recent times. The ceramic tiles sector has been clocking a robust growth of 12-15% consistently over the last few years. Today, India figures in the top 5 countries in the world manufacturing ceramic tiles.The key drivers for the ceramic tiles in India are the boom in housing sector coupled by government policies fuelling strong growth in housing sector. The retail boom in the Indian economy has also influenced the demand for higher end products.
Overall the bullish growth estimates in the Indian economy has significantly influenced the growth of the Indian Ceramic tile industry.The main product segments are the Wall tile, Floor tile, Vitrified tile and Porcelain tile segments. The market shares are 35%, 53% and 12% respectively for Wall, Floor & Vitrified/Porcelain tiles. The tiles are available in a wide variety of designs, textures and surface effects. They cater to tastes as varied from rustics to contemporary marble designs in super glossy mirror finishes.Both, traditional methods of manufacturing (tunnel ) and the latest single fast firing methods are deployed in manufacturing.
Some of the latest trends in manufacturing methods can be seen in India. The investments in the last five years are approx. Rs 2000 crores. The industry also enjoys the unique distinction of being highly indigenous with an abundance of raw materials, technical skills, infrastructural facilities despite being fairly capital intensive. A total of over 5,50,000 people are employed in the sector. Out of this, 50,000 people are directly employed and 5,00,000 are indirectly associated. The potential is huge considering the per capita consumption of ceramic tiles in India. Currently it is at 0.30 square meters per person in comparison to over 2 square meters per person for like countries like China, Brazil and Malaysia
WHERE WE STAND AND WHAT WE MUST DO?
As a foreign exchange earner or a global player, Indian Tile industry has captured the attention of the world in the ceramic tiles segment. India is projected to figure in the top 3 countries manufacturing ceramic tiles by 2010.
This however is subject to policies favorable for the tile industry to complete with international players on an even ground.
To compete internationally, our plants must be geared up to large units currently operating in China and Turkey are driven by economies of scale.
These will also help us in lowering our cost of production significantly. Also, infrastructural support is a key factor that determines the speed of growth. Better infrastructure will bring in better growth in terms of consistency and sustenance.
Freight, supply of power and gas remains the key cost-related issues impacting the industry. Availability, consistent supply and reasonable rates are extremely important for the growth of the ceramic tile industry.
Also, the prevailing anomalies pertaining to Basic Customs Duty on import of ceramic tiles from China and raw materials imported from abroad need to be corrected to prevent dumping of tiles from China. Rural thrust should be enhanced by favorable excise duty and MRP structure.
CURRENT STATUS OF THE INDUSTRY
The ceramic tiles industry in India has followed similar trends internationally which have been characterized by excess capacities and falling margins. Countries like Malaysia, Thailand, Indonesia, Sri Lanka and Vietnam are setting up their own plants.
China has emerged as a major competitor. Producers from Spain and Italy have the advantage of lower transportation costs while exporting to USA and Germany.
In India, the per capita consumption is as low as 0.30 square meters per person compared to China (2 square meters per person), Europe (5 to 6 square meters per person) or Brazil (2.5 square meters per person). Rising disposable incomes of the growing middle class and 40 million units of housing shortage hold out a great potential.
A major change that took over the ceramic tiles industry, was the introduction of vitrified and porcelain tiles. These new entrant product types are said to be the tiles of the future. Internationally these tiles are already the major sellers. These category of products account for 13% of all organized sales in this industry.
These new products and the conventional wall & floor tiles have together made the organized industry grow to a formidable Rs. 3000 crores industry. This coupled with a spate of expansions by many players make the industry look very promising in the future.The Indian Industry has developed an export market although at the lower end. In volume it constitutes less than half a percent of the global market. (Presently India does not figure in the list of major exporting countries). But this reality could change as Indian exports are rising at the rate of 15% per annum.
The top-end of the global export market is presently dominated by Italy (40.8%) and Spain (26.4%).
(Source: Compiled using information from Corporate Catalyst India, ASCER and other associations.)
CERAMIC TILE INDUSTRY STATISTICS:
1. World production: 6900 Million sq.mt.
2. India's Share: 340 Million sq.mt..
3. World ranking (in production): 5
4. Per capita consumption: 0.30 sq.mt.
5. Global Industry Growth Rate: 6%
6. Growth Rate (India Domestic Market): 15%
7.
