Printed handloom of Pilkhuwa

DECLARATION

We hereby declare that the information given in this given document is authentic and the copyright to reproduce this document in any form to G.B.P.U.A &T Pantnagar. The diagnostic study was conducted between 29/04/2018 to 4/10/2018.

Hema Upadhayay Department of Clothing and Textile

Dr. Alka Goel (Professor)

G.B.P.U.A & T Pantnagar Uttarakhand

Acknowledgement

This project would not have been possible without the help and kind support of various individuals. Every person we met or spoke to helped us to moving a step further towards the betterment of this project.

We extremely thankful to G.B.P.U.A. & T Pantnagar for providing us with an opportunity to be a part of this cluster project. The preparation of their report would not have been possible would the valuable contribution of Dr. Alka Goel Professor, Department of Clothing and Textiles, for guiding us to lead the documentation and conceptualization of this project. We would like to thanks to who works closely with cluster research, his initial guidance played a very important role in the understanding of the entire project.

We thank the artist and their family for inviting us into their humble abode and showing generosity by answering our questionnaires and sharing the knowledge of an age-old tradition, we would like to thank each other’s for providing necessary input for the completion of this document. We hope that our document serve as valuable resources for future work in the area.

Preface

Dyeing and printing of fabrics have always been a part of these small scale home furnishing industries. As an art, it has existed since time immemorial but as time progressed, many revolutionary changes were observed, very often these changes were found to be as the result of unstructured experimentation. India is the major hub for printing specifically in the regions of Andhra Pradesh, Gujarat, Madhya Pradesh, Rajasthan and Uttar Pradesh, which are flourishing trade centers for printing. Each region has its particular style and technique of printing which is an identity of that region but very few of these were documented.

Very few studies were found on hand printed textiles with major emphasis on the region of Sanganer, Bagru of Rajasthan and Ajarakh of Gujrat. The art of hand printed textiles of Uttar Pradesh was negligibly documented or studied, despite having a rich tradition and history of traditional printed textiles with many renowned existing centers.

Our group explored a small town, Pilkhuwa where this cluster is located. During this field exploration, we interacted with lots of artisans. We were inspired by our interaction with the artisans, our workspace and our learning about their lifestyles. As we walked across the town, we discovered that the artisans had their own individual workshops. It was an invaluable lesson and a great experience for us. We, now have a better understanding of this craft and the people involved with it. We are now aware of this current market situation and a clear understanding of the processes, trends and setbacks faced by the artisans. This has been an enlightening experience

The Handloom City

Pilkhuwa, a small town in Ghaziabad (U.P) situated on the NH24, 51 km from Delhi border, is also carrying its legacy of handloom printed textiles since long back which is famous for furnishing items, especially bed sheets. Pilkhuwa is a medium sized city which has been a home to many generations. This city offers a spiritual experience which is beyond words and attracts enthusiasts of arts and literature from all over the world. It is a mirror of age old tradition and truly represents its rich history in every nook and corner. It is famous of its spiritualism, mythology, philosophy and culture. It is associated with Hinduism, Buddhism and Jainism. This is apparent with the numerous sects, temples, ghats and Stupas.Sun drying of printed bed sheets in open ground and their transportation through bullock cart is a common scene here which grabs the attention of visitors. Weaving is a traditional handicraft to a large part of the rural sector of the Pilkhuwa. For people of Pilkhuwa area, it is a house hold industry. Pilkhuwa is famous for its handloom made khes, bed sheets, towels, durries/ lohi, tarpaulin etc. There is good demand of the items in the market.

Pilkhuwa constitutes the major household industry of the town characterizing the traditional skill of the local people in this specific branch of manufacturing. Majority of the smaller registered units in this area are constitutes of 10-20 persons. There are many traders of this area are in the wholesale business of bed sheets, pillow covers and linen for quilts and towels, they sold the printed product in bulk to traders from different parts of the country and also the export quality to the abroad7 . This city is also known as the handloom city for the same reason.

Source: Google images

Origin and evolution of Pilkhuwa as a handloom printing cluster

The dyeing and printing culture in this area is around 150-200 years old. The historical significance of Pilkhuwa region is due to its handloom fabric. Earlier people of Kori community of this area used to produce hand woven cotton fabrics in bulk. They installed many handlooms in Pilkhuwa (Haath ki khaddi). The woven fabrics (kora) were sold in local painth (Haat) where traders from nearby areas used to purchase the raw materials for the preparation of different end use products. With the passage of time in order to explore more dimensions for their developed cotton, they started dyeing and stamping of woven fabric.

Artisans from Chhipaa community of Rajasthan (Ruhella and Tonk) and Farrukhabad, U.P (muslim block makers and chippas) were migrated and settled in this region and developed their colonies. They played major role in flourishing the culture of fabric printing in this area. There are around 600 Chippa families in Pilkhuwa, most of the families are residing in Chippawada area. Some of the present members of printing units claim that they are the third and fourth generation who are in this business. As the trade flourished, rural people from the nearby areas and state also moved towards this region in search of job and started working as printers in local printing units. Today more than 80% population of Pilkhuwa comprised of outsiders whose father, forefather were migrated here from other areas of U.P and also from other states i.e. Bihar and Rajasthan. They became the part of working community and established themselves as permanent residents of Pilkhuwa. Most of them settled here and set up their own small or big printing units, it is a common story of many unit owners. In the past few decades dyeing and printing work of Pilkhuwa helped it, in emerging as a major hub for home furnishing products. Process like screen making and block making and other ancillary jobs like stitching, finishing and packaging were also associated with the printing industry and required skilled/ unskilled labour. Hence, today many communities i.e. dhobis, luhaar, weavers and their families directly and indirectly linked to this home furnishing industry for their livelihood.

