LESSON 10: INTRODUCTION TO DIFFERENT TYPES OF DESIGNS STRUCTURE 10.0 OBJECTIVES 10.1 INTRODUCTION 10.2 TRADITIONAL DESIGNS 10.3 MODERN DESIGNS 10.3.1 EARLY 20TH CENTURY (PRE-W ORLD W AR I) 10.3.2 POST-W ORLD W AR II
10.4 REALISTIC DESIGNS 10.5 ABSTRACT DESIGNS 10.6 SYMBOLIC DESIGNS 10.7 FOLK DESIGNS 10.7.1 PAINTINGS 10.7.2 MITHILA PAINTINGS 10.7.3 RAJASTHANI WALL ART 10.7.4 STORY TELLING 10.7.5 FOLK ART IN ORISSA 10.7.6 METAL WORK 10.7.7 EMBROIDERIES
10.8 ASSIGNMENTS 10.8.1 CLASS ASSIGNMENTS 10.8.2 HOME ASSIGNMENTS
10.9 SUMMING UP 10.10 POSSIBLE ANSWERS TO SELF-CHECK QUESTIONS 10.11 TERMINAL QUESTIONS 10.12 REFERENCES AND SUGGESTED FURTHER READING 10.13 GLOSSARY
10. INTRODUCTION TO TYPES OF DESIGNS In this first lesson of the fourth unit, after being introduced to different types of designs, you will learn about traditional designs in Lesson 11 and mirrored or centre line designs in Lesson 12. ___________________________________________________________________
10.0 Objectives After going through this lesson, you will acquire an understanding of • Traditional and modern designs. • Realistic and abstract designs. • Symbolic and folk designs.
10.1 Introduction In the previous unit, (Unit 3) we had learnt that the positioning of a motif on the design surface is called ‘placement of design’. We had also learnt that grids are simple geometric shapes put together to create a network / web of the same or different shapes, repeated a number of times, to fill up the entire space. All designs have an underlying, invisible geometrical grid that is followed to create a surface design. Thereafter, we had learnt about six different types of placement of designs, namely, Equidistant, Half drop or brick repeat, All over, Stripes – vertical/ horizontal/ diagonal, Checks – vertical/ diagonal, Radial. In this fourth unit, we will learn about different types of designs. The designs that we make and develop are based on a theme. They have some inspiration and a particular style. Each country and geographical area has some typical arts and crafts passed over from one generation to another over the decades. There are six different types of designs, viz. Traditional, Modern, Realistic, Abstract, Symbolic and Folk. These will be briefly described in this lesson.
10.2 Traditional Designs Definition: Designs present, over the ages, in our textiles, arts, crafts, paintings, and architecture are all traditional designs. India has a rich vocabulary of designs. All our states have some art specific to that area. Although the arts may vary from Kashmiri fine embroidery with single 1
strand to Kalamkari from the South, mirror work and fine complex block prints to the colourful weaving patterns from the East (Fig.10.1), the inspiration for all of them come from a common background. Many a times we have been influenced by nature around us – plants, foliage, trees, flowers, fruits, animals, birds, human figures, day to day activities, and so on.
Kalamkari
Kashmiri Embroidery
Mirror work
Block printing
Fig. 10.1 Traditional designs of India
Therefore, the design that you see in print in the Kalamkari technique from Andhra Pradesh is also found in embroidery from, let us say, Gujarat. The inspiration lasts and, therefore, over a period of time we have developed a strong style which can be called Indian or more specifically, belonging to a state itself like, Phulkari of Punjab, Bagru block printing of Rajasthan and so on (Fig. 10.2). We will learn in detail about these traditional textiles of India in the course CTD-205.
