DOCSLIB.ORG

Dayalbagh Educational Institute Faculty of Arts B.Voc Textile Design & Development 2015-2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dayalbagh Educational Institute Faculty of Arts B.Voc Textile Design & Development 2015-2016 DAYALBAGH EDUCATIONAL INSTITUTE FACULTY OF ARTS B.VOC TEXTILE DESIGN & DEVELOPMENT 2015-2016 COURSE COURSE TITLE CREDITS CONT. EVAL. NUMBER VTD101 TRADITIONAL TEXTILES AND ITS APPLICATIONS 4 Th VTD102 INTRODUCTION TO TEXTILE DESIGN 4 Th VTD103 BASICS OF DESIGN & DRAWING 4 Pr VTD104 DESIGN ON FABRIC 4 Pr VTD107 SOFT SKILLS & ETHICS 4 Pr VTW101 FUNDAMENTALS OF COMPUTERS 4 Pr GKC151 SC.MATH. G.K. & CURRENT AFFAIRS 1 Th RDC151 RURAL DEVELOPMENT 1 Th CEC151 CULTURAL EDUCATION 2 Th ESC151 ENVIRONMENTAL STUDIES 2 Th VTD201 INTRODUCTION FROM FIBER TO FABRIC 3 Th VTD202 PRINTING TECHNOLOGY 3 Th VTD203 CHILD PSYCHOLOGY 4 Th VTD204 ELEMENTS OF DESIGN 4 Pr VTD205 PROTOTYPING DESIGN CLASSICS 4 Pr VTD206 ENTREPRENEURSHIP AND SOFT SKILLS 2 Pr VTW201 GRASS ROOT INNOVATIONS 2 Pr GKC251 SC.MATH. G.K. & CURRENT AFFAIRS 1 Th RDC251 RURAL DEVELOPMENT 1 Pr RDC252 SOCIAL SERVICE 1 Pr CRC251 COMPARATIVE STUDY OF RELIGION 2 Th CAC251 CO-CURRICULAR ACTIVITIES 3 Pr (1) April 2, 2016 Course Number: VTD101, Course Title: TRADITIONAL TEXTILES AND ITS APPLICATIONS Class: B.Voc. (Textiles), Status of Course: MAJOR, Approved since session: 2015-16 Total Credits: 4, Periods (55 mts. each)/week: 4 (L-4+T-0+P/S-0), Min.pds./sem:52 UNIT 1 [10 pds] Natures influence on the design for textiles from Pre-historic to present day. UNIT 2: EMBROIDERED TEXTILES [12 pds] (a) Historical significance (b) Construction techniques (c) Styles (d) Textures, (e) Motifs (f) Centers of Production (I) Kashmir embroidery (Pashmina, Jamawar, Nambda, Gubba) (ii) Phulkari (iii) Chamba Rumals (iv) Kantha. UNIT 3: DYED TEXTILES [10 pds] (a) Historical significance (b) Dyeing techniques (c) Styles, Colour and Motifs (d) Centers of Production (i) Patola (ii) Ikat and Pochampalli (iii) Bandhani of Rajasthan and Gujarat UNIT 4: PAINTED, PRINTED TEXTILES [12 pds] Historical significance (b) Printing Techniques (c) styles, (d) Motifs (e) Centers of Production (i) Kalamkari, (ii) Sanganeri, (iii) Madhubani. UNIT 5: WOVEN TEXTILES [8 pds] (a) Historical significance (b) Construction techniques (c) Styles (d) Textures, (e) Motifs (f) Centers of Production (i) Kullu shawls (ii) Brocades (iii) Baluchar (iv) Tangil-Jamdani (v) Carpets and floor Coverings NOTE: 1. Students to be taken for field visits to various production centers. 2. Students to be shown the samples of embroidered, woven, printed, painted and dyed 3. Students to be taken for field visits to various places eg. art galleries, museums & tombs SUGGESTED READING: Ancient Indian Textile Designs 1: Jai Shankar Mishra Banaras Brocades: Ajit Mookerjee Block Printing And Dyeing Of Bagru, Rajasthan: Bijoy Mohanty & Jagadish Prasad Mohanty Brocaded Fabrics Of India: B.C.Mohanty Colorful Textiles Of Rajasthan: Gulab Kothari Costumes Textiles, Cosmetics & Coiffure In Ancient And Mediaeval India: Moti Chandra Decorative Design History In Indian Textiles And Clothing: Parul Bhatnagar Embroidered Textiles: Sheila Paine Ethnic Embroidery Of India: Usha Shrikant Folk & Tribal Design Of India: Enakshi Bhawnani Handspun & Hand-Woven Textiles Of Ponduru: Kurma Rao Ikat Textiles Of India: Chelna Desai Hand-Woven Fabrics Of India: Jasleen Dhamija And Jyotindre Jain Himachal Embroidery: Subhashni Arya Indian Carpets & Floor Coverings: Kamladevi Chattopadhyay Indian Crafts: D.N.Saraf Indian Embroidery: Kamladevi Chattopadhyay Indian Folk Arts & Crafts: Jasleen Dameja Indian Painted & Printed Fabrics: John Irwin & Margaret Hall Indian Pigment Paintings On Cloth: Kay Talwar & Kalyan Krishna Indian Kalamkari: Kv Chandramoili Indian Tie-Dyed Fabrics: Alfred Buhler, Eberhard