Traditional Textiles of India pdf ( DESIGN )

INDIA HAS BEEN WELL KNOWN FOR TEXTILE SINCE VERY
ANCIENT TIMES. THE ORIGIN OF INDIAN TEXTILES CAN BE
TRACED TO THE INDUS VALLEY CIVILIZATION AS EARLY AS 5TH
MILLENNIUM BC. THE PEOPLE OF THAT CIVILIZATION USED
HOMESPUN COTTON FOR WEAVING THEIR GARMENTS AND
USED INDIGO TO COLOR THEIR FABRIC. TEXTILE HAS ALWAYS
PLAYED AN IMPORTANT IN TRADE AND BUSINESS HERE IN INDIA.
ROME, CHINA AND EGYPT EVERYWHERE TRACES HAVE BEEN
FOUND OF INDIAN TEXTILES. STILL WE CAN SAY INDIA IS TEXTILE
HUB AND IT HAS THOUSANDS OF CLUSTERS WHICH BEAUTIFULLY
WEAVE AND GIVE IS THE MOST BEAUTIFUL FABRICS WHICH
MESMERIZE OUR EYES. LISTED HERE FEW OF THE
FABRICS/PRINTS/EMBROIDERY OF INDIA.

1. TRADITIONAL TEXTILES
OF INDIA

2. INDIA HAS BEEN WELL KNOWN FOR TEXTILE SINCE VERY
ANCIENT TIMES. THE ORIGIN OF INDIAN TEXTILES CAN BE
TRACED TO THE INDUS VALLEY CIVILIZATION AS EARLY AS 5TH
MILLENNIUM BC. THE PEOPLE OF THAT CIVILIZATION USED
HOMESPUN COTTON FOR WEAVING THEIR GARMENTS AND
USED INDIGO TO COLOR THEIR FABRIC. TEXTILE HAS ALWAYS
PLAYED AN IMPORTANT IN TRADE AND BUSINESS HERE IN INDIA.
ROME, CHINA AND EGYPT EVERYWHERE TRACES HAVE BEEN
FOUND OF INDIAN TEXTILES. STILL WE CAN SAY INDIA IS TEXTILE
HUB AND IT HAS THOUSANDS OF CLUSTERS WHICH BEAUTIFULLY
WEAVE AND GIVE IS THE MOST BEAUTIFUL FABRICS WHICH
MESMERIZE OUR EYES. LISTED HERE FEW OF THE
FABRICS/PRINTS/EMBROIDERY OF INDIA.

3. EMBROIDERED TEXTILES
Kashida
Phulkari
ChambaRumal
Embroidery from Gujrat
Parsi Embroidery
Chikankari
Phool pattika kaam
Zardozi
Kasuti
LamadiEmbroidery
Kantha
Sujani
Pipliapplique

4. KASHIDA
Kashida, also known as Kasida, is one of the oldest forms of embroidery that
originated in Jammu and Kashmir. Kashidaembroidery is created by using thick
colored threads as well as beads to create different patterns. Most kashidamotifs
that are used to create this form of embroidery include images inspired by nature
such as vines, birds, leaves and flowers and this is one of the defining aspects of
this form of embroidery.
Created with a type of a chain stitch, this embroidery is used on warmer fabrics
such as silk, cotton, and wool and on garments as well as home decor items such
as rugs, cushion covers, and bedspreads. More often than not, the fabric that is
used is usually white or cream colored while the threads can be as colorful as the
designer desires them to be. Thus, when it comes to
Thus, when it comes to being easily identifiable, kashidaembroidery designs are
one of the most distinctive styles of embroidery to come out of India. In terms of
cultural relevance, this style of embroidery is considered to be one of the leading
cottage industries in Kashmir.

5. When it comes to kashidawork, there is more than one type
of embroidery that can be carried out to create different
looks. One of the most popular styles is the Sozni
embroidery. This embroidery is created so skillfully that the
patterns and kashidaembroidery motifs can appear on both
sides of the garment in varying shades of color.
This makes it perfect for garments such as shawls that can
be worn with either side showing. Many women prefer
reversible garments over regular ones because this gives
them a higher scope when it comes to creating different
looks and styles. The Aariembroidery, also known as the
hook embroidery, incorporates concentric circles when
creating floral patterns.