Punjab Phulkari
Bagru Block printing
Fig. 10.2 Traditional designs of India
10.3 Modern Designs Definition: Any design that is not traditional is generally termed as modern design. These designs are contemporary in their approach and do not follow the traditional patterns and detailing. Instead, they are influenced by impressionism and can be said to have a cleaner and minimalist approach (Fig. 10.3). Modern designs are said to have been inspired by the various art movements through the ages. A brief description of some of the important art and design movements is given below:
Modern Fish
Modern Bird
Modern Bird
Fig. 10.3 Modern Designs
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10.3.1 Early 20th century (Pre-World War I) i)
Art Nouveau - Art Nouveau proposed the use of highly-stylized nature as the source of inspiration. Organic forms, and dynamic, undulating and flowing, curved lines, especially floral or vegetable were used (Fig. 10.4).
Fig. 10.4 Art Nouveau
ii)
Expressionism – It is the tendency of an artist to distort reality for an emotional effect. The Expressionists hoped to achieve emotion through strong colours. The importance of colours was its expressive power (Fig. 10.5).
Fig. 10.5 Expressionism
iii) Cubism – It was probably the most important and influential art movement since the Italian Renaissance. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form (Fig. 10.6).
Fig. 10.6 Cubism
iv) Art Deco (1918-1939) – It started in Europe and the United States. This decorative style associated mostly with mass-produced domestic goods, apparel, and graphic designs rather than with architecture or art. It is a simple hand blend of fragmentation- angular ornamentation; simple, massive, geometric forms, and luxurious materials (Fig. 10.7). 3
Fig. 10.7 Art Deco
10.3.2 Post-World War II v) Pop art - Pop art was a visual artistic movement that emerged in the late 1950s in England and the United States, characterized by themes and techniques drawn from mass culture, such as advertising and comic books (Fig. 10.8).
Fig. 10.8 Pop art
vi) Op art - Op art, also known as optical art, is used to describe some paintings created in the 1960s, which use optical illusions. When the viewer looks at them, the impression is given of movement, flashing and vibration, or alternatively of swelling or warping (Fig. 10.9).
Fig. 10.9 Op art
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Self-check Questions 1. Define Traditional and Modern designs. 2. Name some of the important art and design movements in modern designs. a) d)
b) e)
c) f)
10.4 Realistic Designs Definition: When we depict any object true to its form, shape and characteristics and capture it in its present state, we get realistic designs. In other words, making the object as it is in any media is a realistic design. It is a technique of making designs in their true detailing. For example when we make a portrait or a still life of fruits set on a table or a plant in the garden and follow the exact shape, form and use the exact colours as they are, we make them as real as possible (Fig. 10.10). Many artists render objects and people in their true form and character with such exact renderings, that the person or the object comes alive. In textile design, for example, in prints we can have sceneries and pictures of flowers, fruits, butterflies, and fish which can be made realistically and use them as all over or border designs (Figs. 10.11 and 10.12).
Fig. 10.10
Fig. 10.11
Fig. 10.12
Realistic Designs
Even in embroidery one can achieve great rendering effects with the use of colour and texture to get a realistic design. In weaving, jacquard designs open up a wide range of possibilities to achieve realistic designs. 5
10.5 Abstract Designs Definition: When we depict any object by just giving a feel of its form, shape and characteristics and not draw it in its present state, we get abstract designs. In other words, distorting the actual object such that it is enough to roughly figure out what the inspiration was but is not in its actual state is abstract design. It is a style or technique of making designs with subtle details that indicate what the original image was without following its actual and original colours, texture etc. The abstract design need not be anything at all. It could just be a scrawl, about which you learned in the Unit 1, on Dots, Lines and Shapes. For example, when we make a portrait or a still life of fruits set on a table or a plant in the garden and don’t follow the exact shape, form and render it in a style different to what it actually is, it may be angular or broken up into smaller pieces placed together and so on, we describe it as abstract design.
Fig. 10.13 Abstract Designs
Many artists render objects and people abstractly such that the character or the feeling is portrayed but not the actual object. It is a style more to create and express an emotion and/or stylize the design. In textile design, we have lots of abstraction. Whenever you need to do something new and interesting, people try and take traditional motifs and contemporize and stylize them and one of the techniques to do so is by expressing the motif in abstraction. This can happen in the form of a flower, stem and leave, or in their colouration and the technique itself has a big role to play. Abstract designs can be made in all techniques - embroidery, weaving, printing, appliquĂŠ and so on.