Earlier local markets, called as painth or haat were the major hub or point of source for dealing, selling and purchasing of the raw materials and finished products. But soon traders started travelling from Pilkhuwa to other states to procure orders hence developed more linkages and resulted this place to emerge as a well known wholesale market for printed handloom bed sheets.

In Pilkhuwa the Painth or haat still exists in the form of Wednesday market. A weekly market in Jawahar bazaar where traders from nearby towns or cities i.e. Sardhana, Murad Nagar, Meerut and Moradabad etc. come to sale and purchase of goods. Today there are around 200 active

textile printing units in Pilkhuwa with an average turnovers of around 100 crore and provides direct employment to 20,000 people. Whereas printing units running in the nearby villages areas like Kheda, Sikeda, Autraulli and Partapur are countless Every single home especially in the village area is involved in one or the other business related to these units whether it is printing, washing, stitching, finishing or transportation. Today on an average 5-6 lakh bed sheet are printed all around the Pilkhuwa. This figure is enough to understand the strength of this cluster.

About the Craft

Indian home furnishings manufacturers and home furnishings exporters offers a spectacular range of bedspreads, furnishing fabrics, curtains, rugs, durries, carpets, placemats, cushion covers, table covers, linen, kitchen accessories, made-ups, bed spreads, bath linen, and other home furnishings accessories to the world. Manufacturers of Home Furnishings from India, whether floor coverings, kitchen linen, bath linen, cushion covers, bed spreads, curtains etc. create a rage in the international markets. Of the various segments within home textiles, bed linen and bath linen contribute to twothirds of the total market size. Kitchen linen, curtains, upholstery and rugs/carpets contribute to the rest of the market. The unorganized sector dominates this market. There are a number of centres that are specifically engaged in the production of traditional home textiles, while some are engaged in sourcing of raw material and value addition. Pilkhuwa, a small town in Ghaziabad (U.P) situated on the NH24, 51 km from Delhi border, is also carrying its legacy of handloom printed textiles since long back which is famous for furnishing items, especially bed sheets. Furnishing items mainly bed sheets in beautiful designs and vibrating colours in a wide variety of fabrics and thread density are the main attraction of Pilkhuwa market. The prepared products are sold in local markets to the retailer in whole sale whereas some large manufacturers export the quality products to other parts of the country as well as abroad. Sun drying of printed bed sheets in open ground and their transportation through bullock cart is a common scene here which grabs the attention of visitors4. Weaving is a traditional handicraft to a large part of the rural sector of the Pilkhuwa. For people of Pilkhuwa area, it is a house hold industry. Pilkhuwa is famous for its handloom made khes, bed sheets, towels, durries/ lohi, tarpaulin etc. There is good demand of the items in the market. Pilkhuwa constitutes the major household industry of the town characterizing the traditional skill of the local people in this specific branch of manufacturing. Majority of the smaller registered units in this area are constitutes of 10-20 persons. There are many traders of this area are in the wholesale business of bed sheets, pillow covers and linen for quilts and towels, they sold the printed product in bulk to traders from different parts of the country and also the export quality to the abroad. This city is also known as the handloom city for the same reason.

Sequential work process S.No

7.

2. Process

Colours

Tools & equipment used

9.

1. Cotton sheeting fabric (Plain weave fine fabric)

2. Cotton casement fabric

Plain weave

Weaved stripped pattern in different width (Sangam fabric)

Rapid fast, Indigo sol, Aniline black and Pigment

Handblocks, Screens, Printing tables, Squeezee, Colour mixing utensils, Haudies (cemented tanks), Jigger, Calendering machine

Block printing, screen printing, tie and dye and spray printing

Raw material

Raw material in the printing includes fabric, colours, dyes, chemicals, screens and blocks which were an integral part of printing units of Pilkhuwa. Raw materials (colours, dyes and chemicals) require monthly investment, whereas screen and blocks require long term investment as the developed screen and blocks were long lasting and were considered as real assets of the traditional printers. They develop them from time to time as per required modification in designs.

a)

Fabric used

It was found that cotton fabric of different qualities were procured from different suppliers from neighboring areas of Pilkhuwa like Murad Nagar, Modi Nagar, Sardhana etc. These fabrics were either of plain surfaces or with striped pattern i.e. incorporation of some weave pattern which includes stripe pattern linear pattern of different thickness. This striped pattern base is known as Sangam fabric by the local printers. Fine quality white fabric was procured from Tirupur (Tamilnadu) and Surat (Gujarat). Printing in these units were done mainly on the white, whereas few light shades of cream, green, peach, blue and pink were also used as background for the printing of the bed sheets.

Most of the units (80%) use casement fabric for bed sheet printing, whereas (20%) of units use fine sheeting fabric for printing. The casement has thread count 20x10 with 2 ply yarn in the warp direction and single ply yarn used in the weft direction. The weave patterns and basic properties of commonly used fabrics.

b)

Tools used

Printing units mostly uses screens, these were available in different sizes to develop various end products, especially for furnishing items. Hand blocks engraved with different designs were of different shapes and sizes to produce furnishing items and also for printing of exclusive apparel products. Large drums were used for dyeing of fabrics, whereas tray carrying printing paste was used for spreading of the printing paste equally on the surface of wooden blocks. A trolley to keep this tray was helpful to carry out the blocks and printing paste from one place to another place during the printing process. Blocks, printing table and all other equipment used in the printing units, varied according to the type of printing method applied for printing of fabrics.