6. PHULKARI
The term Phulkari is a Punjabi term is obtained from two words: ‘Phul’ and
‘Kari’ meaning ‘flower’ and ‘work’ and so the word Phulkari translates into
‘flower work’ or ‘floral work’. The Phulkari embroidery first began in Punjab
in the 15th century by the women of Punjab. It is the rural handmade
embroidery tradition of Punjab and is also known as the folk embroidery of
Punjab. Even though Phulkari means floral work, the designs in this
embroidery comprised not only flowers but also included various motifs
and geometrical patterns and shapes. The Phulkari embroidery is overall
very bright, vibrant and it brings color to people’s lives. The Phulkari
embroidery is very popular worldwide. It was made by women and it
celebrates womanhood.

7. The Phulkari not only includes flowers but also consists
of various motifs and geometrical designs, shapes, and
patterns. The Phulkari embroidery is done with the use of
a darn stitch on the wrong side of coarse cotton cloth
known as ‘khaddar’ with colored silken thread. This is the
main characteristic of this type of embroidery.
In earlier times, the phulkari style of embroidery was
restricted to only shawls and Odhani. But in today’s time,
this embroidery is done on large canvases like sarees
and chudidaarkameez. In this Phulkari embroidery, the
stitch used is the darning stitch which is the most
important stitch used here. Other stitches like the
herringbone stitch, buttonhole stitch, and running stitch
are also used. These stitches were used to create an
unusual motif or to border the khaddar. These designs
and motifs are generally stitched and embroidered from
the back of the cloth and the narrowest the stitch was,
the finest the piece became.
MAKING

8. CHAMBA RUMAL
Rumalsof Chambais an indigenous brand that provides an exclusive market
place for selling India’s rare, spectacular embroidery from Pahari region i.e.
Himachal Pradesh. The collection is based on explorations, revivals and
innovations in variety of textures, stitches and motifs. We work towards
sustaining the traditional craft by selling authentic hand-embroidered, hand-
crafted products along with best quality silk yarns dyed with natural dyes.
ChambaRumaalgets its name from the Chamba Hill Station in Himachal
Pradesh. For many of us, a rumaal or a hankerchiefis often seen as a plain,
ordinary piece of cloth that we carry to wipe our faces and hands. However,
make no mistake, because ChambaRumalis no ordinary item. These
'rumaals,' adorned with meticulous detailing and exquisite embroideries,
served primarily as ornate coverlets for gifts during wedding ceremonies. The
exchange of these rumals between the families of the bride and groom
symbolized goodwill.

9. The basic process of creating a Chambacan be summarized
into four steps:
1. Theme Planning: The initial stage entails the deciding of
thematic elements that will be incorporated into the
embroidered.
2. Outline Sketching: The artisan begins by outlining designs
using charcoal or an incisive pencil dipped in a black ink ,
providing the basic framework for the intricate embroidery.
3. Color Palette Selection: During this process, the color
scheme for the ChambaRumalis carefully chosen, ensuring that
it complements the overall design.
4. Embroidery Process: The final and the most crucial step
involves the actual embroidery, where vibrant silk threads are
skillfully applied to the charcoal designs to bring the Chamba
Rumalto lifeOncethe artist completes the drawing, the
craftswoman begins embroidering the contours and spaces.
Care is taken to employ appropriate color combinations in the
process. The needlework technique used here is double-darning
or do-rukh , creating a double-sided effect on both sides of the
fabric.

10. EMBROIDERY FROM GUJRAT
Embroidery of Gujarat has earned its fame because of the versatility of
creations by the artisans. The most important centresof embroidery work of
Gujarat are located in the Saurashtra and Kutch regions and are admired for
the creative excellence.Theartisans of Gujarat use an array of stitches that are
used to decorate the items. The artisans use Abhala embroidery to ornate the
fabric with small round pieces of mirrors using buttonhole stitching. This
embroidery is done in a herringbone stitch using silken thread of rust, light
green, indigo, blue, deep red, pink and purple colours. A special type of
embroidery is used to ornate the fabrics that has its origin in Banniof Kutch. The
base materials are embellished with mirrors and beads.Theembroidery of
Gujarat is also famous for the embroidery that executes architectural designs
known as the 'heerbharat'. The stitch has gained this name from the floss-silk
(heer). The stitch, almost three inches long runs parallel to the warp in one part
of the motif and to the weft in the other giving it a natural texture. A mirror
secured with chain- stitch in the center is placed to beautify the embroidery
work. The items of this brocaded stitch are available in the shades of off-white,
yellow, madder red, black, indigo, ivory, and green.