Self-check Questions 3. Define Realistic and Abstract designs.
Activity 1. Draw one Realistic design and one Abstract design and colour them.
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10.6 Symbolic Designs Definition: Where the design is such that it is explained by the use of symbols which carry a meaning, a thought or emotion or religious significance they are called symbolic designs. In Indian designs, Tantra art is heavily based on symbolic art. The art form describes sun, plants, animals, humans in relation to each other and to the cosmic forces and planetary movements (Fig. 10.14).
Fig. 10.14 Symbolic Designs
10.7 Folk Designs To understand folk designs we have to learn briefly about the folk art traditions of India. These art forms are the visual expression of people belonging to different cultural and social groups. It is the expression of people whose life is tuned to the rhythms of nature and its laws of cyclic change and whose life is entwined with the energies of the earth.
a
b
Fig. 10.15 Folk Designs; a. Kantha and b. Mandana
Folk and tribal art represent the kernel of energy of the respective communities as a whole. It is a living, changing art form which changes with time, necessity, memories and experiences of these people. Often Puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals and local deities play a vital role in these arts.
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It is an art where life and creativity are inseparable. The tribal arts have a unique sensitivity, as the tribal people possess an intense awareness very different from the settled and urbanized people. Their minds are supple and intense with myth, legends, snippets from epic, multitudinous gods born out of dream and fantasy. Their art is an expression of their life and holds their passion and mystery. Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient, changing pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression. The folk spirit has a great role to play in the development of art and in the consciousness of the overall culture. Folk art everywhere in the world is real and catches the steady thud of the earth's heartbeat. At its purest it is true, uninfluenced, and expressing the rawest concerns of its people and forging, the closest links to a people's environment and its underlying economy. There is no dressing up, no false note. Folk paintings, embroideries, metalwork, wall art, story telling are some of the folk arts spread across the country. 10.7.1 Paintings Colourful designs, invariably tinged with mystic beliefs are found in rural folk paintings. They reveal the traditional aesthetic sensibility of the Indian village. The Madhubani paintings of Bihar, the Pata paintings of Orissa (Fig. 10.16 a, b) Phichhavai (Fig. 10.16 c, d) of Nathdwara in Rajasthan are only a few from the vast gallery of Indian folk paintings. Epics, Puranas, the Krishna-lila (antics of Lord Krishna) etc., are their main sources of inspiration (Fig. 10.16 c, d). Gods and goddesses are depicted in all possible forms and actions, and are painted in varieties of technique and colour (Fig. 10.16).
b. Pata painting
a. Pata painting
c. Krishna Lila
Fig. 10.16
d. Krishna Lila
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10.7.2 Mithila paintings The folk art of India too exists as an unfettered artistic outburst of its people, be it dance and song or the skill of craft. This is so true of the Mithila painters in Darbhanga in Bihar where every home is decorated with wall paintings made of natural vegetable colours (Fig. 10.17). The colours are made of flowers, creepers, wood coal, lampblack and leaves. The gum from the bel fruit is used to fix colours. Local bamboo grass is used as a brush. Mithila paintings now available on cloth scrolls (Fig. 10.17) or on thick paper evolved basically out of complex religious, social and natural themes that affect the people. Painted by women in little blots of colour they reflect the symbiotic relationship of women with nature and include childbirth, marriage, spring and animals in the forest.
Fig. 10.17 Mithila art
10.7.3 Rajasthani wall art The most vibrant and festal wall paintings are found in Rajasthan (Fig. 10.18). The interior and exterior walls of palaces as well as ordinary homes are an unabashed paean to colour. They are made over completely with huge frescoes of elephants, horses, and camels, scenes of royal processions and exciting hunts as well as pictures of mythological characters and stories. Painted wet on lime plaster in mineral colours the paintings slowly became embedded in the wall giving the effect of inlay work of colourful stone on white marble, another specialty of the region.
