Dimple Chouhan ,Fashion Design ,Dezyne E'cole College

Project Report
On
Print Development
At
Dezyne E’cole College
Submitted To
Towards
The Partial Fulfillment Of The
2nd Year Diploma In Fashion Design
Confirming NSQF Level-6 Of NSDC
By
Dimpal Chouhan
2017-18
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I Am Dimpal Chouhan tudent Of Fashion Department 2nd Year Diploma Fashion Technology Of Dezyne E'cole College, Would Like To
Express My Gratitude To Each And Every Person Who Has Contributed In Stimulating Suggestions And Encouragement Which Really
Help Me ToCoordinate My Project.
I Also Thank Dezyne E’cole College Who Provided Insight And Expertise That Greatly Assisted The Project. Also A Special Thanks To My
Teacher, Parents And Colleagues Who Have Blessed Me With Good Health. Because Of Which I Worked More Efficiently And Better.
Dimpal Chouhan
2nd Year Diploma Fashion Technology
NSQF LEVEL – 6 OF NSDC
ACKNOWLEDGMENT
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Thanks
Principal
[Seal &Signature]
This Project of Ms. Dimpal Chouhan Student of Fashion Technology With Two Years Advance Diploma Program Has Been Checked And
GradedAs
.
Print development

CONTENT
. Traditional Indian Motif
•Introduction Of Indian Motifs
•Paisley Motif
•Conch Motif
•Peepal Leaf Motif
•Tample Motif
•Kalash Motif
•Creeping Vine Motif
•Flower Motif
•Lotus Motif
•Rudraksh Motif
•Buti And Buta Motif
•Tree Of Life Motif
•Sun Tree Motif
•Peacock Motif
•Hansa Motif
•Fish Motif
•Parrot Motif
•Elephant Motif
•Tortoise Motif
•Hunting Scene Motif
2. Traditional Indian Saree
•Introduction Of Indian Saree
•History Of Indian Saree
•Ways Of Wearing Saree In India
.
3. Types Of Saree Worn In India
•Brocade Saree
•Jamawar Saree
•Lucknowi Chikankari Saree
•Tanchoi Saree
•Kinkhwab Saree
•Kacheevaram Saree
•Mysore Silk Saree
•Konrad Silk Saree
•Bagru Block Printed Saree
•Kantha Saree
•Pochampally Saree
•Kerala Saree
•Paithani Saree
•Bandhani Saree
•Patola Saree
•Kota Doria Saree
•Muga Silk Saree
•Taant Saree
•Maheshwari Saree
•Baluchari Saree
•Sambalpuri Saree
•Chanderi Silk Saree
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Content
4. Hand Drafting
•Exercise on repetition
•Print development
•Printdevelopment
5. Nature Drawing
6. Design Created Using Different Types OfShapes
7. Print Development
•Simplifying The Motif
•Pattern In A Shape
•RegularRepetition
•Brick Repetition
•Half Drop Repetition
•Stripes Repetition
•Overlapping Repetition
•Grouping Repetition
8. Motif Collage
9. Print Development By CorelDraw
• Papyrus flower
• Flower in a shape
• Regular repetition
• Brick Repetition
• Half Drop Repetition
• Stripes Repetition
• Overlapping repetition
• ScatteredRepetition
• GroupingRepetition
10. Saree Design
• Stripes Repetition
• Half Drop Repetition
• Brick Repetition
• Regular Repetition
• Overlapping Repetition
• Scattered Repetition
• Grouping Repetition
11. Swatch Board
12. Colour Board
13. Fabric Board
14. Fabric Selected
15. Selected Saree
16. Thank You
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TRADITIONAL INDIAN MOTIF
Traditional motifs can be described ad the motifs which are
being used in Indian textile since ancient and are handed over
from one generation to the other. Our traditional motifs are
deeply influenced by religious belief, culture, environment,
activities, of day to day life, architecture, history, rulers etc.
The artisans have modified motifs based on the whims and
fancies of the kings who invaded and ruled India for several
years. For creating the variety to motifs and designs, weavers
and designers had also taken inspiration from their
environment.
Indian artisans have created varied motifs and patterns which
are exclusive in their styles and colour combinations like
creeping vines and floral patterns, which remind us of Mughal
history and the Islamic portrayals. Motifs like lotus, conch
shells, fish, elephant and horse etc. Which represent the
philosophy of Hinduism and the concept of bring good-luck,
health and prosperity are typiclally found in the textiles worn in
the occasional ceremonies.
These motifs represent over poetic expressions and imagination towards life, and devotional characters. These motifs are
explainded in the following slides.
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Paisley Motif :
The Paisley Motif Evolved From
Seventeenth Century Floral And Tree Of Life
Designs That Were Created In Expensive, Tapestry
Woven Mugal Textiles, Primarily Patkas (Sashes)
Made For The Mugal Court. The Kalgas Created On
Kashmir Shawls, Which Became Fashion Item In
Europe For Over A Century , Were Certainly The
Most Imaginative And Intricate And It Was From
The Imitations Of These Shawls Woven In
Factories, Still Commonly Used In Europe And The
United States.
Textiles : It Is Found In Phulkari Of Punjab, Kantha
Of West Bengal, Kashidakari Of Kashmir, Chikankari
Of Lucknow And Brocade Of Banaras.
Names In Different Languages : It Is Popularly
Known As ‘Kalga’ In Urdu Language, ‘Mankolam’ In
Tamil Nadu, ‘Ambi’ In Punjab And ‘Carrey’ In Hindi.
Symbol Of Motifs : It Is A Symbol Of Life And
Eternity.
PAISLEY MOTIF
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Peepal Leaf Motif :
Depictions Of The Heart-
shaped Leaves Of The Peepal Tree Are One Of The
Earliest And Most Common Motifs Found In Early And
Mature Indus Valley Pottery. Yet, Subsequent To The
Indus Valley Period, Few Depictions Of The Peepal Or
Its Leaves Have Survived In Indian Art.
Textiles : It Is Found In Gujarati Patola Called ‘Peepal
Patra Bhat’.
Symbol Of Motif : Peepal Leaf Motif Has A Religious
Significance.
CONCH MOTIF
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Peepal Leaf Motif :
