CRAFT RESEARCH AND CRAFT BASED PROJECT

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  1. 1. CRAFT RESEARCH AND CRAFT BASED PROJECT By- Jigyasa Arya
  2. 2. RESEARCH ON UTTARANCHAL CRAFTS
  3. 3. Traditional Crafts are innovations of yesterday. It reflect the immense creativity of ordinary people and their quest for self- expression and fulfillment. The craftsmen derive their inspiration, innate wisdom and skills not from books but from nature and their surroundings and from their ancestors. Evolution is necessary Just as human evolution, crafts also evolve over time by mixing and churning influences and events. If we want to keep it alive, then we have to modify it according to the new generation needs, without loosing its own essence
  4. 4. BLOCK PRINTING (Haldawani, Nanital) Woodblock printing on textiles is the process of printing patterns on textiles, usually of linen, cotton or silk. It is the earliest, simplest and slowest of all methods of textile printing. Motifs are geomatrical, floral based on lotus, rose, sunflower. Some traditional motifs are also used - gulab booti, kamal ki booti, imli booti, ambi booti etc. Technique: Stamping, Rubbing Products: Dupatta-stoles towels turbans Sari Bedcovers handkerchief Curtains Cushion Covers Tablecloth
  5. 5. ZARI & EMBROIDRY (Roorkee, Haridawar) Zardozi is a Persian word.(Zar in Persian means gold and Dozi is embroidery). Done with metallic threads but originally done with silver or gold threads or silver coated with pure gold. The artisans of Uttarakhand use an array of stitches that are used to decorate the items. This has ornamentation of tikris and beads, which make them, look attractive. This is done on a frame of wooden beams. Another type of embroidery pattern is the jaali or net embroidery in geometric or floral shapes and is done by pulling the warp and weft threads and fixing them with minute buttonhole stitches. The desired motif is neatly embroidered with different stitches (Pakko, Kachho, Soof, Rabari, kharek etc)to achieve desired motif.
  6. 6. AIPAN (Nanital) AIPAN is a ritual painting drawn on the floor and walls where religious ceremonies are to be performed. The symbolic white patterns differ for each ceremony and social occasion. Traditionally, aipan on the threshold are freshly made every morning. The ground is first prepared by smearing it with a liquid mixture of clay,cowdung and straw. When it dries, a coat of geru, red clay, is applied and allowed to dry. The artist, a woman, swiftly draws out the prescribed motif in rice paste using her ring finger, anamika, and moving out from the centre. The rice paste drips onto the ring finger from the other fingers. The aipan is drawn freehand, from memory. Products Floor paintings Painting on winnows Greeting cards Stickers Wall hangings Boxes Wall tiles A ritual floor diagram.The deity will be placed in the centre. The motif of feet indicate that it is meant for Goddess Lakshmi
  7. 7. SOME OF MY CRAFT BASED PROJECTS
  8. 8. CRAFT BASED PRODUCTS Inspired from the Gushaini Craft utility products were designed in order to promote the craft, Keeping in the mind the target customers which were mostly tourists who trekked to mountains bags and bottle covers were designed. To give the essence of Gushaini Craft its borders and fabrics produced in the locality was used including other resources like bamboo straws.
  9. 9. The traditional Zardozi contemporization: Intricacy is the area of exploration; It has been done according to the kind of wear. Instead of basic red, green, blue fabrics- transparent white fabric with neon shaded threads are used so that it expresses freshness, energy and youthfulness in the process of contemporization. Motifs are kept small, simple and straightforward to suit the new evolution of younger generation.
  10. 10. Surfaces have the use of metallic sequences, zari and neon stitching threads. They are embroidered on the surface to contemporize the regular Zardozi.
  11. 11. Block printing , Tie & Dye and Bandhni
  12. 12. PRESENTED BY: JIGYASA ARYA ilaarya.arya@gmail.com +919871012349 Thank you