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BSC Degree in Textile Design
1
st
Year


Surface Embroidery & Dyeing
& Printing Part -A



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INDEX

UNIT-I .................................................................... 3
Lesson 1: Kantha of Bengal .................................... 4
Lesson 2: Phulkari of Punjab ................................ 23
Lesson 3: Kasuti of Karnataka .............................. 42
Lesson 4: Applique Craft of Orissa ........................ 60

UNIT-II ................................................................ 84
Lesson 5: Stencil and Screen Printing .................. 85
Lesson 6: Block Printing ..................................... 102

Unit III ............................................................ 116
Development of End Product .............................. 117

Books for Further References ............................. 120


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UNIT-I

Lesson 1: Kantha of Bengal
Lesson 2: Phulkari of Punjab
Lesson 3: Kasuti of Karnataka
Lesson 4: Applique Craft of Orissa


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Lesson 1: Kantha of Bengal
Objective:
After going through this unit you should be able
to understand the traditional embroidery of
West Bengal.

Structure:
1.1 Introduction
1.2 Styles of Kantha
1.3 Fabric Used
1.4 Stitches Used
1.5 Threads Used
1.6 Motifs Used
1.7 Types of Kantha

1.1 Introduction
The traditional folk art of Bengal is famous as
kantha, which means patched cloth. The special
significance of kantha is quilting.
Kantha is embroidered using worn out textiles that
are to be thrown away. It is a treasured art in
Bengal where ladies irrespective of their castes,
classes and socio economic groups are expert at
the embroidery not only depicts the stitches
employed but also express the outflow of their
creative, resourceful, imaginary and patient
craftsman ship.
Kanthas are produced at Hugli, Patna, Satagaon,
Jessore, Faridpur , Khulan and other parts of East
and West Bengal. Kanthas were domestic and
feminine are never prepared for sale. A kantha
made by each individual is unique in itself. Each


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woman make new fresh form of art on the fabrics.
The ideas themes, scenes and symbols are almost
common as they come from similar economical
background. Some basic traditional designs are seen
in each piece of work.

1.2 Styles of Kantha
Two kinds of style are adopted to produce kantha
a) Old discarded cotton saris or dhotis were piled on
top of each other, quilted and embroidered.
b) Discarded cotton bed covers were piled up or
folded, quilted and embroidered with pictorial
embroidery.



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1.3 Fabric Used
Base fabric used in the traditional kantha was
always white cotton, as the saris of the Bengali
woman are mostly white and of cotton. Silk was also
used at times. Now tussar silk in black, beige, dull
orange are used. The colour of the base fabric of a
kantha is always neutral black, white, beige, grey,
dull brown.

1.4 Stitches Used
Kantha embroidery is widely done by using the
running stitch; but stem and satin stitches are also
used.

1.5 Threads Used
White cotton threads and sometimes-silk threads
are also used. Sometimes the borders of the old
saris are stitched around the piece of embroidered
kantha. Colours of the threads used are red, black,
blue, green, and yellow/ mustard.


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1.6 Motifs Used
Portuguese and European traditions have a great
influence on the motifs of kantha. The first time the
kanthas were commercially manufactured was in
1875 in Patna. The motifs used are rotons, mandala,
trees, creepers, foliage, paisleys, animal, human
figures, spiral, birds, fish, shell, nutcrackers, mirror
comb, umbrella, chariot, palanquin, boats,
sceneries, mermaids etc.
There were also scenes from day to day life scenes
from the epics, peacock, temple, hukka, jewelery.
Come kanthas even had steeds of gods like bull,
swan, lion, elephant, Cat and swan. Lotus is the
most widely used kantha motif. Some other motifs
like thunderbolt and swastik are also used. The
spiral represent the eternal life cycle.
Do - rukha kantha is the one which appears
identical on both sides face and back of the fabric.

1.7 Types of Kantha
There are different kinds of kanthas named
according to its utility. According to Jasleen
Dhamija, there are seven types of kantha used as
wrapper in winter, for books, valuables, mirrors,
combs, wallets, pillow and bed spreads.
Arshilata is used as cover or wrap for mirror, comb
and other such toilet articles. It is a narrow
rectangular piece of eight inch wide and twelve inch
length. It has a wide border and the central motif is
taken from the scenes of Krishna leela or Radha
Krishna raas. The lotus trees, creepers, spirals
inverted triangles, zigzag lines, scrolls are also some
of the commonly used motifs.
Bayton, a three feet square piece serves as a wrap
for books and other similar valuables. It has a


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central motif, usually the lotus with hundred petals
called satadala padma. This motif with hundred
petals is simply a figure, which does not signify
anything precisely. The traditional and folk design of
oldest style in Bayton is the Mandala whick
symbolizes the unity of all manifestations of life. The
core has Satadala Padma with two or three borders
on the sides. The other motifs commonly seen are
p\water pots, conch shell, kalkas, trees, foliages,
flowers, birds, elephants, chariot, human figures
etc, sometimes the figure of lord Ganesha and
Goddess Saraswati with their steed are also
observed. Special motifs on Bayton are worked with
w\wan as a book wrapper. In other words, the
designs often collaborate and this colourful
embroidery is made with yellow, green blue and red
coloured threads. This kantha is often carried while
travelling and also presented as gift to their kith and
kins.
Durjani (Durfani) is also known as Thalia. It is a
square piece kantha, covers the wallet, and has a
central lotus motif with a elaborated border. The
three corners of this piece are drawn together
inward to make the tips to touch at the centre and
sewn together like an envelop. It will have another
open flap to which a string, tussle or decorated
thread is either stitched or mechanically fixed which
can be wound and tied up when rolled. The other
motifs used are various types of foliages, snakes
and other objects taken from the natural
surroundings.
Lep kantha is relatively a thick quilted wrap padder
by more number of sari layers placed on top of each
other, to provide warmth during winter season. Lep
is also popular as desired covering. Simple
geometrical designs are worked with running stitch
using coloured threads. The entire Lep piece is given


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a wavy rippled appearance by working simple
embroideries.
Oar (ooar), the kantha serves as a pillow cover. It
is rectangular piece whose size is about two feet by
one and half feet. Usually simple designs like trees,
foliages, creepers, birds or a liner design with
longitudinal border constitutes the ground base and
decorative border is stitched around its four sides.
The most popular and striking kantha is the Sunjani
(Sujni), generally large rectangular piece of three
feet by six feet, used as a spread during ceremonial
occasion. Its size has provided full scope for the
workers to express and exhibit her imaginary, self
created design. The rectangular piece is divided into
nine equal parts and the motifs are distributed in
these equal sized rectangular block. The lotus motif
with a whirl in the centre is the commonly used
motif in Sujani. The other motifs observed are the
scenes from Ramayana, Mahabharat, folk tales,
dancing girl, men riding, birds pecking the fruits,
prancing movement of the animals, bees sucking
the nectar, procession in motion etc. A moderately
thick, light weighed Sujani has either two or more
borders at the edge to strengthen the layers and to
prevent further tearing. The border stitched at the
edge to strengthen the layers and to prevent further
tearing. The border stitched at the edge of the
rectangular piece has geometrical patterns in single
colour, while the other is more ornamental and
colourful. The cover sometimes has large kalka laid
horizontally and separated by Vajra, the thunder
bolt or a broad band of circles, lotus in each circle
and heart shaped foliage between the circles.
Sarfani is also quilt used during ceremonies or
functions as a cover or wrap.