Fischer & Marie- Louise Nabholz Madhubani Painting: Upendra Thakur Journal Of Indian Textile History Vol. 1-8: Calico Museum O F Textiles Ahmedabad Madhubani Painting: Mulkh Raj Anand Palota & Resist Dyed Fabrics In India: Mapin Publishing Pvt. Ltd. Phulkari: Ss Hitkari Rugs And Carpets: Elena Tzareva Shawl: Nelly H.Sethna Textile Collection Of The World 1: Cecil Lubell Textile Collection Of The World 2: Cecil Lubell The Sari :Linda Lynton Threads Of Identity: Judy Frater Traditional Designs From India: Pradumna & Rosalba Tana Traditional Indian Textiles: John Gillow & Nickolas Barnard Traditional Indian Costumes & Textiles: Parul Bhatnagar Treasures Of Indian Textiles: Marg Publications 1980 Zardozi: Charu Smita Gupta (2) April 2, 2016 Course Number: VTD102, Course Title: INTRODUCTION TO TEXTILE DESIGN Class: B.Voc. (Textiles), Status of Course: MAJOR COURSE, Approved since session: 2015-16 Total Credits: 4, Periods (60 mts. each)/week: 4 (L-4+T-0+P/S-0), Min.pds./sem.:52 UNIT 1: FUNDAMENTALS OF TEXTILE DESIGN [8 pds] (a) What is Textile Design (b) Introduction to Textile Art and Craft (c) Types of Textile Design- Functional and Aesthetic (d) Factors that affect Textile Design and Designers (e) End-use Application of Textile Design UNIT 2: HISTORICAL DESIGN DEVELOPMENT [10 pds] (a) History of Clothing and Textiles (b) History of Textile Art and Craft (c) Indian Textile Design History (d) Textile Museums-Resources for Textile Design History UNIT 3: SURFACES AND DESIGN [10 pds] (a) What is Surface Design (b) Elements of Design (c) Types of Design (d) Design Inspiration (e) Visual Design Development UNIT 4: COLOUR THEORY AND APPLICATION [12 pds] (a) Basic Colour Theory (b) Colour Theory for Designers (c) Colour Wheel and Colours Harmonies (d) Visual Effects of Colours (e) Methods of Applying Colour to Textiles UNIT 5: TYPES OF TEXTILE DESIGNS [12 pds] (a) Woven (b) Knitted (c) Embroidered (d) Dyed (e) Painted and Printed SUGGESTED READINGS: Bhatnagar P, Elementary Textiles, Abhishek Publishers, Chandigarh Bhatnagar, P. Decorative Design History in Indian Textiles and Costumes. Abhishek Publications Chandigarh. Bhatnagar, P. Paramparik Bhartiya Vastra, Abhishek Publications Chandigarh. Bhatnagar, P. Traditional Indian Costumes & Textiles, Abhishek Publications Chandigarh. Christian Leborg Visual Grammar: Dave, M.S. (Ed.). Textile Fibres. Textile Association (India), Ahmedabad Unit, Ahmedabad Gillow, J. and Barnard, N. 1991. Traditional Indian Textiles. Thames and Hudson Ltd., London. Grosicki Z. 1988. Watson’s Textile Design & Colour. Universal Publishing Corp., Bombay Hatanaka, K. Textile Arts of India. Chronicle Books, San Francisco. Hideaki Chijiwa Colour Harmony: Janet Allen Colour Craft: James Stocktom Colour Designers’ Guide: James Stockton Designers Guide To Colour 2 Jim Krause Design Basic Index: Murphy, V. and Crill. Tie-Dyed Textiles of India– Tradition and Trade. Mapin Publishing Pvt. Ltd., Ahmedabad. Robin Williams The Non-Designers Design Book: Singh, M. 2000. Handcrafted Indian Textiles: Tradition and Beyond. Roli Books Sreenivasa Murthy, H.V. Introduction to Textile Fibres. The Textile Association (India), Mumbai. Yates, M. 1996. Textiles: A handbook for designers. W.W. Norton and Co.London. Course Number: VTD103, Course Title: BASIC DESIGN & DRAWING Class: B.Voc. (Textiles), Status of Course: MAJOR COURSE, Approved since session: 2015-16 Total Credits: 4, Periods (50 mts. each)/week: 6 (L-0+T-0+P/S-6), Min.pds./Sem.: 78 UNIT 1: Drawing and Colouring of different types of Leaves, Flowers & Vegetables [18 pds] UNIT 2: Stylisation, designs, compositions using Leaves, Flowers & Vegetables [18 pds] UNIT 3: Drawing and Colouring of different types of Plants and Trees [18 pds] UNIT 4: Stylisation, designs, compositions using Plants and Trees [12 pds] UNIT 5: Rapid Sketching [12 pds] SUGGESTED READINGS: Batik And Tie & Dye: Donaj Meilach Chemical Processing Of Silk: Ml Gulrajani Colour Craft: Janet Allen Colour Crafts & Hobbies: Reader Digest Colour Designers’ Guide: James Stocktom Colour Harmony: Hideaki Chijiwa Colourful Textiles Of Rajasthan: Gulab Khatri Cotton Shade Cards: Weavers’ Service Centre, Govt. Of India Publication. Designers Guide To Colour 2 : James Stockton Dyeing And Printing: Excalibur Books Dyes And Dying: C.E.Pelle Fundamentals Of Textiles: G.P. Sherry Indian Pigment Paintings On Cloth: Kay Talwar & Kalyan Krishna Silk Shade Cards: Weavers’ Service Centre, Govt. Of India Publication. Textiles Fibre To Fabric: Bernard P.Corbman Tie & Dye Textiles Of India: Veronica Murphy & Rosemary Crill Tie And Dye As A Present Day Craft: Anne Maile Tie Dyeing & Batik; Fatidjah Anderson Vastra Vigyan Ka Mool Sidhant: G.P. Sherry Vastroupadan Kala: Shamnarain Lal (3) April 2, 2016 Course Number: VTD104, Course Title: DESIGN ON FABRIC Class: B.Voc. (Textiles), Status of Course: MAJOR COURSE, Approved since session: 2015-2016 Total Credits: 4, Periods (50 mts. each)/week: 6 (L-0+T-0+P/S-6), Min.pds. / Sem.: 78 UNIT 1: DESIGN USING VARIOUS GEOMETRICAL SHAPES [20 pds] (a) Dots And Lines On Fabric (1 Work), (b) Scrawl Patterns (1 Work), (c) Doodling (2 Works) UNIT 2: DESIGN USING VARIOUS FORMS [9 pds] Experiment Various Mediums And Surfaces (2 Works) UNIT 3: UNDERSTANDING PLACEMENT OF DESIGNS ON FABRIC [9 pds] Experiment Different Placement (2 Works) UNIT 4: UNDERSTANDING LINE DESIGNS [20 pds] (a) Centre Line Designs (2 Works), (b) Four Line Designs (2 Works) UNIT 5: UNDERSTANDING DESIGN [20 pds] (a) Positive Design (2 Works), (b) Negative Design (2 Works) SUGGESTED READINGS: Anonymous. 2006. The Complete Guide to Drawing and Painting. Quantum Publishing Ltd., London. Betala, R. 2005. Design Comprehension and Visualization. Ane Books, Delhi. Gillow, J. and Barnard, N. 1991. Traditional Indian Textiles. Thames and Hudson, London. Meller, S. and Elfers, J. 1991. Textiles Designs – 200 years of patterns for printer fabrics, arranged by motif, colours, period of design. Thames and Hudson
Load more

Recommended publications
  • Fabric Story: India- Fabrics and Embroideries
    Humber Fashion Institute Fabric Story: India- Fabrics and Embroideries FMPC 505 01 Nilofer Timol 10/18/2013 Contents Humber Fashion Institute ....................................................................................................................................................... 0 Fabric Story: India- Fabrics and Embroideries ........................................................................................................................ 0 FMPC 505 01 ........................................................................................................................................................................... 0 Table of Figures ....................................................................................................................................................................... 2 India: Fabrics and Embroideries .............................................................................................................................................. 3 Introduction ........................................................................................................................................................................ 3 The Fabric Story ...................................................................................................................................................................... 6 Fashion Theme ...............................................................................................................................................................
    [Show full text]
