E-commerce Indigenous Crafts UBA BRAZIL
Indigenous people are most affected by poverty and unemployment in Brazil

Poverty and unemployment among the indigenous population in Brazil are serious and persistent problems. Although there are public policies to combat these challenges, the reality is that many Indians continue to live in precarious conditions, without access to basic goods and services and without prospects for improvement.

During the pandemic, I had the opportunity to build a solution that would help indigenous peoples and artisans to have a source of income to survive.

  • UBA Brasil (Personal Project)
  • E-commerce
  • UX/UI
  • 01 PD (Me) And My Wife
  • 2021



The exploitation of indigenous handicrafts is a serious and persistent problem in Brazil. Even with the cultural richness and millenary tradition of handicraft production, many Indians continue to live in precarious conditions and without access to fair and equitable markets.

According to recent data, only about 4% of the indigenous handicraft produced in Brazil is traded in an organized and equitable manner. The vast majority of products are sold at low prices at free fairs or by intermediaries who exploit artisans, offering little financial return. In addition, many products are sold as being from other cultures or are counterfeit, damaging the image and appreciation of indigenous handicrafts.


It becomes necessary to establish a connection between the artisan Indian and the final consumers of his product in order to reduce the action of intermediary sellers.


By creating mechanisms for valuing indigenous cultural traditions, there is a greater chance that this art will be perpetuated for future generations.


Many Brazilians are unaware of their country's indigenous culture and it is important to bring information to everyone.

Who are we studying?

The relationship between the craftsman and the final consumer is based on trust and mutual respect.

The craftsman puts all his talent and skill into creating unique, high-quality products, while the final consumer appreciates and values the manual work and the story behind each piece. Together, they keep the craft tradition alive and perpetuate the cultural richness of a community.

Indigenous Craftsman

Indigenous peoples who produce handicrafts to sell and guarantee their livelihood.

Final Consumer of Craft

People interested in the consumption of works of art and who, through a conscious purchase, value this type of product.

"If I had an hour to solve a problem, I would spend 55 minutes thinking about the problem and five minutes thinking about the solutions."
- Albert Einstein
Data Analysis
Discovery through data

The numbers related to the indigenous universe in Brazil demonstrate the importance of this people for the preservation of biodiversity, cultural diversity and the country's economy. Getting to know them is fundamental to understanding the importance of preserving the culture and rights of these communities.



The 2010 demographic census disclosed the existence of 305 different ethnic groups in Brazil and 274 indigenous languages.


thousand Indians
in Brazil.

There are 896,900 Indians in Brazil, from 305 ethnic groups, who speak 274 indigenous languages, according to data from the 2010 Census released this Friday (10th) by the Brazilian Institute of Geography and Statistics (IBGE).


Live in the
North Region.

Indigenous Peoples are present in the five regions of Brazil, and the North Region is the one that concentrates the largest number of individuals, 305,873 thousand, being approximately 37.4% of the total.


Source of

Source of Handicrafts are essential as a source of income for many indigenous communities, allowing them to preserve their cultural traditions and ensure a financially stable life.


Brazillian real.

In the last 20 years, with the growth of the creative economy, Brazilian handicrafts have been strengthened. The market moves BRL 50 billion a year and supports 10 million people.


Millions of

In the last 20 years, with the growth of the creative economy, Brazilian handicrafts have been strengthened. The market moves BRL 50 billion a year and supports 10 million people.

A value chain full of actors

In the discovery phase of a UX project, ecosystem mapping provides a high-level view of the problem space and makes opportunities obvious. Maps ensure buy-in and alignment around discovery findings.

Knowing the entire ecosystem that surrounds the craftsman becomes important for understanding the relationships between the main actors in this value chain. To do so, we designed an ecosystem map with all the elements of this chain where the center of everything is the handicraft.

Auxiliar Methods
Enriching the Search Process

To enrich our research process on the commercialization of indigenous handicrafts, we used methods other than questionnaires and in-depth interviews. Among them, "A Day in Life", which allowed us to understand the daily lives of indigenous artisans and consumers; the "Benchmark", which helped us to analyze the competition and identify market opportunities; and the analysis of Google Trends data, which allowed us to understand search trends and public interest in indigenous handicrafts. We summarized some important insights, such as the importance of originality, authenticity and appreciation of artisanal work for consumers, as well as the need to expand sales channel options for indigenous artisans.

Growing search trends during the pandemic

The Google Keyword Planner is an essential tool for evaluating the relevance of the term "online craft store". By analyzing a period of 24 months, it is possible to understand user demand and identify opportunities in the market. This information is valuable for developing an effective business strategy and achieving success in a competitive market.