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Rumal is nothing but a handkerchief and is the
smallest among all the kanthas. A square piece
having a size about one square foot. Lotus is the
core and other motifs embroidered around it.
Sometimes plant and animal motifs are also
embroidered but invariably has a well decorated
border.




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Stepwise execution of a leaf in Kantha Embroidery
Using simple running stitch



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Summary:
Traditional embroidery of Bengal is famous as
kantha.
The special significance of kantha is quilting.
Running stitch is the main stitch of kantha
embroidery and cotton and silk threads are used for
it. Portuguese and European tradition have a great
influence on the motifs of kantha. Lotus is the most
widely used kantha embroidery. There are different
kinds of kanthas named according to its utility
like:Arshilata,Bayton,Durjani,Lep,Sujani,Oor,Rumal
etc.

Revision Points:
Kantha is the traditional embroidery of West-
Bengal. Which means patched cloth.
Base fabric used in kantha was always cotton.silk
was also used at times.
Main stitch of kantha is running stitch but satin
and stem stitches are also used.
White cotton threads and sometimes silk threads
are also used for kantha embroidery.
According to utility there is different types of
kanthas like: Bayton, Durjani, Lep, Oor,
Arshilata, Sujani, Rumal etc.

Intext Questions:
1. Explain the different types of Kantha in detail?



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Terminal questions:

1. What is meant by kantha and is the traditional
folk art of which place?
2. What are the motifs used for kantha?
3. Name the different types of kantha?
4. What are the base fabrics used for kantha and
what are their colours?
5. What are the areas of production of kantha?

Key Words:
1. Manifest: Easily noticed, obvious.

Assignments:
Students have to make 50 motifs of Kantha
embroidery in the Researh file.
Students have to make the painted and
embroidered sample of kantha embroidery.





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Lesson 2: Phulkari of Punjab
Objective:
To understand the traditional embroidery of
Punjab.
Structure:
2.1 Introduction
2.2 Classification of Phulkaris
2.3 Fabric Used
2.4 Threads Used
2.5 Stitches Used
2.6 Technique Used


2.1 Introduction
Phulkari is the traditional embroidery of the land of
Punjab. It is the land of energetic
and vibrant people, colours and dances.
The exact history and origin of phulkari in not
known. It is in Wari Shah Heer and excellent social
document that the word phlukari appears for the
first time.
Banabhatta in his book Harshachartra (7C BC)
describes the wedding of Rajyashree and talks of
some people engaged in decorating the hems of the
garments from the wring side of the fabric (phulkari
is executed from the wrong side of the fabrics).
It is also said that the word phulkari came from
Iran, where gulkari resembling phulkari was
prevalent. It is thought that the art was brought to
India by the gujjar nomads of central Asia.


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Phulkari is composed of 2 words phul means floral
and kari means work. When the whole fabric is so
embroidered that no part of the base fabric is
visible, it is called Bagh meaning a garden on the
fabric, making base fabric visible at certain areas.


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Phulkari
Bagh


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West Punjab, India, late 19th century floss silk on
hand spun, hand woven cotton 135 x 275 cms.

Areas of production of phulkaris were Peshawar,
Jehlum, Rawalpindi, hazara all now in Pakistan; as
well as Amritsar, Jalandhar, Ambala, Ludhiana,
Patiala, Nabha, Jind, Faridkot and Kapurthala.
There was a considerable difference between Hindu/
Muslim





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Uses
- Phulkaris were never prepared for sale
- Each piece became an heirloom and was passed
from generation to generation.
- It remained a domestic and feminine art made
out of love. This was specially true for the
wedding phulkaris which retained their original
designs.
- All festive occasions, weddings and child birth
were commemorated with a phulkari.
- Holy scriptures were kept wrapped in phulkaris.
- It was used as offering to temples and mazars.

2.2 Classification of Phulkaris
Phulkaris are classified on the basis of their design
and application.

1. Base fabric

2. Colours of
threads used.


3. Patterns
Red or White

White, orange,
gold, brown,
red, purple,
crimson

Horal designs,
human arrival
figures
Black

Green,
magenta,
lemon yellow
and some
time white.

Strictly horal
patterns.


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1. Wedding Phulkaris:
These phulkaris form and irrespirable part of the
brides trousseau. Each ceremony was associated
with meaning of particular bagh.
a. Chope: Chope is embroidered by the maternal
grandmother for the girl. Stitch used in the
chope is double running stitch; the colour of the
thread used is yellow and the fabric used is red
khaddar large triangles are embroidered on the
edges along the length. Chope is identical on the
both sides of the fabric and is held on the head
during the chura ceremony.
b. Suber: This is worn during the phera ceremony
during the wedding, The base of the super is red
khaddar and is embroidered using green and
yellow thread. There are fine flowers on the
suber; one on each corner and one in the outer.
Each flower is 6 petalled.
c. Vari- Da- Bagh: This is given to the bride by
the grooms mother after wedding. The base
fabric is red, is embroidered with golden yellow
and green threads. The motifs on vari- da- bagh
one unconnected concentric square or lozenges
with a plant in the innermost square. This is a
bagh and the ground fabric is not visible.

2. Religious Phulkaris
This phulkari is called the Darshan Dwar meaning
Devine Door. It has religious motifs like the walls
of the temple and the people doing parikarma. This
was used to make offering to the temples. The base
of the phulkari was red with yellow thread used for
embroidery.



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Classification of Phukaris According to
Motifs
Phulkari being a domestic feminine got its
inspiration from the day to day scene and objects
around the women.
1. Inspiration drawn from the kitchen gave
mirchi(chilli), belan (rolling pin), kaniki
(wheat) and dhania bagh.
2. Floral motifs used to embroider baghs were of
surajmukhi, gulkerian.
3. Bird and animal motifs were mor, tota and
serpents, peacock motifs gave rise to moran di
phulkari.
4. Daily life objects were patang, jewellery,
woman drawing water, woman churning
buttermilk.
5. Sun, moon and lightening were used to
embroider suraj bagh, chand bagh and bijli bagh.



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Other Phulkaris
1. Sarpallo was used to draw a veil. It had a
triangular motif in the centre in such a way that
the base of the triangle. Such a may that the
base of the triangle tell on the forehead and the
apex point at the nape.
2. Nilok had a blue background. Embroidery was
alone with yellow and red silk thread. It was
used for the young girls to learn embroidery.
3. Tilpatra was dotted all over to give to the
servents on auspicious occasions.
4. Shishadar phulkari and geometrical designs with
mirrors embroidered alongwith the designs.
5. Sainchi phulkaris: Sainchi comes from the word
'Sangha' meaning together. This phulkari had
motifs of routine daily life, prized possessions
like jewellery, animals, pets, games (chess)
embroidered together. This phulkari had motifs
of routine dailylife, prized possessions like motifs
of routine daily life, prized possessions like
jewellery, animals, pets, games (chess)
embroidered together.
6. Bhawan Bagh' had fifty two squares embroidered
on it. Each squared a different motif inside it.
The motifs were always geometrical.
7. Phulkari with a black background was worn
during mourning. Simple motifs in yellow and red
were embroidered on it.
8. Thirma - Phulkari done on white khadder given
to a hindu bride by her parents.





