This 700-year-old weaving craft is native to the Dangashiya community of Surendranagar, Gujarat. The community consists of weavers and shepherds. The weavers make the blankets out of sheep and goat wool for the shepherds to wear.
This document provides an overview of Tangaliya weaving, also known as Daana weaving, which is practiced in Gujarat, India. Some key points:
- It originated 700 years ago when a boy from a shepherd community married a girl from a weaver community and started weaving shawls using wool from his sheep.
- It involves intricately twisting extra weft threads around warp threads to create geometric patterns and dots on both sides of the fabric.
- It is practiced by the Dangasia community in villages in Surendranagar district. Traditional materials included wool but now cotton, silk and acrylic are also used.
- The process involves warping the loom
This document provides an introduction and overview of Ilkal saris from the town of Ilkal, Karnataka, India. It discusses the history of Ilkal saris dating back to the 8th century AD. The process of creating Ilkal saris is described, beginning with natural indigo dyeing of the cotton yarn. Weaving is then done using unique techniques like tope teni. Some saris also feature kasuti embroidery, which involves intricate patterns embroidered onto the sari by counting threads without outlines. A variety of traditional motifs are embroidered, reflecting designs from the region's history.
Handicrafts are unique artistic products made by hand that represent local cultures. Handicrafts in Bangladesh provide employment for over 3 million people and are an important part of the economy due to low capital requirements and export potential. Major Bangladeshi handicraft products include textiles, metalwork, woodwork, stone carving, ceramics, and items for home furnishings. Famous handicrafts from Bangladesh are Nakshi Kantha embroidered quilts and Jamdani muslin textiles renowned for their intricate designs.
Patwa is a thread craft which originated in Rajasthan and is now practiced in parts of Rajasthan, Maharashtra, UP. The word Patwa has been derived from the Hindi word ‘pat’ meaning silk and those involved in the silk and cotton thread business are called Patwas. The Patwa are a mainly Hindu community. Traditionally they were weavers and engaged in jewelry-making business and worked with silver and golden threads. Nadas, Parandi, tassels, pironas of necklaces and payals and rakhis are all examples of the craft.
“A STUDY ON MARKET RESEARCH AND COMPETITIVE
ANALYSIS ON WEST BENGAL’S HAND CRAFT PRODUCTS”
- A STUDY ON HANDCRAFT PRODUCT ON PARASMONI
CRAFTS & TOURISM PVT.LTD. UNDER ONGBONG
Design Project 3, Photography Design, National Institute of DesignSneha Sarang
The document discusses the traditional craft of 'sadeli' marquetry practiced by the 'pe gara' family in Surat, India. It has almost vanished today with only one carpenter retaining the skills. The author's project aims to create a book and video to make people aware of 'sadeli' and encourage more people to learn the craft, thus helping sustain the 'pe gara' family's livelihood and cultural identity. The methodology involves researching the craft's history, documenting the process, and editing the final outputs to educate audiences and promote 'sadeli'.
This project aims to create a platform in Tangail, Bangladesh to promote and preserve traditional handloom and crafts of the region. The project is led by UBINIG, an organization focused on supporting traditional skills. The platform will provide space for handloom weavers and craftspeople to showcase and sell their products. It will help address issues like lack of exposure and support faced by the communities. The 7.67 acre site is located in Nolsodha village and surrounded by residential areas and farmland. An analysis of the site and surrounding craft communities was conducted. Literature on similar craft village projects and traditional Tangail handloom and crafts was also reviewed to inform the project design.
This document provides an overview of Tangaliya weaving, also known as Daana weaving, which is practiced in Gujarat, India. Some key points:
- It originated 700 years ago when a boy from a shepherd community married a girl from a weaver community and started weaving shawls using wool from his sheep.
- It involves intricately twisting extra weft threads around warp threads to create geometric patterns and dots on both sides of the fabric.
- It is practiced by the Dangasia community in villages in Surendranagar district. Traditional materials included wool but now cotton, silk and acrylic are also used.
- The process involves warping the loom
This document provides an introduction and overview of Ilkal saris from the town of Ilkal, Karnataka, India. It discusses the history of Ilkal saris dating back to the 8th century AD. The process of creating Ilkal saris is described, beginning with natural indigo dyeing of the cotton yarn. Weaving is then done using unique techniques like tope teni. Some saris also feature kasuti embroidery, which involves intricate patterns embroidered onto the sari by counting threads without outlines. A variety of traditional motifs are embroidered, reflecting designs from the region's history.
Handicrafts are unique artistic products made by hand that represent local cultures. Handicrafts in Bangladesh provide employment for over 3 million people and are an important part of the economy due to low capital requirements and export potential. Major Bangladeshi handicraft products include textiles, metalwork, woodwork, stone carving, ceramics, and items for home furnishings. Famous handicrafts from Bangladesh are Nakshi Kantha embroidered quilts and Jamdani muslin textiles renowned for their intricate designs.
