Our very own Toystory

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Our very own Toystory

  1. 1. Ourvery own Toystory Chennapatna 0km Cluster Document Lifestyle and Accessories Demartment
  2. 2. Introduction Map Manufacturing Process Seasoning of wood Raw Materials used The Artisans Joinery Forms Surface Conclusion Contents
  3. 3. Introduction “Welcome to the city of toys”, read the blue banner on the Bangalore-Mysore highway as we entered the town of Channapatna, about 60km from Bangalore. Wooden rocking horses are displayed on either side of the highway, just outside shops that house a bewildering array of lacquer toys. Channapatna is a city located 60 km south-west of Bangalore, India on Bangalore-Mysore state highway. In the native language (Kannada), Channapatna is also called as “Gombegalaooru” meaning toys town in English. The city is famous for its wooden toys and lacquer ware. These toys are manufactured in traditional or advanced small scale industries. It is a crafts cluster of over 3000 traditional artisans engaged in the production of lacquer ware. These toys have geographical indication (GI) status under the World Trade Organization. This craft of making wooden toys is an ancient family tradition that has survived many generations. But, a dec- ade back, the entire industry suffered because of huge competition from the Chinese toy market to the extent that these toy designers had to shut shop and go elsewhere in search of their daily bread. Over the years, we’ve found regular reports on how the families no longer encourage the next generations to take up the craft owing to narrow profit margins and even narrower market. Hence there is a need to help preserve, nurture and grow their skills, in order to broaden their market. The main objective of our visit to the land of toys was to go deeper into the craft research done on Channapatna by our seniors a year ago, and come up with fresh ideas and deliver them to artisans. While our seniors compiled a detailed study on the craft, it was our turn to take the study a step ahead, by developing concepts and products keeping in mind the 3 major aspects of the craft which are – Forms, Joineries and Surface. 1
  4. 4. The Map Siddu Lodge Kunnir Kattte Kalanagar Daira Maya Organic Chennapatna East Police Station Anugraha Lodge Bangalore - Mysore Highway Chennapatna 2
  5. 5. Toysarerea dy to be sold Carvi ng and coloring of th etoysinthelathem achine Cuttingthe wood into desired shapes ProcuringtheAllemaraor the ivory wood Season ingofwood Manufacturing Process The Ivory wood which is used to make these dolls are light in weight are cut into planks, then finely grained, so that it is easy to work with. It is easy to cut, process and finish as the artisans can find the wood in abundance as the tree is widely present in the geographical area. Important feature of this toys are they have smooth finish and non-toxic vegetable colors are only used. In this way they are better than Chinese toys which use silicon and toxic colors. The methods they follow to prune ,season, and color the wood are unique to craftsman of Chanapatna and it depends on their skill and experience. In the past most artisans in Chanapatna used to make traditional Dasara toys. But as the prices of raw materials have gone up especially of lacquer most artisans have given up the traditional profession. 3
  6. 6. The basic steps followed in making The mallet is used to beat the work piece to the desired form. The piece is then cut in various parts using the mechanised saw machine. The work piece is turned on the lathe machine using tools to curve the surface. Cuts and incisions are made on the surface using chisels. Sandpaper is used to smoothen and file the surface for a sleek finish. This tool is used to measure the work piece with reference to the technical drawing of the design. The surface is smoothened for the process of colouring. The coloured lac sticks are used to impart the colours to the work piece. Different vegetable dyes are used manufacture various coloured lac sticks. The heat produced by friction melts the coloured lac stick on the surface. 4