Organized industry turnover (India): Rs 3000 crores
Glazed Wall Tile share: 40%
Glazed Floor Tile share: 46%
Unglazed Vitrified Tile share: 8%
Glazed Porcelain Tile Share: 6%
Unorganised Industry Turnover: Rs 3500 crores
Glazed Wall Tile share:57%
Glazed Floor Tile share: 35%
Unglazed Vitrified Tile share: 6%
Glazed Porcelain Tile Share:2%
8.Investments in last 5 years: Rs 2000 crores
9.
Organized sector:
Share of Production: 56%
No. of units: 16
Revenue (excise duty): Rs 300 crores
10.
Unorganized sector:
Share of Production:44%
No. of units: 200 (approx..) (70% based in Gujarat region)
Revenue (excise duty): Rs 350 crores per annum or less
11. Job Potential:
50,000 direct
500,000 indirect
MEMBERS IN CERAMIC TILE INDUSTRY:
Anant Raj Industries Ltd.
www.romano.trade-india.com
Antique Granito Pvt. Ltd.
www.antiquegranito.com
Asian Granito (India) Ltd.
www.asiangranito.com
City Tiles Ltd.
www.citytilesltd.com
Century Tiles Ltd.
www.centurytiles.com
Deco Lights Ceramics Ltd.
www.decocovering.com
Euro Ceramics Ltd.
www.eurogranamite.com
Gokul Ceramics Pvt. Ltd.
www.vrundavanceramic.com
H. & R. Johnson (India) Ltd.
www.hrjohnsonindia.com
Jalaram Ceramics Ltd.
www.siddharthceramics.com
Kajaria Ceramics Ltd.
www.kajariaceramics.com
Lorenzo Vitrified Tiles Pvt. Ltd.
www.lorenzovitrified.com
Murudeshwar Ceramics Ltd.
www.naveenceramics.com
Nitco Tiles Ltd.
Oracle Granito Ltd.
www.oraclegranito.com
Orient Ceramics And Industries Ltd.
www.orienttiles.com
Radiant Floor Tiles Pvt. Ltd.
RAK Ceramics India Pvt. Ltd.
www.rakceram.com
Regent Granito (India) Ltd.
www.regentgranito.com
Restile Ceramics Ltd.
www.restile.com
Sentini Cermica Pvt. Ltd.
www.sentinicermica.com
Silica Ceramica (P) Ltd.
Sogo Ceramics Pvt. Ltd.
www.sogovitrified.com
Somany Ceramics Limited
www.somanyceramics.com
Spectrum Tiles Pvt. Ltd.
Suman Ceramics
www.sumanceramics.com
Surani Ceramic
Umiya Ceramic Pvt. Ltd.
Vita Granito Pvt. Ltd.
www.vitagranito.com
Varmora Granito (P) Ltd.
www.varmora.com
Vrundavan Ceramics Ltd.
www.vrundawanceramic.com
Diseños con estilo
Algunas de las mas importantes empresas de fabricacion de ceramica a nivel mundial se abastecen de los productos de Colores Olucha, el resultado son algunos de los diseños mas interesantes del mercado internacional, tan solo hay que pegar un vistazo a los diseños que se generan con nuestros productos.
Several of the most important ceramic companies of the world are supplied by Colores Olucha, the final result of this collaboration are many of the most interesting ceramic designs of international market, you just have to see designs made with our products.
jueves, 3 de diciembre de 2009
El futuro
En este apartado os aporto un par de links en los que podreis ver unos videos muy interesantes sobre la evolucion de la industria en India en los ultimos años. Una evolucion en la que las instituciones locales tienen mucho que ver...
Esta es la gran oportunidad para las pequeñas y medianas empresas españolas para instalarse en un gran mercado que les aporte a medio plazo la oportunidad de dar un paso adelante en la economia española. Es el momento de potenciar la "marca España" y darnos a conocer en los mercados mas lejanos y exoticos.
http://www.youtube.com/watch?v=NQldbb8fOgc
http://www.youtube.com/watch?v=Sf0CKwWzj5o
Esta es la gran oportunidad para las pequeñas y medianas empresas españolas para instalarse en un gran mercado que les aporte a medio plazo la oportunidad de dar un paso adelante en la economia española. Es el momento de potenciar la "marca España" y darnos a conocer en los mercados mas lejanos y exoticos.
http://www.youtube.com/watch?v=NQldbb8fOgc
http://www.youtube.com/watch?v=Sf0CKwWzj5o
Hay posibilidades en India? Dimelo tu mismo...
