4. Introduction
“Welcome to the city of toys”, read the blue banner on the Bangalore-Mysore highway as we entered the town
of Channapatna, about 60km from Bangalore. Wooden rocking horses are displayed on either side of the highway,
just outside shops that house a bewildering array of lacquer toys.
Channapatna is a city located 60 km south-west of Bangalore, India on Bangalore-Mysore state highway. In the
native language (Kannada), Channapatna is also called as “Gombegalaooru” meaning toys town in English. The city
is famous for its wooden toys and lacquer ware. These toys are manufactured in traditional or advanced small
scale industries. It is a crafts cluster of over 3000 traditional artisans engaged in the production of lacquer ware.
These toys have geographical indication (GI) status under the World Trade Organization.
This craft of making wooden toys is an ancient family tradition that has survived many generations. But, a dec-
ade back, the entire industry suffered because of huge competition from the Chinese toy market to the extent
that these toy designers had to shut shop and go elsewhere in search of their daily bread. Over the years, we’ve
found regular reports on how the families no longer encourage the next generations to take up the craft owing
to narrow profit margins and even narrower market. Hence there is a need to help preserve, nurture and grow
their skills, in order to broaden their market. The main objective of our visit to the land of toys was to go deeper
into the craft research done on Channapatna by our seniors a year ago, and come up with fresh ideas and deliver
them to artisans. While our seniors compiled a detailed study on the craft, it was our turn to take the study a
step ahead, by developing concepts and products keeping in mind the 3 major aspects of the craft which
are – Forms, Joineries and Surface.
1
5. The Map
Siddu Lodge Kunnir Kattte
Kalanagar
Daira
Maya Organic
Chennapatna East
Police Station
Anugraha Lodge
Bangalore - Mysore Highway
Chennapatna
2
6. Toysarerea
dy to be sold
Carvi
ng and coloring of th
etoysinthelathem
achine
Cuttingthe
wood into desired
shapes
ProcuringtheAllemaraor
the ivory wood
Season
ingofwood
Manufacturing Process
The Ivory wood which is used to make these dolls are light in
weight are cut into planks, then finely grained, so that it is
easy to work with. It is easy to cut, process and finish as the
artisans can find the wood in abundance as the tree is widely
present in the geographical area. Important feature of this
toys are they have smooth finish and non-toxic vegetable
colors are only used. In this way they are better than
Chinese toys which use silicon and toxic colors.
The methods they follow to prune ,season, and color the
wood are unique to craftsman of Chanapatna and it depends
on their skill and experience. In the past most artisans in
Chanapatna used to make traditional Dasara toys. But as
the prices of raw materials have gone up especially of lacquer
most artisans have given up the traditional profession.
3
7. The basic steps followed in making
The mallet is used to beat the work piece to the desired form.
The piece is then cut in various parts using the mechanised saw
machine.
The work piece is turned on the lathe machine using tools to curve the
surface.
Cuts and incisions are made on the surface using chisels.
Sandpaper is used to smoothen and file the surface for a sleek finish.
This tool is used to measure the work piece with reference to the technical drawing
of the design.
The surface is smoothened for the process of colouring.
The coloured lac sticks are used to impart the colours to the work piece.
Different vegetable dyes are used manufacture various coloured lac sticks.
The heat produced by friction melts the coloured lac stick on the surface.
4
8. Seasoning of wood
How to know when the wood is ready
How is it prone to termites?
The wood is accquired from the agricultural lands by local distributors, they cut it to
the required size, they cut it varying from 3 to 4 inch, and we don’t go beyond 3.5 inch,
as there is a lot of rejection, and now itself its 40-45% from the procured raw material
i.e wood, so almost 50% of the wood they obtain is wasted.
After this the wood is cut and put to season, seasoning happens easily if the cross
section of the wood is small and larger cross sections like 3-3.5” takes 6-8 months to
season and you can take it for production only if the wood is completely seasoned and
if it is not seasoned properly it might shrink or expand and there can be formation of
fungus.
Yes the termites do eat the wood, but to prevent it, the wood is to be
kept in a place completely clean and dry, the powder produced during
the making of toys is used to make incense sticks.
You have moisture measuring meters, people here in channapatna are working with this wood from
last 300 years and there experience is enough to judge the seasoning of wood, they can pick up a
wood and tell whether the wood is 100% seasoned or 80% seasoned,the more heavier it is the more
moisture it contains, and the more lighter it is the less moisture it contains.
5
9. Aale Mara Lac
Screw Pine Leaf
The wood is light in color, slightly towards
off white, it is a soft wood. The wood
has a fine grain and polishes to a bright
finish. The wood doen’t require any
chemical treatment before use and
naturally resists most ailements. One of
the drawbacks of this wood is that big
objects cannot be made out of the wood
as it cracks easily when used,for it is
soft in nature. The powder gathered
during production is further used to
make incense sticks.
Lac is a form of natural polish that gives
finishing to the products. lac is scraped
from the bark of the trees where the
female lac bug, secretes it to form a
tunnel-like tube as it traverses the
branches of tree. Though these tunnels
are sometimes referred to as "cocoons",
they are not literally cocoons in the
entomological sense.. The insects suck
the sap of the tree and excrete "stick-
lac" almost constantly. The least
colouredlac is produced when the
insects feed on the kursum tree,
(Schleicheratrijuga).
The leaves of the screw pine like any
other palm tree has a bunch of long
thick leaves and grows densely in
branches, these leaves are used to
spread the lac evenly with the presence
of friction generated during turning,
and it also helps in giving a glossy finish
to the product.
The screw pine leaves don’t need any
kind of inspection. They just need to be
dried off completely before they can be
used. Dried off leaves have a brown color
with hardly any trace of green.
Raw Materials
6
11. NAWAB KHAN
SYED SIRAJ MUHALLA
DAIRA
BOOR NO. 575
AM BUILDING
PH NO. 9241351775
INCOME RS 6000/MONTH
NO EDUCATION
2 SONS- 3 YRS AND 5 YRS
WIFE
DOESNT, WANT TO CONTINUE
HIS PROFESSION
SENDS HIS SON TO THE SCHOOL
DOESN’T WANT HIS CHILDEN TO
COME IN THIS PROFESSION
HAMID
INDIRA COTTAGE
H. NO. 275
DAIRA
CHENNAPATNA
PH. NO 9880427516
INCOME RS 5000/MONTH
NO EDUCATION
3 DAUGHTER
1 SON- CIVIL ENGINEER
WIFE
WORKING SINCE 1981
DOESN’T WANT HIS CHILDREN TO
CARRY ON WITH THIS PROFES-
SION
BECAUSE THERE IS
NO PROFIT IN THIS BUSINESS
NO BENIFIT FROM THE
GOVERNMENT
8
12. 2 SONS- AND 1 DAUGHTER
WIFE
SENDS HIS SON TO THE SCHOOL
DOESN’T WANT HIS CHILDEN TO
COME IN THIS PROFESSION
PARENTS, 4 BROTHERS, SPOUSE
AND A 3 YEAR OLD SON.
