PORTFOLIO BHAVANA YADAV TEXTILE DESIGN, B. DES 2015
CONTENT
ADVANCE PRINT POLYCHROMATIC PRINT BREAKDOWN PRINT SCREEN PRINT BLOCK PRINT SURFACE CONSTRUCTION AND DIGITAL PRINT DYIENG AND WEAVING LAMPS APPAREL DESIGN TE CHNIQUES PHOTOGRAPHY CRAFT DOCUMENTATION EXTRA CURRICULARS
ADVANCE PRINT
This course comprised of making a print based on a concept . My inspiration source was Italian Architecture, which included different elements of the churches and cathedrals .
Fig - Orginal handpainted artwork
POLYCHROMATIC
These prints were a result of painting directly onto the surface of the screen using brushes to illustrarte designs and then transferring it onto the fabric itself.
Fiig - wild poppies
Fig - Screen painted
Fig - a ship out of polychromatic
Fig - painted screen transferred onto the fabric
BREAKDOWN PRINT
It involves applying thick dye print paste directly on to the screen and left to dry .It is then printed off on the fabric., after the print was created on the surface a dress was stitched with the fabric.
Fig - screen painted with breakdown dye.
SCREEN PRINT
Taking inspiration from pinecones a surface was constructed which was later trasferred onto different fabrics with different colours ways.
Fg - Series of screen printed fabrics .
BLOCK PRINT
Carving out the block and printing with it has its own value , a block was carved out taking pinecones as the inspiration and later was block printed on the fabric.
Fig - pinecones
Fig - carved block
SURFACE CONSTRUCTION AND DIGITAL PRINT
This was a course done on my exchange in which I handpainted my designs and then translated them into digital prints aog with coordinates Taking inspiration from the marine life( fishes) and birds.
DYIENG AND WEAVING
Exploring the different techniques of dyeing, in this course we gained knowledge about differences in chemical and natural dyes and the effects on the fabric . We Also learnt the art of resist dyeing techniques like Bandhani , tie dye , leheriya that have been practiced since ancient times , yet giving it a contemporary touch .
Fig Plain weave
Basic weaving was a classroom project in which we explored the basic weaving structures like twill, pain weave, honeycomb etc. Later, inspired from the colours of nature the final samples were woven.
Fig huck a back in honeycomb draft
Fig - shibori along with natural dyeing and clamp
Fig - Honeycomb in huck a back draft
LAMPS
Fig - Sensory lamp ( wink)
Fig - lasercut skeleton of the lamp
Fig - Beadwork closeup on mesh fabric.
APPAREL
This course was oriented in draping and pattern making , the final product was a garment inspired by a brand named “Bougoutte”. A princess panel dress was stitched thereafter with the use of grey’s and black as the colour palette.
This particular apparel was a surface design + stitching course which was done on my exchange to Sheridan( Canada).Surface was created using polychromatic technique for the dress and for the poncho , it was dyed in indigo.
Fig - using buttons to add shape on the waist .
Fig - back
DESIGN TECHNIQUES
P H O TO G R A P H Y
Photography , was a course apart from textile courses in which I learnt the basics of fashion and street photography.
Fig street photogaphy , Portrait
Fig - Textile photography
CRAFT DOCUMENTATION
Kamdani aur Fardi Ka Kaam TRADITION LOST IN TIME By BHAVANA YADAV Craft documentation Textile Design , semester 5 Course Faculty - Swasti Singh Ghai
P R E F A C E
Belonging to Lucknow myself , I thought that there is no other opportunity than to highlight the craft in your own place . There was a sense of responsibility that urged me to take this research for Badla embroidery forward. The craft that subsided with the passage of time which once flourished during the reign of the Mughals and the Nawabs . Personally I didn’t know that such a craft existed , because much attention is given to the craft of Zardozi and Chikankari nowadays . so , when I came across this craft , I was intrigued to know more about it because of the beauty of it,The glitter that shined through the fabric and filled my eyes. Moreover the kaarigars are not even paid fairly for their skills which makes me want to do something for them as well , they are not able to fulfill their day to day needs because of low pay and I find it very important that they should be recognised for their skill by the world.A lot of exploitation of skill is happening at the hands of the middlemen, which is unhealthy for the livelihood of the craftsmen. To start , first I marked the places where I could find this craft , and through my secondary information I knew the places , mostly old Lucknow areas like chowk , Bara imambara , Chota imambara , akbari gate . I took the help of a craft documentation done on ‘kamdani and fardi ka kaam’,of Saiqua and Nimisha Kaale, secondary information about the craft helped me a lot during my field visits .I started by first visiting the local shops in Hazratganj area of Lucknow , and from one of the shops I got the information about some craftsmen located in old Lucknow , this is how I went about it , it was like connecting dots . There was a craftsman near Akbari gate , Sajid Hussain, who helped me further , he introduced me to other craftsmen . I met a journalist , Nadeem Rahman, from where I collected a lot of information on this craft . Interviews of some craftsmen were also taken during the field visits as well as some written information. It was not easy to find the true form of this craft of Badla because nowadays it’s done just in the form of ‘Fardi ka kaam’( dot work) , the kamdani work is lost down the line.All the shops in hazratganj had fardi ka kaam along with chikankari and it was very difficult to find the kamdani work, it was only when I saw a customized piece, I came to know its true form. The main aim of the document is to appreciate the craft and pay more attention to the skills of the craftsmen and in order to do that this document is mainly addressed to the designers ,working with whom the karigars skills will get noticed and the craft will get more well known in the outer world, there shall be more exposure given to the craft and the craftsmen because of the designers .This publication is to make the the next generation of makers value the craft and take pride in it , inspire them to take the initiative to continue the craft and to popularize among the designers that such an exquisite craft exists which could be taken forward by them, as a result could benefit both the craftsmen as well as the designers because there stands a need for such a craft to get a platform to come out in the open.
Fig- Roomi Darwaza
Fig - Thread into a needle , in the process of doing Kamdani, Needlework.
Raw Materials USED
FLAT MUKEISH WIRES-
strips of flat wires is used to do the embroidery .By the late 19th century , the manufacture of precious metal threads , and their use in textiles , in particular , had greatly increased in India . Old royal cities and ports were particularly well known . Bengal and Patna too had significant activity . In the 1880’s Delhi and Lahore were the great manufacturing centres of gold and silver thread in Northern India , while in Ahmedabad , Surat and Pune were the western India centres where the industry thrived. -
CHALLA
Translates and manifests into rings. The wire is attached to a small length of the thread ,these wires can be worked into any number of patterns and motifs , thereby becoming popular as “fancy kaam”.
NEEDLE
“AARI”. needle is only used in doing Kamdani work , the Badla wire is attached to the thread loop suspended from the needle.
THREAD
TIKKI
“DHAGA” , Gold thread - ‘Kasab’
These manifest as flattened sequins.These are also used in making of some pieces of Badla embroidery.
EXTRA CURRICULARS
Apart from textiles , I spend my time making realistic paintings , getting inspired from great artists like Marcello Barenghi , my interests also lies in exploring with different mediums and creating something new and innovative .
THANK YOU