• There was an increase in searches for the term by 76% in April 2020.
• The CPC (Cost Per Click) for this term is relatively low.
• There are 1,900 searches for the term in the 30-day period.
If the typical day of the user is complex, it can be split up into different time frame.

To better understand the routine and activities of indigenous artisans and craft consumers, we used the "A Day in the Life" method. We attend several craft fairs to observe and record user behavior within the studied context. Through observation, recordings and questions, we were able to understand how artisans produce their pieces, how consumers interact with them and how the sales process takes place. This immersion allowed us to gain valuable insights into the user journey and identify opportunities to improve the experience for both artisans and consumers.


To gather valuable insights into the online craft store market, it is essential to know the players in this segment. In my research, I identified more than 30 similar stores throughout Brazil. To select the top 10, I used criteria such as digital presence, interface design, product variety, consistent branding and community engagement. These stores are excellent examples of success in the industry and provided inspiration and reference to develop an effective strategy and stand out in the market.

User understanding

We carried out research to understand the handicraft trade, focusing on the two main groups involved: indigenous artisans and final consumers. We use online surveys and in-depth interviews to collect valuable information. In addition, we conducted focus groups with both audiences to gain more insight into their needs and preferences. Survey results will be used to help improve the crafts supply chain, promote fair and sustainable business practices, and encourage the preservation of indigenous culture.

Selling to middlemen is the only option we have most of the time. They offer us a low price for our craftsmanship and then sell for a much higher price. It's frustrating, but we need to support our families. I wish I had more selling options, but unfortunately it's difficult without access to bigger markets.
participate in craft fairs to sell their objects.

totally depend on handicrafts for a living.

Have easy access to the internet.

Receive some financial support from the government.

  • Difficulty in accessing consumer markets.
  • Lack of adequate infrastructure and logistics for marketing.
  • Action of middlemen who buy products at low prices.
  • Difficulty preserving traditional production techniques.
I live in a big city and it's hard to find authentic indigenous crafts around here. So I started shopping online and never stopped. The pieces are amazing and often handmade, with unique details that make each one special. a great way to support these artists and have a piece of indigenous culture in my home.
Claim to have already bought crafts on trips around the country.

Claim to have already bought crafts online.

Know or have heard about handicrafts in the Amazon.

Are satisfied with their online store experiences.

  • Many people buy indigenous crafts to connect with the culture and history of these peoples.
  • Indigenous crafts are often unique and handmade, making each piece unique.
  • Many buyers see purchasing indigenous crafts as a way to support the economy of indigenous communities and help preserve their traditions.



From all the data collected, it is time to reflect on the objective insights and define the inputs for the next phases.

So far, we've already mapped everything our user does, thinks, says and feels, now we need to define which pain is the one that will bring the most value to our user and that directly affects our product.

For this, we need to evaluate one by one, understand which of these pains that are within the User's Journey causes the most impact and map how our product creates points of contact with our persona so that we can define degrees of relevance.


The store works with two groups of people: the first is made up of artisans like Kaique and Maria, who produce indigenous handicrafts using traditional techniques, preserving the culture of their communities. The second group is made up of consumers like Lorena and Pedro, who value indigenous culture and look for authentic and unique pieces to decorate their homes and give as gifts to friends. The store positions itself as a bridge between these two groups, offering quality products and ensuring fair and sustainable trade.

Kaique is a 22-year-old indigenous young man of the Guarani-Kaiowá ethnic group, who lives in a village in Mato Grosso do Sul. He is a talented craftsman and has been making indigenous handicrafts since he was a teenager, following in his grandfather's footsteps. He is very skilled in the production of basketry, braiding and embroidery, and uses traditional techniques from his culture to create authentic and quality pieces. He is very attached to his culture and always seeks to preserve and disseminate it through his work. He sells his pieces at local fairs, directly to tourists and to stores specializing in indigenous crafts.
Maria is a 55-year-old indigenous artisan of the Tikuna ethnic group, who lives in a community in the Amazon. She learned to produce crafts since she was a child, following the teachings of her mother and grandmother. She specializes in the production of wooden objects, such as bows and arrows, household items and toys, using wood from trees in the region. She also produces ceramic objects, using traditional techniques from her culture. Maria is very attached to her culture and always seeks to preserve it through her work. She sells her pieces directly to tourists who visit her community or to intermediaries who take her pieces to be sold at fairs and stores specializing in indigenous handicrafts in other regions of the country.
Final Consumer
Lorena is a 30-year-old woman who lives in São Paulo. She is passionate about art and decorating, and loves buying crafts to decorate her home. She is very conscious of environmental and social issues and is looking for ways to support indigenous communities in Brazil. She values quality, authenticity and the story behind every piece she buys, and is willing to pay a fair price for it. She usually buys handicrafts online, in specialized stores or at craft fairs.
Final Consumer
Pedro is a 45-year-old man who lives in Florianópolis. He is a collector of indigenous artifacts and loves to travel around Brazil to meet different communities and acquire unique pieces. He is passionate about history and culture and sees crafts as a way to preserve indigenous tradition. He places great value on authenticity and rarity, and is willing to pay high prices for it. He prefers to buy directly from artisans in indigenous communities, but he is also willing to purchase pieces from stores specializing in indigenous art.