AMONGST THE 5 BROTHERS, 2
BROTHERS, JAFFER AND IRFAAN,
WORK IN THE WORKSHOP.
THE SON, SALEEM IS A 3 YEAR
OLD BOY, WHO WILL START
SCHOOLING NEXT YEAR
Mr.Anish
Kalanagar
JAFFER
9341969473
KALANAGAR
9
13. PRIMARY SCHOOL IN
CHANNAPATNA. LEARNT THE
CRAFT AT THE AGE OF 16 FROM A
CRAFTS CENTER.
WORKING SINCE 11 YEARS.
NOT MARRIED, BUT IN FUTURE,
DOESN’T WANT HIS KIDS TO
WORK IN THE SAME LINE AS
THERE IS NO MARKET.
3 BROTHERS
ONE HANDLES INTERNATIONAL
ORDERS OF WOOD TURNING
PRODUCTS, THE OTHER
SPECIALIZES IN MAKING CURTAIN
RINGS AND HE HANDLES PRODUCT
ORNAMENTATION .THEY HAVE BEEN
INTO THIS BUSINESS SINCE 30-40
YEARS, BUT DO NOT WANT THEIR
KIDS TO JOIN THEM IN FUTURE.
MR. PERVEZ
26
9738372151
AFSAR PASHA, #164, SATNUR
ROAD CROSS, INDRA COTTAGE.
BEHIND JANTA SHAMIL.
MR. P. MD. ILYAS
27
BHARATH ARTS AND CRAFTS
080 27251663
#1549/2, NIZAMI CHOWK,
CHANNAPATNA – 571501,
RAMNAGARAM DISTRICT.
10
18. Group Objectives
To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand
the technicality of the chennapatna products which would maily include the in-depth study of joineries.
Also find a solution of the weaknesses and problems of the artisans . Probably come out with some
new lathing processes or tools or a different design on the same tool.
15
19. Group Research
PROPERTIES OF WOOD
Rough - until it is sanded smooth
Hard
Bendy (pliable) if in sticks or thin pieces
Dry
Light - compared to other building materials and it will
float on water
A weight - it is strong
Water - it slowly absorbs liquids but wet wood attracts
moulds which eventually destroy it
Shaping and carving - it is an easy material to use for
decorative work
Insects - woodworm, deathwatch beetle and other
insects bore into wood and, again, destroy it
Electricity - it will not carry an electrical charge
Hot or cold - wood is a good thermal insulator and will
keep heat or cold in and out
If heated - it produces heat and burns to ashes
If allowed to dry out too quickly - it cracks
If mashed up - it can be made into paper
HARD WOOD - Hardwood comes from broadleaved
trees. These are the sort of typical native British
trees like oak, ash and beech. Most of these trees
are deciduous; they lose their leaves in the winter.
There are about a hundred times as many hardwood
species as softwoods. Hardwoods are generally far
more resistant to decay than softwoods when used
for exterior work.
SOFT WOOD - Softwood comes mainly from ever-
green, coniferous trees which keep their foliage all
the year. These are trees like pine and fir trees that
are typical of cooler parts of the world.
In general softwood is easy to work and has a huge
range of uses. It is the prime material for structural
building , but is also found in furniture and other prod-
ucts such as doors and windows. Softwood is also
harvested for use in the production of paper.
16
20. MATERIALS CLOSER TO WOOD KINDS OF JOINTS IN CHENNAPATNA TOYS
NYLON ROD
Very good physical properties Moisture has
significant effect on properties Very good heat
resistance Excellent chemical resistance
Excellent wear resistance Moderate to high
price Fair to easy processing
METALS
Can be turned in the similar way a wood is done
Very good finish can be obtained
WAX
Animal wax
Pant wax
Petroleum derived wax
Montan wax -It is very hard, reflecting the high
concentration of saturated fatty acids and
alcohols
Polyethylene and related derivatives
Note: we can increase the hardness by increasing
the concentration of saturated fatty acids and
alcohol
SMILEY
TIKI TIKI
RING O RING
UMBRELLA TOP
TIK TOK MAN
YOYO
TURTLE FAMILY
WHISTLES
CRITERIAS FOR MOVBLE JOINTS
TYPES
Insertion
Interlock
Fastened – Nuts, bolts, rivets
Lap, butt, tee half, insertion, mitre
Glued – Adhesives etc.
Suspension – Thread, wire, springs
17
23. Ujjwal Anand
Objectives
To come out with a new style of the
product as well as a new category which
would be the result of all the permutations
and combination, that would open new
doors for the chennapatna artisans as well
as increase the product range that the
chennapatna has been producing uptill now.
“
“
20
24. Trend Forecast
The birth of new machines is changing future design processes, leading us
into a crafted industrial age. Right now, manufacture is in a state flux,
oscilllating between the digital and anologue eras. This trend looks at this
moment of transition and the design it is inspiring-open-source, unstable
systems, improvised form, organic prototypes, and design by intuition.
21
25. The report by the planning commission for handicrafts also states few vital point which can act as
major steps for the betterment of chennapatna and its artisans. Some of these are:
* Diversification of the handicrafts : It has become the absolute necessity. The chennapatna prod-
ucts need to enter the phase were they are used other than how they have been used till now.
* Branding : Branding the chennapatna toys and other products can also work as a pivot in enhanc-
ing the Chennapatna’s and its artisan’s conditions.
*Brand association : The other important step can be, to associate the chennapatna work with
that of the brands, It will not be an entire branding but there can be collaboration between a brand
and chennapatna, where a finished product will have parts from both the brand and Chennapatna.
eg. association of chaennapatna turned pieces with metalware of Artidinox.
* Make handcrafted products available to the branded strata of the society : This will help Chenna-
patna in getting a better price for its products.