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2.3 Fabric Used
Khaddar (a coarse, loose weave cotton fabric) was
used as the base fabric for almost all phulkaris and
baghs. In Rawalpindi and Hazara (now in Pakistan)
phulkari embroidery was done on very lightweight
fabric resembling cambric. These phulkaris were
called Halwan.

2.4 Threads Used

Dyed untwisted silk threads called 'Pat' were used.
Sometimes black and white cotton threads called
'bandi' were used.



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2.5 Stitches Used
Darning stitch, chope, running, herringbone run and
back, buttonhole, stem and chain stitches were
used.

2.6 Technique Used
- The base fabric i.e. the khaddar was woven by
the village weaver. This fabric was of narrow
widths. To make large widths phulakaris the
women used to join 2 or 3 widths together. The
joints were neatly and expertly done in herring
bone stitch.
- Darning stitch was executed from the wrong side
of the fabric. The length of the stitch ranged


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from of an inch to one inch. The motifs were
always symmetrical.
- The untwisted silk thread shown at different
angles giving it an exotic appearance. A small
buti in black was embroidered at times or the
motif was slightly distorted to wand off the evil.
This was called the nazar buti.
Areas of Production - Phulkari
1. Peshawar 4. Rawalpindi 7. Jalandhar
2. Sialkot 5. Amritsar 8. Rohtak
3. Jehhum 6. Faridkot




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Lesson 3: Kasuti of
Karnataka
Objective:
To understand the traditional embroidery of
Karnataka.

Structure:
3.1 Introduction
3.2 Fabric Used
3.3 Threads Used
3.4 Stitches Used
3.5 Motifs Used
3.6 Articles Made

3.1 Introduction
Kasuti is world famous embroidery of Karnataka
State, earlier known as Mysore State. The motifs
and the art speak about the traditions, customs and
professions of the people of Karnataka. The age of
learning and executing Kasuti was common to both
royals, aristocrats and peasant women.


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It is said that the Kasuti resembles the embroidery
of Austria, Hungary and Spain. The origin of Kasuti
is not known. The word Kasuti can be analysed as
'Kai' meaning hand and 'suti' meaning cotton
thread, i.e. a handwork of cotton thread in Kannad,
the language of Karnataka.
The lingayats, the follower of cult Shiva, also known
as Verrasaivas are expert in this art. Traditionally it
is a custom for the bride to possess a black silk
saree called the 'Chandrakali Sari' with Kasuti work
on it.
The embroidery of Kasuti was taught to children,
neighbours, daughters by the older ladies in the
family and was done on saris and blouses. The
motifs and stitches were sometimes tried out on a
piece of white cotton cloth which was preserved as a
model.
Other centres of production are Bilaspur, Dharwar
Belgam and Jamakhandi districts.

3.2 Fabric Used
Fine silk fabric of the sarees was used earlier in
addition to this, canvas or fine matty is used now.
The base colour is dark, usually black or dark blue.
3.3 Threads Used
Traditionally the thread was drawn from the tassels
of the pallav of the saris, to make the design appear
flat, rich and gorgeous, DCM, Anchor, Kohinoor.
Cotton threads are used. The colours most
frequently used are red, orange, purple, green-
yellow and blue. The commonly used combinations
are red-blue, red-yellow, red-white, blue-orange
and green-yellow. Bright contrasts are used to make
a bold and clear design.



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3.4 Stitches Used


Stitches in Kasuti are always vertical, horizontal and
diagonal. The main speciality of this embroidery is
that never the design is traced in the material to be
embroidered and the embroidery starts without
knotting thread but with a tiny back stitch. The
stitches are simple, minute, intricate and pretty.
Kasuti is done always by counting the threads. The
four types of stitches are, Gavanti, Murgi, Negi and
Menthi. Different patterns and motifs are worked in
different stitches but some have mixed stitches. The
number of threads on the material forms a unit, two
to six threads for fine and coarse work respectively.
However, the unit should remain constant till the
design is completed.

'Gavanti' is the most simple and common stitch,
derived from the Kannada word 'Gantu' means
'knot'. It is a double running stitch, in which the first
running stitchs is filled in by the second running
stitch on the same line. The second running stitch
works exactly opposite to the first one. Gavanthi


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may be worked in horizontal, vertical or diagonal
directions.

'Murgi' is a zigzag running stitch which appears like
steps of a ladder or staircase. It is same as gavanthi
stitch but works in a stepwise manner. The work in
both gavanthi and murgi stitches is neat and tidy,
where the design appears same on right and wrong
side of the material. However, the stitches should
be of uniform size. The distance between two
stitches is nothing but the length of each stitch.
Smallest motifs like square, triangle, hexagonal,
ladders, flower are to be practiced so that the
elaborate designs can be worked. A large geometric
design is produced by grouping the tiny designs on
regular intervals and sequences. 'Negi' is another
stitch in Kasuti. 'Negi' in Kannada means 'to weave'
i.e. the design with Negi design has an overall effect
of a woven design. Negi is nothing but ordinary
running or darning stitch. It is worked in long and
short straight lines or floats and therefore, the
design does not appear identical on either sides of
the cloth. Menthi' is the fourth type of stitch which
means the ordinary cross stitch. In Karnataka
'Menthi' means fenugreek seed but however, people
of Karnataka identify the cross stitch as 'menthi'
only. This cross stitch is usually appears heavy as is
used for filling purpose. This stitch requires more
length of thread than the other three stitches.
Similar to Negi, even this stitch does not give same
appearance on either sides of the Cloth.


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3.5 Motifs Used
The motifs used in Kasuti embroidery ranged from
mythological and architectural to the beautiful flora
and fauna, i.e., gopuras, palanquine, chariot, shiva-
linga, bull (Nandi), tiger, lamp stand, crown of Shiva
(Shivana Basinga), swastika, sun, surya mukhi,
conchshell, asanas, Rama's cradle, snake (Naga
devta), elephant, horse, tulsi vrundavan, Hanuman
etc. Apart from steeds of Shiva and Laxmi, squirrel,
parrot, sparrow, peacock, cock, duck pigeon, swan,
deer, are also seen. Various types of foliages
creepers, flowers are however, used in this
embroidery. The main ones are lotus,
chrysanthemum, jasmine, rui-phool (cotton flower),
cashew nut (Kalka), grapes, kevada, kalawar,
diamond, badam, berseed, black bead, maggihua,
marigold, coconut flower, sparrows eye, rudraksha,
tulsi leaf, brinjal seed, cardamum, chess square,
flower pot, etc.