  7. 7. Seasoning of wood How to know when the wood is ready How is it prone to termites? The wood is accquired from the agricultural lands by local distributors, they cut it to the required size, they cut it varying from 3 to 4 inch, and we don’t go beyond 3.5 inch, as there is a lot of rejection, and now itself its 40-45% from the procured raw material i.e wood, so almost 50% of the wood they obtain is wasted. After this the wood is cut and put to season, seasoning happens easily if the cross section of the wood is small and larger cross sections like 3-3.5” takes 6-8 months to season and you can take it for production only if the wood is completely seasoned and if it is not seasoned properly it might shrink or expand and there can be formation of fungus. Yes the termites do eat the wood, but to prevent it, the wood is to be kept in a place completely clean and dry, the powder produced during the making of toys is used to make incense sticks. You have moisture measuring meters, people here in channapatna are working with this wood from last 300 years and there experience is enough to judge the seasoning of wood, they can pick up a wood and tell whether the wood is 100% seasoned or 80% seasoned,the more heavier it is the more moisture it contains, and the more lighter it is the less moisture it contains. 5
  8. 8. Aale Mara Lac Screw Pine Leaf The wood is light in color, slightly towards off white, it is a soft wood. The wood has a fine grain and polishes to a bright finish. The wood doen’t require any chemical treatment before use and naturally resists most ailements. One of the drawbacks of this wood is that big objects cannot be made out of the wood as it cracks easily when used,for it is soft in nature. The powder gathered during production is further used to make incense sticks. Lac is a form of natural polish that gives finishing to the products. lac is scraped from the bark of the trees where the female lac bug, secretes it to form a tunnel-like tube as it traverses the branches of tree. Though these tunnels are sometimes referred to as "cocoons", they are not literally cocoons in the entomological sense.. The insects suck the sap of the tree and excrete "stick- lac" almost constantly. The least colouredlac is produced when the insects feed on the kursum tree, (Schleicheratrijuga). The leaves of the screw pine like any other palm tree has a bunch of long thick leaves and grows densely in branches, these leaves are used to spread the lac evenly with the presence of friction generated during turning, and it also helps in giving a glossy finish to the product. The screw pine leaves don’t need any kind of inspection. They just need to be dried off completely before they can be used. Dried off leaves have a brown color with hardly any trace of green. Raw Materials 6
  9. 9. The Makers, themselves 7
  10. 10. NAWAB KHAN SYED SIRAJ MUHALLA DAIRA BOOR NO. 575 AM BUILDING PH NO. 9241351775 INCOME RS 6000/MONTH NO EDUCATION 2 SONS- 3 YRS AND 5 YRS WIFE DOESNT, WANT TO CONTINUE HIS PROFESSION SENDS HIS SON TO THE SCHOOL DOESN’T WANT HIS CHILDEN TO COME IN THIS PROFESSION HAMID INDIRA COTTAGE H. NO. 275 DAIRA CHENNAPATNA PH. NO 9880427516 INCOME RS 5000/MONTH NO EDUCATION 3 DAUGHTER 1 SON- CIVIL ENGINEER WIFE WORKING SINCE 1981 DOESN’T WANT HIS CHILDREN TO CARRY ON WITH THIS PROFES- SION BECAUSE THERE IS NO PROFIT IN THIS BUSINESS NO BENIFIT FROM THE GOVERNMENT 8
  11. 11. 2 SONS- AND 1 DAUGHTER WIFE SENDS HIS SON TO THE SCHOOL DOESN’T WANT HIS CHILDEN TO COME IN THIS PROFESSION PARENTS, 4 BROTHERS, SPOUSE AND A 3 YEAR OLD SON. AMONGST THE 5 BROTHERS, 2 BROTHERS, JAFFER AND IRFAAN, WORK IN THE WORKSHOP. THE SON, SALEEM IS A 3 YEAR OLD BOY, WHO WILL START SCHOOLING NEXT YEAR Mr.Anish Kalanagar JAFFER 9341969473 KALANAGAR 9
  12. 12. PRIMARY SCHOOL IN CHANNAPATNA. LEARNT THE CRAFT AT THE AGE OF 16 FROM A CRAFTS CENTER. WORKING SINCE 11 YEARS. NOT MARRIED, BUT IN FUTURE, DOESN’T WANT HIS KIDS TO WORK IN THE SAME LINE AS THERE IS NO MARKET. 3 BROTHERS ONE HANDLES INTERNATIONAL ORDERS OF WOOD TURNING PRODUCTS, THE OTHER SPECIALIZES IN MAKING CURTAIN RINGS AND HE HANDLES PRODUCT ORNAMENTATION .THEY HAVE BEEN INTO THIS BUSINESS SINCE 30-40 YEARS, BUT DO NOT WANT THEIR KIDS TO JOIN THEM IN FUTURE. MR. PERVEZ 26 9738372151 AFSAR PASHA, #164, SATNUR ROAD CROSS, INDRA COTTAGE. BEHIND JANTA SHAMIL. MR. P. MD. ILYAS 27 BHARATH ARTS AND CRAFTS 080 27251663 #1549/2, NIZAMI CHOWK, CHANNAPATNA – 571501, RAMNAGARAM DISTRICT. 10
  13. 13. Other Lathe works in India 11
  14. 14. The things they make 12
  15. 15. Joinery
  16. 16. Group Objectives To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand the technicality of the chennapatna products which would maily include the in-depth study of joineries. Also find a solution of the weaknesses and problems of the artisans . Probably come out with some new lathing processes or tools or a different design on the same tool. 15
