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A REPORT ON DESIGN AND TECHNICAL DEVELOPMENT WORKSHOP IN STAPLE EMBROIDERY CRAFT, VENUE-KAWOOSA KHLISA (BUDGAM)
09-02-2010 TO 23-02-2010
SPONSORED BY O/o the Development Commissioner (Handicraft), Ministry of Textiles, Government of India,
ORGANIZED AND SUBMITTED BYSUKHNAG ARI STEPAL EMB. IC LTD., NAWPORA, KASHMIR
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CONTENTS
1. ABOUT THE CRAFT. 2. VENUE OF THE WORKSHOP. 3. INSPECTION. 4. DESIGNER’S REPORT. 5. NEW ELEMENTS ADDED. 6. PROGRESS CUM ACHIVEMENT REPORT. 7. LIST OF THE PROTOTYPES. 8. SKETCHES OF THE PROTOTYPES. 9. PHOTOGRAPHS OF THE PROTOTYPES. 10. LIST OF THE ARTISANS. 11. RESUME OF THE DESIGNER.
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1. ABOUT THE CRAFT Kashmir is known internationally for its style of embroidery which is found on garments like the phiran, tapestry, curtains, shawls and household linen. The craftsmen draw inspiration from the landscape and the embroidery is renowned for its beauty and richness. The main patterns in this region are chinar leaves, cypress cones, the lotus and almonds. Kashida, the local lingo for the embroidery, in a number of stitch styles, of which, the sujni stitch is used when uniformity is desired on both sides, like in choice shawls. Zalakdosi, the chain stitch done with a hook is found on chogas (cloaks) and rugs with long and flowing designs. A buttonhole stitch for thick fillings is Vata-chikan. Amli embroidery in multicoloured threads is found in Kani shawls while Do-rookha is a double-sided stitch used to create similar patterns on either side but with different colour combination. Gold or silver embroidery is done around the necks of the gown or phirans while chain and cross-filling stitches are used to do crewel work on namda or carpets. Gabba is another type of floor covering made out of old blankets with a combination of applique work and chain stitches. Patterns on gabbas and namdhas are in floral and geometrical designs. Shawls and furnishing fabrics are also embroidered while the famous Pashmina shawls are embroidered with fine silk thread .
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Type of Stitch.
Arrowhead stitch
Eye stitch
Algerian eye stitch
Open fishbone stitch
Raised fishbone stitch
Flat stitch
Fishbone stitch
Braid stitch
Cable chain stitch
Knotted chain stitch
Open chain stitch
Petal chain stitch
Rosette chain stitch
Rosette chain line
Singalese chain stitch
Zig-zag chain stitch
Twisted chain stitch
Wheat-ear stitch
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Basic cross stitch
Long-armed cross stitch
Double cross stitch
Italian cross stitch
Basket stitch
Leaf stitch
Herringbone stitch
Tacked herringbone stitch
Tied herringbone stitch
Montenegrin stitch
Thorn stitch
Trellis stitch
Van Dyke stitch
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2. VENUE VENUE OF THE WORKSHOP: - Kawoosa Khlisa, Budgam, Srinagar.
The workshop is around 35 km away from Srinagar. The clusters in the area have been engaged with handicraft activity and have been producing export quality goods and have been sincerely going on with this vocation. Technical guidance were to been offered. The craftsmen are suffering from difficulties of raw materials and being the victims of middleman ship. The area has less population and new generation is getting away from the craft because of proper guidance about the craft and its growing future. DATE OF THE WORKSHOP: 09th February, 2010 to 23rd February, 2010, Total 15 (Fifteen days)
Artisans are working at workshop.
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3. PHOTOGRAPHS
Designer Mr. Harsh V Singh.
Artisan at workshop
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Artisan at workshop
Designer Mr. Harsh V Singh and president of NGO looking at designs.
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AD M&SEC, SRINAGAR.
CHEQUE DISTRIBUTION
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5. DEIGNER’S REPORT I made a survey of the area to understand the existing design in Staple embroidery Craft, the available materials, technical inputs, production process and marketability of product etc. for the development of new designs, which can easily, marketed. I started the work by keeping basic aspects of the development like locating the active area i.e. geographically where the craft stands, which level of skills craftsperson have, basic difficulties lies around the area so that it could easy to reach and rectify the problem. The result reveals heartening facts. No doubt, they are skilled and deserve every right to get all the recognition, others enjoying. . The crafts persons were talented and practicing it, as the products made out of this craft is used in everyday workout. The crafts persons practicing the art for the household needs and for some small business point. There products of concerned and the designs were of limited stock, as they don’t have exposure to the outer world of competition. The artisans are highly skilled but easily can be mould into any shape of desire. The ultimate story is that is that by proper guidance regarding the designs, ability to judge the trend and requirement of the market, technical inputs, providing proper marketing network, refinement of taste and choices to be built up among the artisans to enable them to put an overall performance on the crafts to ensure end users satisfaction.