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3.6 Articles Made
In olden days Kasuti was done on Ilkal silk sari or
Ilkal type village sari having broad pallav, called
'tope-teni' and simple border with plain body. In
order to add colour and beauty to the sari, small
Kasuti motifs were worked in the pallav region and
many times the borders in negi and murgi stitches
were also worked in. However, this simple handloom
sari was made appear gorgeous by Kasuti
embroidery. The choli worn along with the sari is
known as 'khan', on which Kasuti was done with the
matching colour, motifs and borders of the sari. The
women folk used to decorate the Kunchagi kulai
(bonnets), used for children other women's regional
costume was embroidered. But now Kasuti is also
done on the household linen like, kerchiefs, bed
covers, sofa covers, cushion covers curtains,
shopping bags, carpets (Jute), plain saris of silk,
cotton or synthetics, salwar suits, yolkes, cuffs,
collars, belts, pockets, dupattas, caps, and used as
trimming for children's garments.
Areas of Production - Kasuti Embroidery
1. Mysore 2. Bijapur 3. Dharwad


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Summary:
Traditional embroidery of Punjab is known as
phulkari.when the whole fabric is so embroidered
that no part of the base fabric is visible,is called
Bagh. Darning stitch, chope, Buttonhole, Stem,
Herringbone, Running and Chain stitch is used for
phulkari
Kasuti is the traditional embroidery of Karnataka.
Main stitches of kasuti are Gavanti, Murgi, Negi, and
Menthi. The motifs used in kasuti embroidery
ranged from mythological and architectural to the
beautiful flora and fauna.

Revision Points:
1. Phulkari is the traditional embroidery of Punjab.
2. Phulkari



a. Wedding phulkari b.Religious phulkari.


a.Chope b.suber c.vari-da-bagh



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3. Untwisted silk threads called pat is used for
phulkari.
4. Khaddar is used for phulkari and fine silk,canvas
or matty is used for kasuti.
5. Stitches in kasuti are always vertical,horizontal
and diagonal.

In text questions:
1. What are the different types of phulkaris?
Explain in detail.
2. Explain in detail the stitches used for Kasuti
embroidery.

Terminal questions:
1. What is the difference between bagh and
phulkari?
2. What are the stitches used in Phulkari?
3. What are Darshan Dwar and Bawan Bagh?
4. Name the articles made using the kasuti
embroidery?
5. Name the mythological and the architectural
motifs used in kasuti?
6. What is the most popular colour combinations
made in the kasuti embroidery?
7. What do you mean by Sainchi Phulkari? What
motifs are present on it?
8. Explain the fabric and thread used for Phulkari?
9. What is a Chandrakali Sari?



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Assignments:
Students have to make 50 motifs of each
embroidery in the Researh file.
Students have to make the painted and
embroidered sample of phulkari and kasuti
embroidery.


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Lesson 4: Applique Craft of
Orissa
Objective:
To understand the traditional embroidery of
Orissa.

Structure:
4.1 Introduction
4.2 Fabric Used
4.3 Threads and Stitches Used
4.4 Motifs Used
4.5 Production


4.1 Introduction
Orissa is situated in the eastern part of the country.
The world famous traditional craft of this state is the
appliqu craft, a French term exploring about the
technology of applying patches of colourful fabric
pieces on a base fabric .The row edges are finished
with a definite mode of stitchery.
This is carried out in and around the Puri district,
with Pipli as its main centre. It is also called Pipli
work.Gangam and Baudh districts also carry out this
craft.
Pipli is the capital of applique craft in Orissa. Most of
the work sold on the street stalls of Pipli is produced
for a growing tourist market; however supurb
craftwork is still produced and available if you have
the time to look around.
The people of Orissa are religious and God fearing.
The applique craft of Puri is connected with religious


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festivals and processions. It is done by the Darji
Community. The articles produced traditionally were
for the Lord Jagannath Yatra. These were canopies,
umbrellas, banners, coverings of dummy horses and
cows. Today other articles such as bedspreads
cushion covers, bags, garden and sea shore
umbrellas and lampshades are made. Many times
the applique is combined with embroidery.



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4.2 Fabric Used
The base material has to be strong enough to take
the weight of the applique pieces. The fabric used is
always cotton usually in dark colours like royal blue,
turquoise blue and black. The materials used for the
applique is also cotton in bright colours. White is
also used for appliques.
Today white and cream base colours are also used.

4.3 Thread and Stitches Used
The appliques are attached to the base fabric by
using chain stitch (usually done in white or
yellow) and invisible hemming. The threads used
are twisted cotton threads. If motifs are
embroidered along with the applique, chain
stitches are used.
Blanket or buttonhole stitch is used to finish the
fabric from all around and attach mirrors.
Ruching stitch is used to gather up a strip of
cloth to make an applique motif
Rumming stitch is sometimes used on the
borders.
The stitches are known by some local names
such as
Chicken for chain stitch.
Ganthi for blanket stitch.
Taropa for invisible hemming.
Bakhia for running stitch.


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4.4 Motifs Used
The craft of Orissa is mainly connected with
religious festivals and processions, the motifs picked
up are from actual life, modified stylized forms,
nature, animals and plant kingdom, and of course
geometrical as per the shapes of the article. The
commodity used motifs are ,lotus, duck, peacock,
elephant, swan, parrot, fish, lion, betel leaf, bela
leaf, creeper, tree, (gachha), sun (Surya), moon
(Chandra), and rahu (the demon that swallows sun
and the moon during eclipses).
A colourful display of Applique


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4.5 Production
1. Selection of the design is the first step involved,
followed by cutting the motifs from the selected
appliques material. However, specially prepared
motifs are made separately.
2. These motifs are then placed on the base cloth in
predetermined layout and sequence.
3. The raw edges of the cut motifs are neatly and
evenly turned in and sewn on to the base or
sometimes embroidered without turning the raw
edges.
4. The layout of the motifs varies according to the
size and articles to be prepared since the shape
varies for each article, Canopy is a square piece,
umbrella is circular, trasa is somewhat circular,
having a small pointed part of the circumference
as neck. The motifs are encircled with number of
borders, inside and outside, many times it even
reaches the edges of the ground fabric For
example the square or circular motif, which later
is bound by several borders of different widths.
5. The size of applique piece varies from one metre
to a very small size of 1.5 cms. The small pieces
are for fine decorations and borders whereas the
large pieces of geometrical pieces are used as
central motifs for canopies and so on. The
natural and stylized motifs in the design through
medium size either reduced or enlarged
according to the size of the piece. Sometimes the
figured motifs are padded to bring about
embossed effect and make them more
naturalistic. The local market for these products
is limited. The Government is trying to make an
effort to enter the international market by
improving the products and establishing
cooperative societies.


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.


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Applique end-products


Applique wall-hanging






PAppliqu jhallar


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Applique Jhallar


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Areas of Production for Orissa Applique

1. Pipli 2. Gangam 3. Bandh



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Summary:
The world famous traditional craft of Orissa is
known as appliqu craft. In this art row edges are
finished with a definite mode of stitchery. The
threads used are twisted cotton threads. Stitches
used for appliqu are: Chain stitch, invisible
hemming, Blanket stitch, Running stitch, Ruching
stitch etc.
Revision points:
Traditional craft of orissa is called Applique
craft.
Pipli, in puri dist. Is its main center so it is also
called pipli work?
Fabric used is always cotton in dark colours.
The appliqus are attached to the base fabric by
using chain stitch and invisible hemming.
Motifs are picked up from actual life, modified
stylized forms, nature, animals and plant
kingdome.