1.

Properties of the fabrics used for printing in Pilkhuwa

Thread count :52x65

Tensile : 30 kg/cm2(warp)

strength : 24 kg/cm2 (weft)

G.S.M :142

Thickness :0.34mm

Weave :Plain weave

2.

3.

4.

Thread count :38x38

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 186

Thickness : 0.51mm

Weave : Plain weave

Thread count :28x36

Tensile : 27 kg/cm2(warp)

strength : 22 kg/cm2 (weft)

G.S.M : 171

Thickness : 0.52mm

Weave : Plain weave

Thread count :34x34

Tensile : 28 kg/cm2(warp)

strength : 17 kg/cm2 (weft)

G.S.M : 190

Thickness : 0.53mm

Weave : Plain weave

Thread count :37x40

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 200

Thickness : 0.55mm

Weave : Plain weave

5.

Thread count :36x43

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 186

Thickness : 0.53mm

Weave : Plain weave

Thread count :34x34

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 184

Thickness : 0.55mm

Weave : Plain weave

Thread count :36x43

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 186

Thickness : 0.53mm

Weave : Plain weave

Thread count :36x44

Tensile : 30 kg/cm2(warp)

strength : 20 kg/cm2 (weft)

G.S.M : 186

Thickness : 0.54mm

Weave : Plain weave

Thread count :40x43

Tensile : 30 kg/cm2(warp)

strength : 21 kg/cm2 (weft)

G.S.M : 198

Thickness : 0.50mm

Weave : Plain weave

6.

7.

8.

9.

10.

Table: Tools and equipment used in dyeing and printing units

S.No Tools Size Cost (`) Application

1.

a)

b)

Printing Table Jute padded wooden table

Gum coated printing table

3 feet high, 3 feet wide and 9 feet long. Length 20-30 meters (depending upon size of unit)

5000-6000/10,000/12,000/-

The surface of the tables is covered with 5 to 10 layers of jute and then 4-5 layers of canvas which help in better printing. These tables allow 3-4 printers standing and working simultaneously. Long cemented base surface with coating of fabric and wax is applied on the printing table before spreading of the cloth.

2. Colour Plates 9x12’’ 400-500/- A wooded tray with wire mesh is placed inside. This mesh is covered with a piece of felt. Felt soaks the colour.

3. Wooden Trolley 3 feet height 800-1000/- A trolley is used to keep the tray and is helpful to carry out the blocks and printing paste from one place to another place during printing process. It is accommodated with two shelves and wheels in the base for the easy movement. The upper shelve of trolley is used for keeping the colour tray while lower rack is used for keeping blocks.

4. Hand blocks

Small (2”x2”,3” Medium (“8-5”) Large (8”-12” (complete set with outline, & filling blocks)

4. Screen Bolster frame

Wooden stamped with engraved designs. Made mainly with shesham wood.

5. Squeezee 5”-6”(width)

Mesh fabric mounted over the iron frame on which designs were developed

7.

It is a wooden wiper attached with a rubber blade at the lower end. It is used mainly to spread the colour paste over the screen while printing

tanks used for pre and post washing of the fabrics.

and pressing of the dyed and printed products

Tools and equipments used in printing

c) Chemical and auxiliaries used

It was informed by the unit owners that they procure dyes from the local market in bulk but some of the dyes were procured in small quantities as per requirement. Mainly four types of dyes were prevalent among the traditional printers of Pilkhuwa i.e. rapid fast, indigo sol, pigment and oxidation. Rapid fast dyes of different brands were available in the local market were used for preparing the printing paste. These dyes were known as ghotane wale rang by the local printers as they required to be properly mixed in water prior to printing.

Printing wiper Revolving stool (Squeezee)

Colour tray and brush

Colour mixing stand Jigger

Washing tank (Haudi)

Colour mixing utensils

Calendaring machine

Printing table

Hand blocks Screen

The rapid fast are stabilized azoic dyestuffs specially prepared for printing. They were applied to the fabric in one operation. Indigo sol dyes are solubilised vat dye also popular among the local printers. They procured it from the local market under different brand names (Venus, Rap sol, Atul). These dyes were comparatively costlier but provide good colour strength at a lower quantity of dye. Indigo sol dyes produce soft prints compared to pigment prints. These prints show extremely good all-round fastness properties which are the characteristics of vat dyes. Dark shades were difficult to produce hence bright shades as in rapid fast and pigments dyes were not produced with sol dyes. These dyes need cooking prior to printing hence are called pakaane wale rang in local language.

Pigment dyes were also used in few units, these readymade colours in solution form are available in the market under different brand names (Pidilite, Textcron). As per required shades, pigment colours were added to the binder and further kerosene/taarpeen ka tel was added to this paste if needed water was also added to lower down the consistency of the paste. Though pigment colours were easy to handle as not require any heating and cooking but still are not popular among printers, as they were comparatively costlier than the rapid and sol dyes.

Table Chemicals and auxiliaries used in the dyeing and printing units of Pilkhuwa

11. O T Paste Dioctayl sodium sulphosuccinate

Salari 100-150/per kg

12. Sodium chlorate Na ClO3 Sodium 50/per kg

13. Polyvinyl alcohol (PVA) [CH2CH(OH)]n Pibia 70-100/- per kg

14. Mineral turpentine oil (MTO)

Anionic product, is a transparent gel like material with characteristic odor used as a wetting agent extensively use in textile processing operation such as dyeing and bleaching etc.