  • Bachelor of Khadi Production & Design Syllabus 2016-17
    RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY, NAGPUR (Established by Government of Central Provinces Education Department by Notification st No. 513 dated the 1 of August, 1923 & presently a State University governed by Maharashtra Universities Act, 1994) FACULTY OF HOME SCIENCE DIRECTION NO. 68 OF 2016 DIRECTION GOVERNING THE EXAMINATION LEADING TO THE DEGREE OF BACHELOR OF KHADI PRODUCTION & DESIGN (THREE YEARS DEGREE COURSE – SEMESTER PATTERN (Issued under section 14(8) of the Maharashtra University Act 1994) Whereas the Maharashtra Universities act No. XXXV of 1994 has come into force with effect nd from 22 July, 1994 and was amended from time to time. AND WHEREAS, the University Grants Commission, New Delhi vide letter No.D.O.No.F- st 2/2008/(XI Plan), dated 31 January 2008 regarding new initiatives under the XI Plan – Academic reforms in the University has suggested for improving quality of higher education and to initiate the academic reform at the earliest, AND Whereas the Task Force in Textile and Clothing in the Faculty of Home Science at its meeting held on 25.08.2016, have recommended for starting of semester pattern and prepared the syllabus and scheme of examination for Bachelor of Khadi Production and Design, commensurate with the governing guidelines. AND Whereas the Coordinator, Faculty of Home Science concurred with the recommendations of the Task Force in Textile and Clothing in the Faculty of Home science vide her observations dated 25.08.2016, AND Whereas, the new draft direction and scheme of examination as per semester pattern is to be implemented from the academic session 2016-2017 for Bachelor of Khadi Production and Design which is to be regulated by this direction and as such there is no existence and framing of an ordinance for the above examination, AND WHEREAS the Hon’ble Vice-Chancellor has accepted the syllabus along with draft direction on the behalf of Academic Council on 7-10-2016 under section 14(7) of Maharashtra University Act 1994.
    [Show full text]
  • View/Download
    VISION Government Polytechnic, Aurangabad will be world class technical institute pursuing for excellence, catering to the needs of global community, striving for its harmonious development by inculcating lifelong learning skills to serve for the socio economic development having concerned for ecology and social harmony MISSION To create multi disciplinary best citizens to suit local, state, National and International needs having scientific temperament , moral ethics , values and multi facetted proactive personality by providing excellent education system ii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme has been implemented with effect from 2011-2012. This Curriculum Document contains pages from to and from to Head of In Charge Principal Dress Designing and Curriculum Development Cell Government Polytechnic Garment Manufacturing Government Polytechnic Aurangabad Aurangabad Aurangabad iii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme of Govt. Polytechnic Aurangabad (An Autonomous Institute of Govt. of Maharashtra), which has been implemented with effect from 2011-12 academic year, is equivalent to Diploma in Dress Designing and Garment Manufacturing Programme Implemented by Maharashtra State Board of Technical Education, therefore Equivalence is hereby granted. Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Secretary Chairman ( ) ( ) iv Index SR. CONTENTS COURSE PAGE CODE NO. NO. 1. Scope of Diploma In Dress Designing & Garment Mfg. ------ 8-12 2. Strategy adopted for Curriculum Development ------------- 13-16 3. Sample Path -10th Pass -------------- 17 4. Level Wise Course Structure --------------- 18-24 5. Semester Wise Course Structure -------------- 25-30 6. Basic Drawing-I [BDR-I ] 5D101 31-32 7.