* Advertisement of the handcrafted product and possibly involve celebrities in the advertisement.
Report of planning commission
22
30. Then I joinery selected one (rotating and pulling out) - technology developed.
I also selected insertion as one of my joinery.
I applied this technology and listed probable product range where this
affordance can be used.
Using this technogy I first selected bottle stoppers and later after
developing other mocks up using same joinery I decided to make candle
stands.
“
“
Inspiration Board
27
32. Using this technology I made candle stand and bottle stoppers. The concept behind the candle stand is that it is
parts are interchangeable so the customer and change the color combination as they wish.
Using insertion as a joinery I made a bowl that can be kept straight and tilted both, also bottle stoppers use the
basic principle of insertion.
Existing Designs
Explorations
29
34. Srishti Gupta
Objectives
•To develop new products applying traditional craft skills and techniques of the age old Channapatna craft.
•Conceptual understanding of and sensitization towards the traditional craft, its ethnic values and its social
norms from the perspective of us aspiring modern day designers.
•Conceptual understanding of the craftsman’s perspective towards changes in traditional practices and their
modernization.
•Understanding the role of sustainable design in the constant evolution of crafts.
•Conceptual understanding of innovation, within the given definitions of a particular craft.
•Conceptual understanding of how an unorganised sector can produce consistent products.
•Concept of high quality in an inconsistent work environment.
31
35. Our topic being joinery, the first step was to do a study on the different types of existing joineries and further
researching on the various commonly used Channapatna joineries. On further study, I decided to focus on the linear
motion i.e. back and forth movement through insertion and did explorations in wood. My concept was to create
something that could easily be manufactured in Channapatna, domesticated by the artisans and packaged easily as
well, to make it more economical. I brainstormed on the different areas where linear motion could be used and de-
cided to work on tableware or work accessories from where I reached a conclusion of designing ‘Organisers’- which
can be used in a chaotic work environment where my product can make tasks easier. I researched on the various
organizers in the market and selected restaurants to position my product where my organiser can help restaurant
staff communicate orders from the customer to the chefs more easily, thus reducing chaos. And, another product
that can help billing and packaging counters to stock small products like stamps, staple pins etc.
Process followed
Design Brief
Keywords: Raw, contemporary, natural
To design a range of organisers for restaurant staff with raw, contemporary and natural feel using linear motion
which will help reduce chaos and ensure easier task completion.
32
37. On the basis of this Cluster programme and visit
to Channapatna, I realised that this place and the
artisans have a charm and beauty of their own. They
burn midnight oils to produce these beautiful and
vibrant toys and most of them are satisfied with the
wages they earn.
What I enjoyed the best about it was gaining knowl-
edge of the material and the various finishes. It
provided ample exposure to available sustainable
materials and skills of the craft. The process of using
this traditional craft to create fresh contemporary
designs was interesting and it was a memorable
experience to learn how to communicate with the
artisans in this unorganized environment.
“
“
34
38. C.P. Chitrupi
Objectives
To create products for 2-4 year old children to help them enhance
their fine motor skills. Also, to try and incorporate joineries in them.
“ “
35
39. In the course of our group explorations, I came up with the idea of creating toys
for the improvement of children’s motor skills. The process I followed was so:-
•Gap research of the Channapatna toy market was done.
•The observation was that not all age groups of children were considered
while designing the products.
•Based on the range of motor sill development in children, an age group of 2-4
years was identified.
•Boards showing the Channapatna toys available, toys available in the market
to enhance the motor skills and Client board was made.
•Form generation.
•Forms converted to prototypes based on ergonomic chart of children.
Design Process
Products in the market
36
44. Client Board
The Client Board gives a glimse of the clients
my products are going to serve. The clients
include readers, who live and love reading to
the core.
41
47. The wooden nail act as a fastener
fastning two pieces of wood and
thus restricting movement once
it goes through, thus creating an
imomovable joint.
Part A
Part B The part here joins the two other parts
with the help of a rope and slides in
and out but does not come out thus
forming an immovable joint
Learning
The 10 days spend in Chennapatna helped me experience the production and manufacturing process of these
toys, it also familirised me with the working of the single sided lathe machine, its advantages and constraints.
I learnt about laquering and its techniques.
44
52. Design Brief
The Learning
The product range : Table lamp
Pen stand
Container
Ashtray
Card holder
Design minimal and interactive table top accecories for a work station for a woman.
As whole I learnt about this art of channapatna though my research and interection
with few artisians.my artisian gajendra helped me in understanding the posibilities of
forms,colurs,textures and joinery.he taught me how to evaluate the pros and cons
before the execution.for example the products having thin wall are brittle,coluring in
the inner wall of long hollow products are not possible ,vertical colouring is not
possible on lath,etc.
49
53. Gaurav Kumar
Objectives
Inspirations
Props for a Jewellery Brand for it
Visual Merchandising.“
“
•Magnet repulsion
•Fan wind
•Water motion
•Moving product display
•And exploration in wood material
50
54. Firstly Joy Mary Dkhar
Objectives
Make a range of jewellery using palm leaf as
a joinery.“
“
51
55. Research
· A magnet is an object made of certain materials which create a magnetic field.
Every magnet has at least one north pole and one south pole.
1-Adhesive magnet
2-Counter sunk magnet
3-Craft magnet
4-Office magnet
52
56. Springs :
After all the research I came into conclusion by using palm leaf as a
joinery because it is
a natural material.
Thickness is an important property, as it is directly proportional to the
flexibility or stiffness of
palm leaf and is a factor in determining the changes in objects in the
course of aging
or in preservation treatment
53
58. Trend Board
Learning
Forecast-bio dynamic 2013-2014
Early morning sunshine, lush greenery and bright
citrus shades provide the energy for this fresh
take on resort and vacation styling. Leisurely
activities,
between shopping and the beach, are styled and
collaged with a glossy pop art approach to odd
still lives and a strong sense of composition.
Forms are generate from this insipration board
and creating new range of jewellery products.
i came to know more about different
Techniques and method of making products
Through the lathe machine
55
59. Work upon joinery by different types of
threads [like- nylon thread, macrome thread,
elastic, binding wire] and beads [wooden beads
from Channapatna, normal wooden beads].
Ishani
Objectives
“ “
56
60. Research
Combing knotting [strings, nylon thread, macramé, binding wire] with channapatna beads.