  17. 17. Group Research PROPERTIES OF WOOD Rough - until it is sanded smooth Hard Bendy (pliable) if in sticks or thin pieces Dry Light - compared to other building materials and it will float on water A weight - it is strong Water - it slowly absorbs liquids but wet wood attracts moulds which eventually destroy it Shaping and carving - it is an easy material to use for decorative work Insects - woodworm, deathwatch beetle and other insects bore into wood and, again, destroy it Electricity - it will not carry an electrical charge Hot or cold - wood is a good thermal insulator and will keep heat or cold in and out If heated - it produces heat and burns to ashes If allowed to dry out too quickly - it cracks If mashed up - it can be made into  paper HARD WOOD - Hardwood comes from broadleaved trees. These are the sort of typical native British trees like oak, ash and beech. Most of these trees are deciduous; they lose their leaves in the winter. There are about a hundred times as many hardwood species as softwoods. Hardwoods are generally far more resistant to decay than softwoods when used for exterior work. SOFT WOOD - Softwood comes mainly from ever- green, coniferous trees which keep their foliage all the year. These are trees like pine and fir trees that are typical of cooler parts of the world. In general softwood is easy to work and has a huge range of uses. It is the prime material for structural building , but is also found in furniture and other prod- ucts such as doors and windows. Softwood is also harvested for use in the production of paper. 16
  18. 18. MATERIALS CLOSER TO WOOD KINDS OF JOINTS IN CHENNAPATNA TOYS NYLON ROD Very good physical properties
Moisture has significant effect on properties
Very good heat resistance
Excellent chemical resistance
 Excellent wear resistance
Moderate to high price
Fair to easy processing METALS Can be turned in the similar way a wood is done Very good finish can be obtained WAX Animal wax Pant wax Petroleum derived wax Montan wax -It is very hard, reflecting the high concentration of saturated fatty acids and alcohols Polyethylene and related derivatives Note: we can increase the hardness by increasing the concentration of saturated fatty acids and alcohol 
  SMILEY TIKI TIKI RING O RING UMBRELLA TOP TIK TOK MAN YOYO TURTLE FAMILY WHISTLES CRITERIAS FOR MOVBLE JOINTS TYPES Insertion Interlock Fastened – Nuts, bolts, rivets Lap, butt, tee half, insertion, mitre Glued – Adhesives etc. Suspension – Thread, wire, springs 17
  19. 19. TURNED WOODEN PIECES ASYMMETRICAL FORMS ON LATHE 18
  20. 20. Ujjwal Anand Anurag Das C.P. Chitrupi Preeat Sethi Srishti Gupta Group 1
  21. 21. Ujjwal Anand Objectives To come out with a new style of the product as well as a new category which would be the result of all the permutations and combination, that would open new doors for the chennapatna artisans as well as increase the product range that the chennapatna has been producing uptill now. “ “ 20
  22. 22. Trend Forecast The birth of new machines is changing future design processes, leading us into a crafted industrial age. Right now, manufacture is in a state flux, oscilllating between the digital and anologue eras. This trend looks at this moment of transition and the design it is inspiring-open-source, unstable systems, improvised form, organic prototypes, and design by intuition. 21
  23. 23. The report by the planning commission for handicrafts also states few vital point which can act as major steps for the betterment of chennapatna and its artisans. Some of these are: * Diversification of the handicrafts : It has become the absolute necessity. The chennapatna prod- ucts need to enter the phase were they are used other than how they have been used till now. * Branding : Branding the chennapatna toys and other products can also work as a pivot in enhanc- ing the Chennapatna’s and its artisan’s conditions. *Brand association : The other important step can be, to associate the chennapatna work with that of the brands, It will not be an entire branding but there can be collaboration between a brand and chennapatna, where a finished product will have parts from both the brand and Chennapatna. eg. association of chaennapatna turned pieces with metalware of Artidinox. * Make handcrafted products available to the branded strata of the society : This will help Chenna- patna in getting a better price for its products. * Advertisement of the handcrafted product and possibly involve celebrities in the advertisement. Report of planning commission 22
  24. 24. At Chennapatna Working on the Lathe machine 23