    [Show full text]
  • 641 029 B.Sc Costume Design and Fashion CURRICULUM
    KONGUNADU ARTS AND SCIENCE COLLEGE [AUTONOMOUS] COIMBATORE - 641 029 B.Sc Costume Design and Fashion CURRICULUM & SCHEME OF EXAMINATION UNDER CBCS [APPLICABLE TO THE STUDENTS ADMITTED DURING THE ACADEMIC YEAR 2014-2015 & ONWARDS] Exam.marks Subject Title of the Paper Part code Credits Duration of of Duration Semester Exam. (hours) Exam. Instruction Instruction Hours / Cycle / Hours CIA ESE Total $ I 13TML1A1 Lang-Tamil I @ 6 25 75 100 3 3 II 14ENG101 Lang - English I 6 25 75 100 3 3 14UCD101 C.P.1 – Pattern making 5 25 75 100 3 4 I III 13UCD1CL C.Pr.1– Basics of Apparel 6 40 60 100 4 3 Designing 13UCD1AL Allied.Pr.1 Fashion Illustration 5 40 60 100 3 5 IV 12EVS101 Environmental studies** 2 - 50 50 3 2 13TML2A2 Lang-Tamil II @ 6 25 75 100 3 3 I II 14ENG202 Lang - English II 6 25 75 100 3 3 14UCD202 C.P.2 – Fiber To Yarn 3 25 75 100 3 3 III 14UCD203 C.P.3- Fashion Designing and 3 25 75 100 3 4 II Fashion Psychology 13UCD2CM C.Pr.2 – Apparel Designing- 5 40 60 100 4 3 Kids Wear 14UCD2AM Allied. Pr.2. Surface 5 40 60 100 3 5 Ornamentation 14VED201 Value Based Education – Moral 2 - 50 50 3 2 & ethics** 14UCD31T £ 2 weeks Internship Training in garment unit Grade 14UCD304 C.P.4– Weaving 5 25 75 100 3 4 III 14UCD305 C.P.5 – Garment Production 4 25 75 100 3 4 machineries 13UCD3CN C Pr.3 –Apparel Designing- 6 40 60 100 4 3 III Women’s Wear 13UCD3CO C.Pr.4.
    [Show full text]
  • Paper Template
    International Journal of Arts, Culture, Design & Language Kambohwell Publishers Enterprise Vol. 6, Issue 06, PP. 17-23, June 2019 wwww.kwpublisher.com Evolution of Mirror Embroidery in Two Villages of Sanghar Sindh Saba Qayoom Leghari, Bhai Khan Shar Centre of Excellence in Arts & Design, MUET Jamshoro. Abstract— The tradition of mirror embroidery is one of the evolved through modifications and enhancements from time to major features of regional embroideries of Sindh. Several time. Foreign invasions and migrations of people from other studies on embroideries of Sindh have been conducted but regions have further enriched the work by intermixing of seldom research work has been done, particularly on mirror different cultures in this region [4]. embroidery. It is in the backdrop of this and owing to the Researchers from different parts of the world have worked immense richness of embroidery of Sindh this study has been on the indigenous embroideries of Sindh. Several authors [4] conducted. This study focuses on identifying the lost [5] described the mirror embroideries of different regions of characters and changes within mirror embroidery, since the Sindh, which includes: Ghotki, Shikarpur, Jacobabad, past three decades. Having rich traditions in embroidery in Khairpur, Sukkur, Mirpur Mathelo, Thano Bula Khan, Thatta, lower Sindh, Sanghar District has been chosen as an area of Badin, Hyderabad, Hala, Nawabshah, Mirpurkhas, Sanghar, study for this paper. In order to have a closer qualitative study, Kashmore and multiple regions of Thaparkar particularly two villages; Moulvi Khair Muhammad (Bakhoro) and Haji Umarkot, Chachro, , Diplo, Nagarparkar and Mithi. Much of Abdul Karim Laghari (Patti), were mainly surveyed along this literature provides sufficient detail about different with some other areas.