Patwa is a thread craft which originated in Rajasthan and is now practiced in parts of Rajasthan, Maharashtra, UP. The word Patwa has been derived from the Hindi word ‘pat’ meaning silk and those involved in the silk and cotton thread business are called Patwas. The Patwa are a mainly Hindu community. Traditionally they were weavers and engaged in jewelry-making business and worked with silver and golden threads. Nadas, Parandi, tassels, pironas of necklaces and payals and rakhis are all examples of the craft.
“A STUDY ON MARKET RESEARCH AND COMPETITIVE
ANALYSIS ON WEST BENGAL’S HAND CRAFT PRODUCTS”
- A STUDY ON HANDCRAFT PRODUCT ON PARASMONI
CRAFTS & TOURISM PVT.LTD. UNDER ONGBONG
Design Project 3, Photography Design, National Institute of DesignSneha Sarang
The document discusses the traditional craft of 'sadeli' marquetry practiced by the 'pe gara' family in Surat, India. It has almost vanished today with only one carpenter retaining the skills. The author's project aims to create a book and video to make people aware of 'sadeli' and encourage more people to learn the craft, thus helping sustain the 'pe gara' family's livelihood and cultural identity. The methodology involves researching the craft's history, documenting the process, and editing the final outputs to educate audiences and promote 'sadeli'.
This project aims to create a platform in Tangail, Bangladesh to promote and preserve traditional handloom and crafts of the region. The project is led by UBINIG, an organization focused on supporting traditional skills. The platform will provide space for handloom weavers and craftspeople to showcase and sell their products. It will help address issues like lack of exposure and support faced by the communities. The 7.67 acre site is located in Nolsodha village and surrounded by residential areas and farmland. An analysis of the site and surrounding craft communities was conducted. Literature on similar craft village projects and traditional Tangail handloom and crafts was also reviewed to inform the project design.
Kullu Karishma started in 1990 with a small Angora rabbit farm. It works with local artisans in Kullu, Himachal Pradesh to produce handicrafts using angora wool and other natural fibers. Products include shawls, sweaters and accessories made through traditional techniques like hand spinning, weaving, knitting and natural dyeing. It aims to support the local community and keep traditional crafts alive in a sustainable way. Over 100 women earn regular income through the organization.
Traditional Costumes of India #RajasthanMahin Hassan
This document provides information about traditional costumes and textiles from Rajasthan, India. It discusses the main types of clothing worn by men and women, including ghagras, cholis, odhnis, pagris, angarkhas and pyjamas. It also describes important textile crafts from the region like block printing, tie dye work, embroidery and mirror work. These crafts use locally sourced materials like cotton and silk. The document outlines the historical origins and development of these textiles and costumes, noting their royal patronage and increasing popularity both within India and internationally due to the influence of globalization.
The document provides information about Chanderi sarees, a famous handloom fabric from Chanderi, Madhya Pradesh, India. Some key points:
- Chanderi sarees are known for their light weight, glossy texture and richness. They can be made of pure silk, cotton-silk blends.
- The weaving tradition dates back to the Vedic period. Motifs have evolved from traditional designs like peacocks to modern geometrics.
- Production is protected via a Geographic Indication and the handloom tradition employs over 18,000 people. Proper care involves dry cleaning or mild washing and avoiding direct sunlight.
The document provides information about bamboo basket making by the Dom community in Nepal. It discusses:
- The Dom community makes various bamboo baskets that are used in Hindu rituals and festivals in Nepal and India, especially during Chhath puja.
- The tools used include knives, measurement tapes, hacksaw blades, and chisels. Bamboo is split, peeled, and woven by hand into different shapes and sizes of baskets.
- The Dom's traditional occupation has been basket making. Demand increases during festivals like Diwali and Chhath puja, providing income. However, daily demand is low outside of festivals.
This document summarizes a workshop on embroidery development held in Surajkardi, Dwarka, India. It was sponsored by the Office of Development Commissioner (Handicrafts) under the Ministry of Textiles, Government of India. The workshop provided training to local artisans on embroidery techniques like applique and patchwork. Market research was also conducted to understand demand and design new product lines. The training aimed to help artisans modernize their skills and designs to better compete in the market.
This document provides information about a proposed Traditional Handloom and Crafts Center project in Tangail, Bangladesh. The key points are:
1) The project aims to create a central platform to preserve and promote traditional handloom and crafts from the Tangail region, including tant, jamdani, clay crafts and bamboo works.
2) The 7.67 acre site for the project is located in Nolsodha village and will feature workshops, exhibition spaces, residences showing traditional housing patterns and a central haat (marketplace).