  25. 25. Explorations 24
  26. 26. Preeat Sethi 25
  27. 27. Process followed First I explored the existing joineries and then developed a few. 26
  28. 28. Then I joinery selected one (rotating and pulling out) - technology developed. I also selected insertion as one of my joinery. I applied this technology and listed probable product range where this affordance can be used. Using this technogy I first selected bottle stoppers and later after developing other mocks up using same joinery I decided to make candle stands. “ “ Inspiration Board 27
  29. 29. Look / Client Board Trend Board 28
  30. 30. Using this technology I made candle stand and bottle stoppers. The concept behind the candle stand is that it is parts are interchangeable so the customer and change the color combination as they wish. Using insertion as a joinery I made a bowl that can be kept straight and tilted both, also bottle stoppers use the basic principle of insertion. Existing Designs Explorations 29
  31. 31. 30
  32. 32. Srishti Gupta Objectives •To develop new products applying traditional craft skills and techniques of the age old Channapatna craft. •Conceptual understanding of and sensitization towards the traditional craft, its ethnic values and its social norms from the perspective of us aspiring modern day designers. •Conceptual understanding of the craftsman’s perspective towards changes in traditional practices and their modernization. •Understanding the role of sustainable design in the constant evolution of crafts. •Conceptual understanding of innovation, within the given definitions of a particular craft. •Conceptual understanding of how an unorganised sector can produce consistent products. •Concept of high quality in an inconsistent work environment. 31
  33. 33. Our topic being joinery, the first step was to do a study on the different types of existing joineries and further researching on the various commonly used Channapatna joineries. On further study, I decided to focus on the linear motion i.e. back and forth movement through insertion and did explorations in wood. My concept was to create something that could easily be manufactured in Channapatna, domesticated by the artisans and packaged easily as well, to make it more economical. I brainstormed on the different areas where linear motion could be used and de- cided to work on tableware or work accessories from where I reached a conclusion of designing ‘Organisers’- which can be used in a chaotic work environment where my product can make tasks easier. I researched on the various organizers in the market and selected restaurants to position my product where my organiser can help restaurant staff communicate orders from the customer to the chefs more easily, thus reducing chaos. And, another product that can help billing and packaging counters to stock small products like stamps, staple pins etc. Process followed Design Brief Keywords: Raw, contemporary, natural To design a range of organisers for restaurant staff with raw, contemporary and natural feel using linear motion which will help reduce chaos and ensure easier task completion. 32
  34. 34. Mood and Ambience Board 33
  35. 35. On the basis of this Cluster programme and visit to Channapatna, I realised that this place and the artisans have a charm and beauty of their own. They burn midnight oils to produce these beautiful and vibrant toys and most of them are satisfied with the wages they earn. What I enjoyed the best about it was gaining knowl- edge of the material and the various finishes. It provided ample exposure to available sustainable materials and skills of the craft. The process of using this traditional craft to create fresh contemporary designs was interesting and it was a memorable experience to learn how to communicate with the artisans in this unorganized environment. “ “ 34
  36. 36. C.P. Chitrupi Objectives To create products for 2-4 year old children to help them enhance their fine motor skills. Also, to try and incorporate joineries in them. “ “ 35
  37. 37. In the course of our group explorations, I came up with the idea of creating toys for the improvement of children’s motor skills. The process I followed was so:- •Gap research of the Channapatna toy market was done. •The observation was that not all age groups of children were considered while designing the products. •Based on the range of motor sill development in children, an age group of 2-4 years was identified. •Boards showing the Channapatna toys available, toys available in the market to enhance the motor skills and Client board was made. •Form generation. •Forms converted to prototypes based on ergonomic chart of children. Design Process Products in the market 36