Oxidizing agent in aniline printing (Syahi printing )

Photographic emulsion films in screen printing

C10H16 Taarpeen ka tel In pigment printing

15. Sulphuric acid H2SO4 Gandhak ka tejab 10-20/- per litre

16. Tamarind kernel powder - Cheyie ka aata Garam gum

17. Tinopal Disodium distyrylbiphenyl disulfonate

40/per kg

Safed powder 160/- per kg

18. Urea NH2CONH2 Urea 400/per kg

Used in washing liquor of Indigo sol printed fabrics for colour development

Thickening agent used in printing paste

Optical brightener which removes yellowness and give neutral white shade to the printed bed sheets, even after repeated washing in low washing temperatures

Hygroscopic agent, maintains the moisture/ viscosity of the printing paste hence does not allow closing the pores of the printing screen.

Besides dyes, other chemicals were also required in the dyeing and printing process such as nitric acid, sodium nitrate, caustic soda, urea, HCl etc. On an average a sum of Rs 15,000-20,000/month was spent by the small scale unit owners for the procurement of colours and chemicals.

Urea was used mainly in summers which maintain the moisture/viscosity of the printing paste and hence don’t allow closing the pores of the printing screen. Nitrate used mainly with Indigo sol dyes to improve the colour fastness of the prints. Whereas HCl was used for washing as a post printing treatment agent to impart permanent colour-fastness to the fabric printed with rapid fast and sol dyes.

It was informed by the unit owners that the printers also using local material like Arrowroot, guar gum and mustard oil for different preparations. Gum was used in the preparation of dye paste, as a thickening agent. Mustard oil was used for thickening printing paste and hence avoids the splashing of the colour during printing with the screen. Mustard oil was used in rapid, pigment and sol colours. Approximately 100 ml of mustard oil required to mixed with 10 kg of paste. Kerosene oil was used in pigment colours. Colours and other finishing auxiliaries they procure from the local market. Maximum number of units follows direct style of printing using rapid fast, indigo sol and pigment dyes. OT paste wetting agent is an anionic product, transparent gum type substance with characteristic odour and is used extensively in textile processing operation such as dyeing, bleaching etc.

The process of printing includes various steps like pre-preparation of fabric for printing, preparation of printing paste, pre-treatment of fabric. Apart from the printing process, various allied activities i.e. preparation of hand blocks, preparation of screen, stitching, finishing and packaging of the products were required from preparation of fabric to the development of finished articles. Details of these activities along with their steps to be followed are discussed here.

Pre-printing process

Pre-printing process involves preparation of cloth, preparation of screen and block prior to printing.

Preparation of fabric

In the dyeing and printing units of Pilkhuwa the pre-printing processes involve scouring, bleaching, dyeing and calendaring. The raw fabric first undergoes scouring and bleaching to make it free from yellowness and impurities. To scour and bleach fabric OT paste, caustic soda (NaOH) and hydrogen peroxide were used after that the fabric was dyed with rapid fast dyes. The fabrics were then dip dyed in cemented tanks or Jigger after getting stitched into a continuous roll. Dyed fabrics were subsequently acid washed to ensure the colour fastness of the dye.

One electrically operated Jigger machine on an average used to dye around 1-2 metric ton fabric within 4-5 hours. Apart from this method small scale dyers also used Salari and bleaching powder for washing of bed sheets. The bed sheets were washed in cemented tanks (haudi) of different capacity. In this method first the haudi (tank) was filled with water, and then salari was mixed in water. Grey fabrics (bed sheets) were allowed to dip/soak in the water tank for 2-3 hours or overnight. Salari helps in developing foam into the water, hence aid in removing dirt and impurities present in the raw fabric. The fabrics after scouring were transferred to another haudi (tank) filled with water and bleaching powder in order to make the fabrics free from yellowness. The fabrics were then kneaded and pressed by feet of the workers and left for 2-4 hours or overnight for complete action of bleach. These scoured and bleached fabrics were finally washed with clean water. The fabric was then dyed in haudi or jiggers. After that the dyed fabric was dried and then passes through a calendaring machine to achieve smooth surface ideal for printing the fabric.

Development of hand blocks

The printing process was mainly performed with hand blocks and screens developed in the small units of Pilkhuwa. There were only 7-8 blocks making units in Pilkhuwa which develop blocks of different sizes shapes and designs. Shesham wood was used for the development of blocks.

The wooden panel was first smoothened by using 20 number regmark paper (sand paper), this process of smoothening was earlier done by using aari. After attaining the smooth surface the chowk powder along with fevicol was applied to the smooth surface of the wooden panel was then the designs were traced onto this white smooth surface. After that the traced designs were carved by the skilled block makers using their precise tools i.e. tamarind wooden log (imli ki lakdi ka fatta) and fine iron nails. locally termed as kalmein. Shesham wood is strong and can bear the impact of tools during manufacturing, whereas chemicals and synthetic dyes while printing in long run. The red (old) wood is considered good for making fine blocks specially the rekh. Some block makers use white shesham (newly soft) wood which was used to make datte (filing block) as it is less costly then the red old shesham wood. Each block also had handle on the back for easy anchorage and fine holes on the surface for easy passage of air so that the printing paste cannot be deposited around the blocks. These

developed blocks were the epitome of skilled craftsmanship. The motifs in the traditional blocks inspired from mughal butta, soorajmukhi jaal, tree of life, various flora and fauna, regal animals like elephants, lions and peacocks.