Pain Points

Interaction Level

• Difficulty in communication between artisans and customers, due to language and cultural barriers.

• Lack of clear information about the products, such as the history and tradition behind each piece.


Pain Points

Journey level

• Logistical challenges in distributing products to different locations, due to lack of infrastructure and adequate transport.


Pain Points

Relationship Level

• Disrespect for the traditions and culture of indigenous peoples by some customers and business partners.

• Lack of recognition and appreciation of the work of indigenous artisans, often relegated to a subordinate position in the handicraft market.

Affinity Mapping
Identifying and clarifying problems/opportunities by grouping ideas and opinions.

Through the affinity map I identified and organized ideas related to the defined groups (Branding, Technology, Logistic, Price and Sustainability). This helped them understand the relationships between these groups and develop more effective strategies for the store.


The purpose of the indigenous handicraft store is to highlight the cultural richness of Brazilian indigenous communities, valuing the tradition and skill of indigenous artisans. The brand must convey this message of authenticity, originality and respect for the cultural traditions of indigenous peoples.


The indigenous craft store must have an online platform that offers an easy and intuitive shopping experience, in addition to digital marketing resources to promote its products and attract new customers. Invest in technologies that allow you to manage stock efficiently and ensure the security of customer data.


The indigenous handicraft store must ensure efficient logistics to serve customers across the country, either through partnerships with carriers or its own delivery services. Invest in safe and resistant packaging that protects products during transport. The store must maintain an order tracking system to ensure that customers have access to product delivery information.


The indigenous handicraft store must offer fair and competitive prices, which value indigenous handicraft work and meet customer expectations. A balance must be sought between product quality and final price, to ensure customer satisfaction and business profitability. The store must clearly and transparently communicate product prices, avoiding unpleasant surprises for customers.


The indigenous craft store must adopt sustainable practices throughout its production and sales process. Priority should be given to the use of organic and recyclable materials, encouraging fair trade and the preservation of cultural traditions of indigenous communities. The store must communicate these sustainable practices to the public, reinforcing its commitment to the environment and indigenous communities.

SWOT Analysis
A strategic look at the online craft market

To assemble the SWOT matrix for the online craft store, I started by identifying the company's internal strengths, such as the variety of unique and exclusive products and the focus on personalized service. Next, I identified weaknesses, such as poor online visibility relative to competitors. Then I pointed out external opportunities, such as the growth of tourism in the Amazon region, and external threats, such as competition with large online craft companies. When completing the SWOT matrix, I analyzed the information and prioritized the necessary actions to take advantage of the opportunities and minimize the threats, aiming to improve the store's performance and grow in the online craft market.


  • Variety of unique and exclusive craft products;
  • Competitive prices compared to competitors;
  • Strategic location in Manaus, an important tourist and cultural center;
  • Partnerships with local artisans who produce exclusive pieces;
  • Focus on personalized service and excellent customer experience.


  • Little online visibility compared to competitors;
  • It can be difficult to compete with large online craft companies with larger marketing budgets;
  • Logistical challenges in distributing handcrafted products to other states in Brazil.


  • Increased demand for unique and authentic craft products;
  • Tourism growth in the Amazon region;
  • Possibility to expand the business to other online markets;
  • Increased awareness and appreciation of indigenous culture and tradition.


  • Competition from large online craft companies with larger marketing budgets;
  • Political and economic instability in Brazil;
  • Currency fluctuations that affect the price of imported inputs;
  • Possibility of copies of exclusive handmade products by disloyal competitors.



Much more than screens, here we are going to focus on experience, on the Information Design of our environment, be it online or offline, we are going to think about Wayfinding.

To create solutions we must look outside, what are my competitors doing? What are my potential users using? How are they using it? How can we connect with the future of our market?

At that moment we must think beyond, create hypotheses, validate with our personas, definitely think outside the box.

Conducted a more product-focused benchmark in order to identify best practices
User Experience

Identification of best practices regarding user experience, such as ease of navigation, attractive design and functionality of the site.

Information Architecture

Evaluation of the quality of the images and descriptions of the products, as well as the organization of the virtual store.

Marketing Strategy

Identifying effective marketing and sales strategies used by competitors, such as special offers, loyalty programs and successful advertising campaigns.


Comparison of prices and payment terms with competitors.

Digital Presence

Evaluation of presence on social networks and interaction with the public.