Fig. 10.18
The temple and monastery paintings in Tamil Nadu and Andhra as well as the murals at the Padmanabhapuram Palace in Kerala reflect their regional skills. The Rathva tribals of Gujarat and the Bhilala tribals of Madhya Pradesh in central India paint on the mud walls of their houses the myth of creation. Sometimes airplanes and clocks also make their appearance in this essentially tribal worldview. The Warli tribals of Maharashtra paint on the cow dung and mud plastered walls of their huts (Fig. 10.19 a). These are like mandalas, ritualized diagrams conceptualized in white rice paste (Fig. 10.19 b). Of course, all over the country right from the plains of Uttar Pradesh, the old Indian custom of creating rice paste paintings on the walls and floor of the houses in honour of deities or simply wishing for good things to come their way is common.
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a. Warli
Fig. 10.19
b. Mandana
10.7.4 Story telling Folk art is always linked with the forgotten art of story telling (Fig. 10.20). Paintings are used to tell visual counterpoint in narration in every region of India. The Gujarat and Bengal storytellers neatly divided vertical compartments on paper, each one depicting a painted incident. In Rajasthan the regional epics like the Pabuji-noPadh narrate the legends of local heroes and deities on long horizontal cloth panels. Every inch of space is peopled by characters from this fictional world. These are sung by the ‘Bhopas’, wandering musicians who play at fairs and festivals to the accompaniment of the Janter, a two gourd instrument joined by a bamboo rod. These ‘Bhopas’ carry the ‘Phada’ from village to village for epic chanting. The tradition of Thanjavoor glass painting also depicts mythological subjects in bright colours and remarkable gold leaf work.
Fig. 10.20 Story telling paintings
10.7.5 Folk art in Orissa Orissan patachitra are today quite fashionable (Fig. 10.21a). A special charm of Orissa is painted and carved wooden boxes that one also finds in Kerala as well (Fig. 10.21b). The wooden dowry chests (Fig. 10.21 c) of Kathiawada in Gujarat are also famous. The stone carvers of Orissa reflect the grandeur of a rich past. Soapstone and Kochila stone carvings are perfected. Horn articles of Orissa are well known for their dynamism of structure. The folk artisans of Puri and Cuttack skillfully fashion horn into fragile looking birds, and animals, combs, and other decorative objects.
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Fig. 10.21 Folk art of Orissa
10.7.6 Metal work Dhokra metal work is a specialty of tribal belt of central India. These bell metal artifacts are marvels of almost primitive conceptualizations that ring a deep echo within you (Fig. 10.22). The flexible brass fish of Ganjam, the wise owl of the Bastar tribals, are all exciting representations of their world.
Fig. 10.22 Dhokra Metal Works
10.7.7 Embroideries Phulkari is more than embroidery from Punjab. It embodies the colourful aspirations of a people out to wring some joy from their uncertain lives. Phulkaris were made for different occasions and the mother or grandmother gave the most precious ones to her daughter on her wedding day (Fig.10.23).
Fig. 10.23 Phulkari
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Kasuti is fine single stitch from Karnataka (Fig. 10.24 a), while Kantha depicts rural landscape scenes using running stitch only in bright colours (Fig.10. 24 b).
a. Kasuti of Karnataka
b. Kantha of West Bengal Fig. 10.24
The embroideries of the Kutch region in Gujarat are famous; especially their mirror studded embroidery (Fig. 10.25). These embroideries are found all over India on bags, skirts, shoes, dupattas, scarves and blouses.
Fig. 10.25 Mirror studded embroidery of Gujarat
In modern India, designers and artisans take continuous inspirations from our folk arts and traditions. The simple, folk designs look very attractive and are found in prints, embroideries, wovens, appliquĂŠ and other techniques as well. Folk designs are, therefore, very simplified, sometimes geometric or stick like, sometimes with raw, crude unfinished edges and shapes. The intrinsic quality is that they are all hand made and thus have the free and natural shapes achievable without any complex tools.
Self-check Questions 4. Define Symbolic and Folk designs. 5. Name some of the folk arts spread across the country.