Intext questions:
1. What are the different steps involved in the
production of Appliques of Orissa?
2. What is Applique ? What are the threads and
stitches used for Orissa Applique?

Terminal Questions:
1. What are kind of fabric is used for the basic
material of Orissa Applique?
2. The motifs and colours used for Orissa
Appliques?


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Assignments:
Students have to make 50 motifs of Applique
Craft in the Researh file.
Students have to make the painted and
embroidered sample of Applique


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UNIT-II






Lesson 5: Stencil and Screen Printing
Lesson 6: Block Printing


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Lesson 5: Stencil and Screen
Printing

Objectives
In this lesson we learn-
- What is stencil? Its origin?
- Carry out stencil printing exercises.
- Thorough understanding of the process of
screen printing.
- Types of binders used for screen printing.

Structure
5.1 Stencil Printing
5.2 Screen Printing


5.1 Stencil Printing
The word stencil is derived from the medieval word
stanselon which means to decorate with bright
colours, which in turn come from the old French
word estencele which means to sparkle.

Stenciling has been used over the centuries by
many different cultures for a wide variety of
functional and decorative purposes and some of the
earliest examples date back to 30,000 BC. During
the Paleolithic times, prints were made by people
who used their hands as stencil when splattering
pigments patterns onto the caves walls. The Chinese
developed stencil printing in about AD 1000 for the
mass production of religious images .The Japanese


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decorated interiors ceramics and fabrics with
stencils and by the 18
th
C they had solved the
problem of printing intricate images which
incorporated floating shapes by weaving these into
position by with human hair and silk.
Wall paper, playing cards and other items decorated
with stencil work were very popular in France up till
the 19
th
C.
Stencil printing is the precursor of the modern day
screen printing. Today it is considered as a
handcraft.
In stencil printing design areas are cut from sheets
of paper coated with oil, wax or varnish or from
sheets of metal. A separate stencil is prepared for
each color .The stencil must be planned so that they
fit together properly to result in a perfect print.
A difficulty with stencil printing is that the design
areas must be connected to prevent the parts of the
stencil from falling out. To offset this problem
Japanese stencil articles developed a method of
tying the various sections with silk filament or
human hair. In producing stencil prints today,
one can apply the color by hand brush, airbrush, or
spray gun. The technique is necessarily limited to
small amount of yardage.
Practical Exercises
Stencil Printing
The students can carry out their first exercise for
a simple start.
Draw out any simple floral motif on a thick sheet
with pencil and cut it out neatly.
Place this stencil on a fresh sheet using different
repeats.
Using water colors and an old tooth brush spray
or three different colors on the stencils.


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The cut out areas will get the colors and the rest
will be resisted.
Students can also use the cut out and the stencil
together to produce interesting effects.
The above exercise can carry out in the sketch
file.
Trace the stencil designs given,on talc sheet, and
cut them out. Use them to decorate furniture,
walls, and tiles, T-Shirts, Towels, sheets, cushion
covers.
Fabric colors are to be used on fabric. Paint
brush can be used to paint or a both brush can
be used to spray.
The sizes of the stencils can be increased or
reduced depending on the area to be decorated.
If a design or motif has three colors, there will
be three stencils for that design/motif; as shown
in design 1 & 2.

Country Cupboards















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Rossini Frieze and Leafy Twist

5.2 Screen Printing
Development of screen printing
Hand made stencil work was expensive and there
was a desire for cheaper and factor production
methods. Towards in end of the 19
th
C, a stenciling
technique which used a printing frame was patented
in Michigan, USA. In 1907 a patent was granted in
Manchester, England, for a printing press using a
wooden frame stretched with silk on which a stencil
was hand printed with screen filler. The ink could
not pass through the resulting stencil but was
squeezed through silk onto the paper below, making


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a print .This process of a fixed stencil on the mesh
allowed intricate patterns to be printed and came to
be known as silk screen printing or screen printing.
Process of Screen Printing
The screen is made by covering a frame with a
fine mesh fabric of silk, metal, nylon, or
polyester
This fabric mesh is then covered with a fiber
The design areas are cut out of the fiber leaving
the fine mesh open for the dye stuff to pass
through and print the fabric.
A squeegee is used to move the dye across the
screen and force the color through the open
areas on to the fabric.
One screen is prepared for each color.


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The size of the screen must be large enough to
include at least one respect pattern.
All screens necessary for a design are arranged
to register or fit together accurately for
production of a complete design.
Screen printing is desirable for the production of
large patterns and for fabric that require
considerable dye, such as uncut pile.
Before the introduction of automatic screen printing
the amount of yardage that could be printed at one
time was limited because of the length of the
printing table, he speed of the operator and the
number of colors and screen used.
Now flat bed screen printing machine and rotating
screen printers are used.

Practical Exercises
Screen Printing
1. Each student is required to make motifs and
designs for the stencil printing end products.
2. The students can choose any end product for
example cushions covers (for chairs and floor),
sheets, towels, table sheets napkins, Dupattas,
or any thing else that the student can think of.
3. The students are required to place the motifs in
creative way and get the layout approved by the
teacher.
4. Screen can be made out of approved motifs and
printing can be done according to the layout.
5. The printing paste is made by adding pigment
dyes to a binder. The consistency should be such
that it doesnt drop from the spoon.



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There are three kinds of binders available in the
market.
Normal binder which gives a plain smooth paste
and is used for printing dark designs on lighter
back ground.
Dhari binder is used for mixing in the gold,
silver, or bronze dust and is used for printing
light/metallic colors on dark background.
Pearl binder gives a pearly effect to the design
when mixed with any color. It can be used both
on light and dark base fabrics.

1. A Simple Start
From an equipment point of view, screen printing is
the do-it-yourself form of print making. Whereas
most others forms of printing rely on heavy,
specialized and often expensive equipment such as
presses, everything required for starting in screen
printing can be packed into a couple of lightweight
cardboard boxes. The few simple items needed to
begin with can easily be home-made, or adapted
from common place odds and ends. For those of you
with little time, or inclination, to adapt equipment, a
complete range of products is readily available, both
as single items or as packaged systems.
In addition to these favourable economic and
practical considerations, the medium is also very
flexible, and it is possible to device a system to
work in almost any space available. Whereas the
smallest area can be used for producing card-sized
prints, large screens can just as readily be made up
for coping with oversize images.
Simple Equipment
One most important requirement is the need for a
good secure working and printing surface of a
workable height. The surface of this needs to be


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perfectly flat. A sturdy kitchens table, covered with
newspaper, makes an ideal surface. Most laminated
kitchens working tops can just as easily be used. In
both cases, you will find that having a water supply
and sink close to hand can be very useful.
The frame
The purpose of the frame is to act as a support,
over which the (mesh) is stretched. To be
serviceable, the frame needs to be sturdy and of a
rigid construction. Any flexing would result in poor-
quality printing and hopeless registration of colors.
A good test of a frame is that it should rest evenly
on a flat surface. If one or two of the corners appear
raised in this position, it is doubtful whether the
screen will print evenly.
As well as holding the stencil in place, the screen
acts as a reservoir for the ink during printing. Ample
space on either side of the stencil is needed during
in order to retain the ink.

