Gp document sumit

SUMIT PATEL This is to certify that____________________________________ is a student of Fashion &Lifestyle Accessory Design Department of National Institute of Fashion Technology, New Delhi and has successfully completed his/her graduation project fulfilling all requirements.

The Evaluation Jury Name & Designation

Signature

__________________________________ _________________ __________________________________ _________________ __________________________________ _________________ __________________________________ __________________

Centre Coordinator – Fashion & Lifestyle Accessory Design Dept.

National Institute of Fashion Technology, New Delhi.

Date:

Introduction

“ The four year degree course of fashion and lifestyle accessories designed to develop a comprehensive ability of macro level understanding of trends and micro level hands on learning about materials, technology and production in young professionals “

The four year degree course of fashion and lifestyle accessories designed to develop a comprehensive ability of macro level understanding of international markets changing trends within fashion scenario and micro level hands on learning about materials, technology, production, construction, finishes, design principles methodologies, design management and design communication in young professionals. The amalgamation of the theatrical knowledge with the practical understanding forms the last key step to ending the degree courses successfully. The final phase of this exhaustive learning period is 18 weeks graduation project with a firm which aims at testing a student of their knowledge gained in four years at NIFT. It also entitles a student to gain on personality traits such as patience, sincerity , time management , work efficiency and the willingness to learn constantly in a corporate environment. The project being realistic , the sponsoring industry jointly develops specific design briefs with the students on which he / she works on during the project period. Based on this brief the student develops a minimum of two collections which are commercially viable by the end of the project.

Each student hence develops a capability towards taking the industry , studying the brand image , identifying consumer needs, analysing market trends and developing products that are market oriented but integrated in a way to provide a wholesome experience to the consumer. The project given to me empowered me at every step to understand my weakness and hone my design to the ultimate level of sale ability and aesthetics for a given consumer. It gave me an insight on how a product should be designed understanding the consumer, what material is feasible depending on the usage, and how the product will be developed from its concept physically.

It also taught me the reality of transforming a mere sketch to a shelf product.

Acknowledgement I would like to express my profound gratitude to the following people, who made my graduation project a wholesome learning experience. Mr. Neil Foley, my industry mentor for his supervision and constant support throughout the graduation project and guiding me towards the right direction whenever I went astray.

Mr. Murugan ,my college mentor who patiently guided me throughout the process, never accepting less than my best efforts.

I would like to thank all the members of Titan design studio and my team “Foresight team titan� for being extremely patient with all my queries and guiding me on every step with their invaluable support, encouragement, supervision and useful suggestions throughout this project.

Their moral support and continuous guidance enabled me to complete my work successfully.

I am very proud to be associated with Titan Industries Ltd. As my sponsoring company.

Index 8 Company profile 10 Collection 1 {DHOKRA CRAFT} 13 Raw materials and Tools 17 Process 27 Visit to EKTAL 35 Visit to BASTAR 46 Visit to DHENKANAL 54 Collection of wax moulds 60 Concepts

66 Collection 2{WOOD INLAY OF MYSORE} 70 Raw materials and Tools 73 Process 78 Mood board,Client profile 82 Concepts Sketches 89 Explorations 93 Final Concepts 96 Retrospect, Reference

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The success story began in 1984 with a joint venture between the Tata Group and the Tamil Nadu Industrial Development Corporation. Presenting Titan quartz watches that sported an international look, Titan Industries transformed the Indian watch market. After Sonata, a value brand of functionally styled watches at affordable prices, Titan Industries reached out to the youth segment with Fastrack, its third brand, trendy and chic. The company has sold 150 million watches world over and manufactures over 15 million watches every year.

With a license for premium fashion watches of global brands, Titan Industries repeated its pioneering act and brought international brands into the Indian market. Tommy Hilfiger, FCUK, Timberland & Police as well as the Swiss made watch – Xylys owe their presence in the Indian market to Titan Industries.

Entering the largely fragmented Indian jewellery market with no known brands in 1995, Titan Industries launched Tanishq, India’s most trusted and fastest growing jewellery brand. Gold Plus, the later addition, focuses on the preferences of semi-urban and rural India. Completing the jewellery portfolio is Zoya, the latest retail chain in the luxury segment.