  38. 38. Chennapatna toys to develop motor skills Client Board 2-4 years 37
  39. 39. Explorations 38
  40. 40. Anurag Das Objectives Focus on making products primarily keeping immovable joints in mind while basing the product for readers. “ “ 39
  41. 41. Design Process Joinery Research Immovable joints Client: Readers Forms Protyping 40
  42. 42. Client Board The Client Board gives a glimse of the clients my products are going to serve. The clients include readers, who live and love reading to the core. 41
  43. 43. Theme Board Sustainable Space Conserving The Theme Board describes the theme my products reflect and are based on. 42
  44. 44. Explorations 43
  45. 45. The wooden nail act as a fastener fastning two pieces of wood and thus restricting movement once it goes through, thus creating an imomovable joint. Part A Part B The part here joins the two other parts with the help of a rope and slides in and out but does not come out thus forming an immovable joint Learning The 10 days spend in Chennapatna helped me experience the production and manufacturing process of these toys, it also familirised me with the working of the single sided lathe machine, its advantages and constraints. I learnt about laquering and its techniques. 44
  46. 46. Gaurav Kumar Ishani Annu Kumari Bajaj Firstly Joy Mary Dkhar Group 2
  47. 47. Annu Bajaj Objectives work upon sliding principle and join different surfaces.“ “ 46
  48. 48. Research 47
  49. 49. Inspiration Board Keywords : Minimal Interactive 48
  50. 50. Design Brief The Learning The product range : Table lamp Pen stand Container Ashtray Card holder Design minimal and interactive table top accecories for a work station for a woman. As whole I learnt about this art of channapatna though my research and interection with few artisians.my artisian gajendra helped me in understanding the posibilities of forms,colurs,textures and joinery.he taught me how to evaluate the pros and cons before the execution.for example the products having thin wall are brittle,coluring in the inner wall of long hollow products are not possible ,vertical colouring is not possible on lath,etc. 49
  51. 51. Gaurav Kumar Objectives Inspirations Props for a Jewellery Brand for it Visual Merchandising.“ “ •Magnet repulsion •Fan wind •Water motion •Moving product display •And exploration in wood material 50
  52. 52. Firstly Joy Mary Dkhar Objectives Make a range of jewellery using palm leaf as a joinery.“ “ 51
  53. 53. Research · A magnet is an object made of certain materials which create a magnetic field. Every magnet has at least one north pole and one south pole.  1-Adhesive magnet 2-Counter sunk magnet 3-Craft magnet 4-Office magnet 52
  54. 54. Springs : After all the research I came into conclusion by using palm leaf as a joinery because it is a natural material. Thickness is an important property, as it is directly proportional to the flexibility or stiffness of palm leaf and is a factor in determining the changes in objects in the course of aging or in preservation treatment 53
  55. 55. Inspiration Board Keywords : Summer Vibrant 54
  56. 56. Trend Board Learning Forecast-bio dynamic 2013-2014 Early morning sunshine, lush greenery and bright citrus shades provide the energy for this fresh take on resort and vacation styling. Leisurely activities, between shopping and the beach, are styled and collaged with a glossy pop art approach to odd still lives and a strong sense of composition. Forms are generate from this insipration board and creating new range of jewellery products. i came to know more about different Techniques and method of making products Through the lathe machine 55
  57. 57. Work upon joinery by different types of threads [like- nylon thread, macrome thread, elastic, binding wire] and beads [wooden beads from Channapatna, normal wooden beads]. Ishani Objectives “ “ 56
  58. 58. Research Combing knotting [strings, nylon thread, macramé, binding wire] with channapatna beads.  Macrame is a form of textile-making using knotting rather than weaving or knitting. A bead is a small, decorative object that is formed in a variety of shapes and sizes of a material such as glass, plastic, or wood, and that is pierced for threading  or stringing.  Binding Wire: A soft iron wire for holding together parts to be soldered. A knot is a method of fastening or securing linear material such as ropes or threads by tying or interweaving. Different knotting techniques used in jewellery making:- Macrame square knot Double half hitch Double overhand/blood knot Half hitch knot Lark's head knot Multiple overhand sliding knot Companies which are making such jewellery techniques are Ginger and Aayesha. 57