Pre printing activities performed in Pilkhuwa

Calendaring

Scouring and bleaching in jigger

Bleaching in tanks (haudi)

Dyeing in jigger

Dyeing in tanks

Dyeing in Jiggers

Dyeing in tanks

Hand block making process

Development of screen

In the early phase most of the printed material was developed using hand block but with changing market trend of increased productivity in less time, majority of the units in this area started using screens instead of hand blocks for printing bed sheets. Around 50-60 small units were engaged in screen development work in Pilkhuwa. Photochemical method for the development of screen was a precise way to produce a large number of screens with minute detailing of designs which were not

Wooden blog for beating the nails Regmark (sand paper)

Preparation of wood

Carving and processing of wooden block

Developed filling (datta) block

Developed outline (rekh) block

Iron chisels (Kalmein) for block carving

Tools used for block making

Preparation of design trace Transfer of traced design on wooden block 4 5 6

possible through the manual method of screen making. The details of the process are as follows:

a) Development of design:

Preparation of screen begins with the development of designs. It is developed with accuracy using Corel draw or Photoshop software.

b) Preparation of trace (print) of the design:

A photo image of real size printed on a transparent sheet is termed as trace. Transparent sheets are available for inkjet or laser printers. The design trace consists of design printed with black ink (negative) whereas the rest (ground) area remains transparent.

c) Preparation of Screen:

The screen is prepared by stretching the fabric of nylon/polyester, having porous mesh structures, over the frame which is made up of metal. Screen is generally made up of nylon/polyester fabric. The polyester mesh fabric is available in different number mainly 13A, 13B (13A is finer and costlier than number 13B).

d) Development and coating of emulsion:

The chemical mixture consists of PVA (Poly vinyl alcohol), Dichromate, chalk mitti and fevicol. This chemical mixture was applied to both sides of the screen and allowed to dry in shade for a day. It should be noted that the application of chemical and its drying should be performed in a dark room as the chemical is photosensitive so it may get damaged by the light source.

PVA (1 Kg) +12 litre water+ Dichromate (15-20 ml in 4 litre of paste)

e) Exposing the emulsion coated screen with light source:

Emulsion coated screen was left for a few hours to dry in shade, then it was exposed to a light source. In this process, design trace was placed on the glass top (light source). The emulsion coated screen was then placed over the design trace. A heavy object (sand or stone wrapped in cloth) was placed on the top of the screen in order to ensure a good contact between the trace and coated screen. Then the coated screen was allowed to be exposed to the light source for 15-20 minutes.

f) Washing of the screen:

After transfer of design the screen was washed. Continuous washing was done until the stencilled area was clearly visible. Through washing the areas which were not exposed to the

light (unexposed emulsion) will wash away, leaving open mesh. Exposing the coated screen with light source allow the coat to be hardened from area (positive)

g) Applying emulsion paint on developed screen: Once the screen was washed, it was then taken back into the dark room. After that enamel designer paint was coated on both sides of the screen.

h) Rubbing and cleaning of the screen: The painted screen was then cleaned by rubbing the surface with cotton strips dipped with kerosene oil. Continuous rubbing with cotton fabric allows the paint to be wiped out from the unexposed area and remain adhered to the exposed part of the designs. Thus screens with positive and negative areas were prepared. The coating of paint provides durability and protection to the designs for long run.

Screen making process

Printing process

In Pilkhuwa mainly three types of dyes were used in printing i.e. rapid fast, indigo sol dyes and pigment. Each had different recipes for preparing printing paste. It was noted that rapid fast dyes were widely used by the printers due to their low cost and good colour strength.

The process of printing starts with preparation of thickening paste (gum paste). The gum paste was prepared from any of three sources i.e. guar gum, arrowroot powder and tamarind kernel powder. The gum paste was prepared a night before, printing was done and then it was subsequently sieved in the next morning to make the paste uniform and free from any kind of lump and impurity. This paste is then mixed with the dye and other auxiliaries in measured quantities and was then ready for printing.

One kg of gum was mixed in 10-15 `litres of water, a day before printing. The next morning it is subsequently sheived with a fine cloth to make it free from any lumps so the paste will ensure uniform printing. The amount of water may be increased in order to achieve the desired consistency of the printing paste. One kg of gum was approximately used to prepare a printing paste up to 20 kg.

Some printer uses arrowroot powder for preparing the printing base. 1 kg of arrowroot powder was mixed in 10 `litres of water subsequently, 250 g of caustic was mixed in ½ to 1 litre of water in a separate vessel. Next morning caustic solution was mixed in the arrowroot paste. Water may be added to the paste in order to achieve the desired consistency of printing paste, hence 15 kg paste can be prepared this way using 1 kg of arrowroot.