Titan Industries has also made its foray into eyewear, offering a variety of differentiated products to the end consumer consisting of frames, lenses, contact lenses and accessories. Frames are available in both international brands (Levis, Esprit, Hugo Boss etc.) and in-house brands – Titan, Eye+ and Dash which is an offering for children. The company has leveraged its manufacturing competencies and branched into precision engineering components & sub-assemblies, machine building & automation solutions, tooling solutions and electronic sub-assemblies. With over 930 retail stores across a

carpet area of over 12,50,000 sq. ft. Titan Industries has India’s largest retail network spanning over 165 towns. The company has over 360 exclusive ‘World of Titan’ showrooms and over 135 Fastrack stores. It also has a large network of over 700 aftersales-service centres.

Titan Industries is also the largest jewellery retailer in India with over 140 Tanishq boutiques and 2 Zoya stores, over 30 Gold Plus stores. It also sports over 200 Titan Eye+ stores.

Backed by over 6,000 employees, two exclusive design studios for watches and jewellery, 10 manufacturing units, and innumerable admirers’ world over, Titan Industries continues to grow and set new standards for innovation and quality. The organization is all geared to repeat the Titan and Tanishq success story with each new offering.

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Dhokra Craft

Dhokra is a non–ferrous metal that is cast into various products by using the lost-wax casting technique. This sort of metal casting has been undertaken in India for over 4,000 years and the same method is still being used. One of the earliest known lost wax artifacts is the dancing girl of Mohenjo-daro.

This art style is speciality of the semi-tribal communities of central India located in the states of Madhya Pradesh, WestBengal, Orissa,and parts of the Vindhya mountain range.

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Visual characteristics which identifies this lost wax metal casting as Dhokra is : the features of sculpting in forms of Lines.

It is a very important handicraft because of its largely exclusive folk character.

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Raw Materials “In the craft production process of Dhokra, it is the bees-wax and not metal that gives material shape to the creative images�

1) The basic raw material used for making Dhokra articles is brass, which is procured in the form of used brass utensils or any other brass scrap. The brass scraps are available locally from traders.

The brass scrap is available for Rs. 300 to Rs. 350 per kg of scrap, depending on the availability and market conditions.

2) Mome (Wax): Wax of two different types is used, both of which serve the same purpose. The first type is madhumakkhi ka mome (Bees wax), which is extracted directly from the hives available in the forests, while the second type is the mombatti ka mome (Paraffin or Candle Wax). Since candle wax breaks easily, it is mixed with Damar (coal tar) and Agarbatti Dhoop (incense stick powder).

3) Bhoosa (Rice Husk): Husk obtained from the mills is mixed with the soil, to hold it together, as clay tends to break apart easily when dry; it also makes the mould porous and prevents the cracking of the mould during firing.

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Tools for sculpting : Kalam, is a stylus, a writing utensil for marking or shaping the wax. Hexasaw Blades, Knives and wooden mallets.

Equipments : Hammer, Saw, Files, Chisel, Pliers,Tongs, Wire brushes, Crucibles, Grinders, Buff mahines and Potassium Permanganet for oxidizing.

4) Aari Mitti/Chikti Mitti (Black Soil): This mud or soil is procured from the beds of the fields. Rui Mitti (Riverside Soil): and also from the riverbanks. The soil is very soft and easy to shape, mould and file, and hence facilitates good final shape and finishing of the product.

The soil is red in colour. selection of soil is important, as the use of wrong soil may lead to breaking of the product when heated.

5) Gobar (Cow-dung): Cow-dung is mixed with the river soil as it allows the wax to melt out of the cast and hence prevent it from getting stuck on to the soil.

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Pichki-pharni: This is used to draw wax strands of required thickness. Wax strings are made from the prepared wax, which is softened by leaving out in the sun. It is then put through a hand-held or standing press similar to that used by halwais to make sevaiyyan and is called phichki-pharni in Bastar, somewhat like a spaghetti press in which metal sieves are inserted according to the thickness of the strings required.

The wax can be drawn out in the minmum diameter of less than 1mm to whichever maximum thickness required.

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There are two main processes of lost-wax casting: solid casting and hollow casting. In solid casting, instead of a clay core a solid piece of wax is used to create the mould; hollow casting, on the other hand, is the more traditional method and entails the use of the clay core.