3) The organization UBINIG, which works to support traditional skills, is leading the project to address issues local artisans face like lack of exposure
Jamdani sarees originated in Bengal and are characterized by intricate motifs that float on a sheer, fine muslin fabric. They have a long history dating back to Mughal rule in the 16th-18th centuries when weavers in Dhaka received royal patronage. Jamdani weaving is an intricate process done on a brocade loom using supplementary wefts to add patterns while maintaining a sheer base fabric. There are regional variations from places like Bangladesh, West Bengal, and the traditional Dhakai style takes 9 months to a year to complete. While the craft has declined, recent efforts aim to revive jamdani weaving through supporting weavers, establishing training centers, and creating
Top 10 Traditional Indian Handicrafts.pptxdishha99
India, a country rich in its heritage, culture, religion, and diversity was once famous for its Handicrafts which reflected the stories and traditions of different states of India and was a major contributor to the country’s economy. During the colonial period, a major setback was observed by the artisans and craftspersons and ultimately the decline of our pride! Despite the challenges, It has been observed that now there is a growing importance of restoring India’s Handicraft Industry. What are you waiting for? Explore the traditional and cultural importance of different states through their crafts and realize the importance of this industry which got lost earlier in a deep corner. Now let us understand about the Top 10 Traditional Indian Handicrafts.
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to study traditional and contemporary motifs, the present status of weavers, government schemes, and opportunities to increase skilled weavers. The study was conducted in one village through interviews with 20 families. Key findings include that weavers are unaware of market demands but interested in weaving as income if given orders, and government schemes have had few beneficiaries. It concludes there is potential to utilize weavers' skills but lack of education and market access have hindered success of development schemes.
Bridal durries from Punjab- An opportunity to empower womenVIVEK SIKKA
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to understand traditional and contemporary motifs, the status of weavers in one village, government schemes, and potential to increase skilled weavers. The study found that weavers were unaware of market demands but some women expressed interest in weaving as an income source if given orders. Government schemes had low participation. Successful models like Fab India working with artisans were discussed. It was concluded that schemes have had limited success and women weavers' potential remains underutilized due to lack of education, market access, and support framework.
En-route: To the land of weaves and the weavers!Priyanka Rao
The document summarizes the author's work with several crafts NGOs in India, including Dastkar, Mulberry, Abhyudaya, and Cosvi. The author helped the organizations develop new product lines, introduce trendier designs, expand their markets, and raise awareness of traditional crafts. This included organizing bazaars and fashion shows, developing workshops for artisans, and consulting on strategies to make the organizations and crafts more sustainable and commercially viable. The overarching goal was to preserve important Indian craft traditions and provide economic opportunities for artisans.
This document provides information about three traditional Indian textile arts: Baluchari, Jamdani, and Kalamkari. It describes the origins, histories, materials, techniques, motifs and designs, and types of each textile art. Baluchari originated in West Bengal and uses silk with intricate mythological motifs. Jamdani originated in Dhaka and uses cotton with geometric embroidery. Kalamkari originated in Andhra Pradesh and uses natural dyes to depict Hindu mythology through hand-painted or block-printed fabrics. Each textile art has regional variations and carries on ancient traditions of craftsmanship and design.
Kauna Handicraft & its Occupational Ergonomic Assessment & Intervention ronaldo328621
1. The document discusses Kauna handicraft, a traditional craft from Manipur, India that uses Kauna grass as its raw material. It provides background on the material, cultivation process, products made, and socioeconomic importance for artisans.
2. It then discusses the assessment of musculoskeletal disorders experienced by Kauna artisans and the need for ergonomic interventions to improve workplace conditions and prevent disorders.
3. The goal of the study is to analyze musculoskeletal issues related to the craft and propose solutions to address them.
Idpms - design development workshop 2005 - group 2idpms
The document summarizes a design workshop held with rope makers in Tenkal mole and Badagala mole villages in Karnataka. The workshop introduced new braiding, dyeing, and weaving techniques to create diverse sisal fiber products for local markets. Participants learned skills like multi-strand braiding, tie-dye, fiber stitching, and frame weaving. A variety of bags, mats, baskets, and other goods were developed. The workshop opened new design possibilities for the artisans and feedback was positive about continuing skill development and market support.
Travelling in and around the 'city of lakes'- Udaipur, our research team discovered the rich craft culture of the region. We present an overview of the craft sector in the region
This document provides an overview of Ikat textiles produced in different regions of India. It discusses the history and production processes of major Ikat styles including Patola of Gujarat known for its intricate double Ikat designs, Pochampalli Ikat of Andhra Pradesh produced using fly shuttle looms, and Bandha Ikat unique to Odisha which utilizes natural dye techniques and motifs inspired by the Jagannath cult. The document also examines the SWOT analysis of the Ikat industry and provides strategies to strengthen production and markets for these traditional textiles.
The document provides information about traditional woven textiles from India, including muslin and jamdani fabrics. It discusses the origins, history, production process, and characteristics of dhaka muslin and jamdani textiles. It also provides details about chanderi fabric, including that it is made from silk/cotton or pure silk threads woven with traditional cotton yarn and gold zari to create a luxurious sheer texture. Motifs are handwoven using needles and often feature nature-inspired designs coated in gold, silver, or copper.