Macrame is a form of textile-making using knotting rather than weaving or knitting.
A bead is a small, decorative object that is formed in a variety of shapes and sizes of a material such as glass,
plastic, or wood, and that is pierced for threading or stringing.
Binding Wire: A soft iron wire for holding together parts to be soldered.
A knot is a method of fastening or securing linear material such as ropes or threads by tying or interweaving.
Different knotting techniques used in jewellery making:-
Macrame square knot
Double half hitch
Double overhand/blood knot
Half hitch knot
Lark's head knot
Multiple overhand sliding knot
Companies which are making such jewellery techniques are Ginger and Aayesha.
57
61. Key words- tribal, simple
Product range:
Necklaces,
Ear-rings
Forecast : CURATOR
Sub-forecast : THE ICONIC LIFE
Sophistication translated into bright yet elegant look combining strong colors/ primary brights.
Design simple Jewellery inspired by tribal jewellery using the joineries and
knotting.
Design Brief
58
65. My explorations are based on the process by means of which
wood can be treated by joinery process. My concepts are
based on the rendered sketches,then I have worked on the
lathe and explored my concepts.
Vaishakh Murli
Objectives
Research
“ “
Joinery is a part of woodworking that involves joining together pieces of wood, to produce more complex
items. Some wood joints employ fasteners, bindings, or adhesives, while others use only wood elements.
The characteristics of wooden joints - strength, flexibility, toughness,appearance, etc. - derive from the
properties of the joining materials and from how they are used in the joints. Therefore, different joinery
techniques are used to meet differing requirement.
62
67. Explorations
Learning
In this cluster, helped me to build up more innovations,
and understanding design concept. .Our faculty she di-
vided us in groups and she gave us the topics. After that
I started my explorations.
While working with the workers on lathe the techniques
that was used really helped me to understand the
beauty of wooden products which was done on lathe.
The Lathe work is not an easy work it was very difficult.
Its a nice experience for me..
64
68. Neo.S
Objectives
Research
My explorations are based on the process by means of which
wood can be treated by joinery process. My concepts are
based on the rendered sketches,then I have worked on the
lathe and explored my concepts.
“ “
Joinery is a part of woodworking that involves joining together pieces of wood, to produce more complex
items. Some wood joints employ fasteners, bindings, or adhesives, while others use only wood elements.
The characteristics of wooden joints - strength, flexibility, toughness,appearance, etc. - derive from the
properties of the joining materials and from how they are used in the joints. Therefore, different joinery
techniques are used to meet differing requirement.
65
70. Explorations
Learning
This module was interesting and has helped me to generate new ideas & innovations. Our faculty divided us into different groups ,and
we decided our topics as forth. We took our topic as joineries, and explored a lot on joineries.
Then i made inspiration board and after that I started generating forms and made 3d mock-ups of those forms by using clay. At last I
converted those forms into products In channa patna.
Artisans there used techniques which were very interesting and quick to learn.
67
80. Using Ball and socket joint and rivets in making
Chennapatna products.
“
“
Objectives
Ujan Bhattacharya
77
81. Research
Wood enhances sound quality of any audio
device or musical instruments.
In Channapatna wood is mostly given shape by
turning it on lathe, therefore generally the
products made are round in shape.
The characteristic shape of Channapatna toys
and the sound quality in wood gave me the idea
of making headphones.
I’ve kept the ergonomic factors about the cup
sizes, headband sizes and the adjustibility in
mind. The pieces should be comfortable and be
able to give good output in sound.
I have not taken any specific kind of aesthetic
inspiration from anything apart from the
characteristic forms and colours of this
Persian style of woodcraft.
Objective was to bring out the Channapatna
look and feel in a set of headphones.
Persian Woodcraft
78
87. Group Objectives
To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand
the technicality of the chennapatna products which would maily include the in-depth study of forms.
Also find a solution of the weaknesses and problems of the artisans . Probably come out with some
new lathing processes or tools or a different design on the same tool.
84
88. Group Research
Characteristics of Wrightia tinctoria:
It is cheaper, and there is more because it grows more quickly, it is lighter.
They are also easy to carve and can be used for detail work.
They are lightweight and easy to work with.
It is quite tacky sometimes, and not very strong, so it isn't good for furniture.
Issues - Seasoned wood 4” thick or more is virtually unobtainable
The reason is purely economic. It takes many years to fully air dry a 4” plank of wood or sev-
eral expensive weeks in a kiln. The high wastage and the cost of the overheads are so high
that most sawmills are reluctant to cut anything thicker than 2” for stock.
Thicker timber is available but it is usually sold as “part seasoned” before it has a chance to
dry fully. It is a sad fact that many sawmills, even reputable ones, will sell thick wood as “kiln
dried” which is only dry on the outside skin. If you turn something out of it - say a bowl - you
are asking for trouble. The stresses inside the timber are released when it is turned and it
will soon warp or split.
You might be lucky and find some timber which has been stored for years for some reason,
but normally you can be sure that wood more than 3” thick will be only “part seasoned” and
will not be suitable for turning immediately into a finished object.
Properties important for lathing :
I deal wood - Fairly straight grain, and few, tight, knots. Never turn a split piece of stock, or
one with loose knots, these may separate during turning, and become projectiles traveling at
a significant speed.
Wrightia tinctoria
85
89. Woods similar to rhito tinctoria -
Turning Branches Some of the prettiest turned objects are made
from branches and small logs of Laburnum, yew or similar trees.
These can be turned green or part seasoned. If they are well
sealed after turning, perhaps with three or four coats of sand-
ing sealer, they will be O.K. It is worth trying the following home
grown timbers. . .
Laburnum Yew Boxwood Oak Strawberry tree (garden shrub)
Lilac Mulberry Hawthorn and Blackthorn Plum, Cherry, Apple etc
Basic Profiles and Tools
In woodturning there are only a handful of basic profiles a wood-
turner would cut when turning spindles. These basic shapes
include:
•Fillet
•Cove
•V-Cut
•Bead
•Ogee
•Swell
•Hollow
•Flat
There are only four different types of tools one would need to
cut these shapes:
•the roughing gouge
•spindle gouge
•skew chisel
•parting tool.