Depictions Of The Heart-shaped
Leaves Of The Peepal Tree Are One Of The Earliest And Most
Common Motifs Found In Early And Mature Indus Valley
Pottery. Yet, Subsequent To The Indus Valley Period, Few
Depictions Of The Peepal Or Its Leaves Have Survived In
Indian Art.
Textiles : It Is Found In Gujarati Patola Called ‘Peepal Patra
Bhat’.
Symbol Of Motif : Peepal Leaf Motif Has A Religious
Significance.
PEEPAL LEAF MOTIF
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Tample Motif :
The Temple Motif Consist Of Rows Of
Large Triangles Found Along Ethnic And Tribal Saree Borders,
As Well As In The End Pieces Of Dravidian And Some Central
Deccan Sarees. They Are Usually Woven Into The Ground
Fabric Of The Saree In The Interlocked Weft Technique. So
Making The Triangles Point In The Weft Direction Of The
Fabric, Never The Warp.
Textiles : Temple Motif Is Found Is Many Indian Textile. It Is
Found In Phulkari (Darshandwar Bagh) Of Punjab, Mochi
Embroidery Of Gujarat, Bandha Of Orissa, Kancheevaram
Sarees Of Tamil Nadu And Kalamkari Of Andhra Pradesh.
Names Of Different Languages : It Is Called ‘Daant’
(Teeth) In West Bengal, ‘Kumbbam’ In Telgu, ‘Kumb’ In Orissa
And Andhra Pradesh.
Symbol Of Motif : It Is The Symbol Of Protection Against
Evil Eye, The Kumbba Is Fertility Symbol.
TAMPLE MOTIF
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Kalasha Motif :
Amongst All Auspicious Symbols Used
In Indian Art Throughout History, Kalasha, The Holy
Ceremonial Water Jar Hold A Special Place. It Is An
Important Part Of Ceremonial Occasions And Weeding In
Hindu Culture. The Motif Is Seen In The Carvings Of The
Sculptures , And Paintings Of Ancient India.
Textiles : With Time Craftsman Started Using It As Motif In
The Enrichment Of Textiles Through Weaving, Embroidery
Or Printing.
Names In Different Languages : The Motif Is Called ‘Purna
Kumba’ In Suthern India.
Symbol Of Motif : It Is A Symbol Of Fertility And Puirty.
KALASHA MOTIF
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Creeping Vine Motif :
It Is A Persian Origin
Which Came Ti India Through Mughal. It Is
Mostly Preferred By The Designers Or The
Craftsman For Filling The Empty Area With Free
Flow Designs. They Look Harmonious And
Rhythmic Which Gives The Viewer A Pleasant
Feeling. Creepers With Flowers, Leaves, Birds
And Fruits Make A Heavy Creeping Wine Pattern
And Fruitful.
Textiles : It Is Majorly Used In Block Prints From
Machlipattnam And Other Embroideries. It Is
Also Used In Chikankari Or Lucknow And
Kashidakari Of Kashmir. In Woven Textiles It Is
Used In Paithani Sarees.
Symbol Of Motif : It Is The Symbol Of Unity And
Flawlessness.
CREEPING VINE MOTIF
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Flower Motif :
Various Types Of Forms Abound
In Indian Sarees. Flowers Have Played A Major Role
In Hindu And Early Buddhist Iconography, And
Many Designs Were Than Used By The Muslims.
Various Types Of Flowers Are Depicted In Traditional
Indian Saree. In Many Deccan Sarees, Narrow Bands
Of Repeat Supplementary Warp Figuring Are
Generically Called Phool, Even If The Deign Is Not
Strictly Floral.
Textiles : This Motif Is Found In Most Of The
Textile. Like Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch Embroidery, Ajrakh Prints
Sanganeri Prints, Ikat And Patola, Brocade ,
Kancheevaram, Paithani, Among Woven Textiles.
Symbol Of Motif : Flowers Are Mostly Linked With
Feminine And Many God And Goddesses. Flower Is
A Symbol Of Fertility, Protection And Good Luck.
FLOWER MOTIF
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Lotus Motif :
The Lotus Is Among The Most Popular
Motifs In Indian Art. There Are Various Forms Of Lotus
Motifs Like Astadal Padma – Eight Petalled To The Satadal
– Hundred Petalled. It Also Symbolizes Prosperity And
Material Wealth, Associated Closely With The Goddess Sri
Lakshmi. It Is One Of The Multifaceted Symbols In The
Traditional Patterns. Its Spiritual Aspect Is Emphasized
Particularly In Indian Sarees And Furnishing. The Colours
Used Are Always Bright To Depict The Richness Of The
Lotus.
Textile : In Kantha Embroidery The Central Motif Is Almoat
Always A Fully Bloomed Lotus Seen From Above. Other
Textiles Are, Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch Embroidery, Ajrakh Prints, Sanganeri
Prints, Ikat And Patola.
Names In Different Languages : It Is Popularly Known As
‘Kamal” In India.
Symbol Of Motif : Lotus Is The Symbol Of Eternal Order Of
The Union Earth, Water And Sky. It Represents The Life
Giving Power Of Water But Is Also Associated With The
Sun For The Opening The Closing Of The Petals. It Is Also
The Symbol Of Recreating Power Of Life.
LOTUS MOTIF
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Rudraksh Motif
Rudraksh Motif :
Rudraksh Beads Have An
Ascetic Charm. Associated With Lord Shiva And
Mentioned In Vedic Literature, It Has
Significance For Peace And Power. Bestwood
With Electrical And Magnetic Properties Which
Make Them Spiritually And Medicaid Curative,
These Beads Are Positively Charged. Rudraksh
Beads Are Common Motif Among South Woven
Saress.
Textiles : Used In Kancheevaram, Gadwal And
Hand Woven Saress Of Orissa.
Symbol Of Motif : The Name Rudraksh
Literally Means ‘Eye Of Shiva’, This Motif Is
Associated With Lord Shiva.
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Buti And Buta Motif :
Another Group Of Floral Motifs
Found In Sarees Is The Small Buti And Large Buta, Which Are
Depicted As Flowers, Springs Or Bushes. As With The Phool,
However, These Names Are Also Given To Geometric And Zoo-
morphic Motifs. They Are Always Created As Floating Design
Elements Placed Against A Plain Background. The Smaller Buti
Is Usually Create In Rows Figure.