The following is a list of the equipment you will need
to start screen printing

Wooden frame Scissors Cotton rags

Mesh Newsprint paper
Squeegee Varnish/enamel
Spoons Pegs of paper clips
Palette knife Cartridge paper
Sponge Paper parcel tape




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Making the frame
For the purpose of explaining the printing process, I
have taken a particular frame size as my example
throughout this description. A frame of 60 60cm
(24 24 ) would provide a useful average size
proportions to start with. For this, use planned
timber of 5 2.5cm (2 1 ) dimensions, obtainable
from any wood yard. The 5cm (2 ) measurement
represents the height of the frame section, ensuring
rigidity. When selecting the wood, look for knot free
lengths and reject any appearing warped through
poor storage. After cutting the four sides, join the
corners adequately to prevent movement.
a) The easiest way of joining the corners is with
straight cuts, glues and nailed together and
further reinforced with angle irons screwed to
the top. Make sure the butt end of the joint has
been cut square; otherwise the frame may go
out of alignment.
b) A simple, yet more robust joint allows the wood
to be glued and nailed on two edges.
c) A strong and easy alternative for joining corners
is to use meter cuts, similar to those used in
picture framing. These can be reinforced with
angle irons after gluing and nailing. Nail and glue
the frame together on a flat surface. This will
ensure that it does not end up askew and out of
alignment. The finished frame will need to be
sandpapered for easy handling, and the outside
bottom edges slightly levelled so as not to snag
the organise as it is stretched over the frame.
Finally apply a liberal coat of varnish to the finished
frame. This will prevent the wood from getting wet
when washing out the screen, and ensure against
future warping.



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The Screen fabric
The screen fabric needs to be of a fine, open weave
to allow ink to be squeezed through the mesh to the
underlying print surface. The over strength of the
fabric must by such that it stands up to being
stretched totally over the frame and does not sag
when wet.
Silk was originally used for this purpose, but these
days silk has largely been replaced by a number of
synthetic fabrics which offer greater resilience and
improved properties. For our purpose cotton
organdie provides a cheap, serviceable material with
which to make a start. Make sure you buy cotton
organdie and not nylon, which stretches and sags
when wet.

Stretching the Screen Fabric
Unrail the organdie on a tabletop and place the
frame upon it. The weave of the material should run
parallel to the sides of the frame. Cut a square of
material, allowing approximately 7.5cm (3 inches)
on all sides. The material can now be fastened to
the frame by using drawing pins or a staple gun. It
is important that the organdie should be stretched
evenly over the frame. To ensure you get an even
tension follow the procedure below.
Place the frame over the organdie, adjusting to
ensure that there is about the same amount of
overlapping organdie on each side. Turn up one
edge of organdie and drawing pin it to the center of
one side of the frame. Place two further pins on
either side of the first one, about 7.5cm (3 inches)
apart. As you do this, pull gently towards the
corners for tension.


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Now fasten the center of the opposite side, pulling
the organdie tightly across the frame as you do so.
It is important to pull the material really tight, but
to do so steadily so as not to tear it. Fasten the
other two pins as before, and then secure the
centers of the other two sides in a similar fashion.
With about the same 7.5 cm (3 inches) between
pins, secure the remaining material by working
towards the corners. As you do so, pull firmly
towards the corner you are working to. This should
create an even tension across the screen.
Although the organdie is now fully stretched, you
may possibly have to improve the tension at this
stage. By working from the center outwards, on
opposite sides, pull the organdie tighter between the


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pins, securing with new pins, or staples, as you do
so.
The finished result should be tight and even, like a
drum skin. Any slackness would result in the stencil
moving during printing, spoiling the printed result. If
the surface is not tight on completion, it may be
possible by removing some of the pins ,to retighten
and secure the areas affected. Falling this, remove
the pins and start afresh. Never make do with a
poorly stretched screen.

Masking the Edges and Making a Waterproof
Border
Once the screen is stretched, the inside edges will
need to be masked. This is done to prevent ink
seeping underneath during printing and masking the
results. At the same time, a waterproof border
around the edges is needed to act as an ink
reservoir late on. Brown gummed paper tape, is
ideal for both purposes.
Cut four 56cm (22 ) strips (the internal size of the
frame). Fold these in half along the length and wet
them under a tap. Then secure them to the inside
edges of the frame, half on the wood half against
the organdie (fig 6). Carefully dab a sponge along
the inner edges to remove air bubbles and wrinkles.
Turn the frame over and apply overlapping strips of
tape on the back to form a masked border at 10cm
(4 ) width all round. Smooth these flat with a damp
sponge. When dry, waterproof both sides of the
taped off margins and taped inside edges by
applying two coats of varnish.





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Squeegee (Printing Blade)
The only specialized piece of equipment you may
need to buy to start with is the blade (squeegee). A
squeegee consists of a strip of rubber or polythene,
usually 5cm (2 ) wide and 1cm (3/8 ) thick, set in
wood, or metal, holder. It can be purchased
complete from screen printing suppliers and is
usually priced by the inch. A cheaper solution is to
buy a length of rubber strip from the supplier and
make your own wooden holder. The easiest way of
doing this is by using three separate length of wood.
As a third, even cheaper, alternative items such as
rubber window cleaning wipers or plastic draught
excluder strips can be used effectively for simple
printing. These can also prove useful when printing
an isolated part of a design in a particular color and
a smaller blade is needed.
The size of the blade has to be shorter than the
inside measurement of the frame with added space
allowed for manoeuvring.

Finding the cause of problem
Finding the exact cause of a problem is not always
easy. At times, a number of quite different factors
can accumulatively cause a mistake. If for instance,
small errors of register have been made in the
cutting of stencils, a loose screen fabric, or loose
hinges, would tend to magnify the discrepancy
during printing. Once a problem has arisen, it is a
question of looking at all the possible causes and
identifying those responsible. Knowing what to look
for when sorting out problems comes with
experience. In the meantime, the following fault
finding and remedial suggestion should help you to
overcome the most usual problems.