The document discusses the handicraft industry of Bangladesh. It defines handicrafts as products made by hand that have artistic value. The industry employs over 3 million people and is an important part of Bangladesh's economy. It faces challenges such as a narrow product range and lack of infrastructure but also opportunities such as growing global demand and tourism. Major handicraft products include woodware, textiles, toys, jewelry and others. Traditional crafts like jamdani muslin weaving, nakshi kantha embroidery and shital pati mats represent Bangladesh's cultural heritage.
This document provides information about folk arts in Southeast Asia, including different countries' traditions in textiles, sculpture, and performance arts. It begins by outlining the module's objectives to teach about the artistic heritage of Thailand, Cambodia, Laos, Vietnam, Indonesia, Malaysia, Singapore, and Brunei. Specific art forms discussed include Thai silk, Cambodian ikat weaving, Lao storytelling through textile patterns, Vietnamese silk painting, Indonesian wayang shadow puppetry, Malaysian kite flying, and stone carving traditions in Cambodia and Thailand. The document exposes students to the diverse crafts and artistic styles across Southeast Asia.
Kullu Karishma started in 1990 with a small Angora rabbit farm. It works with local artisans in Kullu, Himachal Pradesh to produce handicrafts using angora wool and other natural fibers. Products include shawls, sweaters and accessories made through traditional techniques like hand spinning, weaving, knitting and natural dyeing. It aims to support the local community and keep traditional crafts alive in a sustainable way. Over 100 women earn regular income through the organization.
Traditional Costumes of India #RajasthanMahin Hassan
This document provides information about traditional costumes and textiles from Rajasthan, India. It discusses the main types of clothing worn by men and women, including ghagras, cholis, odhnis, pagris, angarkhas and pyjamas. It also describes important textile crafts from the region like block printing, tie dye work, embroidery and mirror work. These crafts use locally sourced materials like cotton and silk. The document outlines the historical origins and development of these textiles and costumes, noting their royal patronage and increasing popularity both within India and internationally due to the influence of globalization.
The document provides information about Chanderi sarees, a famous handloom fabric from Chanderi, Madhya Pradesh, India. Some key points:
- Chanderi sarees are known for their light weight, glossy texture and richness. They can be made of pure silk, cotton-silk blends.
- The weaving tradition dates back to the Vedic period. Motifs have evolved from traditional designs like peacocks to modern geometrics.
- Production is protected via a Geographic Indication and the handloom tradition employs over 18,000 people. Proper care involves dry cleaning or mild washing and avoiding direct sunlight.
The document provides information about bamboo basket making by the Dom community in Nepal. It discusses:
- The Dom community makes various bamboo baskets that are used in Hindu rituals and festivals in Nepal and India, especially during Chhath puja.
- The tools used include knives, measurement tapes, hacksaw blades, and chisels. Bamboo is split, peeled, and woven by hand into different shapes and sizes of baskets.
- The Dom's traditional occupation has been basket making. Demand increases during festivals like Diwali and Chhath puja, providing income. However, daily demand is low outside of festivals.
This document summarizes a workshop on embroidery development held in Surajkardi, Dwarka, India. It was sponsored by the Office of Development Commissioner (Handicrafts) under the Ministry of Textiles, Government of India. The workshop provided training to local artisans on embroidery techniques like applique and patchwork. Market research was also conducted to understand demand and design new product lines. The training aimed to help artisans modernize their skills and designs to better compete in the market.
This document provides information about a proposed Traditional Handloom and Crafts Center project in Tangail, Bangladesh. The key points are:
1) The project aims to create a central platform to preserve and promote traditional handloom and crafts from the Tangail region, including tant, jamdani, clay crafts and bamboo works.
2) The 7.67 acre site for the project is located in Nolsodha village and will feature workshops, exhibition spaces, residences showing traditional housing patterns and a central haat (marketplace).
3) The organization UBINIG, which works to support traditional skills, is leading the project to address issues local artisans face like lack of exposure
Jamdani sarees originated in Bengal and are characterized by intricate motifs that float on a sheer, fine muslin fabric. They have a long history dating back to Mughal rule in the 16th-18th centuries when weavers in Dhaka received royal patronage. Jamdani weaving is an intricate process done on a brocade loom using supplementary wefts to add patterns while maintaining a sheer base fabric. There are regional variations from places like Bangladesh, West Bengal, and the traditional Dhakai style takes 9 months to a year to complete. While the craft has declined, recent efforts aim to revive jamdani weaving through supporting weavers, establishing training centers, and creating
Top 10 Traditional Indian Handicrafts.pptxdishha99
India, a country rich in its heritage, culture, religion, and diversity was once famous for its Handicrafts which reflected the stories and traditions of different states of India and was a major contributor to the country’s economy. During the colonial period, a major setback was observed by the artisans and craftspersons and ultimately the decline of our pride! Despite the challenges, It has been observed that now there is a growing importance of restoring India’s Handicraft Industry. What are you waiting for? Explore the traditional and cultural importance of different states through their crafts and realize the importance of this industry which got lost earlier in a deep corner. Now let us understand about the Top 10 Traditional Indian Handicrafts.