    [Show full text]
  • E Calendar 2021.Pdf
    1 2 0 2 Hkkjrh; d'khnkdkjh dh fHkUu&fHkUu िवधाए ँ gSa tks {ks= ,oa ifj/kkuksa dh 'kSyh ds vuqlkj ifjofrZr gksrh jgrh gSaA Hkkjrh; d<+kbZ esa fMtkbu diM+s dh cukoV] diM+s ij fMtkbu vkSj Vkads ds vk/kkj ij cuk, tkrs gSaA ,d fMtkbu dks fcanq] पयायिमक fcanq] o`Ùk] oxZ] f=dks.k vkSj buds Øe&ifjorZuksa ,oa la;kstuksa ls rS;kj fd;k tkrk gSA Embroideries of India Embroideries of India belong to different genres that vary by region and clothing style. Patterns in Indian embroidery are formed on the basis of the texture and the design on the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle and permutations & combinations thereof constitute the pattern of the embroidery. Department of Posts www.indiapost.gov.in | Toll Free No.: 1800 266 6868 Follow us: @IndiaPostOffice @PostOffice.IN indiapost_dop India Post dPN d<+kbZ Kutch Embroidery dPN d<+kbZ xqtjkr ds dPN ftys ds vkfnoklh leqnk; dh fof'k"V ikjaifjd gLrf'kYi ,oa oL= dyk ijaijk gSA ;g d<+kbZ lk/kkj.kr;k lwrh diM+ksa ij usV ds :i esa dh tkrh gS ftlesa lwrh ;k js'keh /kkxksa dk bLrseky fd;k tkrk gSA dPN dh efgykvksa ds fy, ;g dyk thfodk pykus ds fy, ,d O;olk; cu x;k gSA Kutch Embroidery is the textile signature art tradition of the tribal community of Kutch District of Gujarat. The embroidery is generally done on fabrics of cotton, in the form of a net using cotton or silk threads.
    [Show full text]
  • ART2018-0075.Pdf
    ATINER CONFERENCE PRESENTATION SERIES No: ART2018-0075 ATINER’s Conference Paper Proceedings Series ART2018-0075 Athens, 1 August 2018 Contemporary Embroidery of India: Tradition, Revival, and Globalization Punam Madhok Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER‟s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER‟s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: ART2018-0075 ATINER’s Conference Paper Proceedings Series ART2018-0075 Athens, 1 August 2018 ISSN: 2529-167X Punam Madhok, Associate Professor of Art History, East Carolina University, USA Contemporary Embroidery of India: Tradition, Revival, and Globalization ABSTRACT Contemporary embroidery of India has largely transformed from a leisure time activity to a source of income generation for destitute women. On the one hand, this has led to a loss of its intrinsic character but on the other hand, it has empowered a multitude of women actively engaged in it. Several organizations in India are attempting to intertwine tradition, revival, and globalization of embroideries such as Chikankari, Rabari, Phulkari, and Kantha. Chikankari is a dainty floral embroidery done on fine cloth. Its lace-like texture resembles European embroideries of the Dresden and Ayrshire styles. Rabari clothing is embroidered with colorful patterns and mirror pieces. It is influenced by needlework from Sindh in Pakistan. Phulkari refers to designs stitched with silk thread on the reverse side of a sturdy fabric.