11. Cotton cloth is cut to the required lengths and a
gateway sheet is placed on the fabric. A color mixture
(kerosene plus color plus chalk powder) is applied on
the trace sheet. The color settles on fabric through the
dotted outline and becomes a reference to begin with
the embroidery. Bright colors are used to embellish the
fabric and make it more attractive. There are various
stitches that are adapted. The designs are stitched with
free hand embroidery, there are numerous stitches that
are followed even today and are traditionally sewed.
The women folks mostly work on the embroideries.
Each community has their own set of stitches and it all
comes from ancestors. It adds to the family income and
there are more than two thousand artisans who are
involved in embroidery work. There are centers which
help artisans preserve, evolve and promote these stitch
works. Bhujodiand Qazabin Bhuj are few of such
centers which aims at getting quality work of
embroidery, promote the artisans and help them uplift
their living.

12. PARSI EMBROIDERY
Parsi embroidery is an artistic and cultural amalgamation of three unique
design traditions- Iranian, Indian, Chinese and European. This has resulted
in a distinctive style which blends nature’s creations, birds- real and exotic,
flowers, plant life and animals with elements of mythology. These motifs
are skillfully embroidered on the kors, garas, jhablasand ijarsto be found
in Parsi homes. Parsi embroidery is truly an intercultural art form, which has
descended from Acaemeniantimes in an unbroken continuum.
After leaving Iran the Zoroastrians from Pars came to adopt Indian
costumes, including the sari. But they gave it the stamp of their
individuality and Parsi saris with their embroidery and gorgeous borders
form a distinct and elegant part of the textile heritage of India. The
embroidered Parsi saris amalgamated Indian and Chinese silk-weaving
techniques and Chinese and European embroidery stitches and motifs.

13. In terms of the process, the
design is drawn on the paper,
followed by the formation of the
sample color. The craftsmen
study the designs and traces it
on the sari. The making of Gara
saris is an elaborate process,
and it takes between two to
eight months for the creation to
emerge.

14. CHIKANKARI
Chikankariis a traditional embroidery style from Lucknow, India. Translated,
the word means embroidery (using thread or wire), and it is one of Lucknow's
best known textile decoration styles. The main market in Lucknow for
Chikankaribased products is Chowk. Production is mainly based in Lucknow
and in thThere are references to embroidery similar to chikan work in India
as early as 3rd century BC by Megasthenes, who mentioned use of flowered
muslins by Indians, but these embroidered patterns lacked the characteristic
features of chikan, such as colour, ornamentation, or any notable
embellishment.[1] According to Laila Tyabji, chikankaristems from the white-
on-white embroidery of Shiraz came to India as part of a culture of Persian
nobles at the Mughal court.[2] There is also a tale that mentions how a
traveler taught chikanto a peasant in return of water to drink. The most
popular origin story credits Noor Jahan, Mughal empress and wife of
Jahangir, for introducing chikankarito Indiae adjoining districts.

15. The Chikanwork in Lucknow is older than 200 years
and later it is patronized by Nawabs. There are three
stages involved in making chikankarinamely block
printing, embroidery work and washing. Initially, the
design to be worked is printed on the plain fabric.
The wooden block is dipped in the color solution.
Then it is printed on the fabric. There will be different
blocks for butis, floral patterns and borders. The
printed fabric is now ready for the embroidery work.
The embroidery is done over the printed design
pattern using needle and thread. Different types of
stitches can be made in one product. Washing is the
final stage of production process. The fabric after
embroidery work is first soaked in water and then
washed to remove the block printed blue color. Then
it is starched and ironed to obtain stiffness. The final
product is now ready for the market.