Textiles : These Are Used In Chikankari, Phulkari, Chanba
Rumal, Kashidakari, Kutch Embroidery, Ajrakh Prints, Sanganeri
Prints, Ikat And Patola, Brocade And Most Of The Woven
Textile.
Names In Different Languages : Buta Is Most Common Word
Used In Most Of The Languages, Their Names Are Different In
Terms Of Motifs Used In Butas, I.E. ‘Kalga Buta’ Motif.
Symbol Of Motif : Symbol Of This Depends Upon Which Motif
Is Chosen ToCreate Butas. It Can Be Flower Or Paisley.
BUTI AND BUTAMOTIF
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Tree Of Life Motif :
Tree Of Life Motif Is A Many
Branched Tree Laden With Flowers And Fruits, Birds In The
Tree Branches, Animals Roaming Under It Illustrating The
Idea That All Life On Earth Are Related And Has Been Used
In Religion, Philosophy, Mythology And Other Areas. Lot Of
Colours Are Associated With This Motif.
Specific Trees Supplied Pre-industriak India With Food,
Medicines, Timber, Utensils And Even Cloth. Many Of The
Rular Rituals Still Being Practiced Reflect This Heritage.
Textiles : It Is Mostly Seen In The Embroideries And
Kalamkari Of India. It Is Also Seen In Kashmiri Carpets.
Symbol Of Motif : The Tree Of Life Is A Metaphysical
Extrapolation Of The Basic Concepts Of Fertility And
Protection.
TREE OF LIFE MOTIF
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Sun Tree Motif :
The Assamese Sun-tree Motif
Is Now Such An Archetypal Pattern Of The North-
estern Region That Many Assamese Textiles Are
Recognized As Such Just On The Basic Of This Design.
It Depicts Two Birds, Animals Or Flowers, Facing Each
Other On Either Side Of A Tree Whose Branches
Spread Above Them. The Motif Is Rigidly
Symmetrical, Highly Stylized And Angular, With A
Pointed Ro Of Like Top To The Tree, And Its Sides Are
Often Straight.
Textiles : It Is Used As Embroidery Or As Prints In
Textile. Also It Is Found On Way Woven Textile Of The
Northern India.
Symbol Of Motif : Sun Tree Motif Represents
Reaching Upward And Growth.
SUN TREE MOTIF
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Peacock Motif :
The Peacock Was Painted On Indus Valley
Depicting Tribal Art; It Was Also Found In Mauryan Buddhist Sculpture,
Gupta-period Artifacts, Mughal Miniatures, And In Present – Day Wall
Painting And Textiles. Although It Is Hard To Say If It Had The Same
Symbolism In Every Age, The Peacock Was Found In The Arts Of Most
Post-indus Cultures, Indicating That It Remained A Potent Symbol. The
Peacock Is Now India’s National Bird.
Textiles : In All Types Of Indian Textiles Peacock Is Either Printed Or
Embroidered On Light Background With Dark Colour Combinations. It
Is Majorly Used In MOCHI Embroidery And Kutch Embroidery Of
Gujarat, Kancheevaram Silk Sraee Of Tamil Nadu, Paithani Saree Of
Maharashtra And Patola Saree Of Gujarat.
Names In Different Languages : It Is Called ‘Morbangadi;’ In
Maharashtra Language, ‘Mor’ In Hindi And ‘Nemail
In Tamil’
Symbol Of Motif : The Peacock Has Had Several Associations
That At First Glance Appear To Be Unrelated : Immortality, Love,
Courtship, Fertility, Regal Pomp, War And Protection.
PEACOCK MOTIF
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Hansa Motif :
The Motif Was Found In Indus Valley
Pottery And On The Wall Painting At Ajanta. In
Buddhist Illustrations, It Represented Spiritual Purity. It
Was Also Common In Indian Art Prior To Mughal
Times, But Afterwards, It Disappeared. Its Use In
Textiles Is Characterized By Its Highly Stylized Forms As
Depicted In Woven And Embroidered Textiles Of
Southern India.
Textiles : This Motif Is Found In Some Of The Tamil
Sarees And Ethnic Orissa Ikats.
Symbol Of Motif : As It Is Associated With
Goddess Sarawati. It Is A Symbol Of Divine Knowledge
And Creativity.
HANSA MOTIF
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Fish Motif :
The Fish Appears Early In The Archaeological Record,
And Is Painted Onto Early Indus Valley Pottery As Well As Carved
Into Mohenjo-daro Seals And Plaques In The Nature Indus Valley
Civilization. Yet Is Was Rarely Depicted In The Sculptures And
Architecture Of Later Historical Periods And Was Never A Vehicle
For Any Deity-nevertheless, Its Relationship With India Folk And
Tribal Art Remains Strong.
Textiles : It Is Often Depicted In Textiles Where Fish Form A Major
Part Of The Diet, As In Orissa, Or Where The Vaishnavism Is
Important. It Is Majorly Found In Kanthkari Of West Bengal.
Symbol Of Motif : Fish Are Potent Fertility Symbols
Throughout Tribal And Caste Hindu India, Indicating Abundance Of
Food, Wealth And Children, As Well As The Generation Powers Of
The Supernatural. The Fish Is Also An Avatar Of Lord Vishnu Who,
As The Preserver, Is Associated With Prosperity And Material
Comforts.
FISH MOTIF
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Parrot Motif :
Representations Of The Parrot Do Not
Have The Historical And Iconographic Depth Of Those Of
The Goose. It Has Not Depicted In Ancient, Classical Or
Even Medieval India Architecture. This Dearth Of
Historical Representation Suggests That It Is A Relatively
Recent Addition ToThe Traditional Indian Textile.
Textile : Motif Of Parrot Is Generally Found In Textiles
From West Bengal, Gujarat And Rajasthan Embroideries
And Resist Textiles.
Symbol Of Motif : Parrot Motif It Is A Symbol Of
Courtship And Passion Seen In Indian Art Mostly In
Company Of Krishna And Radha, Hinduism’s Eternal
Lovers.
PARROT MOTIF
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Elephant Motif :
Elephant motif it is widely used motif in
Indian textiles. Elephant is regarded as the mount of kings in
India, it is used in richly decorated from in their printed, painted
and embroidered textiles to depict war scenes and royal
extravaganza.