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to study traditional and contemporary motifs, the present status of weavers, government schemes, and opportunities to increase skilled weavers. The study was conducted in one village through interviews with 20 families. Key findings include that weavers are unaware of market demands but interested in weaving as income if given orders, and government schemes have had few beneficiaries. It concludes there is potential to utilize weavers' skills but lack of education and market access have hindered success of development schemes.
Bridal durries from Punjab- An opportunity to empower womenVIVEK SIKKA
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to understand traditional and contemporary motifs, the status of weavers in one village, government schemes, and potential to increase skilled weavers. The study found that weavers were unaware of market demands but some women expressed interest in weaving as an income source if given orders. Government schemes had low participation. Successful models like Fab India working with artisans were discussed. It was concluded that schemes have had limited success and women weavers' potential remains underutilized due to lack of education, market access, and support framework.
En-route: To the land of weaves and the weavers!Priyanka Rao
The document summarizes the author's work with several crafts NGOs in India, including Dastkar, Mulberry, Abhyudaya, and Cosvi. The author helped the organizations develop new product lines, introduce trendier designs, expand their markets, and raise awareness of traditional crafts. This included organizing bazaars and fashion shows, developing workshops for artisans, and consulting on strategies to make the organizations and crafts more sustainable and commercially viable. The overarching goal was to preserve important Indian craft traditions and provide economic opportunities for artisans.
This document provides information about three traditional Indian textile arts: Baluchari, Jamdani, and Kalamkari. It describes the origins, histories, materials, techniques, motifs and designs, and types of each textile art. Baluchari originated in West Bengal and uses silk with intricate mythological motifs. Jamdani originated in Dhaka and uses cotton with geometric embroidery. Kalamkari originated in Andhra Pradesh and uses natural dyes to depict Hindu mythology through hand-painted or block-printed fabrics. Each textile art has regional variations and carries on ancient traditions of craftsmanship and design.
Kauna Handicraft & its Occupational Ergonomic Assessment & Intervention ronaldo328621
1. The document discusses Kauna handicraft, a traditional craft from Manipur, India that uses Kauna grass as its raw material. It provides background on the material, cultivation process, products made, and socioeconomic importance for artisans.
2. It then discusses the assessment of musculoskeletal disorders experienced by Kauna artisans and the need for ergonomic interventions to improve workplace conditions and prevent disorders.
3. The goal of the study is to analyze musculoskeletal issues related to the craft and propose solutions to address them.
Idpms - design development workshop 2005 - group 2idpms
The document summarizes a design workshop held with rope makers in Tenkal mole and Badagala mole villages in Karnataka. The workshop introduced new braiding, dyeing, and weaving techniques to create diverse sisal fiber products for local markets. Participants learned skills like multi-strand braiding, tie-dye, fiber stitching, and frame weaving. A variety of bags, mats, baskets, and other goods were developed. The workshop opened new design possibilities for the artisans and feedback was positive about continuing skill development and market support.
Travelling in and around the 'city of lakes'- Udaipur, our research team discovered the rich craft culture of the region. We present an overview of the craft sector in the region
This document provides an overview of Ikat textiles produced in different regions of India. It discusses the history and production processes of major Ikat styles including Patola of Gujarat known for its intricate double Ikat designs, Pochampalli Ikat of Andhra Pradesh produced using fly shuttle looms, and Bandha Ikat unique to Odisha which utilizes natural dye techniques and motifs inspired by the Jagannath cult. The document also examines the SWOT analysis of the Ikat industry and provides strategies to strengthen production and markets for these traditional textiles.
The document provides information about traditional woven textiles from India, including muslin and jamdani fabrics. It discusses the origins, history, production process, and characteristics of dhaka muslin and jamdani textiles. It also provides details about chanderi fabric, including that it is made from silk/cotton or pure silk threads woven with traditional cotton yarn and gold zari to create a luxurious sheer texture. Motifs are handwoven using needles and often feature nature-inspired designs coated in gold, silver, or copper.
The document discusses the handicraft industry of Bangladesh. It defines handicrafts as products made by hand that have artistic value. The industry employs over 3 million people and is an important part of Bangladesh's economy. It faces challenges such as a narrow product range and lack of infrastructure but also opportunities such as growing global demand and tourism. Major handicraft products include woodware, textiles, toys, jewelry and others. Traditional crafts like jamdani muslin weaving, nakshi kantha embroidery and shital pati mats represent Bangladesh's cultural heritage.