16. PHOOL PATTI KA KAAM
Phool Patti ka kaam is a traditional craft of applique style embroidery done
by women located in Uttar Pradesh. Aligarh and Rampur are the two main
cities of origin for this art form. This type of embroidery is also popularly
known as “patchwork”.The word “Phool” means flower and “Patti” means a
leaf, therefore the motifs and patterns that are widely used in this craft are
inspired from natural surroundings. Floral motifs largely dominate the
design scene here like that of lotus, rose, mango etc. This beautiful work is
done on variety of fabrics like organdy, kotadoria & cotton. The entire
embroidery is done by hand from cutting of fabric, giving the desired
shape & folding and then finally embroidering them onto the fabric. It’s a
signature style of art form in its own way and looks very delicate, elegant
and graceful.

17. 1.Draw the pattern on the background fabric, as it
will helpful when placing the petals
2.Cut the petals and fold them in required size as
per the pattern. The petal should be folded in
such a way that edge of fabric is folded inwards.
3.Place it on the patterns and stitch it using
invisible hemming stitch .
4.Do same with leaves and stitch the stem using
chain stitch or back stitch.

18. ZARDOZI
Zardozi is form of embroidery that came to India from Persia. Its literal
translation, “zar” meaning gold and “dozi” meaning embroidery, refers to
the process of using metallic-bound threads to sew embellishment on to
various fabrics. This heavy and intricate style of design is said to have been
brought to India with the Mughal conquerors.
It found a base with thousands of artisans who have passed on this trade
among their families and local communities. While the Indian city of
Lucknow became a major center for this art form, its exact origin is
unknown. However, there are many romanticized stories that surround its
origin. Till date there are numerous micro enterprises that specialize in
Lucknow zardozi. It is particularly popular in countries like Iran, Pakistan
and India.

19. The basic technique is 4 fold:
Designing:Thisis the initial stage of the process, where the entire
design is drawn on to a tracing sheet and holes are made along
the traced pattern using a needle. While the patterns from the
Mughal period all comprised of complex nature, floral and leaf
motifs, contemporary patterns are more geometric stylizations of
similar motifs.Tracing:Inorder to trace the design on to a fabric,
the papers with the patterns are placed on a flat table with the
fabric underneath. A kerosene and Robin Blue solution is made
and wads of cloth are used to dip in it, which are then wiped
against the tracing sheet. This enables the ink from the sheet to
seep in to the fabric. Setting the frame or “Adda”:Thedesign
imprinted fabric is stretched over a wooden frame. The size of the
frame can usually be adapted to the size of the fabric. Using
bamboo or wooden spars, it is then stretched out and tightly held
to give the cloth a uniform tension. The artisans then sit around
this frame to begin the embroidery work.Embroidery:Acrochet-
like needle that is fixed to a wooden stick called “Ari” is used to
carry out the embroidery. As opposed to a regular needle and
thread, the Ari greatly speeds up the work as the artisans can
pass the threads both above and below the fabric.

20. KASUTI
Kasutirefers to an intricate form of traditional folk embroidery in
Karnataka. It is one of India's most famous handicrafts and is protected by
the Geographical Indication (GI) tag. Towns like Belgaum, Mundargi,
Hubli, Dharwar, Kalghatgi, Gadag, Sangli, Bijapur, Miraj and Jamkhandi
have persisted as the main production hubs for this stunning embroidery.
Most of the embroidered designs are geometrical, but the architectural
kasutiwork inspires motifs in temples. Aside from that, the lotus flower, Tulsi
katte, lamps, parrots, peacocks, swans, cattle, squirrels, raths, palanquins,
chariot, cradle, the sacred bull, elephants, and deer are common
patterns. The true essence of this craft lies in the state’s culture, traditions,
customs and history, making it all the more special.