Analysis of the checkout process and customer support.


I analyzed which technologies were present in each player such as Backoffice, Payment Gateways and User Support.

Content Creation

Gain competitive advantage in the market by standing out against competitors.

The time has come to think about Wayfinding

During the brainstorming process to find solutions for selling crafts online, some frameworks were used, such as Hope and Fears, Dot Voting and Competitive Analysis. To obtain more accurate results, I carried out dynamics with people close to the craft industry. After analyzing all the collected data, four main pillars were defined for the solution: Visual Language, Branding, Technology and Sustainability. These pillars will be the basis for the development of an efficient and sustainable online craft sales platform.

It is important to differentiate yourself in the market, build a unique identity and establish an emotional connection with your customers.

For this, we use the Golden Circle, a communication tool, to help the indigenous craft store to communicate clearly and convincingly about its values, its identity and its reason for existing. By defining the "why" of the store, the store can create an emotional connection with its customers and build customer loyalty and attract new customers who identify with the store's vision and values. Using this tool can help the store to differentiate itself in the market and establish an emotional connection with its customers.

WHY. Our online store of indigenous crafts values the ancestral traditions and cultures of several Brazilian indigenous peoples, promoting the preservation and dissemination of these riches.
HOW. We offer a wide variety of high quality products, all produced by indigenous artisans from different regions of the country. We establish fair partnerships with communities, promoting the sustainable economic development of these peoples.
WHAT. Our online indigenous handicrafts store offers a unique and exclusive collection of handcrafted pieces, including basketry, ceramics, musical instruments, jewelry and much more. Each product is produced with traditional techniques and natural materials, guaranteeing the authenticity and originality of each piece.



Making ideas tangible through layouts and prototypes to validate whether the solution will be effective and efficient for the daily lives of users.

This dive into the handicraft trade universe gave us a rich vision of opportunities and challenges that, once compiled, will be consolidated in the form of a solution.

The idea is to build a simple and sustainable solution that brings value to the users in question, providing autonomy and transparency to the process.



The naming process is extremely important for an indigenous handicraft store, as the chosen name must be strong, easy to speak and convey the essence of the brand.

In the case of the UBÁ Brasil, the choice of name was based on the indigenous origin and the history of one-piece canoes excavated from tree trunks. The word "Ubá", in Tupi-Guarani, has a deep meaning and represents the authenticity and uniqueness of the products offered by the store. Choosing a name that has a deep meaning and a connection with the history and culture of indigenous peoples is essential to convey to customers the importance of indigenous crafts and value its cultural relevance.

Creating a visual identity system

Creating a visual identity system for the indigenous handicraft store is essential to convey to customers the culture and traditions of the oldest peoples in a clear and cohesive way. Through well-defined visual elements and a consistent graphic language, it is possible to translate everything we want to convey and strengthen the brand identity. In addition, the visual identity can be applied to all points of contact with the customer, such as packaging, social networks and advertisements, making communication more effective and impactful. It is essential that each element transmits the store's message in an authentic and representative way, reinforcing the importance of indigenous crafts and its cultural relevance.

We record through images the beauty of indigenous art in the smallest details

One of the main pillars of the store's experience is to bring the details that only manual work can give to a handcrafted product. Through the images, we want to provide a unique experience when choosing the pieces.

The challenge of creating an interface that can reflect the culture and identity of indigenous peoples.

What makes an indigenous craft site special from other e-commerce sites is the possibility of directly connecting with the culture and history of indigenous peoples, as well as promoting and valuing their products and traditions. It is an opportunity for customers to acquire unique and high quality products, while contributing to the preservation of indigenous culture and the sustainable development of the communities involved in the production of handicrafts.


Creating a visual identity system for the indigenous handicraft store is essential to convey to customers the culture and traditions of the oldest peoples in a clear and cohesive way. Through well-defined visual elements and a consistent graphic language, it is possible to translate everything we want to convey and strengthen the brand identity.

For everyone. For all devices.

The interface project was designed to be displayed on all devices, always presenting consistency of elements and experience.



The pandemic period was a difficult time for many people across the planet, but I have always believed that we can become better people even in adversity.

I invested my savings in this project, which financially speaking is very small compared to the big players in the market, but it brought me immeasurable learning as a person and as a professional.

I won't talk about the values transacted during this period because they are important but they are not the true wealth of this project, but the people it connects, simple people with skilled hands who deserve our respect and care because they carry ancestral traditions in their hands.

I have always been passionate about experimental projects, but the case of UBÁ Brazil connected me with my origins, with my city, with my state, with people and with everything that often went unnoticed by me. Design gave me this gift of looking at simple things and trying to change the reality of people who often don't have an empathetic look on the part of state powers.
Jusley smaly, product designer