Lathe Tools
Turning tools are generally made from three different types
of steel, carbon steel, high speed steel (HSS) and more recently
powdered metal. Comparing the three types, high speed steel
tools maintain their edge longer, requiring less frequent sharp-
ening than carbon steel, but not as long as powdered metal
tools. The harder the type of high speed steel used, the longer
the edge will maintain sharpness. Powdered steel is even harder
than HSS, but takes more effort to obtain an edge as sharp as
HSS, just as HSS is harder to get as sharp as Carbon Steel. Unlike
other edged woodworking tools, woodturning tools require more
frequent sharpening, because the wood passes at a great speed.
To maintain a clean cut, the sharpness of the tools edge must
be maintained. The sharpening process requires either skill of the
craftsman, or one of the many available sharpening jigs, which
facilitate maintaining a specific bevel on the tool. High speed steel
is not prone to blueing (overheating) whereas carbon steel blues
easily, requiring frequent quenching to avoid losing temper (mak-
ing the edge too soft.)
Lathe tools are called knives or chisels, sometimes interchange-
ably. They feature long,
round, curved handles to afford a solid grip and sufficient lever-
age to enable the turner to control the cutting edge accurately
with minimal fatigue. Common wood chisels
simply are too short and are ill-designed for this purpose.
86
90. Turning tools can be divided in four groups:
•Gouges. These usually have specially shaped cutting edges for
performing particular
cuts, such as bowl gouges, with concave, curved cutting edges
to form the smooth, curved
surface of a bowl, or vee, or knurling gouges for cutting grooves
or knurls in wooden spindles.
form the smooth, curved surface of a bowl, or vee, or knurling
gouges for cutting grooves or knurls in wooden spindles.
•Scrapers. These are often flat or slightly curved chisels for re-
moving wood from flat or cylindrical shapes, or for roughing out
a shape.
•Parting tools. These are thin, vee tipped tools for cutting off
work pieces.
•Spoon cutters have a spoon shaped cutting edge and are also
often used for shaping bowls.
•Other tools you may encounter are skew chisels, fluted gouges,
spindle gouges, and nose chisels.
Often used types of turning tools
•roughing gouge - a wide fluted gouge used to initially round a
wooden spindle, and to roughly shape it. Generally not intended
for cutting end grain due to the large cut it takes and the rela-
tively weak tang connecting the blade to the handle. Unsafe for
making bowls or any faceplate work.
•spindle gouge or detail gouge - a shallow fluted gouge used to
create details on spindles, including beads (raised portions of the
turning typically semi-circular in cross section) and coves
(relieved portions of the turning).
•bowl gouge - a deep fluted gouge used to turn the outside and inside of
bowls and vessels. Often has a thicker shaft and longer handle than a spin-
dle gouge because it has to cut farther away from the hand rest and deal
with the forces of turning a large bowl.
•skew chisel - a wide, steeply point chisel with the edge running at an angle
to the length of the tool. Used to smooth flat spindles, cut beads, and add
details. Skew chisels are only used on spindle work (never on faceplate work)
and are honed after sharpening to create a razor edge.
•parting tool - a pointed tool used to separate (part off) work from the
lathe, and to create a straight edge separating large and small diameter
sections - wide parting tools also called bedans are used to create evenly
sized spindle sections.
•hollowing tool - many different types of tools used to cut out the deep
sections of steep bowls, vases and hollow vessels. Often with very long han-
dles, to maintain enough leverage when working in a deep vessel, far away
from the hand rest.
•scraper - a tool that scrapes the wood fibres instead of cutting - these
are used to smooth off wooden items cut with other tools, and to shape
items that are not possible or difficult to shape with gouges. A sharp scrap-
er has a burr at the edge which cuts the wood, only a dull scraper actually
scrapes.
•bowl saver - a tool used to core out the inside part of a bowl, allowing the
waste piece to be used to create a smaller bowl, and to limit the amount of
wood chips created when hollowing out a bowl.
•auger – a drill bit used to drill a hole partway or all the way through a
wooden item. For cutting the hole for a lamp cord, or as the first step when
hollowing out a bowl or vessel
•chatter tool - a flexible scraper used to add decorative chatter marks to
turned items
•wire - a simple wire, sometimes with handles attached at either side, for
the purpose of burning lines into the piece with friction.
there are also several tool types for special purposes, as well as tools that
are a combination design of the above tools, i.e. skew/chisel combinations,
thread cutting tools, ring cutting tools, medium fluted gouges, etc.
87
91. LATHE OPERATIONS
The engine lathe is an accurate and versatile machine on which
many operations can be performed. These operations are:
1. Plain Turning and Step Turning
2. Facing
3. Parting
4. Drilling
5. Reaming
6. Boring
7. Knurling
8. Grooving
9. Threading
10. Forming
Pyrography
Pyrography or pyrogravure is the art of decorating wood or other
materials with burn marks resulting from the controlled
application of a heated object such as a poker. It is also known as
pokerwork or wood burning.
Pyrography is also popular among gourd crafters and artists,
where designs are burned onto the exterior of a dried hard-shell
gourd, usually with dramatic results.
wood carving
Wood Carving
Wood carving is a form of working wood by means of a cutting
tool (knife) in one hand or a chisel by two hands or with one hand
on a chisel and one hand on a mallet, resulting in a wooden figure
or figurine, or in the sculptural ornamentation of a wooden object.
The phrase may also refer to the finished product, from individual
sculptures, to hand-worked mouldings
Pyrography
Some of the finest extant examples of early European wood carving are
from the Middle Ages in Germany, Russia, Italy and France, where the typical
themes of that era were Christian iconography. In England many complete
examples remain from the 16th and 17th century, where oak was the pre-
ferred medium in this case.
Methods and styles
•Chip carving
•Relief carving
•Scandinavian flat-plane
•Caricature carving
•Lovespoon
•Treen
•Whittling
88
99. Mood Board
Design Brief
To design an elaborate collection of lifestyle accessories, like jewelry for women falling in the age group of 20-25,
who like experimenting with bold forms, using wood turning, taking inspiration from baroque period,
making the collection look elaborate through forms or designs of products, as wood turned jewelry are generally too simple
by nature.
95
104. Group Objectives
To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand
the technicality of the chennapatna products which would maily include the in-depth study of surface
techniques. Also find a solution of the weaknesses and problems of the artisans . Probably come out
with some new lathing processes and finishing techniques.