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DESIGN METHODOLOGY AND PROCESS
Presently there is not any certain process that they follow as they doing nothing properly in planned way. They were just doing it on daily basis as discussed earlier. There is a limited variation in design and products the just making it as their habit. To achieve something fruitful result, planning is the most and it should be based on certain facts• Products –- Products needs to develop that they can relate their requirement, usages, and above all the capability in their society they were lagging at. • Costing – As it’s the most important of the development and survival of any craft, business or species on earth that better and adoptable as per the situation can only deserve to survive in the competitive world. Increasing
productivity,
product
and
design
development,
standardization of product, technological up gradation for capacity building, quality control measures with well defined specifications, effective packaging, and networking through IT. • Raw material - It should be taken care that those raw materials should be in used which are easily available at particular place to develop the prototypes. So that in coming future the craftsperson can easily abler to get them.
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• Marketing - Assimilation of market intelligence, product identification as per market segmentation, appropriate market and product mix, building up of business enterprises, relationship management of assisting
market
outlets,
test
marketing
through
financial
exhibitions/fairs, effective publicity through appropriate media mix. • Financial - Pooling of economic resource (within through thrift and credit and external through financial institutions and funding organizations). According to above mention facts• I selected &introduced the designs those are relevant with their identification on world map ie. Life style accessories, dress material & other items etc. • Introduced new techniques that they can incorporate in their practice to save the time and increase their quality and production without altering their craft and their basic needs. Keeping the traditional value in mind I selected the product range and techniques got little altered from the traditional one as little change can be acceptable and they get that easily but drastic change can spoil the interest.
. WORK PROCESS FLOW CHART-
The whole working process to get the objective one can understand the process as• Planning of the product range • Panning the day required • Divide the groups for different work Cutting Tracing Embroidery Finishing Packaging • Costing • Hand over to the marketing channel Raw material, tools &equipments usedRaw material-
Fabric, Tracing Papers, threads of different colour etc.
Tools &equipments used-
Needle.
Scissor Stitching machine Accessories.
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6. NEW ELEMENTS ADDED IN DESIGN There are several principles of design that are as variable as ones perception. The sense of designs methodology depends upon the surroundings. Motifs are inspired from objects observed in daily life. The principles of design consist ofrepetition, gradation, rhythm, radiation, contrast, dominance (emphasis), proportion, scale, balance, harmony, unity, and adequate design functionality. The basic factor that plays important role in creating and implementing the concept is previsualization of the end product. The principles are applicable for all relevant fields such as graphic design, industrial design, architecture and fine art. The principles govern the relationships of the elements used and organize the composition as a whole. Successful design incorporates the use of the principles and elements to serve the designer' s purpose and visual goals. There is no rule for their use, but may be directed by intent. The designer' s purpose drives the decisions made to achieve appropriate scale, good proportion, as well as the degree of harmony between all the elements achieved through the sensitive balance of variety and unity. Harmony in design is using the same shape or similar shapes for the components of a project like a house. When objects like furniture in room look like these belong together, the objects are in harmony. Color harmony is using the same set of
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colors of a color palette with a limited number of colors, and using the same or similar color patterns on the components (like a table and couch) of a project help unify the space. Harmony and unity in design generally or in many cases makes the design (like a room in a house) look more visually appealing. These concepts and elements drive all intentional design strategies. Awareness of the elements and principles is the first step in creating successful visual compositions. After survey I found the Kashmir’s craft is very rich in terms of design, color and pattern. But there is always chance of improvement. I tried to introduce new elements in design without harming the soul of the craft. As I find the crafts has always very rich relationship with the culture of the specific region and this relationship is thousand years old. This relationship is visible in many ways such as the design pattern, the motif, the color combination new elements in Design- all design are inspired by the nature. In all prototypes you find floral motif is there. In some prototypes a nice amalgamation of geometrical pattern with floral motif we can see. Color combination- Sober and contrast color combination is used in prototypes according to the end use of prototypes. Such as in suits sober color combination and contrast in furnishing. Fabric- Woolen, cotton and poly cotton are used mostly. Cotton is used for dress material i.e. suits. Woolen
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used in shawls and poly cotton is used in suits. I have used viscose, woolen and cotton threads.
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7. PROGRESS CUM ACHIEVEMENT REPORT
A brief report on progress of the workshop and prototype developmentFIRST PHASE (09th February - 13th February, 2010.)
Workshop inaugurated,
than
a
brief
got introduction
regarding the purpose of the workshop and whole
planning
regarding
the
work
discussed. After inaugural speech to understand the skills level of craft women paper & fabric swatches distributed to the women to know their knowledge and skill about the craft. Then design of six set of the prototypes were taught & impression
on respective
base material on
which prototypes suppose to get developed with all the details .Placement of the designs on
base material got done and were
distributed among them. Work started on respective prototypes at the same time. SECOND PHASE (14th February - 18th February, 2010.)
One set of the six prototypes i.e. cushion cover, Shawls etc. got completed. At the end of this phase 18th February, 2010 other six set of designs of prototypes were got traced onto the respective base material.