Textile : It is mostly used in Mochi embroidery of Gujarat, Ikat
of Andhra Pradesh and Patola of Gujarat.
Names In Different Languages : It is called ‘Vagh’ in Gujarati
and ‘Gajah/Hathi’ in hindi language’
Symbol Of Motif : Elephant came to symbolize the God of
Warriors. It is a sign of wealth and power and influence
denoting royalty, inner strength and nobility.
Elephant Motif
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Tortoise motif :
The tortoise is the second incarnation of Vishnu,
who was both the Cosmic Tortoise upon which the universe rests, and
the foundation of the churning stick with which Vishnu stirred the
Cosmic Ocean that created the universe. Tortoise are known to have
been part of the late, upper Paleolithic diet, and they were depicted
on Early Indus Valley pottery, suggests they were already a noticeable
part of local life. During the Gupta period, when Vaishnavism began
to take recognizable shape, tortoise amulets were made in the north-
West.
Textiles : Today, tortoise are traditionally woven in the
supplementary-warp bands of east Deccan sarees.
Symbol Of Motif : The tortoise has associations with prosperity
and the creation wealth.
TORTOISE MOTIF
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Hunting Scene Motif :
The Origins Of The Hunting-
scene Designs Are Obscure. It Is Easy To Assume That
These Textiles Were Inspired By The Elaborately Figured
Seventeenth-century. Safavid Lamps Textiles Whose
Designs Were Conceptually Similar Because They Also
Depict Hunts And War, But The Style Of Representation Is
Completely Different. The Hunting Scene Prints Excavated
At Al-ffustat Suggest That The Roots Of This Designs Are
Much Older.
Textiles : These Are Found In Gujarati Textiles.
Symbol Of Motif : It Has No Such Symbolism Except
The Passion Of Hunting.
HUNTING SCENE MOTIF
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The saree is a traditional garment worn by most Indian women. The
word saree described in Sanskrit ‘Sati’ which means ‘Strip of cloth’
and ‘Sadi’ in Pali, and which was corrupted to saree in modern
Indian language.
Although at present there is a lot of western influence in the way
people dress. Today, saree comprises over 30% of total textile mills,
the number of saree-manufacturing centers are in hundreds and so
there are innumerable types of fabrics, weaving techniques,
methods of dying, printing or embellishing , designing patterns,
kind of motifs, colour scheme etc. can be found.
There is something about the saree that makes a women look
dignified, charming and very bit stylish. Over the years, the saree
has evolved into a fashion statement which most fashion designers
glorify the look and feel of this traditional garment.
A saree consist of a drape varying from five to nine yards in length
and two to four feel in breadth, that is typically wrapped around
the waist, with one end draped over the various styles of saree
draping, the most common being the Navi style, which originated
in Andhra Pradesh.
The saree is usually worn over a petticoat, with a fitted upper
garment commonly called a blouse. The saree is associated with
grace and is widely regarded as a symbol of grace in cultures of the
Indian Subcontinent.
THE TRADITIONAL INDIAN SAREE AN INTRODUCTION
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In the history of Indian clothing of the saree is traced back to the Indus
Valley Civilisation, which flourished during 2800-1800 BC around the
north-western part of the Indian subcontinent. Cotton was first cultivated
and woven in Indian subcontinent around 5th millennium BC. Dyes used
during this period are still in use, particularly indigo, lace, red madder
and turmeric. Silk was woven around 2450 BC and 2000 BC. The earliest
known depiction of the saree in the Indian subcontinent is the statue of
an Indus Valley priest wearing a drape.
The saree evolved from a three-piece ensemble comprising the Antariya,
the lower garment, the Uttariya, a well worn over the shoulder or the
head, and the Stanapatta, a chest band. This ensemble is mentioned in
Sanskrit literature and Buddhist Pali literature during the 6th century B.C.
This complete three-piece dress was known as Poshak, genetic term for
costume. Antariya and Uttariya was merged to from a single garment
known as saree mentioned in Pali literature, which served the purpose of
two garments is one-piece.
The modern way of draping saree was invented by Gyanandanandni Devi.
She was the wife of Satyendranath Tagore, first Indian ICS officer and
elder brother of R. N. Tagore, first Asian to win Nobel. After becoming an
IAS officer, Sateyndranath Tagore and his wife needed to socialize house
did not want to adopt Western cloth totally, but then the prevalent way
of wearing one-piece saree was not very civil for that Victorian age. Till
then women used to stay inside their own home, so the one piece saree
was kind of adequate. To suit with the new age, Gyanadanandini Devi
started wearing with blouse, which gradually became the saree we know
today.
HISTORY OF INDIAN SAREE
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There are more than 80 recorded ways to wear a saree. The most common style is for the saree to be wrapped around the waist, with
the loose and of the drape to be worn over the shoulder, baring the midriff, the saree can be draped in several different styles, though
some styles do require a saree of a particular length of form. The French cultural anthropologist and saree researcher Chantal Boulanger
categorized drapes in the following families.
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Gujrati StyleNepali StyleMadisar StyleBrahmini Style Malayali Style