21. This form of embroidery is designed to look the same
on the front and back of the work, which means that
you should not use any knots to start or end your
stitching. However, if you aren't making a reversible
piece, do what makes you comfortable as you are
learning.
Four types of stitches are used in Kasuti:
Gavantistitch: Worked like double running or holbein
stitch
Murgistitch: Worked like gavantistitch, but creating
a zig-zag
Negi stitch: Worked like a darning stitch, in long and
short patterns
Menthistitch: Worked like a standard cross

22. LAMBADI EMBROIDERY
It have longed to own the exquisite embroidered apparel and accessories
crafted by Lambadi artisans at PorgaiArtisans Association, here is your
chance to get your hands on them. Just in time for Deepavali, Porgai
(meaning pride in the Lambadi dialect), is hosting its first-ever solo
exhibition in the city LAMBADI embroidery is a craft characterized by
intricate designs and exquisite detailing. The artisans of Porgaitake
immense pride in preserving the mesmeric magic of this embroidery on
fabric. Unlike repetitive machine embroidery, which lacks soul, LAMBADI
embroidery values human effort and craftsmanship. By supporting the
artisans and providing fair wages, Porgaiensures that they are not
forgotten in the competitive market.thisweekend.

23. 1.Design Selection:
Artisans choose vibrant designs inspired by traditional
motifs and cultural symbols, reflecting the Lambadi
community's heritage.
2.Fabric Preparation:
Dark-colored fabrics like cotton or silk serve as the base
for Lambadi embroidery. The chosen design is then
transferred onto the fabric using techniques like tracing or
drawing.
3.Embroidery Execution:
Skilled artisans use a combination of techniques including
mirror work, beadwork, and colorful thread embroidery to
embellish the fabric. These elements are meticulously
stitched onto the fabric, creating intricate patterns and
adding texture to the design.
4.Finishing Touches:
Then go to washing. The finished Lambadi piece is then
used to adorn various garments, accessories, or home
decor items, showcasing the vibrant cultural heritage of
the Lambadi community.

24. KANTHA
Traditional Kantha Embroidery Is A Traditional Folk Art Of Bengal And Was
Significantly Used In Kantha Quilt. The Craft Revived Worn-Out Textiles Or
Rags As New. The Embroidery Not Only Depicts Kantha Stitch & Designs But
Also Expresses Creativity, Patience, Imagination & The Craftsmanship Of
The Common Bengali Woman. We Are Now Working With A Cluster Of
Kantha Artisans Situated In The Birbhum District Of Bengal To Produce
Beautiful Kantha Embroidered Fabrics. Kantha was invented out of basic
necessity and was made of various sizes and layers. Today, Kantha stitch
design fabric is used to ornament different products like clothing,
homeware, accessories, and so on.

25. STEP 1: DESIGN CREATION
The first step in Kantha embroidery is creating the
design. The design is usually drawn on a piece of cloth or
paper. It can be a simple geometric pattern or a complex
motif.
STEP 2: TRACING Once the design is finalized, it is transferred onto the fabric using a tracing method. This can be done by placing the design on top of the fabric and using a tracing tool to transfer the pattern STEP 3: EMBROIDERY STITCHES The most commonly used stitch in Kantha embroidery is the running stitch. This stitch is worked along the design lines to create the desired pattern. After the outline is complete, the design is filled with more running stitches

26. SUJANI
The Sujaniembroidery work of Bihar, is a textile expressive art product,
given protection under the GI registration act. It is usually a quilt or bed
spread, which was earlier made of old clothes, but is now generally made
of easily available fabric with embroidery done with the most simple
stitches with motifs narrating stories. It is exclusively made by women in 15
villages of Bhusrain the Gaighatblock of Muzaffarpur and a few villages
of Madhubaniin the Indian state of Bihar.TheSujaniembroidery work of
Bihar is protected under the Geographical Indications of Goods
(Registration & Protection) Act (GI Act) 1999 of the Government of India. It
was registered by the Controller General of Patents Designs and
Trademarks under the title "Sujani Embroidery Work of Bihar" and recorded
under GI Application number 74, Class 26 as a textile item. The GI tag was
approved on 21 September 2006.

27. The raw material is essential for Sujiniembroidery.
The process starts with drawing the designs on the
base fabric.
Then needleworkers start modelling the background
by fine running stitch.
Black or brown threads are utilisedfor preparing the
themes while the colourfulthreads are utilised to fill
coloursin the themes.
SujaniKantha stitch comprises a needle, fabric,
shears, threads of different colours, measuring tape,
tracing sheet, tracing wheel, pencil, eraser, blue
chalk and kerosene.