This document provides information about folk arts in Southeast Asia, including different countries' traditions in textiles, sculpture, and performance arts. It begins by outlining the module's objectives to teach about the artistic heritage of Thailand, Cambodia, Laos, Vietnam, Indonesia, Malaysia, Singapore, and Brunei. Specific art forms discussed include Thai silk, Cambodian ikat weaving, Lao storytelling through textile patterns, Vietnamese silk painting, Indonesian wayang shadow puppetry, Malaysian kite flying, and stone carving traditions in Cambodia and Thailand. The document exposes students to the diverse crafts and artistic styles across Southeast Asia.
International Upcycling Research Network advisory board meeting 4Kyungeun Sung
Slides used for the International Upcycling Research Network advisory board 4 (last one). The project is based at De Montfort University in Leicester, UK, and funded by the Arts and Humanities Research Council.
Practical eLearning Makeovers for EveryoneBianca Woods
Welcome to Practical eLearning Makeovers for Everyone. In this presentation, we’ll take a look at a bunch of easy-to-use visual design tips and tricks. And we’ll do this by using them to spruce up some eLearning screens that are in dire need of a new look.
4. "Surendranagar is a hub of cotton and
ginning activities in India, with a large
number of ginning and pressing units. It is
one of the largest producers of quality
Shankar cotton in the world."
STATE: GUJARAT
REGION: SAURASHTRA
Area: 45 km²
CRAFTS: Tangaliya, Single Ikat, Stone Carving.
Metal Work, Durries, Bead Work, Tie & Die
5. A stepped water tank inside of Dedadara.
It is a deep, rectangular depression in the
ground that is completely covered in stone.
The tank is a place of devotion for the
villagers on special occasions. People say
that the water of this kund turns pink a
night before Navratri.
A remarkable illustration of the
exquisite architecture created during
the time of the Jhala monarch in 19th
century. It was never finished. The
unfinished portion, was constructed in
phases is located in actual fort.
6. 1 3
7
8
4
5
2
6
Fig.1: Cow at the street of village Dedara; Fig.2: Gungvo Kund; Fig.3: Stone carving on walls of Gungvo Kund; Fig.4: Entry gate of
Surendranagar; Fig5: Surendranagar railway station; Fig.6: Interior view of Hawa mahal; Fig.7: Surendranagar railway platform;
Fig.8: Bus stand of village Dedara
7. Gujarat's Surendranagar district is home to the
weaving technique known as Tangaliya, often referred
to as Daana weaving.
The fabric has the appearance of having bead
embroidery because of the tiny dots of extra weft that
are twisted around several warp threads.
Earlier, the Tangaliya was a wraparound, 10 feet
long and 4 feet wide and was draped along its length.
Tangaliya was initially manufactured at the height of
20 by 2 feet, which is then cut in half along the width,
and the two sections are stitched together along the
length.
It is practised in 26 villages out of which we
visited Dedadra.
8. TANGALIYA
1 2 3
4 5
6
1
Fig.1: Tangaliya zari work;
Fig.2: Tangaliya unstitched Kurti;
Fig.3: Jhad motif of tangaliya;
Fig.4: Borders used in Tangaliya;
Fig5: Complex Zari work;
Fig.6: 200 years old woollen tangaliya
9. Due to a lack of historical sources,
it is difficult to establish the
craft's exact beginnings and
development.
So, according to the elderly
residents of the community, The
story goes that long back, in the
history of Saurashtra, there lived
three Bharwaad brothers. The
middle brother fell in love with a
girl from the weaver community.
Due to social restrictions of caste,
the two families were against the
marriage. However, the boy and
girl still decided to get married.
This new incident ostracized them
and they lived on the outskirts of
the village.
10. The social stigma of its
history created a new caste-
“DANGASIA COMMUNITY”.
The word "Dangasia"
derives from the Gujarati
word "dang," which denotes
the stick that Bharwads
carried when they move
their sheep to graze.
DANGASIA COMMUNITY
Bharwads
vankars
Dangasia
Fig.1: Mother of Babu Bhai Rathod (belongs to Dangasia Community)
11. • Heavy bead work with
bright colours like vermillion
Fuschia and green are used
along with white for making
the Dana's.
• The garment's base wool
colour is black, and the
borders are decorated with
woven zari.
RAMRAJA
• They make Charmalia which
has maroon and black warp
and black weft, which gives
the effect of alternate black
and maroon vertical stripes
throughout the garments.
• The beads are sometimes
maroon and mainly of white
colour.
CHARMALIA
• The entire odhni is black
without any beadwork
except at the borders.
GADIA
• This Tangaliya is for aged
women of their community
and therefore has less dana
work on it.
• Base colour is black, white
and maroon.
DHUNSLA
• Generally, made up of white
wool and then dyed in red
colour because it is believed
to have religious
significance.
• It has straightforward dana
work.
LOBADI
15. A type of loom where a square pit
is dug in the ground where
weavers put their legs.
It consists of a wooden sley with a
bamboo reed, two shafts with
cotton string healds, a warp
beam, a take-up beam and a pair
of pedals placed in the pit in the
group where the weaver sits and
operates them by their feet.