WAYS OF WEARING SARESS IN INDIA
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Nivi Style Bengali style Professionalstyle Tribal Style

TYPES OF SAREE WORN IN INDIA
While An International Image Of The Modern Style Saree May Have Been Popularized By Airline Stewardesses, Each Region In The Indian
Subcontinent Has Developed, Over The Centuries, Its Own Unique Saree Style. Following Are The Other Well-known Varieties, Distinct On
The Basic Of Fabric, Weaving Style Or Motif. .
Brocade Saree :
Originating In The Northern Region Of
The Country, These Indian Traditional Sires Are Made Of Silk And A
Heavy Mughal Influence To It And Is Quite A Popular For Wadding
And Occasions. The Trademark Of The Saree Is Its Intricate Floral
Pattern And Zari Work As Well As Foliate Motifs Such As The Kalga,
Phool And Bel Adorning The Whole Saree In Silver, Golden Or
Copper Thread Works. The Signature Design Of A Banarasi Brocade
Silk Saree Is The Jhalar That Is Nothing But An Intricate Fringe-like
Pattern That Is Often Found In The Outer Edge Of Borders Of The
Saree.
Jamawer Saree:-
More Popularly Know It Be A
Product Of Kashmir, Jamawer Is A Glorious Variant Of The Silk
Saree With An Array Of Skilful Designs And Colour On A
Parchment Of Pure Silk Or Pashmina. The Term ‘Jamawer’
Literally Means Robe And Yard, Witch Now Is A Very Popular
Variety Of Indian Traditional Sarees That You Can Invest In For A
Wedding. The Uniqueness Of The Saree Is That Many Of Its
Varieties Come With Matching Silk Shawls Attached Along Them
And Are Embellished In Meenakari Colour Like Orange And
Green And Have Beautiful Aksi Embroidery For The Borders.
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Lucknowi Chikankari Saree :
The Art Of Chikankari
Is Quite Popular In The Regions Of Uttar Pradesh. The Thread Work
With Fine Intricate Design Show Grace And Elegance. The Colour Of
Chikankari Sarees Are Often Very Subtle And In Pastel Shades Which
Can Never Go Out Of Style. The Light Texture And Soft Shade Of
Colours Makes It A Very Versatile Variety Of Indian Traditional Sarees
, Makes it A Very It A Very Versatile Variety Of Indian Traditional
Sarees, Fit For Any Occasions, Be It Casual Or Formal.
Tanchoi Saree :
Tanchoi Is Actually A Kind Of
Weaving Technique Which Colour Placed In The Weft That Are Often
Of The Same Shade And Done On Silk Fabric. The Richness Of The
Shades And The Softness Of The Material Make It A Really Popular
Silk Saree All Across India And Abroad Too. There Are Numerous
Varieties Of Tanchol Weave Which Includes Satin Tanchol, Satin Jari
Tanchoi, Atlas Or Gilt And Mushabbar. These Saree Are Quit Popular
For Formal Occasions Such As Weddings Ceremonies, And Festivities.
The Ideal Time To Wear A Tanchoi Saree Is During The Cooler Months
Of Autumn And Winter Because Of The Warmth Of The Fabric.
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Kinkhwab Saree :
Kinkhwab Brocade Sarees Were Very
Popular In The Mughal Era And They Were Considered One Of The Finest
And Luxurious Textile In That Era. Nowadays, This Pattern Is Widely Used
For Wedding Sarees With A Heavy Brocade And Intricate Embroidery
Inspired From The Islamic Heritage. The Pattern Of The Brocade Has
Wefts, Numerous Layers As Well As Warp Threads That Add To The Glory
Of The Elaborate Look Created By The Embroidery Design. Other Popular
Indian Traditional Sarees Of The Northern Region Of India Include The
Amru Brocades Tissue Sarees, Shikargarh Brocades Etc.
Kancheevaram Silk Saree :
Originating In The Town Of
Kanchipuram In Tamil Nadu, The Weavers Here Have A Tradition Of
More Then 150 Years Of Weaving These Beautiful South Indian Silk
Sires. This Variety Of Indian Traditional Sires Are Made Form Silk And
Get Their Name Form The Town Itself. The Unique Aspect Of The Saree
Is The Gold-dipped Thread That Is Woven Along With Premium Silk
Fabric For A Magnificent Finish.
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Mysore Silk Saree :
One Saree That Is Really Popular In India
Which Belongs To The Karnataka Region Is The Mysore Silk. It Is One Of
The Most Sought-after Sarees Of South India And It Has Every Reason To
Be So Popular. The Specialty Of These Saree Is That There Is A
Shimmering Quality In The Material That Reflects With Suitable Hints.
This Kind Of Silk Saree Has Gained Popularity For Its Bright And Vibrant
Colours, A Soft And Breathable Fabric, And Its Pure Sheen. It Is Popular
As A Wedding Saree.
Konrad Silk Saree :
Also Called As The Temple Saree,
Konrad South Indian Saree Is A Special Weave Form The State Of Tamil
Nadu. The Original Purpose For The Weaving Of There Saree Was To
Adorn The Deities Of The Temple, Which Gives The Saree Its Name And
Uniqueness. The Special Features Of This Saree Is That It Consists Of
Wide Borders And They Are Mostly Adorned With Designs Of
Elephants, Peacocks And Other Natural Things Like Flowers And Fems,
Spread Over The Length Of The Saree.
Print development