    [Show full text]
  • Digital Embroidery: an Imagination
    Bulletin of Environment, Pharmacology and Life Sciences Bull. Env. Pharmacol. Life Sci., Vol 8 [2] January 2019 : 17-20 ©2019 Academy for Environment and Life Sciences, India Online ISSN 2277-1808 Journal’s URL:http://www.bepls.com CODEN: BEPLAD Global Impact Factor 0.876 Universal Impact Factor 0.9804 NAAS Rating 4.95 REVIEW ARTICLE OPEN ACCESS Digital Embroidery: An Imagination Sarita Devi, Nirmal Yadav, Nisha Arya, and Sushila Dept. of Textile and Apparel Designing I.C. College of Home Science, CCSHAU, Hisar, Haryana, India. [email protected] ABSTRACT Embroidery is decoration worked on the surface of the fabric using thread. Selection of design, embroidery stitches and colours and a very striking effect can be created. Old clothes can get a new lease of life by adding just a dash of embroidery. All basic embroidery stitches are easy. Several basic stitches can be combined to produce rich embroidered pieces. It can be beautifully described as a painting with needle and thread. Now, embroidery is largely produced on computer controlled embroidery machines. They are specially engineered machines that have a multi-needle fixed ‘embroidery head’ and a frame holder that moves the framed product in either of two directions so that the embroidery design can be sewn. The design is created within a grid (known as a ‘field’) with x being the horizontal axis and y the vertical axis. The embroidery machine reads these co-ordinates from the design data file and moves its pantograph into position to receive each new stitch from the machines’ stationary needle head. The embroidery design is created on a computer using specialized ‘digitizing’ software.
    [Show full text]
  • Hand Crafted Textiles of India
    Presentation on Occupational Mapping & Functional Analysis of Job roles In Hand Crafted Textile Sub Sector for Handicrafts and Carpet Sector Skill Council (HCSSC) Presented by: Objectives ➢To present preliminary information on industry sub- sector ➢To present the occupation map and job roles based on the vastness and numerous typical hand skills in the sub- sector ➢To present the Functional Analysis of the selected Job roles for development of QPs ➢To seek feedback of information gathered 2 The Hand Crafted Textiles Sub- sector • Handcrafted Textiles in this context may be referred to the decorated textiles made by the use of hand and simple tools applying different techniques, mostly traditional. • India, as we know, is a country rich with traditional techniques for making hand crafted textiles, the demand for which is on the rise due to the extinction of such techniques in other parts of the world and the increasing awareness on sustainability. • Handcrafted Textiles may be subdivided into the following categories as per the type of hand skill being used: 1. Hand- Printed/Painted Textiles 2. Hand- Embroidered Textiles 3. Hand- Knitted Textiles 4. Hand- Crocheted Textiles IL&FS Cluster Development Initiative Limited Sub- Sector Segregation HANDCRAFTED TEXTILES Hand-Printed Hand- Embroidered Hand- Knitted Hand- Crocheted * 5 QPs for Hand Crochet Lace Making developed under this segment QP Development Completed Proposed for QP development 4 Size & overview of sub-sector Employment Generation Number of artisans : 68.96 lks Gender Distribution Hand Printing Artisans: ~14 lks Hand Emboridered Women Artisans 53% Hand Embroidery Artisans: ~5 lks Hand Printed Men Artisans 47% Others 7% 21% 47% 53% Social profile of artisan households Production & Exports of Handicrafts* Value in Rs.
    [Show full text]
  • IJRTSM INTERNATIONAL JOURNAL of RECENT TECHNOLOGY SCIENCE & MANAGEMENT “SIGNIFICANCE the STUDY of BAGH PRINT” Sunita Patil 1, Dr
    ISSN : 2455-9679 [Sunita et al, 5(8), Aug 2020] Impact Factor : 3.340 IJRTSM INTERNATIONAL JOURNAL OF RECENT TECHNOLOGY SCIENCE & MANAGEMENT “SIGNIFICANCE THE STUDY OF BAGH PRINT” Sunita Patil 1, Dr. Sadhana Chouhan 2 1 PHD Scholar 2 HOD (Drawing &Painting) ABSTRACT Bagh printing in its current form started in traditionally and old method when a group of Muslim Khatri weavers migrated from the nearby Manavar to Bagh. They were originally from Sindh [now in Pakistan], and had since migrated to Marwad in Rajasthan and then to Manavar. With them they brought the block printing technique, which is now the unique Bagh printing style Keyword: Bagh print, Natural colour. I. INTRODUCTION Natural dyes are known for their use in colouring of food substrate, leather, wood as well as natural fibers like wool, silk, cotton and flax as major areas of application since ancient times. Natural dyes may have a wide range of shades, and can be obtained from various parts of plants including roots, bark, leaves, flowers, and fruit [1]. Since the advent of widely available and cheaper synthetic dyes in 1856 having moderate to excellent colour fastness properties, the use of natural dyes having poor to moderate wash and light fastness has declined to a great extent. However, recently there has been revival of the growing interest on the application of natural dyes on natural fibers due to worldwide environmental consciousness [2]. Although this ancient art of dyeing with natural dyeing with natural dyes withstood the ravages of time, a rapid decline in natural dyeing continued due to the wide available of synthetic dyes at an economical price.