The sley has shuttle boxes at the
ends and the shuttle is pushed
from end to end across the sley by
pickers
16. Frame looms are made using a
wooden box frame and are easily
portable.
They can warp much longer
warps at a time and the fly
shuttle helps them to weave
faster.
Some of the weavers have bought
these looms from the Ministry of
Textiles at a subsidized rate of
90% paid by the government.
21. TANGALIYA
1 2 3 4
7 6 5
8
Fig.1: Bobbin filling with the help of Charkha; Fig.2: Spreading the warp from bobbin to the sticks for wall warping; Fig.3: Collecting warp thread for beaming;
Fig.4: Warp threads on warper's beam; Fig5: Denting; Fig.6: Heald Knitting; Fig.7: Starting the weaving process; Fig.8: Making Dana
22. Mor (peacock)
Laadwa
Button
Tangliya is all about the Dana work done on plain weave fabric.
The Dana works improve the product's design and give it a unique
appearance.
The motifs are typically influenced by their daily routines and their
surroundings.
Traditional motifs
24. Base colours
Dark colour
Black, Maroon
Dana colours
Bright colors
Fuscia, White, Purple, Yellow
Border colours
Black, Maroon, Golden
25. Tangaliya is a handmade craft, so there are perfect imperfections that adorn it and make each
and every piece unique and different from one another. But from an industrial point of view, we
can list down some defects in Tangaliya products.
1.
2.
3.
4.
5.
3.
4.
POSSIBLE DEFECTS IN DANA WORK:
Varying dana size & Missing dana
POSSIBLE DEFECTS IN DESIGN EXECUTION:
Incorrect design placements & incorrect
colour combinations
POSSIBLE DEFECTS IN WEAVING:
Slub yarn, Coarse yarn, Uneven yarn, Double pick,
Broken pick, Missing end & Floats (Chappa)
POSSIBLE DEFECT IN PRODUCT DIMENSION
FINISHING:
Cutting of protruding fibres & flattening a knot
26. SOCIAL
Tangaliya was originally only known to two groups: the Dangasias and
the Bhadwads. It was a part of their daily lives. Wearing or offering 17
tangaliya woven products was required at every memorable event. It has
increasingly fallen out of favour with traditional wearers. This craft was
unknown to the rest of the world until it received GI (Geographical
Indication) certification as part of NIFT's design intervention project in
2007-2008.
The Dangasias practise Hinduism and, depending on the region and
tradition they uphold, they have a variety of Gods and Goddesses they
worship. In the village we visited, Wadhwan, the Artisanal families
fervently worship their Kuldevi, Pitthad Mata. They are devotees of
Jodhalpir, a man whose life is thought to have been 750 years ago. They
take part in other regional festivals and fairs as well as all main Hindu
holidays including Holi, Diwali, Uttarayan, and Janmashtami.
RELIGIOUS
27.
28. 1 2 4
3
CLUTCH DUPATTA
NEHRU JACKET
SLING BAG
Price range Price range
Price range
Price range
300-800 Rs/- 1,700-5,000 Rs/-
6000- 15,000 Rs/-
500-1,800Rs/-
29. 1 2 4
3
STOLE UNSTITCHED
KURTI
SILK SAREE
COTTON SAREE
Price range Price range
Price range
Price range
900-4,000 Rs/- 1900-10,000 Rs/-
16,000-1,00,000 Rs/-
9,000-50,000 Rs/-
30. NIFT organized various workshops for artisans and came up with design intervention.
They played with different yarns, colours, and contemporary motifs.
Tangaliya got the GI which helped them to reach more audiences.
Many workshops and exhibitions have been organized by the government for these artisans to reach a
greater audience.
Head artisans participate in these exhibitions and sell products and also observe the current demand of
the market and accordingly produce the next batch of products.
Their consumer has been scattered all around India in pieces although the north is the big market.
Most of their sales happen through social media.
Collaboration with handloom brands like ‘ Amouni’, ‘Itokri’, ‘Garvi Gurjari, and ‘craft Centre’, etc. and brands.
31.
32. Exceptional handloom skill that cannot
be entirely atomized
Reversal
The customer might overlook defects
because it is a handloom product
Work from home and flexible working
hours
Unity in the community
Since covid, social media has been their
greatest asset
No finishing required
Time-consuming craft which makes it
expensive
Do not want to share the craft
They have no interest in working on fusion
initiatives.
Language barrier
They occasionally get a bad batch of yarns
yarn is getting expensive results in less
profit.
No other yarn can be used for warping since
only cotton warps can be knotted.
.
By introducing the craft to fashion
designers opens doors to new markets.
Reduce time consumption by
automating the pre-production
procedures.
Expansion on a global scale.
The market has more affordable goods than
Tangaliya.
The price of yarn has been rising quickly.
Lower wages.
Unsuccessful payments when products are
sold online.
Younger generation wish to study and take
jobs.
33.