Tamarind kernel powder (cheyei ka aata) was another thickening agent used by the printers, especially for aniline black (Syahi) printing paste. It needs to be cooked for proper swelling so sometimes referred to as garam gum or pakaane wala gum by the local printers One kg of powder was mixed in 20 litres of water and then cooked till desired viscosity was obtained desired. The cooked paste was then left and allowed to cool. After preparation the gum paste by any of the three thickening agents, dye paste was separately prepared and then mixed to the gum paste to produce final printing paste.

a) Rapid fast dye

Rapid fast dyes of different brands (Star, Satyam, Ganesh, Patang) were available in local market of Pilkhuwa. These were used for preparing the printing paste. These dyes were known as ghotane wale rang by the local printers as they require to be properly mixed in water prior to printing. An amount of 40-70 g (as per the shade required) of rapid dye was uniformly mixed in 250 ml of water, which was then mixed with 750 g of gum paste to make it 1 kg of printing paste. Rapid fast dye changes its shade gradually after printing due to oxidation. Red colour appears to be yellow while printing but gradually developed into dark red hue due to oxidation

b) Indigo sol dyes

Indigo sol dyes were also popular among the local printers and they procure these dyes from local market under different brand names (Venus, Rap sol, Atul) these dyes are comparatively costlier but provide good colour strength even with lower quantity of dye. Indigo sol dyes produces soft prints compared to pigment dye prints. These prints show extremely good all round fastness properties which is the characteristics of vat dyes. These dyes were mainly used for blue, green, pink and brown shades. These dyes need cooking prior to printing hence were called pakaane wale rang in local language.

c) Pigment colours

These readymade colours were available in the market under different brand name i.e. Pidilite and Textcron). An amount of (as per required shade) was added to binder and further kerosene/turpentine oil was added to this paste. If needed water was also added to lower down the consistency of the paste. Though pigment colours were easy to handle, as these dyes do not require any heating and cooking. But still, these dyes were not popular among printers as they were comparatively costlier than the rapid and indigo sol dyes.

d) Aniline Black (Syahi)

Apart from the above mentioned dyes a separate method was also practiced by the local printers for preparing black colour, which was mainly used to make outline of the designs. Although shades of black were available in rapid, sol and pigment dyes but this method is quite popular due to its color fastness. Ingredients used in this paste include Sodium chlorate, aniline hydrochloride (papadi), copper sulphate (tutiya) and tamarind kernel (Imli ka beej) powder also sold by the name of pakaane wala gum by the local shopkeepers. Papadi is Aniline Hydrochloride, also known as aniline salt. This is in the form of white flake crystals and were widely used by the local printers for making black colour in textile printing.

In this process gum paste was prepared using either of the above mentioned thickening agents. After the preparation of the gum paste the chemicals are added to paste one by one in proper amount. Firstly aniline hydrochloride (papdi) was added after that sodium chlorate and at last copper sulphate (tutiya) were added to the gum paste, hence the resultant colour paste (syahi) was ready for printing. The printing process was done in shade and the printed fabric was dried in sunlight. The black colour developed in the fabric through progressive oxidation, Initially the print was pale white then on subsequent oxidation it changes to light green, green, dark green, bottle green then finally to a jet black hue in the final printed fabric. The problem of this dye

Printed Handloom of Pilkhuwa

Printing paste recipes

Gum paste:750g

Gum paste:750g

Dye: 40-70g

NaOH: 10 g

Water:200 ml

Gum paste:750g

Binder: 30g

Fixer:30ml

Urea: 10g

Printing activities performed in Pilkhuwa

Gum paste: 750g

Anilinehydrochloride: 100g

Sodium: 50g

Copper sulphate: 25g

Water: 130-150ml

Screen printing

Colour filling with brush (putai)

Table: Development of different shades using combinations of dyes (1 kg paste)

S.No Shade Basic colours involved

Rapid fast dyes

1. Mustard (50g) Yellow (40g) + Green (9g) + Red (1-1/2 g)

2. Brown (50g) Golden (45g) + Black (5g)

3. Mehroon (50g) Red (45g) + Black (5g)

4. Dark green (Mehendi) (50g) Parrot (12.5g) + Black (12.5g) + Golden (12.5g) + Yellow (12.5g)

Indigo sol dyes

1. Blue (20g) I4R (5g) + 04B (15g)

2. Purple (16g) R.F (8g) + I4R (8g)

3. Sea green (Firozi) (20g) Green (8g)+ O4B (12g)

4. Mustard yellow (20g) IGK (15g) +I4R (5g)

5. Light Brown (IBR) (8g) IGK (5g) +I4R (3g)

Mixed dyes

1. Mehroon (40g) Rapid fast Red (30g) + Indigo sol Green (10g)

2. Mehendi green (40g) Rapid fast Golden (30g) + Indigo sol Green (10g)

3. Parrot green (40g) Rapid fast Lemon (30g) + Indigo sol Green (10g)

Note-Colors developed by the mixing of Rapid fast and Indigo sol dyes (Mixed colors) need to processed separately i.e. indigo sol dyes first mixed with nitrate solution then and rapid fast dye mixed with caustic solution the resultant mixers are then mixed for the desired shade.

Post printing process

Post printing process involves washing, finishing and packaging of the printed materials.

Acid washing: Acid washing was an important post treatment process applied to all printed bed sheets. Acid washing not only confirms the colour fastness of the printed material, but also plays a major role for the development of indigo sol dyes. Indigo sol dyes give their original shades after impregnating the fabrics in acid water. Acid washing was an important post treatment step applied to the dyed and printed fabric.

Finishing and packaging: After the printing process the bed sheets were dried, then undergo one wash with acid water for colour fastness of prints and thereafter 2-3 washings, with plain running water. Subsequent washing of the printed fabric make it free from the gum and leaving the impression of coloured print on the fabric. After the final wash, bed sheets were sun dried and then fringes (funde / falue) were prepared for finishing the raw edges. Finally the printed bed sheets were packed in transparent polythene sheets. Thus these bed sheets reach to market after completing a long journeyofprocessing. Variegated bed sheets printed withdifferent designs and pattern were sold in bulk by the local vendors supplied to different traders and thus reach to different corners ofthe countryand adornthe homes with their charm and beauty.