El mercado de azulejos cerámicos en India, que está valorado en 500 millones de euros, posee buenas perspectivas de futuro. Mientras que en los últimos 10 años la demanda del sector no ha crecido por debajo del 10% anual, se espera que esta tendencia se mantenga durante, por lo menos, los próximos 5 años. La positiva evolución de la economía, que creció por encima del 8% en 2003-04, y el boom que está sufriendo el sector de la construcción reafirman estas expectativas. Además, los productos sustitutivos de la cerámica que son de gran tradición en India (granito y mármol) están perdiendo cuota paulatinamente frente a los revestimientos cerámicos por razones de calidad, en el primer caso, y de precio y diseño , en el segundo.
A pesar de que algunos segmentos del mercado se encuentren saturados por la oferta, estos
corresponden a las gamas de cerámica más bajas por las que pujan la industria local y las importaciones procedentes de China. Dentro de las gamas media y alta de estos productos y sus complementos, se abre un abanico de nichos de mercado por los cuales han de pujar las empresas españolas.
Asimismo, la evolución de las importaciones en los últimos cinco años nos muestran la ventaja
competitiva del producto español frente a su principal competidor, la cerámica italiana. Mientras que en el año 1999 Italia se posicionaba a la cabeza de las exportaciones de cerámica a India, en la actualidad este puesto ha sido ocupado por España que se mantiene sólo por detrás de China.
Sumando a todo esto el proceso de reformas liberalizadoras en el que el país está inmerso desde 1991 (rebajas arancelarias, reducciones de impuestos indirectos, etc.), se puede concluir que se da ahora el momento oportuno para las empresas españolas para aventurarse en el mercado indio.
El mercado indio de baldosas y azulejos cerámicos posee un valor en la actualidad de alrededor de los 500 millones de euros. A pesar de que este volumen no sea tan grande como el de países tales como Brasil o la misma España, India posee un enorme potencial como mercado de azulejos cerámicos por diversas razones.
En primer lugar, atendiendo a la evolución económico-demográfica del país, nos encontramos con un mercado en el que existe una clase media de alrededor de 350 millones de personas. En la última década, este segmento poblacional ha estado caracterizado por un aumento tanto del número de personas como del poder adquisitivo per cápita. De esta manera, encontramos un primer factor clave que desde 1994 está impulsando el crecimiento del mercado y cabe esperar que la tendencia se mantenga. Mientras que en Europa el consumo per cápita anual de azulejos se sitúa entre 5 y 6 m2 y en China en 1,2 m2, en India simplemente asciende al 0,09%. Teniendo en cuenta el gran tamaño de la población, un pequeño incremento de este porcentaje significaría un gran aumento del volumen de mercado.
Por otra parte, el consumo de azulejos cerámicos viene determinado por el sector de la construcción que en India está experimentando un gran dinamismo en los últimos años.
A pesar del gran tamaño del mercado indio, la calidad de las infraestructuras del país se posiciona en el puesto número 34 del ranking mundial. Esto refleja la escasa calidad de la construcción tanto en el segmento residencial como en el no residencial en comparación con los países industrializados debido principalmente a la situación de aislamiento que vivió India hasta 1990. Sin embargo, cada vez hay más reconocimiento de las prácticas internacionales del sector y la adinerada clase alta, cuyo deseo es emular el estilo de vida occidental, demanda con mayor fuerza una mayor calidad de las infraestructuras y los productos de construcción.
La industria de la construcción en India se estima que tiene un valor aproximado de 50.000 millones de dólares y en la actualidad está creciendo a una tasa del 8% anual. La mitad de estos ingresos están asociados a los materiales de construcción. A pesar de que existe una industria local cada vez mejor establecida, son muy numerosos los nichos de mercado que se pueden identificar para las empresas internacionales tanto en el segmento residencial como en el no residencial.
Cabe resaltar que el sector de la construcción en el país se encuentra altamente fragmentado y
desorganizado, pudiéndose encontrar más de 300.000 contratistas. El sector de materiales de la
construcción presenta unas características muy similares y está dominado por pequeños negocios familiares que se encargan tanto de la fabricación como de la distribución. Ante todo, el mercado de la construcción indio es muy sensible a las fluctuaciones de precio y el concepto de “hágalo usted mismo” es inexistente debido a la abundancia de mano de obra barata.