34. A time study is a method of measuring the amount of time spent executing a given task or a part of it
under specific conditions, then evaluating the data to determine how much time is required for an
operator to complete the task at a specific rate of performance.
It is a direct observation technique.
The following tools are needed:
Stopwatch
Calculator
Time Study
Observation sheet
INDUSTRIAL ENGINEERING
35. We prepared the
following time
study sheet for one
of the artisans. In
this, we carried out
5 cycles and
calculated the SAM,
Allowances and
Ratings.
36. A chart that lists a worker’s
hands or other limbs'
activities in connection to
one another.
When one whole cycle of a
repeating operation needs
to be recorded, this method
is typically utilized.
The two-handed process
chart includes operation,
transportation, storage &
delay.
37. Based on our
observation we
created a two-handed
motion chart with the
before-mentioned
symbols.
38. Anthropos, from the Greek words for "man" and "measuring," is a
subfield of anthropology that deals with the scientific measurement of
the human body.
Anthropometric data are used to assess disease risk, changes in body
composition over the course of adult life, and health and dietary
status.
It is also being used by researchers in a variety of health fields, such as
cardiovascular health, nutrition, and occupational health, to assess
health status.
Basic tool we used during the measurement was measuring tape.
INDUSTRIAL ENGINEERING
39. A n t h r o p o m e t r i c E v a l u a t i o n o f t h e v i s i t e d A r t i s a n s
40. The science of ergonomics focuses on creating jobs that are comfortable for workers.
It would guarantee that a shorter worker could reach all of their tools and products
without extending their reach beyond a comfortable and safe range and that a taller
person had enough room to safely complete their task.
It also removes the necessitate of awkward working positions, repetitive motions, or the
lifting of large objects, all of which could lead to musculoskeletal diseases at work.
In ergonomics, we looked at different aspects such as Time study, 2 Hand motion chart
and Anthropometry evaluation. With the help of these data, we calculated the SAM,
Standard Deviation, etc.
41.
42.
43.
44. Force – In this case, it's the cutting machine which is quite heavy.
Awkward postures – In this case, the workers bend excessively to cut the fabric
bundle with the cutting machine.
Repetition/Duration – The cutting task is repetitive for workers with the posture
changes being the same throughout.
Temperature- The cutting section visited was hot, and prolonged work at that
temperature can impact the body.
Monotonous work- The cutting section work for the workers is monotonous and they
work for quite long hours, only getting a few breaks in between.
Protection- Nothing was used to cover the worker’s noses and mouths to protect them
from the dust and particles depleted by the fabric.
45. 1. Muscle Pain
Cramp in hand or forearm- Due to repetitive movements.
2. Tendon Pain
Trigger finger (stenosing flexor tendinitis)
De Quervain’s tenosynovitis
Neuritis
Osteoarthrosis
3. Carpal Tunnel Syndrome
4. Tennis Elbow (Epicondylitis)
5. Disorders of the neck
46. Artisans have repeatedly mentioned that they enjoy their work.
They have such love for their craft, that when given any miscellaneous household tasks, they prefer
working on their Tangaliya products
. All the members of the bharvad community live together as a family in peace and harmony. They help
each other in times of hardship.
Master artisans pay their employed artisans on time. The women in the artisans’ families would often fill
up the bobbins, known as reeling, and spinning.
ERGONOMICS
Humanization of the workplace implies freedom from worry, fear, and job loss.
47. ALL INDIA HANDICRAFTS BOARD
THE HANDICRAFT & HANDLOOMS EXPORTS CORPORATION OF INDIA LTD.
GUJARAT STATE HANDLOOM & HANDICRAFTS DEVELOPMENT CORPORATION LTD.
SAATH CHARITABLE TRUST (NGO)
48.
49. Artisan Name: Babu Bhai Rathore
Age: 54 years
Qualification: 10th
Address: 300, DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 25yrs
Phone No. : 9726924982
ART ISAN S
D ATABASE
50. Artisan Name: Dayabhai Rathor
Age: 50
Qualification: 10th
Address: DEDADARA WADHWAN,
SURRENDER NAGAR, 363030
Experience: 25yrs
Phone No. : 9879994632
ART ISAN S
D ATABASE
51. Artisan name: Rathore Mahesh Kumar
Age: 24 yrs.
Qualification: 12th
Address: 340, DEDADARA WADHWAN,
SURRENDER NAGAR, 363030
Experience: 5yrs
Phone No. : 9558770569
ART ISAN S
D ATABASE
52. Artisan name: Baldev Bhai Rathod
Age: 39
Qualification: 6th
Address: 153 DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 25yrs
Phone No.: 9879994632
ART ISAN S
D ATABASE
53. Artisan name: Vajibhai Rathod
Age: 64
Qualification: 6th
Address: 560, DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 20yrs
Phone No. : 7359372175
ART ISAN S
D ATABASE
54. From our wonderful and
informative visit to Surendranagar,
we discovered many things about
the craft, Tangaliya. There was a
positive and insightful outcome of
our experience.