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The Process The entire process can be broadly divided into the following five ma jor steps:

1. Modelling

2. Moulding

3. De-waxing

4. Casting

5. Finishing

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1. Modelling Preparation of clay:

2. Moulding, This entails the following steps:

The clay is used for structuremaking and masking of the finer clay. River soil, rice husk, deemak mitti and sufficient amount of water are used for making the paste.

* Preparing the core model and coating it with the first layer: Black soil in the fields (locally known as chikti mitti) is brought and mixed with rice husk in the ratio of 1 kg of black soil with 100 gms of rice husk. Water is added to knead it into a soft pliable dough. A basic model of the final required form is made and left to dry in the sun. * Shaping and filling: When the model is thoroughly dry, it is scrubbed all over with both hands to remove dust and gravel. Fresh sem or country bean creeper leaves are crushed by rubbing them between both palms till a green liquid oozes out. This liquid is then rubbed all over the model until the latter looks totally green. This is done to prevent the soil from sticking to the model. Finally, the model is again left to dry in the sun.

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* Wrapping of strings: When the requisite wax strings are ready, they are wrapped closely around the model, which is hard, dry and green, with the application of sem-leaf liquid. When the model is totally covered with wax strings, the chosen designs can be made with plain wax too. Now the model is fully decorated with wax strings and plain wax.Channels are then made at appropriate spots at the bottom of the model, where the liquid metal has to be poured for casting and a pin made from wax is inserted into it. * Layering with unrefined sticky riverside soil: Unrefined sticky riverside soil is taken and mixed with sufficient water and another layer is applied on the dry model. Care is taken to ensure that the holes or the channels for the metal are kept clear. * Layering from termite soil over the model: Soil from the termite hill is brought, powdered and kneaded to make a smooth mixture. Then it is applied all over the model thoroughly and left to dry. Before it hardens, a bigger channel or channels from wax are added to the earlier channels (for pouring metal) made at the bottom, and covered with termite soil mixture to make the passage ready (in the form of an inverted funnel shape) and dried.

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Casting This involves the preparation of a furnace for firing and casting. The furnace is prepared on dry land by digging a one-foot deep pit with a diameter of 2 or 2.5 feet. The furnace can be a square or a rectangle.

A wooden hollow pipe is then placed inside the furnace, and covered with wet termite hill (pola) or a pipe at an angle inside. After the soil is dry, wood coals are spread over it and at its bottom and lit. The model is then placed over the burning coals for firing. Wooden sticks are used to prop up the model to keep it erect. The pola or pipe is used to blow on and keep the fire burning steadily.

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Another furnace is made to melt the metal pieces that are placed in a crucible. The crucible is placed on burning wood coal, surrounded with wood and lit. The pola pipe is then blown into so that the fire burns at a high temperature, reaching almost 1000-1200째C, which is required to melt the metal pieces. The fire is blown continuously.

The model in the first furnace turns red if kept properly in the fire.

When the metal turns into a pouring consistency, the ready-fired model is lifted gently with tongs and brought near the crucible. The model is held upside down for the liquid bell metal to be poured in the channels or funnels made at the bottom. The crucible is then lifted with long-handled pincers and the molten metal is poured into the funnel so that it can pass through the channel to replace the wax inside the model. Then the model is left to cool for 1-6 hours, depending on its size. If it still does not cool down, water is sprinkled lightly on it to cool it down. When it cools down, the outer mould is broken gently with a wooden mallet. The original shape of the piece can then be taken out.

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5.Finishing Wire brushes are used to clean the dried soil sticking on to it and filed gently. Then it is rubbed and cleaned. The products are then dipped in the solution of Potassium permanganent. After a dip, the product is heated with a blow torch. Again then its Dipped and re-heated. The process of dip - n - heat continues till the colour of brass changes to black.

Then iit is polished by a buff machine. The grooves retain the black oxidization colour which the embossed part get a glossy shine. This make Dhokra look antique.

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Visit to Ektal Village : Ektaal.

12km from the district Raigarh, Chhattisgarh.

Name of the craftsman : Bhogi Lal Jhara.

President of Hastshilp Murtikala Audyogik Sahkari Samiti Phone number : +919993249454 +919993834154 Population of the village : 80-85 family with around 5 members in each family.