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10.8 Assignments 10.8.1 Class assignments i)
Draw on quarter imperial cartridge sheets 10 modern designs inspired by bubbles, flowers, checks and flowers, hearts, rectangles and squares.
ii)
Go to a garden nearby with lots of flowers and sketch realistically 2 flowers with leaves and stems. Show all details. Choose a portion of your composition and colour it with shading in water colour or poster paint. You can also add pencil colour detailing.
iii) Using the motifs made above make an interesting composition for a border 3.5’’x12’’. Also set a half drop repeat for a cushion 18’’x18’’. Do not colour. Only draw with pencil and black rotering pen. iv) Make 3 abstract compositions in 12’’x12’’ inspired by the following: Flowers, paisleys and a person’s face. 10.8.2 Home assignments i)
From magazines collect 10 pictures of designs whether on garments or saris, bedding, tiles etc where traditional designs have been used. Paste these on A4 paper and file
ii)
Take pictures of faces, trees or buildings from magazines. Now cut these up in thin 1/2’’, 1’’ and 3’’ strips and rearrange them and paste them on hard sheet to achieve an abstract composition in 12’’x12’’.
iii) Find more information about tantric art and prepare notes and collect 5 pictures based on this art. iv) Take a simple story or make up one from your everyday life and depict it in simple shapes and forms on a full Imperial sheet. There should be 4-5 frames depicting the story. Colour it in natural colours like browns, reds, greens, black and white. v) Take 5 flowers and 3 animals and depict them in folk art style – they could be stick like or simplified shapes and natural turned edges. These should be done only in black and white. vi) Take an embroidered mirror work piece from Gujarat as inspiration and create 2 folk designs for a cushion 16’’x16’’ and a border 2’’x9’’ on cartridge sheet. Colour the artwork in bright colours taken from the original piece. vii) Study the history of art movements and prepare notes in detail on art deco. Also collect 10 images pertaining to the same style.
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10.9 Summing Up By now, you must have gained insight into the different types of designs. Let us briefly summarize the main points of this lesson. •
There are different types of designs namely Abstract, Folk, Modern, Realistic, Symbolic and Traditional.
•
The designs that we make and develop are all based on a theme. They have some inspiration.
•
India has a rich vocabulary of traditional designs.
•
Modern designs are contemporary in their approach and do not follow the traditional patterns and detailing.
•
Realistic designs are a technique of making designs in their true detailing, form, shape, colour and texture.
•
Abstract design need not be any object at all. It could just be a scrawl. When an object is depicted by just giving a feel of its form, shape and characteristics it is classified as an abstract design.
•
Folk art forms are the visual expressions of people belonging to different cultural and social groups.
•
Designs represented by symbols, each carrying a meaning, are called symbolic designs.
10.10 Possible Answers to Self-check Questions 1. Traditional Designs: Designs present, over the ages, in our textiles, arts, crafts, paintings and architecture are all called “Traditional Designs”. Modern Designs: Any design that is not traditional is generally termed as Modern Design. These designs are contemporary in their approach and do not follow the traditional patterns and detailing. 2. The important art and design movements in modern designs are: a) Art Nouveau b) Expressionism c) Cubism d) Art Deco e) Pop art f) Op art. 3. Realistic Designs: When we depict any object true to its form, shape and characteristics and capture it in its present state, we get Realistic Designs. In other words, making an object as it is in any media is a Realistic Design. Abstract Designs: When we depict any object by just giving a feel of its form, shape and characteristics and not draw it in its present state, we get an Abstract Design. In other words, distorting the actual object such that it gives a rough approximation of its original inspiration is Abstract Design. 14
4. Symbolic Designs: Where the design is such that it is explained by the use of symbols which carry a meaning, a thought or emotion or religious significance they are called Symbolic Designs. Folk designs: Folk designs are the visual expression of people belonging to different cultural and social groups. 5. Some of the folk arts spread across the country are: Paintings, Mithila Paintings, Rajasthani Wall Art, Story Telling, Folk Art In Orissa, Metal Work, Embroideries etc.
