Oct 2019-March 2020 RNI NO. UPENG/2018/76546 Volume 2 | Issue 2 DESIGN QUEST AN ADVANCED RESEARCH JOURNAL ON DESIGN Oct 2019-March 2020 Dear Readers, With immense delight, we would like to present you the third issue of ‘Design Quest’ –an interdisciplinary journal talking about various facets of design. The journal is primarily centered on the exchange of ideas and research works done by different scholars that enrich the body of knowledge for our readers. In today’s time of technological advancements providing us a vast network of knowledge management through various platforms, we still feel that periodic journals hold an essential value for dissemination of information. These sector-focused journals have a potential of From reaching out to the specific readers which make use of the information shared for activating another chain The of novel ideas for further research. Researchers are always looking for a binding effect which their articles Editor’s can have for those swimming in the same ocean of knowledge. With this notion, we also want to act as an Desk... impetus for the future researchers to share their ideas and keep engaging our readers. This issue of Design Quest presents research works ranging from Traditional art and design practices across India to discussing gender identities for Male characters to the importance of design portfolio for the professionals in the design industry. With all our previous issues, we strongly feel that traditional crafts serve as one of the biggest inspirations for emerging works related to diagnostic studies, documentation practices, design analysis, product diversification and the development of newer markets for a brighter future of the craft sector in the world. The related papers on rallis of Rajasthan, Khandua of Orissa and Kalamkaris of Andhra Pradesh covered in this issue really provide a mental stimulation for loving the crafts all the more. Character portrayal is one of the important applications in the field of designing as it gives a life to the actors’ skill which is reflected in the 2D or 3D space. Exploring the changing identities of Male characters with Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 reference to its western ideals as seen in the popular culture would surely be encouraging to develop a historical perspective on cross-dressing and gender representations through changing fashion choices. Gupta period – a golden era in the Indian history for cultural developments in different parts of the country, has been an inviting area for the researchers from all walks of life. In this issue, an interesting paper on the developmental phases of Temple of Kalcuris and the changes in the architectural styles brings out its distinctiveness to this date. For design educators, the paper on a detailed analysis of Design portfolio would work as a foothold for the importance of the digital design developments in the industry. We not only need to focus on bringing out the strong works matching the skill set but also its creative and relevant presentation for carving a mark in the industry. With this, we wish for a thought provoking reading and keep writing to us for further issues. As J. K. Rowling says, “Words are our most inexhaustible source of magic.” Happy reading and writing! Dr. Vandana Jaglan Editor For feedbacks and abstract submission, please write to us: [email protected] Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 ith great pleasure, I present the third edition of WDesign Quest a research journal for probing minds and questioning intellects. I hope that this journal will be instrumental in bringing about change and development in our society. Manjulika Gautam (Retd. IAS) Publisher Foreword... 3 Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Dr. Neetu Malhotra (hc) Editorial H.O.D, SFI Board Dr. Manawwar Alam Professor & Dean, Bachelor of Arts (Mass Media), SFI Mr. Ujjwal Ankur Programme Coordinator, Bachelor of Design (Foundation), SFI Ms. Priyanka Sarkar Programme Coordinator, Bachelor of Arts (Mass Media), SFI Dr. Sakshi Shail 4 Examination Coordinator, SFI Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 From The Editor’s Desk 01 S Foreword 03 T N Ralli Art - Its Routes and Significance 06 The Needs and Strengths of a Design Student 14 TE Timeless Elegance: Traditional Odishi Handwoven Khandua 21 Kalamkaria: Development of Contemporary Motifs Using Traditional Craft 28 CON Changing Gender Identities in the Male Char- acter- A Perspective on Popular Culture 5 & Fashion in India 39 Temples of Kalcuris: Diversification, Adaptation and Interaction 51 Call for Paper for the Next Issue (April – September 2020) Vol. 3, Issue 1 57 Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 | Akriti Jain Ralli Art— Its Routes and Significance By Akriti Jain Abstract ndia is a vast source of handicrafts. There are many crafts that are already in practice and are commercialized; however, several are unknown and unexplored and this is Iwhere research comes into play, to bring these arts into the mainstream. With my overall analysis, I have found that the Ralli Craft is almost extinct. With the help of research and concurrent popularity, one can bring it back to life. Ralli craft originated in Sindh, Pakistan and post Partition, the states of Gujarat and Rajasthan (bordering Pakistan) have shown traits of this craft form.