Community : Jhara community Delhi haat Bussines men from Odisha Local people of Raigarh Handicraft state fairs and Exhibitions

Occupation : Dokhra casting.

Annual turnover : They do not have any fixed turnovers but mastercraftsman’s family try to have 5000Rs to 6000Rs profit each month.

The most unique thing about this village is that the primary and the only occupation of every member of this Jhara community is Dokhra casting. But if there is a scarcity of buyers in some month, they can not shift to other jobs as they are efficient only in dokhra casting.

Its hard to say when it was established but as heard from the people of the village, the initial people were gypsies. Later, an exporter from Delhi, trained a few people with the skills of Dhokra casting. Slowly together, they settled down here permanently, as being more in number together provides safety.

This is more like a slum than a village but most of the state awards and national awards for Dokhra Casting is awarded to artisians of this community. Now, they work independently Their main clients are : Bussiness men from delhi Craft museum in Delhi 27

Man Power : As every family member, men as well as women, in this village works in Dokhra casting, they work as individual as well as team up with relatives of the same village depending on the quantity of work in order.

Tools and furnaces : They are not empowered with enough tools. Tools like huge tongs, blowers, crucibles and few wooden mallets and wooden kalams are the only tools they have. But recently, government has set up a workshop where buff machines and weight machines are installed. Also hand drills, torches, drilling machines and grinders are given. So, gradually the craftsmen are learning to use them.

Furnaces are dug out in ground in the backyard of their huts, whenever the casting is required to be done.

Dry wood is used to fire the furnace and melt the metal.

Sizes of the products : The minimum size of a casted piece can be 1cm x 1cm x 0.5cm to the maximum size of 40cm and above. Huge statues are casted in peices then welded together.

Minimun size of a wax thread which is normally produced by this village is : 0.04cm. But if required, they can even produce finer threads.

Prototype development cost : There is nothing as prototype development cost or procedure for them.

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Order Quantity & Production : This cluster is speciallized in making the jalis. They normally take an sorder of making 400500 jalis per family for a month duration. Jalis differ in sizes : 17 inch x 5 inch 8 inch x 5 inch 6 inch x 5 inch 15 inch x 4 inch 4 inch x 4 inch 3 inch x 3 inch And for solid products, they produce an order quantity of 100 pieces a month.

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Wax modeling and sculpting

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This is how the jalis of higher dimension was to be reduced , as per the design requirement.

The bezels rings were needed to have a base mould as because perfect shapes and depths couldnt be achieved soulely by hand. So, I showed them the dial I have been carrying as reference. I noticed that the craftsman started using the same dial as the mould, and he got exact shapes and depths. But when the wax models were taken out from the metal dial in order to cast, they got deformed.

Here was the first time, when I realised that moulds and tangeble parameters are required for perfect shaping.

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3.1 cm x 2.9cm x 0.1 cm

Outer Dia : 3.2cm Inner Dia : 2.2cm Height : 0.4 cm 32

This is how the jalis of higher dimension was to be reduced , as per the design requirement

Wax channels were attached to the models. Then the models were coated with clay. 2-3 models were coated in the same clay mould so that liquid metal is used effeciently by not dividing the flow for each model and hence avoid wastage or rapid solidifying of metal.

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These were the final outcome, where one can see broken ends.

This happened as they do not have proper tools to cut the metal channels and finishing.

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My observation : The outcome of the final products were not successful. The shapes got higly deformed and damaged due to: > no proper equipments use. > the soil for moulding lacked the fines. > lack of proper base moulds. > new approach of Dhokra , the transformation of the huge scale to smallest scale needed more time to adapt. > the craftsmen were lazy and money minded

Visit to Bastar Village : Kondagaon, in Bastar. which is situated 225 kms It takes 5 to 6 hours to reach the cluster from Raipur.

The Dhokra art is a ma jor attraction in Bastar which is said to have started three hundred years ago. The Ghadwas are small artisan groups who produce brass or bell metal objects. In Bastar, many folk stories are told about the origins of the Ghadwas.

Name of the craftsman : Suresh Ji Name of the workshop : Bastar Aadi Shilp.

Phone number : +919424276487 this is an individual workshop which also works with the Ngo Saathi, at Bastar.