. THIRD PHASE (19th February – 22nd February, 2010.)
In this phase some small prototypes were got completed. All the heavy work prototypes i.e. Feran, Shawls etc. were targeted. At the end of this phase 22nd February due to fine and heavy work as well as short time period, fifteen set of sample got finished. FOURTH PHASE (23rd February, 2010)
All the prototypes developed were finished that means thread cutting, hemming washing & stitching get done.
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ACHIVEMENTS On commencement of the workshop, the trainees were introduced with:• Existence of the craft and its importance towards its heritage culture. • Importance of colors in craft. • Importance of the quality of fabric and thread to be used. • Importance of the design and their use. • To embellish them with the modern look. • Methods of transferring a design. • Presentation and care of the craft. • Tools and material used. • Craft and its possibilities. Under the guidance on day-to-day basis the trainees learnt tailoring giving various shape to the prototypes. As the workshop processed, the trainees were also given practical training and the use & implementation of various designs & techniques.
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CONCLUSION
The 15 (fifteen) days workshop with the crafts women of SUKHNAG ARI STEPAL EMB. IC LTD., NAWPORA, KASHMIR at venue 窶適awoosa Khlisa, Budgam, Srinagar has been an insightful process. The work that has emerged, through the collective effort of the crafts women, NGO team, and the Designer, reveals the great potentials that the traditional craft Staple embroidery practices by the women. The products created by the crafts women, supposedly low skilled but are neat and well executed and have made us rethink about their potential. It is heartening to see that the entire process, from the conception of the designs, to tracing them, cutting , and then filling and finishing the product, has been highly participatory one, and everybody enjoyed every moments of it.
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LIST OF THE PROTOTYPE DEVELOPED AT DESIGN AND TECHNICAL DEVELOPMENT WORKSHOP CRAFT - STAPLE EMBROIDERY DATE-09-02-2010 TO 23-02-2010 VENUE- KAWOOSA KHLISA, BUDGAM, SRINAGAR. S.N
PRODUCT
01
CUSHION COVER
02
PRODUCT CODE
SIZE(INCH)
PCS
SAS/DW/10/01
18X18
02
CUSHION COVER
SAS/DW/10/02
18X18
02
03
CUSHION COVER
SAS/DW/10/03
18X18
02
04
CUSHION COVER
SAS/DW/10/04
18X18
02
05
CUSHION COVER
SAS/DW/10/05
18X18
02
06
STOLE
SAS/DW/10/06
20X80
02
07
STOLE
SAS/DW/10/07
20X80
02
08
STOLE
SAS/DW/10/08
20X80
02
09
STOLE
SAS/DW/10/09
20X80
02
10
STOLE
SAS/DW/10/10
20X80
02
11
STOLE
SAS/DW/10/11
20X80
02
12
STOLE
SAS/DW/10/12
20X80
02
13
FERON
SAS/DW/10/13
3.5 MTR
02
14
FERON
SAS/DW/10/14
3.5 MTR
02
15
FERON
SAS/DW/10/15
3.5 MTR
02
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PROTOTYPE NO-01 PRODUCT-CUSHION COVER PRODUCT CODE-SAS/DW/10/01
PROTOTYPE NO-02 PRODUCT- CUSHION COVER PRODUCT CODE-SAS/DW/10/02
. PROTOTYPE NO-03 PRODUCT- CUSHION COVER PRODUCT CODE- SAS/DW/10/03
PROTOTYPE NO-04 PRODUCT- CUSHION COVER PRODUCT CODE- SAS/DW/10/04
. PROTOTYPE NO-05 PRODUCT- CUSHION COVER PRODUCT CODE- SAS/DW/10/05
PROTOTYPE NO-06 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/06
. PROTOTYPE NO-07 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/07
PROTOTYPE NO-08 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/08
. PROTOTYPE NO-09 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/09
PROTOTYPE NO-10 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/10
. PROTOTYPE NO-11 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/11
PROTOTYPE NO-12 PRODUCT- STOLE PRODUCT CODE- SAS/DW/10/12
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PROTOTYPE NO-13 PRODUCT-FERON PRODUCT CODE- SAS/DW/10/13
PROTOTYPE NO-14 PRODUCT- FERON PRODUCT CODE- SAS/DW/10/14
. PROTOTYPE NO-15 PRODUCT- FERON PRODUCT CODE- SAS/DW/10/15
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A REPORT ON DESIGN AND TECHNICAL DEVELOPMENT WORKSHOP IN STAPLE EMBROIDERY CRAFT, VENUE-KAWOOSA KHLISA, BUDGAM, SRINAGAR.
09-02-2010 to 23-02-2010
SPONSORED BY O/o the Development Commissioner (Handicraft), Ministry of Textiles, Government of India,
ORGANIZED AND SUBMITTED BYSUKHNAG ARI STEPAL EMB. IC LTD., NAWPORA, KASHMIR.