100
105. Group Research
Channapatna. which is also commonly known as the “Toy Town” of
India, is a small city located 80 km south-west of Bangalore, on the
Bangalore-Mysore state highway. It has a legacy of toys which is
more than 200 years old. Centuries ago Tipu Sultan invited artisans
from Persia to train the locals of Channapatna. They started by
carving toys out of ivory initially then switched to rubber, cedar,
and teak. The art has gone global in the recent years and there
has been a great demand of toys from the UK and The US. Rocking
horses, jumping clowns and the clapping monkeys have recently
become one of the favourites amongst the children in India and
abroad.
Tools Machinery and Color
Channapatna still uses traditional machinery and tools in terms of
production equipments. These are as follows:-
1. The artisans have the overhead belt drivers that are driven by
a small motor and one end of the belt drive converts the vertical
rotatory motion into horizontal rotatory motion.
2. The artisans use various measuring equipments such as a com-
pass, angles, planes and a wide variety of other instruments to
achieve various shapes.
3. For chipping they use a number of files and chisels of different
shapes and sizes.
4. Coloring is done using vegetable dyes while the wooden block is
still rotating on the lathe.
Apart from the mechanized or hand machines they use a number
of other tools to manipulate the surface of the toys, such as a
drilling machine is used to drill holes in certain toys, a chisel is used
to develop grooves and create curves on the surface.
• Process of Lacquering
Vegetable dyes are used in the colouring process to ensure that
the toys and dolls are safe for use by children.
• Manufacturing Process - Channapatna Toys
LAC
Lac is the scarlet resinous secretion of a number of species of
insects.
Shellac is a resin secreted by the female lac bug, on trees in the
forests of India and Thailand. It is processed and sold as dry flakes
(pictured at right), which are dissolved in ethyl alcohol to make liquid
shellac, which is used as a brush-on colorant, food glaze and wood
finish.
Shellac was once used in electrical applications as it possesses
good insulation qualities and it seals out moisture.
101
106. WHAT IS LACQUER?
Lacquer is a somewhat imprecise term for a clear or colored wood
finish that dries by solvent evaporation. It is also often a curing
process as well that produces a hard, durable finish. This finish can
be of any sheen level from ultra matte to high gloss, and it can be
further polished as required.
In terms of modern products, lac-based finishes are referred
to as shellac, while lacquer refers to other polymers dissolved in
volatile organic compounds (VOCs), such as nitrocellulose, and later
acrylic compounds dissolved in lacquer thinner, a mixture of several
solvents typically containing butyl acetate and xylene or toluene.
While both lacquer and shellac are traditional finishes, lacquer is
more durable than shellac.
SHELLAC
Shellac is scraped from the bark of the trees where the female
lac bug, secretes it to form a tunnel-like tube as it traverses the
branches of tree. The insects suck the sap of the tree and excrete
“stick-lac” almost constantly. The least colored shellac is produced
when the insects feed on the kursum tree. It takes about 100,000
lac bugs to make 500 grams of shellac flake. The raw shellac, which
contains bark shavings and lac bugs removed during scraping,
is placed in canvas tubes (much like long socks) and heated over
a fire. This causes the shellac to liquefy, and it seeps out of the
canvas, leaving the bark and bugs behind. The thick, sticky shellac
is then dried into a flat sheet and broken into flakes, or dried into
“buttons” (pucks/cakes), then bagged and sold. The end-user then
crushes it into a fine powder and mixes it with ethyl alcohol prior
to use, to dissolve the flakes and make liquid shellac.
Lac cultivation and extraction
For cultivating lac, two types of host trees are used, perennial
trees and annual bushes. They are infested with lac insects and
left undisturbed. Thousands of lac insects colonize branches of the
trees and secrete the resinous pigment. After five to six months
lac-bearing branches are cut, and broods are tied to new host
trees. The harvested trees are left for one to two years so that
they grow new branches.
For cultivating lac, two types of host trees are used, perennial
trees and annual bushes. They are infested with lac insects and
left undisturbed. Thousands of lac insects colonize branches of the
trees and secrete the resinous pigment. After five to six months
lac-bearing branches are cut, and broods are tied to new host
trees. The harvested trees are left for one to two years so that
they grow new branches.
Kerria lacca is a species
of scale insect of the
family Kerriidae. It is most
well known for secreting
lac, a scarlet substance
that is used for dyeing wool
and silk, as a cosmetic, and
as a medicinal drug. Kerria
lacca insects inhabit trees in
colonies of thousands and
secrete the resinous
substance.
Kerria lacca excretions can
be processed to produce
shellac.
Kerria Lacca or the Lac bug
102
108. Possible Joinery Techniques between Chennapatna
laquering techniques and Terecotta
“
“
Objectives
Janhavi Wadekar
104
109. Research
RESEARCH ON TERRACOTA
Terra cotta is one of the oldest building materials and sculpting
media. The term simply means “baked earth” in Latin. Used in
ancient times to make pipes, cooking pots, bricks, cornices and
architectural ornaments, its principal use today is in the sculp-
ture and tile that bear its unmistakable orange color and porous
texture.
In archaeology and art history, “terracotta” is often used of
objects not made on a potter’s wheel, such as figurines, where
objects made on the wheel from the same material, possibly
even by the same person, are called pottery; the choice of term
depending on the type of object rather than the material.
PROCESS-
Mix clay. Terra cotta--as opposed to earthenware, which is
mostly soil--is simply a mixture of fine-grained clays made of
primarily silica, alumina, and other alkaline material such as lime.
Ready powdered mixes can be purchased that, when mixed with
water, yield malleable clay. Recycled clay that hasn’t been fired is
called “grog” and can be used like new terra cotta.
Wet or partially dried terra cotta can be molded by hand, on a
pottery wheel or using a cast.
Apply glaze (optional). Unlike some forms of pottery, terra cotta
is not glazed after it has been fired. Therefore, if the finish
product is going to be waterproofed, a glaze containing variable
proportions of water and metallic oxides can be sprayed on the
piece to produce either a matte, satin or gloss finish. Powders in
the gloss can also be added to modify the color of the finished
product
Dry and fire. After allowing the terra cotta mix to dry and
harden somewhat, it is fired in a pottery kiln at a temperature of
1,080 degrees Celsius, which is hotter than a bisque firing. Firing
can take from as little as 3 to as many 20 hours depending on the
moisture of the clay and the thickness of the design. Use tongs
to handle or remove hot clay from the kiln.
Terracotta Horse
105
110. Exploration
LearningPOSSIBLE JOINERY BETWEEN WOOD AND TERRACOTA-
Tongue and groove joint
Halved joint
MORTISE AND TENON JOINT- A stub (the tenon) will fit tightly into a hole cut
for it (the mortise).