Dadas las características tan especiales del sector en India, resulta esencial encontrar un socio local que a la hora de comenzar las actividades comerciales en el país pueda proporcionar información acerca de los aspectos legales, financieros y estratégicos del mercado.
Por último, atendiendo a los productos sustitutivos de los revestimientos cerámicos, nos encontramos que en India se puede encontrar tres tipos de productos diferentes cuya finalidad es similar: la piedra natural (mármol, granito, etc.), el mosaico de cemento y los azulejos cerámicos. Los dos primeros se caracterizan por llevar más tiempo siendo comercializados en el mercado. Sin embargo, se diferencian claramente en precio, calidad y el cliente final al que van dirigidos. Mientras que el mosaico de cemento resulta el producto tradicional de bajo coste, el mármol, sobre todo, es el revestimiento tradicional de lujo consumido por las clases más altas.
La introducción del azulejo cerámico supuso un claro golpe en el consumo de ambos productos
competidores. Por una parte, al poder presentar una indefinida gama de diseños y ser también un producto de calidad a un precio mucho más barato, no tardó mucho en robarle cuota de mercado al mármol. Además, también se convirtió en un serio competidor del mosaico de cemento ya que, siendo las gamas más bajas de los azulejos muy asequibles, su funcionalidad resulta muy superior. De esta forma, los revestimientos cerámicos han ido paulatinamente ganando cuota a sus principales productos sustitutivos.
A pesar de que algunos segmentos del mercado se encuentren saturados por la oferta, estos
corresponden a las gamas de cerámica más bajas por las que pujan la industria local y las importaciones procedentes de China. Dentro de las gamas media y alta de estos productos y sus complementos, se abre un abanico de nichos de mercado por los cuales han de pujar las empresas españolas.
Asimismo, la evolución de las importaciones en los últimos cinco años nos muestran la ventaja
competitiva del producto español frente a su principal competidor, la cerámica italiana. Mientras que en el año 1999 Italia se posicionaba a la cabeza de las exportaciones de cerámica a India, en la actualidad este puesto ha sido ocupado por España que se mantiene sólo por detrás de China.
Sumando a todo esto el proceso de reformas liberalizadoras en el que el país está inmerso desde 1991 (rebajas arancelarias, reducciones de impuestos indirectos, etc.), se puede concluir que se da ahora el momento oportuno para las empresas españolas para aventurarse en el mercado indio.
El mercado indio de baldosas y azulejos cerámicos posee un valor en la actualidad de alrededor de los 500 millones de euros. A pesar de que este volumen no sea tan grande como el de países tales como Brasil o la misma España, India posee un enorme potencial como mercado de azulejos cerámicos por diversas razones.
En primer lugar, atendiendo a la evolución económico-demográfica del país, nos encontramos con un mercado en el que existe una clase media de alrededor de 350 millones de personas. En la última década, este segmento poblacional ha estado caracterizado por un aumento tanto del número de personas como del poder adquisitivo per cápita. De esta manera, encontramos un primer factor clave que desde 1994 está impulsando el crecimiento del mercado y cabe esperar que la tendencia se mantenga. Mientras que en Europa el consumo per cápita anual de azulejos se sitúa entre 5 y 6 m2 y en China en 1,2 m2, en India simplemente asciende al 0,09%. Teniendo en cuenta el gran tamaño de la población, un pequeño incremento de este porcentaje significaría un gran aumento del volumen de mercado.
Por otra parte, el consumo de azulejos cerámicos viene determinado por el sector de la construcción que en India está experimentando un gran dinamismo en los últimos años.
A pesar del gran tamaño del mercado indio, la calidad de las infraestructuras del país se posiciona en el puesto número 34 del ranking mundial. Esto refleja la escasa calidad de la construcción tanto en el segmento residencial como en el no residencial en comparación con los países industrializados debido principalmente a la situación de aislamiento que vivió India hasta 1990. Sin embargo, cada vez hay más reconocimiento de las prácticas internacionales del sector y la adinerada clase alta, cuyo deseo es emular el estilo de vida occidental, demanda con mayor fuerza una mayor calidad de las infraestructuras y los productos de construcción.