Occupation : Dokhra casting Bastar is filled with many clusters working on Dhokra castings.

Suresh ji runs a small workshop of his own with 13 people under him.

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Unlike, other craftsmen, he did not inherit the skills from his forefathers. This strangely provided him with an advantage. As because this wasnt ongoing tradition of his early generations, he was always open to all new ideas and design forms. But at the same time, belonging to a village where Dhokra was practiced in every street, he recieved the knowledge from the other mastercraftsmen. Later his work grabbed the attention of various institutions, one of which was NID. He was invited to NID to teach Dhokra to the students and in return got trained with modern design and the market. Later, he did lots of experiments with many renowned artists as well as of his own. Now, he is like a master and he treats the people under him like his disciples. He takes them to trips within India for exposures and opening up of their minds. Even the craftsmen under him have turned out to be the best of craftsmen of the village.

Man Power : Suresh ji has 13 men working under him.

Annual turnover : The annual turnover is never fixed. But month profit is around Rs 15,000.

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These are some of his experiments with other renowned artist who came to work with him. The following images is a stool made out of alluminium by the process of Dhokra Craft. This was made about ten years back from now, which stands erect even after the rough use at this workshop. The form is inspired from the weaves of the roped stools availabe in the village.

Suresh ji has a huge collection of antiques of Dhokra. The finest and magnficient work from the time when Dhokra was more a necessity the a work.Those skills are lost and can not be replicated any longer. The following pictures are of some of those antiques.

These were left open in moisture and all seasons. The surfaces which one can see in these images are without any surface treatments. But the weared off surfaces is what makes them look antique and beautiful.

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Self-help Group (SHG): About 10 per cent of the artisans work in SHGs. There are about five SHGs in and near Kondagaon which are engaged in the Dhokra craft. These groups have primarily been promoted by the forest department and have been named as Jhitku-Mitki groups. They have been provided Rs. 1 lakh each for establishing a kind of CFC (comprising a shed and equipments) for the group.

The production capacities of these groups in terms of the financial worth of their products ranges between Rs. 1,50,000/and Rs. 2,50,000/- per month.

These groups are, however, still struggling with the marketing aspect and are sometimes compelled to sell off their produce at minimal profit due to lack of working capital.

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TRIFED: TRIFED has an office in Jagdalpur, which procures Dhokra craft products only from tribal families.

They have the following standard systems of procurement: Statue Statue Statue Statue

of of of of

1 ft.—Rs. 1000/2 ft.—Rs. 2000/2.5 ft.—Rs. 3000/3 ft.—Rs. 5000/-

The quality standards that TRIFED adheres to are very high.

They approach the local artisans on the basis of the demand made by TRIFED offices across the country. The product is sold through their outlets across the country. They have a margin of 22 per cent excluding costs (that is, mainly transportation and taxes).

Attempts were made to make the decorative parts of dhokra more functional. Clay has always been used as the core material for casting hollow metal products.

Taking the same attribute, clay was used to give proper shape and depth to the watch parts.

But again, this was totally new to the workshop so they tried using any objects available to give shape to the clay and hence wax sculpting.

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After observing the same requirement of the base mould everytime in every cluster, the process of slip casting or clay press came into my mind for the use of the base/ core mould. If perfect core moulds of clay is provided, the wax sculpting can be made perfect and precise.

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Dia : 3.8cm Depth : 0.4cm

According to my opinion, the material for moulding should be clay as clay has always been used in the process of Dhokra.

As because, its is easy to break away after the casting is done.

While other materials like rubber, will act similar to wax in the process of lost wax casting, Metal gets attached to the dhokra brass after casting, etc. While, in clay, the wax models can be put directly into the furnance without disturbing by plucking the models out , hence no distortion. And casting becomes very smooth.

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2 x 2 cm Thickness : 0.08cm Thread thickness : 0.03cm

Dia : 2.1cm Thickness : 0.08cm Thread thickness : 0.03cm 42

Dia : 2.1cm Thickness : 0.08cm Thread thickness : 0.03cm

Attempts of using the work of Jali for the links of watches.

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Visit to Dhenkanal Village : Nabagibanpur, Sadai Berni , 16 km from the city Dhenkanal, Odisha.