“Ralli” or “Relli”means “to connect” or “to get mixed” and in Hindi, it is synonymous with “Ralanna ”. It is the coming together of one fabric swatch with another, using Patchwork and Appliqué work. “Rallis” are made by women of rural villages, nomadic tribes and small townships. The patterns used are geometric and bold and give a dynamic and graphical finish; very similar 6 to OP Art. A wide range of colors is used with as many as 5 different shades in one design composition. “A single thread of hope is stronger than all the chains that bind you” - Jeffrey Fry The quote above applies aptly to this nearly extinct craft which can be heavily diversified and brought into contemporary handicraft. Keywords: Indian Handicraft, Patchwork, Applique, Geometric Patterns, Sustainability, Embroideries, Surface Technique. Introduction colors identify a specific community; new cloth, sequins, beads and tassels indicate a Ralli Folk Art ralli made for an important occasion, such as Every ralli quilt has a story, illustrating the a wedding. Rallis help us understand more strength of tradition. Every ralli tells of natu- of their creators’ lives, thoughts and imagi- ral creativity and a love of color and design nation. Its artisans have created not only by its artisans. Examining a ralli gives a peek beautiful designs but a textile craft which has into the life and community of the woman universal appeal. who made it. Some ralli shawls signify the Ralli quilts are a visual feast of color, agricultural background of its creator, certain pattern and energy and are made extensively Design Quest | An Advanced Research Journal on Design | Volume 2 | Issue 2 Oct 2019-March 2020 Ralli Art- Its Routes and Significance in Sindh, Pakistan, Baluchistan, southern reed mat on the ground. No quilting frame is Punjab, Rajasthan and Gujarat. The quilts used. The layers are sewed together by thick are called “ralli” (or rilli, rilly, rallee and colored thread stitched in straight, parallel rehli) derived from the local word “ralanna” lines. Depending on the thickness of the quilt meaning to mix or connect. Rallis are made and the skill of the quilters, the stitches may by women of rural villages, nomadic tribes be as close as 1/8 inch apart. and townships, coming from a wide variety of castes and occupations that are predomi- Methodology nantly Muslims and Hindus who are farmers, The present study was undertaken with the herders, craftsmen, businessmen and land- following objectives: owners. ▪ Ralli folk art is very interesting on account Rallis are made from scraps of hand-dyed of how different layers of fabric are used cotton fabric. Typically, a ralli is 7*4 (or to make a product 5) feet. Much of the fabric comes from old, ▪ To find out the current scenario and exis- worn shalwar- kameez (traditional loose shirt tence of the craft by visiting places where and pant outfits). The most common colors it is still practiced in rallis are white, black, red, yellow, orange, ▪ To bring awareness about ralli as it is a green, dark blue and purple. However, there dying craft are some unique regional and tribal color 7 ▪ To analyze its limitations and scope for palettes. For the bottoms of the rallis, the further clarity about the craft women often use old pieces of tie-dye, ajrak ▪ To come up with contemporary solutions (red and blue block printed material) or for the craft other shawl fabric. An old head shawl will usually be large enough for the back of the Data Collection quilt, minus about six inches on the top and side that need piecing. Ralli quilts have three In the initial stages of this research, infor- to five layers of worn fabric or cotton fibers mation on ralli was collected from various between the top and bottom layers. sources like the internet, books in the library The filling is basted to the backing using and talking to people with knowledge about long stitches that are later removed. Usually it. This also included studying the work the piecing on the top is done by one woman. of NGOs focussed on ralli and its closest She calls on female family and friends to handicrafts and getting directly in touch with help with stitching the quilt together when artisans via these NGOs.