La industria de la construcción en India se estima que tiene un valor aproximado de 50.000 millones de dólares y en la actualidad está creciendo a una tasa del 8% anual. La mitad de estos ingresos están asociados a los materiales de construcción. A pesar de que existe una industria local cada vez mejor establecida, son muy numerosos los nichos de mercado que se pueden identificar para las empresas internacionales tanto en el segmento residencial como en el no residencial.
Cabe resaltar que el sector de la construcción en el país se encuentra altamente fragmentado y
desorganizado, pudiéndose encontrar más de 300.000 contratistas. El sector de materiales de la
construcción presenta unas características muy similares y está dominado por pequeños negocios familiares que se encargan tanto de la fabricación como de la distribución. Ante todo, el mercado de la construcción indio es muy sensible a las fluctuaciones de precio y el concepto de “hágalo usted mismo” es inexistente debido a la abundancia de mano de obra barata.
Dadas las características tan especiales del sector en India, resulta esencial encontrar un socio local que a la hora de comenzar las actividades comerciales en el país pueda proporcionar información acerca de los aspectos legales, financieros y estratégicos del mercado.
Por último, atendiendo a los productos sustitutivos de los revestimientos cerámicos, nos encontramos que en India se puede encontrar tres tipos de productos diferentes cuya finalidad es similar: la piedra natural (mármol, granito, etc.), el mosaico de cemento y los azulejos cerámicos. Los dos primeros se caracterizan por llevar más tiempo siendo comercializados en el mercado. Sin embargo, se diferencian claramente en precio, calidad y el cliente final al que van dirigidos. Mientras que el mosaico de cemento resulta el producto tradicional de bajo coste, el mármol, sobre todo, es el revestimiento tradicional de lujo consumido por las clases más altas.
La introducción del azulejo cerámico supuso un claro golpe en el consumo de ambos productos
competidores. Por una parte, al poder presentar una indefinida gama de diseños y ser también un producto de calidad a un precio mucho más barato, no tardó mucho en robarle cuota de mercado al mármol. Además, también se convirtió en un serio competidor del mosaico de cemento ya que, siendo las gamas más bajas de los azulejos muy asequibles, su funcionalidad resulta muy superior. De esta forma, los revestimientos cerámicos han ido paulatinamente ganando cuota a sus principales productos sustitutivos.
martes, 1 de diciembre de 2009
Antiguas entradas del blog de Colores Olucha
El presente blog de Colores Olucha no es nada nuevo, hasta ahora durante los ultimos meses hemos gestionado un blog en otra plataforma diferente como es blogspot.es, actualmente podeis consultar las antiguas entradas de este blog en la siguiente direccion web http://coloresolucha.blogspot.es
A buen seguro algunas de estas publicaciones resultaran muy interesantes para todos vosotros.
Un saludo.
Dpto. Marketing
A buen seguro algunas de estas publicaciones resultaran muy interesantes para todos vosotros.
Un saludo.
Dpto. Marketing
India, el futuro
En los ultimos meses hemos estado siguiendo la evolucion de la sociedad india, y mas en concreto de la industria ceramica del pais, siendo esta una de las mas interesantes que se puede encontrar actualmente en el mundo, en los proximos dias iremos compartiendo en el presente blog una serie de documentos sobre la industria ceramica en India que a buen seguro resultaran mas que interesantes para la mayoria de los lectores del blog.
Como documentacion tenemos preparada una serie de videos e imagenes que a buen seguro haran las delicias de todos vosotros.
Como documentacion tenemos preparada una serie de videos e imagenes que a buen seguro haran las delicias de todos vosotros.
El inicio del Blog
Hace ya unos meses Colores Olucha decidio crear un blog de la empresa con el que seguir la actividad de la misma de un modo mas informal y proximo.
Despues de unos meses hemos decidido utilizar la herramienta BLOGGER de Google, por medio de la cual iremos actualizando y mostrando informacion sobre la empresa que pueda resultar atractiva para nuestros clientes y gente proxima al mundo ceramico.
Poco a poco iremos dando ritmo a esta herramienta promocional e iremos aportando informacion que seguro resultara muy atractiva para todos.
Despues de unos meses hemos decidido utilizar la herramienta BLOGGER de Google, por medio de la cual iremos actualizando y mostrando informacion sobre la empresa que pueda resultar atractiva para nuestros clientes y gente proxima al mundo ceramico.
Poco a poco iremos dando ritmo a esta herramienta promocional e iremos aportando informacion que seguro resultara muy atractiva para todos.
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