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Problem: Registration out of alignment
Colors print with double image or gaps appear
between different colors.
a) Screen fabric too loose: Always check the screen
tension before use. If it is loose, tighten it by
using a staple gun or drawing pins.
b) Loose screen hinges: Check movement on
hinges. Tighten screws if necessary.
c) Poorly cut or designed stencils: If sufficient care
has not been taken in the design and making of
the stencils, the print will not work. If this
occurs, the only remedy is to start again.
d) Sharp change of atmosphere affecting printing
stock: If the atmosphere of the printing area
radically changes during printing the effect could
cause the printing stock to swell or shrink. Either
way would affect the registration. Using fan
heaters to hasten drying between printing could
cause this. For the same reason, stock paper for
printing in the area to be used for a few days to
printing to acclimatize it to the atmosphere.
e) Loose register tabs: If the register tabs becomes
loose, they will need to be retapped down.
Always ensure that paper is placed full against
register guides.
Problem: Uneven Color
Colors appear weaker on certain parts of the print.
a) Uneven pressure on the squeegee. Apply even
pressure to squeegee when printing.
b) Squeegee blades has become rigid.
After periods of disuse, or in cold weather,
polyurethane squeegee blades tend to harden. To
counteract this, hold the blade in front of a fan
heater, or run hot water over the blade. Then


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carefully massage the side of the blade to make it
more flexible.
Problem: Pinheads of unwanted color
Small breaks in stencil.
Raise the screen and patch the affected area with
tape.
Problem: Ink seeps past the stencil edge during
printing.
This is more likely to happen when using paper
stencils.
In all cases, carefully wipe the overlapping ink from
the back of the stencil.
a) Ink too thin: Thicken mixture by adding more
binder and pigments.
b) Screen fabric too loose: Paper stencils may not
stick evenly to mesh, causing the stencil to
ripple. Remove the stencil and thicken the screen
fabric.
c) Damp paper stencil: Damp stencils may cause
ink to seep through and overrun. Cut a new
stencil.
d) Torn stencil: Mend small tears with tape. Failing
this, cut a new stencil.
Problem: Paper stencil becomes unattached during
printing.
a) Printing on damp ink
If the print is still tacky when overprinting, the
stencil may stick to the print, pulling away from the
screen. Ensure that prints are dry before
overprinting.
b) Too large a surround on paper stencils


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If the surround on the paper stencil overlaps the
taped border by too much, the edges of the stencil
will flop down, pulling the stencil away from the
screen. If this happens, cut back the overlapping
stencil.
c) Too slight, or uneven pressure put on squeegee
during the first pull
Carefully peel off the part of the stencil that has
stuck down and reposition it on a fresh sheet of
paper. Take another pull, this time using more, all-
over, pressure.
Problem: The screen clogs during printing
Printing becomes lighter and parts of the stencil
cease to print. Details become lost and blurred and
the problem usually gets worse.
a) Too little pressure on the squeegee.
Harder pressure on the squeegee should be tried
and will work provided that the ink has not dried in.
b) Ink is too thick
Clean the screen and add the appropriate thinner to
the ink and stir well.
c) Ink dries in screen
Small areas of drying-in can often be cleared by
rubbing the area with a cloth soaked in the
appropriate thinner. For large areas, especially
when paper stencils are used, cut a new stencil,
clean and start afresh. To deter ink from drying in,
always reflood the screen once a print has been
taken.
Problem: blended colors appear streaky
a) Colours insufficiently mixed on the screen.
Clean the screen and, with the edges of the blades,
blend the colors in the more fully.


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b) Colors in the blend consist of different
thicknesses.

It is important that colors used in a blend are
thinned by the same amount. If this is not done,
colors may not blend evenly. To remedy this, clean
the screen and remix colors, thinning to equal
consistency.


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Lesson 6: Block Printing
Objectives
In this lesson we learn-
- What is block printing?
- Block printing is a form of direct printing.
- Making creative blocks out of various
materials.

Structure
6.1 Introduction
6.2 Creative block printing
6.3 Mounting Items for Stamping
6.4 How to Make a Printing Block from Artists
Eraser Material


6.1 Introduction
It is one of the oldest arts of fabric decoration.
Actual samples of fabric stamped with block prints
and dated about 1600 BC have been discovered by
archeologists. Wall printing indicating the possible
application of pattern by block stamping appear to
have been made as far back as 2100 BC . Some of
the early blocks were up to eighteen inches square
and more than three inches thick.
In block printing, a separate block is required for
each color as seen in the design. On the block the
design area is raised, where as the back ground
area is carved away.


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Block Printing on Textiles
Hand Block Printing on textiles refers to the
technique by which carved wooden blocks covered
with dye are repeatedly pressed along a length of
cloth to create patterns. What makes this technique
unique is the fact that the design has to be first
carved onto the wooden block by hand, and then
executed on the fabric.
In India, the art of Hand block printing has passed
from generation to generation, and has traditionally
been done using Natural Dyes. Various garments
like saris, kurtas, shirts, salwar kameez, dupattas,
skirts, etc are made from block printed fabrics. In
recent times, the export of block printed garments
have grown manifolds as its demand has increased
especially in the western countries because of its
durability and distinctive patterns and designs.
Techniques of Block Printing
Direct Block Printing
In this technique, the cotton or silk cloth is first
bleached. Then the fabric is dyed, unless a light
background is desired. Thereafter, the fabric is
printed using carved blocks; first the outline blocks,
then the ones to fill color. The famous prints of Bagh
(from Madhya Pradesh) and Bagru (from Rajasthan)
are made using this technique.


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Resist Printing
In the resist technique, areas that are to be
protected from the dye are covered with a mixture
of clay and resin. The dyed fabric is then washed.
The dye spreads into the protected areas through
cracks, producing a rippled effect. Block prints are
then used to create further designs. Ajrakh Printing
of Kutch (India) and Sindh (Pakistan) and Kalamkari
from South India use this technique.
Discharge Printing
In this technique, the fabric is dyed. Then, a
chemical is used to remove the dye from the
portions that are to have designs in different colour.
These portions are then treated, so they may be re-
colored. Block printing is both a handcraft and an
art form. It can be done on paper as well as fabric.
In India block printing is done widely as a form of
fabric decoration where sanganer, bhagm in
Rajisthan; Bhuj and Anjar in Gujarat and
Srikalahasti in Andhrapradesh are famous.
Blocks of various designs are available in the market
and can also be made on order.

6.2 Creative block printing
With a little imagination, many household items
become tools for stamping designs on fabric. Try a
wooden spaghetti lifter, flat metal hardware items,
plastic bubble wrap, or a ball of string. Small
objects, such as buttons, coins, or keys can be
glued to the end of the wooden dowel, empty film
container, or large cork for easy stamping. In fact
cork itself can be cut into interesting shapes for
printing fabric. Some items are more easily used for
stamping if they are not mounted to a surface.
Cellulose sponges cut into shapes produce
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or gresses may be used to produce whispy, nature
prints. And dont forget your vegetables!
Purchased stamps, particularly those with less fine
detail work, are also useful for stamping on fabric.
Printing blocks can be cut from a number of
materials, including white artists erasers or larger
blocks made of the same material, available at art
supply stores. These blocks are easily cut with a
mat knife or linoleum block cutters. Any closed cell
foam materials, including neoprene sheets insulation
tapes or computer mouse pads can be cut into
shapes with scissors and attached to a block of
printing. Art supply stores also carry adhesive-
backed sheets of closed cell foam, designed for this
purpose.
The weave structure of the fabric plays a large part
in the clarity of the printing. Obviously, the clearest
results are obtained on tightly woven fabric with fine
yarns. The looser the weave and the larger the


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yarns, the more distorted the stamped image will
be.
Use any fabric paints, inks, or dyes to stamp the
image an fabric. Also, use this stamping technique
for applying resists or discharge paste to create a
stamped image. Follow the manufacturers
directions for using the product and for setting the
stamped image permanently in the fabric.