Vernacular terminologies used by the printers for different processes:

Taanka lagana: Adjustment of the shade of printing paste by mixing of different colours to obtaindesired shade in the finalprinting paste.

Rang kaatana: Removal of excess printing paste from the screen after completion of the printing process.

Daana daalna: Sprayprinting over the printed bed sheet.

Datta putai/ Thappa marna: Colour filling of the screen printed area/ design with hand blocks.

Falaue/Funde baandhana: Knotting of loose warp ends ofthe bed sheets.

Kundi karna: Pressing and folding ofthe printed material before packaging.

Khushak rehna: Improper printing due to lack of printing paste in some of the printed area.

Rang rafna: Bleeding ofcolours inthe printed area

Haudi chadhana: loading of bed sheets onthe cemented tank (Haudi) prior to washing.

Washing

Drying

Pillow cover sewing

Raw edges finishing (falue/fundedaalna)

Single knot (funde)

Double knot (Jaali)

Finishing and packaging activities performed in Pilkhuwa

Folding of bedsheet

Calendaring (Kundikarna)

Packaged bed sheets

Stepwise activities performed in dyeing and printing units of Pilkhuwa

4. MOTIFS AND PATTERNS USED IN PRINTED PRODUCTS

GEOMETRIC MOTIFS/ PATTERN

STYLIZED FLORAL,CREEPERS AND LEAF MOTIFS/ PATTERN

STYLIZED FLORAL,CREEPERS AND LEAF MOTIFS/ PATTERN

STYLIZED MANGO (KAIRI)MOTIFS

STYLIZED HUMAN (DANDIYA)PATTERN

CELESTIAL MOTIFS

ANIMAL MOTIFS

STYLIZED CIRCULAR PATTERN

STYLIZED BORDER PATTERN

STYLIZED BORDER PATTERN

GEOMETRICAL BORDER PATTERNS

GEOMETRICAL BORDER PATTERNS

GEOMETRICAL BACKGROUND PATTERNS

STYLIZED BACKGROUND PATTERNS

STYLIZED BACKGROUND PATTERNS

Common motifs in the printed products of Pilkhuwa

Table : Wages / charges of works performed in different units of Pilkhuwa

Product profile and marketing

The Pilkhuwa from the past is a well known whole sale market for block printed bed sheets and quilt covers. An essence of printed cotton handloom is still reflected from the products of Pilkhuwa, but with the passage of time, a change has been noted in the designs, mode and methods of prints and also in the product range. Printed bed sheets in different range, style and pattern are still the major products of Pilkhuwa market, but owing to the recent trends some of the small shopkeepers have also started keeping, the outsourced home furnishing products specially the cleaning towels, kitchen towels, bathing towels, blankets and 3-D printed bed sheets along with the locally printed handloom bed sheets. These products are outsourced from the nearby area like Panipat and Meerut.

Table : Product profile of the units

Each product have specific name assigned by the units in order to make it distinct from other products of the total lot. There is no set pattern for naming the products, so each unit have their own style of naming their products some common naming pattern are listed below:

Putai :products on to which the colour is filled over screen printed design manually through brush or block is generally referred as putai

Sangam: products printed on striped patterned woven fabric. Some more products of this category are called as Sangam gold, Sangam putai, Sangam gulab e.t.c.

Kalamkari: fine printed bed sheets

Target: Bed sheet printed with geometrical printed designs

Panther: Tie & Dyed/ marble effect bed sheet

Products were also commonly named as per the motifs/designs printed on them like i.e. Dandiya, Warli, Gulab, Tiger e.t.c. Some other names found were chikoo (on the basis of background colour), whereas some products were named randomly without any logic like Pepsi, Kajal, Modi, Mango, Dabang, Maharaja, Rainbow e.t.c. These names were used by the workers throughout the production line of Pilkhuwa. Most of the shopkeepers in the market were whole sale suppliers, who mainly sell the printed products in bulk (gaanth). One gaanth is equivalent to 100 kg of weight which consists of

80 (1+2) double bed sheets each with two pillow covers set, and 160 (1+ 1) single bed sheets with one pillow cover. Each double bed sheet has 1 kg of weight, single bed sheet having 500-600 gms of weight whereas each pillow having 125 g of weight.

Common pattern used in the printed products of Pilkhuwa

Target (Geometrical pattern)

Putai (Colour filling)

Sangam

Stone washing

Panther (Tie and Dyed)

Gulab with Daana (spray) print

Table : Products, their specifications and price range

1.

2.

4.

5. Double bed sheet + 2 pillow covers (Handloom)

6. Diwan set

set (single bed sheet + 2 bolsters + 3 cushions)

set (single bed sheet + 2 bolsters + 5 cushions)

7. 3-D Printed bed sheets

single bed sheet (2 pc without pillow cover)

8. Quilt cover (lihaf)

SWOT ANALYSIS

SWOT analysis is a managing tool which facilitates the easy understanding of the possible strength, weaknesses, opportunities and threats involved in a project or in business venture. SWOT analysis helps in different ways i.e. it is a source of information for strategic planning, builds organizations threat, helps in indentifying core competencies of the firm, helps in knowing past, present and future so that using past and current data, future plans can be chalked out. SWOT analyses of small scale printed furnishing industry of Pilkhuwa as experienced by the researcher during the study

STRENGTH

Pilkhuwa is situated on national highway (NH24) which facilitates easy transportation of goods, raw materials and final products.

Proximity to NCR and Meerut facilitates easy accessibility/ availability to required raw material and chemicals.