Name of the craftsman : Sanatan Behra, Head of the community Phone number : +919938610031 Population of the village : 130 families with around 4-5 members in each family.

Community : Behra community Occupation : Mainly Dokhra casting, and farming is the side occupation.

Annual turnover : they do not have any fixed turnovers but mastercraftsman’s family try to have about 7500Rs profit each month.

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This village is also more like a slum than a proper village. The houses are made out of temporary elements like straws, natural fibres rather than proper mud houses.

The people of this village start to inherit the skills from the age of 7-8 years. Women work with the same pace.

Their main clients are : Bussiness men from delhi Craft museum in Delhi Delhi haat Bussimen from Bhubaneshwar DC Hamdicrafts Local people of Odisha Handicraft state fairs and Exbibitions

Man Power : As every family member, men as well as women, in this village works in Dokhra casting, they work as individaul groups as well as team up with relatives in the same village depending on the quantity of work in order.

Tools and furnaces : They are not empowered with enough tools. Tools like huge tongs, blowers, crucibles and few wooden mallets and wooden kalams are the only tools they have. The months of October, November, December, January and February bring in the maximum orders as the main fairs happen in these months.

Furnaces are dug out in ground in the backyard of their huts, whenever the casting is required to be done.

Dry wood is used to fire the furnace and melt the metal.

Sizes of the products : the minimum size of a casted peice can start from 1cm x 1cm x 0.5cm to the maximum size of 40cm and above. Huge statues are casted in peices then welded together.

Minimun size of a wax thread which is normally produced by this village is : 0.02cm. Which means, this cluster makes the finest of Dhokra castings.

Dohkras of Odisha is always the finest, when compared with the Chhattisgarh, Bengal or other states of India.

Prototype development cost : there is nothing as prototype development cost or procedure for them. Each product is a product to be sold except for the damaged products. They look for minimum of Rs300 as profit for a day, depending on the rate of brass, now which is 400Rs per Kg at Odisha.

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Order Quantity & Production : This cluster is speciallized in making the jalis. They normally take a order of making 1000 jalis per family for a month duration.

Jalis differ in sizes : 17 inch x 5 inch 8 inch x 5 inch 6 inch x 5 inch 15 inch x 4 inch 4 inch x 4 inch 3 inch x 3 inch They also make jewelleries out of dhokras. Solid castings are in less demand so the production of solid castings are negligible. Besides jali and jewellery, the idols of ganeshas and the animals like elephants, tortoises, fishes and deers are fast selling products when a function of key holders is added to them

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They hardly had tools and equipments. So when I showed them the print outs of the designs, I left them to find out their own ways to achieve the designs. The following pictures shows how they worked about it. They used bottle as the base, traced out the designes in a blank paper.

And started putting the wax threads over the traced boders in the paper itself. They used the printout as one uses a light table to trace a duplicate. In here they made the practical duplicates i,e the wax models over the traced markings.

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I also tried to make them understand the requirement of hollow-ness and depth for fixing up the watch mechanisms in these dhokra bodies. These photographs show how they tried to create a hollow space in the dhokra element. This where I feel, if they are provided with proper base mould or the core moulds, the work could become more fruitful. The moulds which needs to be provided to the craftsmen shoul be of such material that the wax model need not be plucked out the model but left for casting, undisturbed.

As because. plucking causes distortion of the wax forms.

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My observation : After the final outcome from this village, I concluded that this cluster makes the finest of castings. There quality of the final casting is very good due to the soil taken for moulding. The receiptibity of the transition from their old ways to modern designs is high. Craftsmen here are intelligent. But the main demerit with their work is that they rarely have any tools or equipments to work with, which in turns deteriorate all the efforts. For eg : they do not have a proper tool to cut off the metal channels, so they use knives which they use to break coconuts. The knife is of huge scale as compared to the metal channels, which results in the breakage of whole product.

Also that, they require base moulds to develop constant and perfect shapes.

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1,5

Collection of wax moulding develop during this process for master.

14.95

R0,5

Wax moulds for links

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20.95

Wax moulds for links 55

Wax moulds for Blanc dials

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31.00

16.50

31.00

8.94

27.00

23.5 1.80

Wax moulds for Blanc dials 22.38

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23mm,21.5mm Wax moulds for Blanc dials

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Wax moulds for Blanc dials

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Dhokra Element - Complete dial made in Dhokra with indices/HR markings all the Dhokra.