INSERTION
USE OF ADHESIVE
Combination of wood and terracotta-
Terracotta and Channapatna products have similarity in terms of
shape and hence, it was interesting to merge these two crafts to-
gether. Terracotta is eco friendly and has not been previously used
with Channapatna products.
Combination of wood and thread-
Surface ornamentation using thread wound on wood surface. This
can be done both manually as well as on running lathe. This gives a
soft as well as hard texture on one product.
The traditional Channapatna products basically small
in size and basic color s are used. However, minimal
use of colors will suit the modern contemporary
taste. It may involve use of single color or use of
wax to preserve the natural look of wood yet
giving it a finish. We experimented with the size and
choose to try something different by shifting from
small scale products. Making of bigger products is
a little risky because there are chances of wood
cracking. The major problem faced that everyone
faced was shortage of large sized wood logs.
Traditionally, small sized logs are used by every
artisan and very few of them had bigger wood logs.
Working on lathe is very easy and interesting but
you have to follow some safety measures. While
working on lathe, the forms you can make are very
limited but you can experiment with the color and
texture. Of all the processes involved in making
Channapatna products, the most difficult one is
filling color and giving surface finish using palm leaf.
This task requires patience and experience.
106
111. Explore the various surface finishing and polishing
techniques and come up with somthing different and
equally useful“ “
Objectives
Deepshikha
107
112. Research
Dyes :-
•Shades can be done in wood
•Sinthic colour used
•Need too be cheap in market
•Collected the colour from nature
•Dye colour can be use on wood
•Dye printing can happen but no durabilty
•Dye can get mix with lacquer
Types of texture we try :-
1.Saw dust
2.Thread
3.Punching/ dumping
4.Fevicol
5.Carving
6.Embossed
Come with alternatives of fevicol :-
•Plastic
•Acrylic
•Resin
(Transparent, Parmanent, Flexible).
It was made by using fevicol on wood
and spreading poster colours on it which
gave the above outcome.
Different shades of poster colour were
blown on a piece of wood and merged
together to get secondary and tertiary
colours.
It was made by using fevicol on wood
and letting it to dry thus attaining a three
dimentional textured look.
Explorations
108
113. Colour blocking technique has been applied. Wood was dipped into the red pster colour and then
it was wrapped on the piece of wood and then it was
removed.
Exploration with wood and resin
Exploration with colorbeads
109
114. Incorporating Dimpling technique in Chennapatna
products especially in the jewellery sector.
“
“
Objectives
Simran Bahmahnia
110
115. Research
Dimpling :
Using various size countersink bits.This is a
simple technique but when using different
depth,diameters and randomly spaced dim-
ples this can turn out to be very attractive.
To enhance this even more colouring can be
applied.
Carving:
This can be carried out using various tools
and using them on different angles.
Proxxon mini arbortech is a tool which is a
very quick way to remove material in a ran-
dom way without too much accuracy
Pyrography:
Most pyrography toolsdo similar jobs
but tobe really effective, theyneed
to be of fairly highpower to produce
fineburnt lines. Most typescan also
be used with
homemade tips ofvarious shapes to
create different decorations.
Piercing:
Piercing does not need to be carried out using the expensive dentist type drills and other
very high speed machines.
The mainrequirement though to make it quick and fairly easy is to use a relatively
soft wood.
111
116. Explorations
Punch tool has been used with different diameters ans
has been punched on a wood piece by different angles at
random places.
Punch tool was used to punch on the wooden piece using
hammer and then stone fitting was done.
Wood piece has been burnt using candle by differ-
ent angles so as to get this texture.
Different tools has been used and punched by
hammer and material has been removed from
wooden piece to get such texture.
112
117. I carried forward the idea of dimpling and stone setting.i thought of bringing a change in
Textures of channapatna. Area of Textures has never been explored much in chanapatna. Dimpling and removing material with
tools is an easy technique which can be used by artisans and its not that time consuming so, it becomes easy for them to pro-
duce more number of pieces in less time.
Looking at the earlier products of channapatna i personally found that jewelry section wasn’t explored that widely. I thought of
incorporating these techniques in beads.
113
118. Incorporating the technique of blending of colors in
laquer and using it to make containers.
“
“
Objectives
Sneha MS
114
119. Research
Tools Machinery and Color
Channapatna still uses traditional machinery and
tools in terms of production equipments. These
are as follows:-
1. The artisans have the overhead belt drivers that
are driven by a small motor and one end of the
belt drive converts the vertical rotatory motion
into horizontal rotatory motion.
2. The artisans use various measuring equipments
such as a compass, angles, planes and a wide
variety of other instruments to achieve various
shapes.
3. For chipping they use a number of files and chis-
els of different shapes and sizes.
4. Coloring is done using vegetable dyes while the
wooden block is still rotating on the lathe.
Apart from the mechanized or hand machines
they use a number of other tools to manipulate
the surface of the toys, such as a drilling machine
is used to drill holes in certain toys, a chisel is used
to develop grooves and create curves on the sur-
face.
• Process of Lacquering
Vegetable dyes are used in the colouring process
to ensure that the toys and dolls are safe for use
by children.
Products
The products created in Channapatna are absolutely eco friendly and non hazard-
ous items and particularly are safe for children. The toys are without any sharp
edges and non toxic , thus rendering them safe for children. These products are
made using soft wood and vegetable dyes. Vividly coloured and finely finished
these products attract a large number of tourists from India and abroad.
115
120. Try to work with a combination of ink and laqcuer to
create new surface finishes.
“
“
Objectives
Vikas Prabhakar
116
121. Research
Explorations
I basically did my entire cluster on surface finishing and ornamentations.In channapatna they use the vegetable lac for finishing but
during my cluster, I tried to explore the lac with ink so that I could get new finishes. I tried to get the data aboutvarious types of inks the
market today, and which types of ink we can use.
The types of inks that I found were:
Hybrid system ink : this ink required no heat to cure it .
Soy based ink : unlike petroleum based ink, it was vivid in color.