10.11 Terminal Questions 1. Name different types of designs. 2. Write a short note on ‘Modern Designs’. 3. Differentiate between Realistic Designs and Abstract Designs. 4. Write a short note on different embroideries of India. 5. State whether the following statements are True / False: i) Designs present over the ages in our textiles, arts, crafts, paintings, architecture are called traditional designs. True / False ii) Symbolic Designs do not carry any meaning or significance. True / False 6. Choose the correct answer: i) Tantra art is based on – a. Stories b. Mantras c. Symbolic art d. Music ii) Folk art is the visual expression of – a. people of U.S. b. people of different cultures c. animals d. nature 7. Match the following: i) ii) iii) iv) v)
Madhubani paintings Pata paintings Nirmal paintings Pop art & Op art Kalamkari
a. South India b. After World War II c. Mithila of Bihar d. West Bengal e. Andhra Pradesh
8. Fill up the blanks: i) We find huge frescoes of elephants, horses, and camels in ___________. ii) The __________ of Gujarat and the __________ of Madhya Pradesh in central India paint on the mud walls of their houses the myth of creation. iii) The ____________________ are made up of painted panels of pressed rags coated with lacquer polish. iv) Dhokra metal work is a specialty of tribals in the belt of ____________. 15
10.12 References and Suggested Further Reading 1. Anonymous. 2006. The Complete Guide to Drawing and Painting. Quantum Publishing Ltd., London. 2. Betala, R. 2005. Design Comprehension and Visualization. Ane Books, New Delhi. 3. Gillow, J. and Barnard, N. 1991. Traditional Indian Textiles. Thames and Hudson, London. 4. Mode, H. and Chandra, S. 1985. Indian Folk Art. Alpine Fine Arts Collection Ltd., New York. 5. Yates, M. 1986. Textiles: A Handbook for Designers. W.W. Norton & Co., New York.
10.14 Glossary 1.
Theme:
A subject being discussed.
2.
Inspiration:
A sudden clever idea or the process of being inspired.
3.
Vocabulary:
Collection
4.
Foliage:
Leaves
5.
Interlocked:
Fit together
6.
Tendrils:
A thread like part by which a climbing plant clings.
7.
Impressionism:
A style of art depicting the visual impression of a moment or mood.
8.
Minimalistic:
The use of simple basic design forms
9.
Portrait:
A description OR a picture of a person.
10. Render / Rendering:
Interpret or perform artistically.
11. Contemporary:
Modern
12. Distorting:
To pull out of shape.
13. Subtle:
Very delicate
14. Expression:
The act of conveying feelings by words, gestures or pictures.
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15. Visual:
Visible
16. Cyclic:
Occuring in cycles
17. Entwined:
To wind or twist together
18. Rhythm:
A regularly recurring pattern of events or action
19. Kernel:
The central part of something
20. Sensitivity:
The degree of being sensitive, i.e., susceptible to stimuli
21. Urbanized:
Of a town or city
22. Supple:
Bending easily
23. Intense:
Extreme
24. Myth:
An imaginary thing or person
25. Snippets:
A small piece
26. Multitudinous:
Very numerous
27. Passion:
Very strong emotion; great enthusiasm
28. Nomads:
People who travel from place to place for green pastures for their animals
29. Transient:
Lasting only for a short time
30. Constitute:
Be a part of a whole
31. Matrix:
A grid like array of elements; An environment in which something develops.
32. Forging:
Move forward gradually or steadily
33. Mystic:
Having a spiritual importance beyond human understanding
34. Aesthetic:
Concerned with beauty or its appreciation
35. Sensibility:
The ability to respond emotionally
36. Frescoes:
A painting done on wet plaster on a wall or ceiling
37. Embedded:
Fix firmly in a surrounding mass
38. Dynamism:
The quality of constantly changing or full of energy and new ideas
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39. Primitive conceptualizations: Old abstract Ideas 40. Intrinsic:
Forming part of the basic nature of something
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