Bagru Block Printed Saree :
Bagru Is Known For
Natural Dye And Hand Block Printing. Bagru Is The Place Of Raiger
And Chhipa Community. Bagru Is Also Known For Natural Dyeing.
Indigo Dyeing And Wooden Hand Block Printing Over Textile Articles.
Artisans Use Traditional Vegetable Dyes For Printing The Cloth. Like,
The Color Blue Is Made From Indigo, Greens Out Of Indigo Mixed
With Pomegranate ,Red From Madder Root And Yellow From
Turmeric. Usually Bagru Prints Hove Ethnic Floral Patterns In Natural
Colour.
Kantha Stitch Saree :
The Pattern Of The Saree Is
Created Using Simple Run Stitch On A Silk Or Cotton Yard. The
Stitches Are Used To Create Intricate Pattern Allover These Indian
Traditional Saree, Especially On The Pallu And The Border Using
Colourfull Silk Threads..
Print development

Pochampally Saree :
The Name Of These Indian
Traditional Sarees Comes Form The Small Town Of Pochampally In
Hyderabad, Which Is The Origin For This Verity Of Silk Saree. The
Unique Pattern Of The Saree Comes Form The Symmetrical Size Of
The Weft And The Warp Of The Yarns That Are Then Resist Dyed
Which Gives You The Pre-fixed Design On The Silk Saree That Is Then
Interlaced To Get The Final Look. Woven In Silk And In Bright
Coloures, These Sarees Are Widely Produced In Andhra Pradesh,
Gujarat And Orissa Too.
Kerala Kasavu Saree :
The Kerala Kasavu Saree Is Made
With Super-fine Quality Of Cotton Fabric Which Is Usually In Shades
Of White With Golden Zari Border. They Come In Colour Such As Off-
white, Pure White And Pale Yellowish White Colour And Have A Very
Sober Appeal. The Whole Yard Of The Saree Is Free Of Any Zari Work,
Embroidery Or Print But It Is Kept Plain Only With A Six Inch Golden
Border Along With An Elaborate Pallu That Is Its Trade Mark Other
Popular Sarees Balarampuram Mundu Veshti Sarees Form Kerala
Madurai Silk Sarees, Chettinad Sarees, Coimbatore Cotton South
Indian Saree, And Many More.
Print development

Paithani Saree :
Named After A Small Village In Aurangabad In
Maharashtra This The Making Of This Saree Needs Enormous Skill And
Labour As The Expanse Of Material That Goes Into Its Weaving And
Creation Makes It Just Awesome. Through The Entire Like Parrots, Trees,
And Plants, Which Are Woven Along The Border And On The Pallu Of
The Saree. These India Traditional Saree Other Wise Know As Parthian
Saree Are Woven Using Pure Silk Threads And Given Vibrant Colour A
Long With A Touch Of Pure Gold, Making The Perfect For A Wedding.
Bandhani Saree :
It Is A Popular Saree Which Is Made Using
The Tie And Dye Concept. This Form Of Saree Weaving Is Carried Out
Mostly In The Parts Of Gujarat. The Sarees Have Small Sport Or Dots
That Are Created Using The Resist Dying Method Which Creates
Elaborate And Skillful Pattern With The Coloured And Uncolored Prt In
The Saree. They Are Further Adorned With Shells Or Cowries And Are
Quite Popular Across The Country And Abroad Too. The Lahariya Saree
Of Rajasthan Is Also Created Using The Same Concept.
Print developmentPrint development

Patola Saree :
One Of The Most Time-consuming And Elaborate
Sarees,patola Has A Charm Of Its Own. It Is Crated Using The Most
Complex Weave Techniques With Five Colour Design That Are Resist Dyed
Carefully Into Both Warp And Weft Threads Before Woven Into Beautiful
Pattern. The Variation In The Design Of The Patola Saree Range From
Geometrical Patterns To Floral Or Vegetable Patterns As Well As The
Elephant And The Maiden Motif.
Kota Doria Saree :
Also Known As Kota Saree These Sarees Are
Made In The Villages In Kota, Rajasthan. The Unique Thing About These
Saree Is That They Are Of A Transparent Texture, Woven Using Very Fine
Cotton Or Cotton-silk Weave. The Lightness Of The Texture And
Weightlessness Makes These Indian Traditional Saree Ideal For The
Summer Months. These Saree Have A Graph-like Pattern All Over The
Length And Are Lightly Embellished With Zari Work On The Borders.
Print development