    [Show full text]
  • Indian Embroidery Diploma Programmes In
    Indian embroidery Course code: 3325104 GUJARAT TECHNOLOGICAL UNIVERSITY, AHMEDABAD, GUJARAT COURSE CURRICULUM Course Title: Indian Embroidery (Code:-3325104) Diploma Programmes in which this course is Semester in which offered offered Computer aided Costume Design and Dress Making Second Semester 1. RATIONALE This course will provide basic knowledge of embroidery stitches, tools and equipments required for embroidery and about traditional embroidery of India. It is necessary to learn basic embroidery stitches for enhancing the beauty of garments. This course will provide base to make garments aesthetically beautiful. 2. COMPETENCIES The theory and practical in this course are to be taught in such a way that after completion of this course student should be able to acquire following competencies: i. Select appropriate embroidery type for given garment design ii. Prepare samples of traditional Indian embroidery 3. TEACHING AND EXAMINATION SCHEME Teaching Scheme Total Examination Scheme (In Hours) Credits Total Marks (L+T+P) Theory Marks Practical Marks L T P C ESE PA ESE PA 150 2 0 2 4 70 30 20 30 Legends: L-Lecture; T – Tutorial/Teacher Guided Theory Practice; P - Practical; C – Credit ESE - End Semester Examination; PA - Progressive Assessment. Note: It is the responsibility of the institute heads that marks for PA of theory & ESE and PA of practical for each student are entered online into the GTU Portal at the end of each semester within the dates specified by GTU. GTU/ NITTTR Bhopal/12-13 Gujarat state Indian embroidery Course code: 3325104 4. DETAILED COURSE CONTENT Unit Major Learning Outcomes Topics and Sub-topics Unit –I 1a.
    [Show full text]
  • Glittering Embroidery of Lucknow: an Overview of Zardozi Craft Ms
    American International Journal of Available online at http://www.iasir.net Research in Humanities, Arts and Social Sciences ISSN (Print): 2328-3734, ISSN (Online): 2328-3696, ISSN (CD-ROM): 2328-3688 AIJRHASS is a refereed, indexed, peer-reviewed, multidisciplinary and open access journal published by International Association of Scientific Innovation and Research (IASIR), USA (An Association Unifying the Sciences, Engineering, and Applied Research) Glittering Embroidery of Lucknow: An overview of Zardozi Craft Ms. Shalini Singh Department of History & Indian Culture Banasthali Vidyapith, Niwai - Jodhpuriya Road, Vanasthali, Rajasthan 304022, INDIA. Abstract: Zardozi is a traditional embroidery since medieval period in India. It is considered to be famous embroidery of Lucknow as chikankari but zardozi is not getting as much as attention and promotion like chikankari. So this paper covers review of zardozi embroidery in historical perspective from ancient to modern period in India with special reference to Lucknow during Nawab’s times. It also focuses on to find out its contemporary status, factors related to continuity and changes in the embroidery. It lays stress on the socio-economic status and problems of workers (zardoz) specially wages and health issues. This paper is a effort to fetch attention of government and non- government organizations towards this Royal craft of Lucknow for better promotion and facilities. I. Introduction India has a rich culture since ancient times. In Indian culture dress and ornamentation played a significant role. When we discuss about Costumes and textiles, we talk about ornamentation on clothes too. Ornamentation on costumes simply means Embroidery on clothes. The art of embroidery is clearly of Eastern origin and is of such ancient linage that our knowledge of it stretches into pre-historic ages.
    [Show full text]