The developed products are reasonably cheap in price so grab the attention of the major section of society i.e. the middle class, lower middle class and lower class people.

These small scale industries enjoy mutual benefits due to their interdependency on each other for completion of consignment hence promotes sustainable development. Skilled workers at affordable/ reasonable wages are available.

Low input business may be established in the area.

WEAKNESS

The seasonal nature of work becomes a major constraint for workers to earn income consistently/ regularly.

Waste generation and non-availability of waste disposal facilities may hamper these industries to flourish due to eco parameters laid down by the government.

Lack of availability and use of technological /modern machinery and equipment.

THREATS OPPORTUNITIES

Product range diversification with the application of printing by introducing different types of other furnishing material may also become a fruitful step. Large scope for women empowerment by their active involvement in value addition of products through embroidery, patchwork etc may enhance the local women participation hence ensure women empowerment.

Eco-optimization and Eco-substitution of the printing recipe may boost road map for development of export quality products, which can be developed by meeting norms in terms of fastness and eco-parameters.

Conclusion

Shifting of dyeing and printing units to other area may hamper the well established set up

Technological obsolesce may provide tough challenge by grooming printing technologies like digital printing by the countries like China. These small scale industries of dyeing and printing may become harmful for environment by its waste discharge.

Changing demands and taste of consumer may shift their interest towards other products with novel designs and products.

Changes and advances

The printed handloom of Pilkhuwa faces many changes in working patterns, designs and product profile from the earlier time. The traditional hand weaving culture of this area is now almost vanished. With the advancement and competitiveness in global market and to meet the market demands in terms of production and perfection or quality the traditional handlooms (Khaddis) were replaced by power looms. With the advent of power looms, weaving of canvas fabric, which is mainly used for bags and in vehicles like trucks as soft roof was also flourished in this area. Today there are around 250-300 power looms in the Pilkhuwa, most of them were installed within the house by the weavers in Ghari Mohalla area.

There is a downfall in the traditional hand block printing work with the introduction of screen printing. In the earlier phase bed covers (Khes) were the only products printed with hand blocks, but with the passage of time, the horizon of printing widened in terms of colours, chemicals and mode of printing and range of products. The handmade traces for screen development have also been replaced with digital printed trace. The modernization and mechanization of textile industry has also influenced the Pilkhuwa printing cluster to some extent, which is clearly visible with the advent of calendaring, mechanized jiggers, power loom etc.

Incorporation of novel designs

The printed products of Pilkhuwa is majorly consists of stylized motifs apart from that Warli, Rajasthani and contemporary cartoon motifs were also seen in the printed products. In todays words of novelty in order to attract or to grab the attention, consumers other craft like Chikankari, Phulkari, Kantha, Madhubani etc and other embroidered motifs can also adapted for printing and can use over printed products. Printing is a static art that provide different new avenues for experimentation. Through printing fabrics can be creatively produced along with value addition with different craft.

Incorporation of new products

Canvas fabric is produce in abundance in Pilkhuwa. Canvas can be dyed and printed and can be used for development of different products like bags, bottle cover, mobile cover etc. Market had great demand of these kinds of products like dining covers, sofa backs, blinds etc and these products can easily introduced and sold in market attractive useful products.

Canvas made different types of products sling bags, lunch kit and bottle covers

Value addition of present/current products

Home furnished products produced in Pilkhuwa can be decorated and embellished with other techniques like embroidery patchwork were made more attractive through value addition. Ladies can be directly linked with different new avenues of employment. Product produce incorporation of new printing technique can appreciated by consumers views.

Value added bed sheet through patch work and embroidery

Diversification and newness

Mattress cover is one of the important products of Pilkhuwa market. Local printing units in this area produce maximum bed covers, but with passage of time this product is vanish from market. These vanish products can be introduced in the market with attractive look. Increase in the cold temperature cycle lead to the increase in use of 2 faced bed sheet. Taking in account this fact printing units of Pilkhuwa can also become a successful venture. Due to increase in the demand of synthetic curtains cotton printed curtains is vanished from the market work can be done in this direction.

Different type of fabrics can be used

Printing in the Pilkhuwa is mainly done in khaddar casement or sheeting fabric. For incorporation of newness in the product different type cotton fabric like canvas, drill, dosuti and percale can be used.

Cotton printed Khes

Cotton printed Dohar

Pilkhuwa signifies an industrial centre which has mainly thrived on cottage industries. It sets an example as to how significant role can the cottage industry play in the economic life of an urban centre. The demand for home furnishing is on an upswing from past few decades. Now consumers apart from traditional furnishing material, looking out for new and innovative products to deck up their homes and offices hence their choice is shifting to products with novel designs and prints. There is a growing opportunity for product diversification in domestic market as well as in the export market. It will help in ensuring better price realization of the products and in turn empowerment of the entire working community of the clusters who is directly and indirectly linked to these units for their livelihood. Concentrated, coordinated and focused approach for integration and modernization home furnishing industry of Pilkhuwa is the need of the hour. These not only play crucial role in providing large employment opportunities at comparatively lower capital cost than large industries but also help in industrialization of rural & backward areas, which in turn, reduces regional imbalances, assuring more equitable distribution of national income and wealth.

Acknowledgement

The authors are thankful to the Vastravypaar Sangh and Khadi Ashram (Pilkhuwa) for their cooperation while collecting data. Heartfelt thanks to the Unit owners, workers and local shopkeepers for coordinating the work according to the study and providing the valuable information.

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