6.3 Mounting Items for Stamping
Secure small items such as coins, buttons, or metal
washers to dowel ends, bottle corks, or empty film
containers, using silicone glue.
Spread wood glue on the block, arrange uniform
layer of rope, cording or string in desired design in
wet glue; allow to dry. Or secure ribbed fabric,
corrugated cardboard, or other textual material.
Print design on paper; adhere to top of block, to aid
in positioning stamp.
Cut clear 1/4 (6mm) acrylic sheet into shapes or
use empty clear plastic boxes in assorted sizes for
see-through printing blocks. Cut layered self-
adhesive foam into desired shapes amount to
blocks. Mount other items using silicone glue.










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6.4 How to Make a Printing Block from
Artists Eraser Material
1. Draw design on surface of block material or
transfer design to surface using transfer paper.
Cut about 1/4 (6mm) deep into block along
outer design lines, using mat knife.
2. Remove large background area around design by
cutting horizontally through of block up to cuts
made for design outline.
3. Cut and remove negative areas within design,
cutting at an angle along each edge.
















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Linoleum cutter method Carve away negative
areas of design using linoleum cutting tools. Follow
manufacturers direction for using tools. Some styles
are pushed to cut; others are pulled.









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Place fabric to be stamped over smooth, padded
surface, such as muslin layered over foam-core
board. Stretch taut, and secure with masking tape
around edges.
Apply thin layer of fabric paint to smooth surface,
such as sheet of glass. Press stamping material onto
surface to pick up paint for stamping. Recoat
surface as needed.
Apply paint or ink directly onto stamping surface,
using foam applicator. This allows you to print
multicolored designs.
Make a stamp pad by placing several layers of felt
on a smooth, flat surface thoroughly wet, but do not
saturate, felt with fabric dye, ink or thinned paint(
four parts paint to one part extender). Press printing
block into felt pad, lightly coating surface Stamp
fabric.
Reapply dye, ink or paint after each stamp for
design of relatively same intensity.











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Brush paint onto uncut surface of artists eraser or
printing block. Remove paint to create a negative
design, using a wipe out tool, pencil eraser, or
corner of another artists eraser. Print design onto
fabric.
Stamp two or three times before reapplying paint
or ink for designs with varying intensities, depth,
and shading.
The students can carry out the above listed
activities in their sketch files.




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Summary:
Stencil Printing is the precursor of todays Screen
Printing. The screen is made by covering a frame
with a fine mesh of nylon. One screen/stencil/Block
is prepared for each colour. Screen printing is used
for the production of large patterns. For unlimited
printing now Flat bed screen printing machine and
roating screen printers are used. Four types of
binders used for screen printing: Normal, Khari,
Pearl and Embose.
Block printing is the oldest art of fabric decoration.
It can be done on paper as well as fabric.
In text questions
1. What is the process of screen printing?
2. What are the steps involved in executing a
design on a fabric using a block?

Terminal questions:
1. How is the word stencil derived?
2. What kinds of sheets are used for stenciling?
3. What is a squeegee?
4. How did stencil printing give rise to screen
printing?

Revision Points:
1. Stencil printing is the precursor of the modern
day screen printingToday it is considered as a
handcraft.
2. In stencil printing design areas are cut from
sheets of paper coated with oil, wax or
varnish or from sheets of metal.s


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3. A separate stencil is prepared for each colour
.
4. The stencil must be planned so that they fit
together properly to result in a perfect print.
5. The screen is made by covering a frame with
a fine mesh fabric of silk,metal,nylon.
6. One screen is prepared for each colour.
7. All screens necessary for a design are
arranged to fit together accurately for
production of a complete designe.
8. Block printing is a form of direct printing
where the fabric is laid flat on a smooth
padded surface and anchored securely.
9. In Block Printing, a separate Block is required
for each colour.

Assignments:
1. Students have to make 5 samples of each
printing. Size should be 10x10.
2. Students have to make an end-product out of
these printings.
3. Cut minimum 5 stencils on t.p. sheet.










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Unit III

Development of End Product





















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Development of End
Product

Each student is required to maintain a research file.
This file will have fifty [50] motifs of each
embroidery. The motifs will be neatly drawn in
pencil. Each motif will be drawn in a square of 3 3 .
The student will then pick out motifs and make
design compositions. There will be five 5) design
compositions for each embroidery, made on 8 by 8
of ivory sheet. For each composition the student has
to use these or more motifs of the traditional
embroidery. The placement of the motifs can be
done in the following ways to make different
compositions.
One design com-position will be selected by the
teacher, painted and then embroidered using
traditional colors.


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The students are required to maintain the
compositions and embroidered sample in a folder
or a file
Two end products have to be developed by each
student
a) --One end product will be purely based on any
one or two of the traditional embroideries
--The student can stylise the motifs and use
contemporary colours for the end products.
--The motifs need not be necessarily
embroidered or printed on machine embroidered
or printed
--Other embellishments like beads, sequence,
mirrors ribbons, cords, tassels, fringes, laces can
also be used to highlight the end product.
b) The second end product will be a combination of
printing and embroidery.
The fabric will be first screen or stencil or block
printed and then highlighted by using one
embroidery technique.

NOTE: Care must be taken that there is a balance
of both techniques and either one of it is not
highlighted.
--Contemporary colours and stylised motifs can be
used.
NOTE: The size of the end product, the motifs
colours scheme and placement of the motifs have to
be approved by the teacher in charge
-- The students should have the following things at
the end of the semester.
1. Research file.
2. Folder for design composition


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3. Screen printing articles and end product.
4. Embroidery end product with two embroideries.
5. End product of printing and embroidery.
6. Sketch with stencil and block printing activities.

List of the end products that can be made by the
students.
1. Study table accessories
Paper weight, table lamp, card holder, pencil
stand, photo frame, soft board frame, book rest.
2. Kitchen articles
Pot holders, mats, napkins holders, coasters.
3. Decorative articles
Lamps, furniture articles, cushion covers, bags,
shoes, belts, jewellery articles, tiles, blinds.
4. Bathroom accessories
Soap case, brush holder, towel ring, set of hand
towels, mirrors.
5. The student can think of any other innovative
product and make it.



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Books for Further
References

1. Adam Robert 2003 Screen
printing
Thomas and
Hudson ltd London
2. Nicholas
Bernard
1991 Traditional
textiles of
India
Thomas and
Hudson ltd London
3. Gauss Jone 1995 Stenciling
techniques
Watson guptill
publica-tions
4. Naik Shalja
D
1996 Traditional
Embroideries
of India
APH Publishing
corpora-tion Delhi
5. Color and
design on
Fabric
Creative
publishing
Minnesota.
6. Joseph
Marfony L
1980 Essentials of
textiles
Holt, Rhine hart
and Winston.
7. Pannu
Gurpreet
1995 Phulkari An
expression of
art in
embroidery
Dept of textiles,
Clothing
Lady Irwin college,
Delhi University
8. Paine Sheila 1990 Embroideries
textiles
traditional
patterns
from five
continents
Thomas and
Hudson ltd London
9. George Saint
America
2003 The Stencil
Book
Thomas and
Hudson ltd London
10. Gillow Jhon 1991 Traditional
textiles of
India
Thomas and
Hudson ltd London