Muga Silk Saree :
One Of The Most Durable And Highly
Reliable Silk Sarees Form Assam, Muga Silk Sarees Are Popular Across
The Globe For Their Natural Sheen And A Touch Of Golden Colour That
Is The Natural Shade Of The Raw Silk Fiber. The Fabric Is Not Dyed But
Embellished With Motif Is Black, Rad ,Green Or Bright Orange Colours
ToSet A Good Contrast Against The Golden Backdrop.
Taant Saree :
The word ‘taant’ literally translates to ‘made on
the loom’. It is considered to be the pride of Bengal handloom. Taant
sarees are made form cotton fabric and have a very crisp, smooth finish
and are light in weight. Available in a wide range of pattern and colours,
you can take your pick for the summers.
Print development

Baluchuri Saree :
The Baluchuri Sarees Are Woven
In The Town Of Baluchur In Murshidabad, West Bengal And Are
Known For Their Unique And Intricate Designs. The Borders Of
These Indian Traditional Sarees Serve As A Canvas Depicting The
Stories Form The Hindu Mythology, The Ramayana And The
Mahabharata, Which Makes It A Unique Creation.
Maheshwari Sarees :
The MOTIF OF MASHESWARI
SAREES HAVE BEEN DERIVED FORM THE TEMPLE CARVING OF THE
PLACE BUILT BY Rani Ahilyabal Holkar. Rani LIVED NEAR THE BANKS
OF Narmada. Maheshwari SAREE ARE WOVEN BY MEN AS WELL AS
WOMEN FOLKS. The WEAVING DONE IN INTRICATE WIT
GEOMETRIC DESIGN WITH NO MOTIF ON BODY OF THE SAREE.
Weaving IS DONE WITH FINE SILK WARP AND COTTON WEFT. Line
PALY A VITAL ROLE AS VERTICAL STRIPES, AND LARGE CHECKS ARE
WOVEN TO SHAPE UP THE PATTERN.
Print development

Sambalpuri Saree :
Sambalpuri Saree Is A Traditional
Hand-woven Ikat Or Saree. Where In The Warp And Weft Are Tie
And Dyed Before Weaving. It’s Produced In Bargard, Sambhalpur,
Balangir District, Baudh District Of Orissa. Smbalpuri Sarees Are
Known For Their Incorporation Of Traditional Motif Like Shank
(Shall), Chakra (Wheel), Phula (Flower) All Of Which Have Deep
Symbolism.
Chanderi Silk Saree :
Chanderi Silk Is Made By
Hand Weaving. It Is Considered As The Fabric Of Choice For
Sarees Produced For Royalty, As It Is Light-weight, Of Fine
Quality And Has Intricate Design Developed. It Is Produced In A
Town Called Chanderi Which Is Located In The State Of Madhya
Pradesh In India. The Colours Of Chanderi Silk Are Natural As
Well As The Ones That Can Be Developed Form Chemical
Processes. Chanderi Saree Are Very Light And Ideal For
Summers. The Beauty Of Fabric Lien In Its Feel, Simplicity And
The Bonders And Buttes. They Give A Sophisticated Look.
PRINT
DEVELOPMENT
Print development

EXERCISE ON
REPETATION
HAND
DRAFTING
Print development

EXERCICE ON REPETITION IN GEMETRICAL SHAPE
Print development

DESIGN CREATED USING DIFFERENT TYPES OF SHAPES 0N COREL
Print development

• Prepare a design for a vase with its height measuring 30cm. Width and outer shape of the vase are left to your choice. Prepare a
design based on the following units.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shapes may be used, if necessary.
DESIGN BY DIFFERENT TYPES OF SHPE
Print development
Cearted using

• Construct a semi –circle of 10 cm radius. Organize a design in it . With the use of following units:
1) Two unequal circles.
2) A square.
3) Two equilateral triangles of equal size.
4) Two rectangles.
5) Two or three straight line , if necessary
DESIGN BY DIFFERENT TYPES OF SHAPE
Print development

• Construct a square, 18cm as one of its side and organize the following units in it , to create a design
1) Three curved lines, each to touch two side of the square.
2) Three fish of different sizes.
3) Three unequal circle.
Print development

• Draw a triangle ABCD with its base measuring 14cm and its attitude 14cm. Draw a semicircle, with center D of the bested AB as its
center on the other side of the triangle. In the whole outer shape, thus obtained. Prepares a design for an ‘ear pendant’.
organize the following unit in your design.
1) Decorative from of leaves, flower, fruits, bird etc.
2) Use geometrical shape .
Print development

• Draw a semi circle of 24 cm diameter.
prepress a design for well decorative using the following motif.
1) Three curved line.
2) Three circle of different sizes.
3) Two triangle of different sizes.
4) Two different forms of fish.
Print development

• Draw an attractive shape for a hand-fan. The outer shape of the fan should not be less than 20cm in height or width excluding the
handle.
prepare the design, organizing in it the following unit.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shape any be used, if necessary.
Print development

• Draw a circle with its radius measuring 10 cm. draw another smaller circle of 4 cm radius in such a way that it would touch the
circumference of the larger circle.
keeping the smaller circle black. Prepare a design in the remaining space of the whole outer shape, be organizing in it the
following
unit:
1) Three square of different size.
2) Two unequal circle.
3) Five flower-form of different size
4) A bird-form ,if necessary.
Print development

• Construct a rectangle with two of its side measuring 24cm and 18 cm . Divide it into two unequal part with a straight or a curved
line.
prepare a design with the following units in the given rectangle:
1) Three kite-forms of different size.
2) Three circle of different size.
3) Any suitable shape you like.
Print development