BM look options 1. NL and Antic Gold like finish 2. NiPd and Antic Gold like finish

9.00

CONCEPT-1

High Pinion movement - Y121 Solid links bracelet - existing

26.00

he Dhokra plate might need to be grind from back to get a flat base to be able to mo nt on the dial Simple ro nd case with larger dial opening 38.50

Dhokra element dial with HR markings done in Dhokra as per artisan design

MG Case

30.00

Dhokra Dial

60

4.00

Case Cross Section

Dhokra Element - Dhokra inlay on dial slant Dial completes the frames story with a printed pattern derived from Dhokra

CONCEPT-2 31.00

Satin/Suade straps Regular P3H movement - 5130 27.00

Simple square case with concealed lugs with Dhokra frame insert under the MG

16.50

31.00

8.94

Plain printed dial

23.5 1.80

Dhokra insert around the dial opening Frame design as per artisan inputs

MG Leather/satin strap with a concealed lug

Case Dhokra Insert

22.38

Dial

Case Cross Section

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CONCEPT-3

26mm width Dial opening 20*20mm

length34mm concealedlug

Ylinkconstruction 1stLink dokraInsert fittedinside 20*20mm frame

YLink

26mm width

62

racelet

length12

mm

CONCEPT-4

63

CONCEPT-5

9.1 mm 9.4 mm 38.2 mm

22.9 mm

26.9 mm

43.4 mm

9.6 mm

7.8 mm

NAME

:

SUMIT PATEL

SEMESTER

:

VII

DATE

:

30-10-12

64

SCALE:

WATCH

SUBJECT:

1

:1 COLLECTION DESIGN

CONCEPT-6 17 mm

11 mm

47 mm

32 mm

8 mm

NAME

:

SUMIT PATEL

SEMESTER

:

VII

DATE

:

30-10-12

SCALE:

WATCH

SUBJECT:

1

:1 COLLECTION DESIGN

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Wood inlay of Mysore

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Jayachamara ja Wodeyar Bahadur was the 25th and the last Mahara ja of the princely state of Mysore. During his reign artisan practiced several crafts including ivory inlay in rosewood, as rosewood was available in abundance locally.

Lately a Master Craftsperson of the craft ‘Shokat Ali’ brought a totally new evolution in the craft by using locally available wood of different colors to create wonderful art pieces. These art pieces were well appreciated by the king and it was easy to learn and practice for the other people too. The unique material culture and simple technique brought the revolution in the world of art and craft and also in the life of people. The artisans flourished with unique style in their products in Ivory & Rose wood Inlay craft.

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To give rise to the crafts of Karnataka, the government has set up a Multicraft complex, a cluster which includes 480 houses built with the help from both central and state governments.

The government supported setup provides living and working spaces for about 2000 crafts person and their families. The procurement center set up by the govt. of Karnataka is a unit of ‘Cauvery’ Karnataka State Arts & Crafts Emporium that provides the artisans raw materials like Sandalwood and purchase craft objects from the artisans and market them through their own outlets at different parts of the state. The organization conducts training programs sponsored

by Development Commissioner of Handicrafts with the help of in-house design center and ‘Chamra ja Technical Institute’, Mysore. It organizes Health camps for the artisan families, provides insurance to enrolled artisans.

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Raw Materials: Initially Rosewood and Ivory was used for inlay works but when ivory was banned in India white and beige plastic has been used as substitutes. Plywood is used for base frame of the art piece.

Different color woods like white cedar, rose wood, chill pine, rubber wood, red sandal, jackfruit wood etc. are used to add multiple colors to the art piece. A mixture of wax and charcoal is used to fill fine details. The wood, plastic sheets, and other materials are bought from the local market. The preferred colors used in the work pieces are orange, light blue, medium blue, dark blue, yellow, green (not natural), brown, dark brown, maroon etc.

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Tools: The artisans generally use very basic hand tools like: • • • • •

Hand drills.

Tagad (Scrapping Chisels).

Hathodi (Hammer).

Ambor (Plier).

Bowor hex saw.

For Polishing flint papers of various grades are used.