28. PIPLIAPPLIQUE
A few kilometers from Bhubaneswar, the capital of Orissa. One of the
most popular craft of Orissa is the Pipliapplique technique work that
comes from the town of Pipli. Pipliis small town, situated about
40kilometers from Puri, Orissa. In the old days, Piplicraftsmen used to
make canopies, banners, umbrellas and trasa(fans) for festivals held in
Puri'sfamous temple. But as the craft's popularity spread far and wide
through the pilgrims of Puri, the craftsmen started making other
decorative and utility items also. The use of all these products are
associated with the religious ceremonies of Lord Jagannath. So it can be
concluded that this art form ascribes its origin to the Jagannath cult.
Patronized by kings and nobility of Orissa, applique work at one time
had reached the artistic heights of excellence.

29. This exquisite craft is usually practiced on red,
purple, black, yellow, green and white fabric. The
craftsman first prepares the base material in the
shape of square, rectangle, and circle or oval which
forms the background for the pieces of art. Over the
patched and stitched material embroidery design will
made using needle by different colouredthreads and
mirrors. The metal or mirrors are added to the cloth
only after that the embroidery is stitched. The actual
grace of appliqué craft lies in its intricate stitches
namely, bakhia, guntha, turpa, chikanand other very
delicate and esoteric embroidery techniques. Small
mirrors and bright metal pieces are used to enhance
its beauty. After the material is embroidered with a
traditional design, the borders are then stitched.

30. RESIST DYE TEXTILES
DIGITAL PRINT
IKAT
Bandhani-1-Bandhani of Gujrat
-Special Bandhanitextile
from Gujrat
-2-Bandhej& Lehariyaof
Rajasthan
-Special Tie-dyed Textiles
from Gujrat
-Patolaof Gujrat
-Bandhas of Odisha

31. BANDHANI
BANDHANI OF GUJRAT & SPECIAL BANDHANI TEXTILE FROM GUJRAT
This is a popular tie and dye technique that involves twisting, tying and dyeing to
produce some gorgeous patterns. Bandhanigenerally uses natural colours,
predominantly yellow, blue, green and black. Each colour has its own
significance. For example, red is a symbol of good fortune to a bride and yellow
is a sign of spring time and joy. The designs on the fabric are formed by a
combination of dots that are first block printed on the fabric. Some popular
designs are the sikharibhat(jungle scene), ambaa dal (mango orchard) and
chakalipopat(sparrow, parrot). The process of creating the bandhanifabric is
long and tedious, as every single dot has to be tied separately to create patterns
before the material is dyed. The fabric is first washed to de-gum and remove the
impurities for an even dyeing. It is then folded twice or four times depending on
the design requirement, before the pattern is printed.

32. Basically, three tools are required for tying the fabric dheri(strong cotton
thread), bhungali(glass pipe) and naklo (thimble). There are two types of
dots, aniwalibheendi, the basic dot, and mathawalibheendi, which forms a
fine ring. Wages for a piece is pre-decided, depending on the design and the
number of dots. Some intricately patterned sarees could take over six to eight
months to tie before dyeing. Normally, women do the tying in their free time
after attending to their children and housework, and manage to earn around
Rs. 80 for a day's work.Oncethe tying is completed, the fabric pieces are
returned to the workshop where they are dyed. Normally the bandhanidots
are in white and yellow. In the first stage, the dots that should be white are tied
to secure those areas, and the piece is then dyed in a yellow dye bath. The
piece is again sent out for tying, and wherever the dots are to remain yellow,
the cloth is tied. The fabric is then dyed in the required colour. Great care is
taken while dyeing a bandhani piece so that the tied dots do not unravel in
the dyeing process when the piece is turned in the dye bath for even dyeing.
Once the piece is dried, it is pulled on a cross grain to open the tied knots to
see the dot pattern.