• Hold the paper given to you in a vertical position and draw a line of 18cm in the middle of it and parallel to the shorter sides of the
paper.
using this line as a diagonal, prepare a regular Hexagon.
on the two side of the Hexagon, which are parallel to the diagonal, construct two rectangle of 2 cm in width, form outsides of the
hexagon.
Prepare a design only in the hexagon using the following element.
1) Two straight line joining the opposite angle of the hexagon.
2) Three circle of different size, with a little width to their circumferences.
3) A square with some width.
Print development

• Hold the paper given to you in a vertical position and draw a straight line of 18cm in the middle of it parallels to the shorter side of
the paper. Using this line as a diagonal contrast a ruler hexagon. On the two side of the hexagon, which are parallel to the diagonal
construct two rectangle of 2 cm in width form outside. Divide the hexagon in six equal triangle by joining its opposite angles. In one
of the triangles in the hexagon prepares a design with decorating motif of leaves, flower, and stem. The two rectangle which are
outside the hexagon in one colour and repeat the same colour. Below the design, write in light hand in pencil the purpose for which it
can be used.
DESIGN BY DIFFERENT TYPES OF SHOPE
Print development

• Hold the paper given to you in a vertical position and construct a rectangle of 18cm in width and 20 cm in height for a cotton bag
design .
Draw a suitable handle to it outside the rectangle .
Prepare a design in the above figure using the following units :
1) Two equal rectangle
2) Two unequal circles
3) Three triangle varying in sizes
4) Give some width to any one figure you like from A,B,C.
5) If you so think, straight or curved line may be used with some thickness to beautify the design.
Print development

• Draw circle with its radius measuring 10cm. Prepare a design in it organizing the following unit.
1) A Straight line dividing the circle in two unequal part.
2) Three curved line touching the circle.
3) Two circle of unequal size.
4) A square with one side measuring 4 cm.
Print development

• Draw a square ABCD with one of its sides measuring 15cm produce BC and DC to P and G respectively outside the square, so the CP
and CG are 5cm each in length. Join PG thus the figure would appear like a kite.
prepare a design in shape by organizing the following unit.
1) A circle of any radius.
2) Three decorative form of a bird.
3) Decorative form of leaves, if necessary.
Print development

PRINT DEVELOPMENT
BY HAND DRAFTING
Print development

SIMPLIFYING THE MOTIF
Print development

PATTERN IN A SHAPE
Print development

REGULAR REPETITION
Print development

BRICK REPETITION
Print development

HALF DROP REPETITION
Print development

SCATTERED REPETITION
Print development

STRIPES REPETITION
Print development

OVERLAPPING REPETITION
Print development

GROUPING REPETITION
Print development

PRINT DEVELOPMENT BY
COREL DRAW
Print development

MOTIF COLLAGE
Print development

5” 5”
5”
Simplify Stretching Slimming
Print development

SAREE DESIGN
Print development

Chikankari
Batik
Printing
Bagru
Printing
Dabbu
Printing
Sanganeri
Printing
Block
Printing
SWATCH BOARD
Print development

COLOUR BOARD
Colour Is One Of The Most Vital Tool In The Hands Of Designer. If Is The
Most Perceptible & Prominent Aspect Of Any Designer, Hence Is Central
ToThe Success Or Failure Of A Design Scheme.
It Is Very Important That A Designer Has The Full Knowledge &
Understanding Of This.
Colors Are The Most Important Element Of Any Design. When We Search
For Any Formal Design We Can Found The Neutrals, Earthy And The
Urban Colors.
Generally We Can See The Bright Colors Are Not Used In Formal Designs
But The Variation In The Colors Are Used, Ex-tints And Shades Of Any
Bright Colour. Here Are The Various Color Schemes Which Can Be Used
In Any Formal Saree’s Design:-
Related Color Scheme
• Achromatic Color Scheme
• Monochromatic Color Scheme
• Polychromatic Color Scheme
• Analogues Color Scheme
• Neutral Color Scheme
• Assented Neutral Color Scheme
Complementary Color Scheme
•Single Complementary Color Scheme
•Double Complementary Color Scheme
•Triad Complementary Color Scheme
•Split Complementary Color Scheme
•Clash Complementary Color Scheme
Print development

FABRIC BOARD
Murshidabad Silk Muga Silk Khadi Cottonkhadi Silk
Tussar Silk Poly Cotton Row Silk Taffeta Silk
Bhagalpuri Silk Cotton Silk Pat Silk Jamawer Woven
Print development

FABRIC SELECTED
Formal Wear Is The Dress Which A Person Wears For His Working Hours. And Every One
Wants A Outfit For His Working Hours Which Is Comfortable And Stylish Too. Fabric Is The
Primary Need Of Any Garment. Fabric Properties Are Most Important For Any Fabric Ex-
Wrinkle Resistance, Stain Resistance And Breathable Etc.
In A Formal Saree As Uniform Wearer Always Want Stiff Fabric Which Can Hold The Saree
Pleats In A Elegant Manner And Don’t Causes Static Charge With Body.
As A Fashion Designer : I Will Used These Fabrics For Design A Saree
As Uniform:-
SilkBlends
Tussar Silk
Khadi SilkCotton
Muga Silk
Pat Silk
MurshidabadSilk
Bhagalpuri Silk
Poly Cotton
Taffeta Silk
Jamawer Woven
Note :- Khadi Fabrics Are Highly Demanded Fabric In These Days By The Professional. In
The Year 2016 Air India Selected Khadi Silk Fabric For The Uniforms.
Print development

WIDTH=64”
LENGTH=80”
Print development

Thank you
Dezyne e’cole college
Dimpal chouhan
2nd Year Diploma In Fashion Design
NSQF Level 6 of NSDC
Print development

Dimple Chouhan ,Fashion Design ,Dezyne E'cole College

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