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Making Process: The overall process can be divided into six different parts and each and every part is done by one craftsperson. This helps in maintaining the quality of work, as each craft person specializes in his work and gains experience over a period of time. However there are also craftsmen who are good in doing all the process alone.

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After the design has been drawn on the wood plate, a jeweler’s saw or thread saw is used to cut away the waste from around the leaf. The blade of the jeweler’s saw is so delicate that it is not uncommon to break three or four blades while freeing an inlay such as this one.

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The marked outline is cut very carefully.such kind of platform required for easy and fast cutting. the hand movement is required for perfection.

In this image the outline has been cut and the required design has been pushed aside in preparation for removal of the wood.by this negative die is made.

For positive die , the design has been drawn on the wood plate of different colour than same cutting process follows.

The marked outline is cut very carefully.such kind of platform required for easy and fast cutting. the hand movement is required for perfection.

In this image the outline has been cut and removed and the required design has been pushed aside.

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After cutting the positive and negative die both parts is joined manually using base to hold and glued by mixture of favicol and wood dust.

When the glue get dried the piece is send for buffing which is done manually using wax and sand paper.

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{{ Inspiration }}

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The Palace of Mysore (also known as the Amba Vilas Palace) is a palace situated in the city of Mysore in southern India. It is the official residence of the Wodeyars - the erstwhile royal family of Mysore that ruled the princely state of Mysore for over seven centuries The architectural style of the palace is commonly described as Indo-Saracenic, and blends together Hindu, Muslim, Ra jput, and Gothic styles of architecture.

Indo-gothic made in late 19th century

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Lifestyle The consumer is a contributing member of the society . He/She is fashion conscious. He/She is financially secure and hence not a careful shopper. He/She shops for status and style.He/ She stand for the social and environmental issues.

Demographics The consumer selected is of age group of 35 years or above.who belongs to the upper middle of the society and understand the moral values.

Attributes - Confident - Ambitious - Stable - Family oriented - Social

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Concept Sketches

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Technical specification of selected dials 9701 12.20,21.85 15.62,26.17

9674 9,20 6.70,7.20

1616 31.50,32.70

9374 26.10,28.10

9937 dia(18.80,17.50)

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Wood suggested for inlay and Available opstions.

Ash

AM. WHITE ASH, OLIVE ASH VENEER, MAPPA BURL

SMOKED WALNUT WALNUT BRENTA

Cherry

Chestnut

AMERICAN CHERRY, GOLDEN CEDAR

RUSIAN CHESTNUT COREAL

Cypress

KEWAZINGO

Mahogony

Maple

AMERICAN MAPLE

WHITE OAK, FRENCH OAK

Oak

Pecan

MOMBASA, KOSSIPO CROWN

AMERICAN WALNUT

Poplar

Red birch

Red maple

teak

zebra wood

AMERICAN MAHOGANY, INDIAN MAHOGANY

ONEX

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Black walnut

MACCORE, GOLDEN CEDAR

SAPELI POMMELE, SAPELI(HOR)

MYSORE TEAK, BURMA TEAK

Pine

ZEBRANO, LOURO PRETO

{{ Explorations }}

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9701 12.20,21.85 15.62,26.17

1616 31.50,32.70

1588 32,36

9937 dia(18.80,17.50)

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9674 9,20 6.70,7.20

9374 26.10,28.10

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{{ final concepts }}

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9937 dia (18.80,17.50)

D.15

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9937 dia (18.80,17.50)

D.17

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{{ Retrospect }} “In the 18 weeks duration of my graduation project, I got the opportunity to expand my design realms by learning how a industry works, the entire process beginning from selection of the theme to the final development of the product, the limitations one has to face while designing product�

During the 18 weeks that I spent in the Titan design studio, doing my graduation project,The graduation project contributed not only to the development of my skills ,but also in empowering my practical knowledgement. There were also certain parameters that were to be followed while designing which helps in the design being production friendly as well as cost – effective.During the design process i went to many places to understand the craft and get opportunity to great artist and learn too many things. It was a very good experience working at Titan Design Studio. They provided me with a great opportunity to learn and develop understanding of the watch industry.

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{{ Reference }} www.titan.co.in www.dsource.in/resource google maps http://ezinearticles.com/ titan industry BooksCrafts of india Dhokra of bastar

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