33. BANDHEJ& LEHARIYAOF RAJASTHAN
SPECIAL TIE DYED TEXTILES FROM RAJASTHAN
Bandhani(also referred to as Bandhej) traces its etymological roots to the Hindi
word-Bandhan, which means ties. An ancient art practisedmainly in Western
India, Bandhejis the art of tying small dots on a fabric with a continuous thread
and dyeing it. Interestingly, it requires artisans to have long fingernails so that
fabric can be tied and dyed with maximum precision possible.Initially
developed in Jaipur around the 17th-century, Leheriyais a technique where
diagonal patterns are created on the fabric through resist dyeing. These wavy
patterns are said to have been inspired by the sand dunes of the Thar Desert. It
is also stated by some that each royal house of Rajasthan had a signature
Leheriyapattern and colour that only the respective household could
adorn.WhileBandhejand Leheriyaare the most famous tie and dye prints from
Rajasthan, the technique of resist dyeing can produce a variety of patterns.
Hence, different motifs on fabrics are available such as Ekdaliand Shikari.
Mothrais considered to be an extension of Leheriyaand in this, diagonal lines
cross each other in opposite directions, giving rise to diamond-shaped
structures.

34. These tie and dye techniques are a true reflection of the vibrant culture and unusual
topography of Rajasthan, which distinguishes the state from other parts of India. So,
plan a post-pandemic tour to the famous open-air markets of this state to add a few
authentic and artistically dyed fabrics to your wardrobe. There are several patterns
such as Leheriya, Bandhani, HandblockPrinting and Ikat which are also the most
famous works of Rajasthan and neighbouringstate Gujarat.
Tie & Dye Today
The age-old tradition of tie and dye is still an ongoing practice in the vibrant state of
Rajasthan. Housing bustling bazaars, traditional art, colourfulcrafts and gorgeous
textiles, the cardinal rule when one visits Rajasthan is to look for praise-worthy tie and
dye fabrics. An array of colours paired with intricate designs is a rich source of culture
that has been handed down and delicately preserved in the country.

35. IKAT- PATOLA OF GUJRAT
Gujarat is known for its world famous double ikat patolafrom patan. It is a
colourfuland ostentatious weave with its figured body, along with the subtle
merging of one shade into another. It is generally worn on auspicious and
important occasions.
Gujarat is known for its world famous double ikat patolafrom patan. It is a
colourfuland ostentatious weave with its figured body, along with the subtle
merging of one shade into another. It is generally worn on auspicious and
important occasions. The magic of patola textile is created by the art of lying
and dyeing both the warp and west silk threads and then weaving them with
great skill and precision into priceless fabric forms with clear and crisp patterns.
The raw material used for weaving is cultivated silk single ikat patolais also
woven in some villages of surendranagar and Rajkot district in which only weft
in separately: ie -dyed before weaving to create patterns. The patterns through
similar are simpler than the intricate one and are more economical than those
of patan.

36. IKAT –BANDHAS OF ODISHA
Odisha Ikat, is a kind of ikat known as Bandhakalaand Bandha, a resist dyeing
technique, originating from Indian state of Odisha. Traditionally known as
"Bandhakala"', "Bandha", '"Bandha of Odisha", it is a geographically tagged
product of Odisha since 2007.It is made through a process of tie-dyeing the
warp and weft threads to create the design on the loom prior to weaving. It is
unlike any other ikat woven in the rest of the country because of its design
process, which has been called "poetry on the loom".Thisdesign is in vogue
only at the western and eastern regions of Odisha; similar designs are
produced by community groups called the Bhulia, KosthaAsani, and Patara.
The fabric gives a striking curvilinear appearance. Saris made out of this fabric
feature bands of brocade in the borders and also at the ends, called anchalor
pallu. Its forms are purposefully feathered, giving the edges a "hazy and
fragile" appearance. There are different kinds of bandha saris made in Odisha,
notably Khandua, Sambalpuri, Pasapali, Katakiand Manibandhi.

37. DIGITAL PRINT
Digital printing is a method of printing from a digital-based image directly
to a variety of media. It usually refers to professional printing where small-
run jobs from desktop publishing and other digital sources are printed
using large-format and/or high-volume laser or inkjet printers. Digital
printing has a higher cost per page than more traditional offset printing
methods, but this price is usually offset by avoiding the cost of all the
technical steps required to make printing plates. It also allows for on-
demand printing, short turnaround time, and even a modification of the
image (variable data) used for each impression.Thesavings in labor and
the ever-increasing capability of digital presses means that digital printing
is reaching the point where it can match or supersede offset printing
technology's ability to produce larger print runs of several thousand sheets
at a low price.

38. THANK YOU
BY-DRASHTIJAINBSCID SEM2