Flink ink : based in Detroit is a vegetable based line of ink, made up of 40% of blend soybean and corn oil,allows fast set drying
Sun chemical :lined of vegetable
Gun ink & supply derived from soyabean oil
Apparel water based ink : used on clothing for soft print
Eco solvent ink : it comes in a wide range of colors
Pen with laquer Ink with laquer Use pen ink and lac without sanding the
surface
117
122. Paint color + ink with pen +lac Explore lac
Blue ink with lac without using sand
paper
Gradient by exploring lac single color
green
118
124. Using the technique Ukibori to give a new form of
texture to Chennapatna products.“
“
Objectives
Aparna Gupta
120
125. Coloring is done using vegetable dyes while
the wooden block is still rotating on the lathe.
The vegetable dyes are used to impart eye
catching and bright colours to the toys to
make them attractive for the buyers and
visitors who visit the village. Moreover there is
a wide range of files of different shapes and
sizes used to further manipulate the surface
by creating other innovative designs on the
toys.
Ukibori
Step 1 is to impress the lines. This can be
done with knitting needles of a couple of
thicknesses.
Step 2 is to sand the surface down to the
level of the lines.
Step 3 is to wet the surface. Pouring on
near-boiling water here and the lines just
popped out pretty much immediately
Research
121
126. Exploration
Trend Board
Forecast
My exploration on wood. Ukibori
Modern Myth
The Modern Myth consumer tribe Fable Seekers consists of people re-
evaluating folklore and tradition, mixing religions and finding new paths to
spirituality. They are dreamers who are penning their own histories and
tapping into forgotten tales, ancient foods and alternative communities.
Modern Myth looks at how consumers around the world are tapping into
traditional folklore and stories in order to make sense of contemporary
culture. This trend also highlights the hybrid mindset that is becom-
ing more commonplace, with blurred interpretations of east and west
-through culture, history and tradition
122
129. Explorations in Chennapatna
Learning
Refined Work
My learning through the course- This course taught me a very
important aspect of design and product in terms of market. Being in a
design school one should know which material will be more cost effec-
tive and functionally useful. This module also made me understand the
need of making technical drawings, how to communicate the design,
and how to get it made.
This module helped me in understanding the various steps involved in a
making a mock up and how important each step is. I understood each
and every step however small it may be is very crucial in design process
prototyping.
125
130. Incorporating the inlay technique in Chennapatna
produts to give them a textured finish.“
“
Objectives
Monika Rai
126
131. Inlay technique –
It is a decorative technique of inserting pieces of
contrasting, often colored materials into depressions
in a base object to form patterns or pictures.
Resin crystal used for better inlay
And I explored that lines used by artisian on
Channapatna toys is so simple and uniform and it
is done on small area of product , so I tried to play
with these simple lines to create new and interesting
textures
Research
Explorations
Metal wire inlay
Textures produced using fevicol and resin.
127
132. Inlay with Resin
Learning
The whole cluster programme brought me closer to the artisans and their everyday
life and how these Chennapatna toys were made from scratch. I learnt about how
the lathe machine works in producing the forms.
128
133. Exploring the existing textures and coming up with
new texture using various surface techniques.“ “
Objectives
Rohan Kumar Singh
129
135. Other Techniques
Learning
Fevicol :- while rotating the device on lathe apply different layers of
fevicol. After drying it gives a dry tactile texture.
Sanding machine:- give textures by sanding machine or sand paper.
Waxing – wax gives a natural glossy finish to the product.
The entire visit of cluster was interesting and i learnt lots of things and
techniques. It was interesting to see how things work there. From nothing
they creates many interesting products. I learnt how to handle lathe and
how to work on it. Giving colors n textures is also a very interesting part
of learning.
131
136. Exploring the existing textures and coming up with
new texture using various surface techniques.“
Objectives
Swati Basanwal
“
132
137. Mood Board
I got inspired from the Natural texture and Raw forms which gives peaceful feeling.
Living in urban area yet to rememorize the good old days of simple life. There is only shades of black and
white.Nothing more can be natural than the sunrise and sunset which gives feeling of calmness in life.
133
138. Client Board
My client boards depicts the urban business people who wants to connect to the peaceful world from
their busy and hectic life.
134
139. Explorations
After i explored different types of texture.For example
1.using Fevicol and paper
2.hammering the wood
3. sand
4. differnt fabrics, leather
5. soldering on the wood
i decided to use leather. Soft wood and black leather gives classic feeling all together. On softwood
with clear wax i pasted black leather giving it a simple and earthy feeling.
135
140. Conclusion
This visit to Channapatna and conversations with people living there and artisans working has truly been an eye opening
experience. It has taught us much more than what we had initially expected.
It’s a misnomer to say that Channapatna craft is dying. Yes, resources are shrinking and skilled artisans do not know
how to market their craft. But it is the responsibility of us as future designers to step up and show how the crafts can
be used to fulfill the demands of the contemporary market and come up with products that are useful, well-designed
and marketable.
It took some time to understand the craft. We could see many skilled artisans, but they were not doing much beyond
the typical napkin rings and such products demanded by the export houses. And the traditional
lacquering technique had almost died out. The beauty of Channapatna lacquer work is in the tonal gradation of the color
and the export houses would have none of it. They wanted monotones and prompted the artisans to fall back on syn-
thetic dyes. We realized that there is a need for cutting out the middle men, providing the
designs and concepts and get the artisans to work from their own units, working with the traditional methods to pro-
duce edgy, contemporary objects.
People’s lifestyle and aspirations have changed dramatically. They want new things every six months and as
designers we will have to ensure that they get those. That’s the only way for crafts to survive. And instead of
individual products, it helps to work on entire concepts. Say, the living room. Instead of offering just a
candle-holder which may or may not go with the overall décor of a home, why not help create a look for the entire room
with lights, vases, fittings and the whole works,
To keep the craft forms going, as design school graduates we have to step up and play a role. We gave in our best to
contribute something to the growth and marketability of the artisans as one can’t sell the tragedy of the craftsmen
and retail their products in isolated fairs and forums. Each one of us worked on specific aspects of the craft, and devel-
oped product concepts in the hope of seeing the final product out in the market some day.
Thus, the cluster has taught us a lot, there’s much more to one-sided lathe works, coloring using lacquer, tools used by
artisans, their lifestyle and about Channaptna craft on the whole. What we tried doing and need to do in future is show
them how to survive in the market, show them how to innovate and thrive.
136
141. Bibliography
References to websites visited for research data :
1. www.dsource.in
2. www.article.wn.com
3. www.wikipedia.com
Primary data was attained by talking to the artisans and local inhabitants and surveing the existing
market,etc.