  59. 59. Key words- tribal, simple Product range: Necklaces, Ear-rings Forecast : CURATOR Sub-forecast : THE ICONIC LIFE Sophistication translated into bright yet elegant look combining strong colors/ primary brights. Design simple Jewellery inspired by tribal jewellery using the joineries and knotting. Design Brief 58
  60. 60. Inspiration Board 59
  61. 61. Explorations 60
  62. 62. Group 3 Vaishakh Murli Neo.S Shamal Ns
  63. 63. My explorations are based on the process by means of which wood can be treated by joinery process. My concepts are based on the rendered sketches,then I have worked on the lathe and explored my concepts. Vaishakh Murli Objectives Research “ “ Joinery is a part of woodworking that involves joining together pieces of wood, to produce more complex items. Some wood joints employ fasteners, bindings, or adhesives, while others use only wood elements. The characteristics of wooden joints - strength, flexibility, toughness,appearance, etc. - derive from the properties of the joining materials and from how they are used in the joints. Therefore, different joinery techniques are used to meet differing requirement. 62
  64. 64. Inspiration Board 63
  65. 65. Explorations Learning In this cluster, helped me to build up more innovations, and understanding design concept. .Our faculty she di- vided us in groups and she gave us the topics. After that I started my explorations. While working with the workers on lathe the techniques that was used really helped me to understand the beauty of wooden products which was done on lathe. The Lathe work is not an easy work it was very difficult. Its a nice experience for me.. 64
  66. 66. Neo.S Objectives Research My explorations are based on the process by means of which wood can be treated by joinery process. My concepts are based on the rendered sketches,then I have worked on the lathe and explored my concepts. “ “ Joinery is a part of woodworking that involves joining together pieces of wood, to produce more complex items. Some wood joints employ fasteners, bindings, or adhesives, while others use only wood elements. The characteristics of wooden joints - strength, flexibility, toughness,appearance, etc. - derive from the properties of the joining materials and from how they are used in the joints. Therefore, different joinery techniques are used to meet differing requirement. 65
  67. 67. Trend Board 66
  68. 68. Explorations Learning This module was interesting and has helped me to generate new ideas & innovations. Our faculty divided us into different groups ,and we decided our topics as forth. We took our topic as joineries, and explored a lot on joineries. Then i made inspiration board and after that I started generating forms and made 3d mock-ups of those forms by using clay. At last I converted those forms into products In channa patna. Artisans there used techniques which were very interesting and quick to learn. 67
  69. 69. Abhishek Kotiyal Saurabh Kumar Ujan Bhattacharya Nitish Kumar Singh Group 4
  70. 70. Using joineries to make Lighting products.. “ “ Objectives Nitish Kumar Singh 69
  71. 71. Client Board 70
  72. 72. Theme Board 71
  73. 73. Product Brief 72
  74. 74. Explorations 73
  75. 75. Using the ball and socket joint to make Lighting products.“ “ Objectives Saurabh Kumar 74
  76. 76. Theme Board 75
  77. 77. Explorations 76
  78. 78. Using Ball and socket joint and rivets in making Chennapatna products. “ “ Objectives Ujan Bhattacharya 77
  79. 79. Research Wood enhances sound quality of any audio device or musical instruments. In Channapatna wood is mostly given shape by turning it on lathe, therefore generally the products made are round in shape. The characteristic shape of Channapatna toys and the sound quality in wood gave me the idea of making headphones. I’ve kept the ergonomic factors about the cup sizes, headband sizes and the adjustibility in mind. The pieces should be comfortable and be able to give good output in sound. I have not taken any specific kind of aesthetic inspiration from anything apart from the characteristic forms and colours of this Persian style of woodcraft. Objective was to bring out the Channapatna look and feel in a set of headphones. Persian Woodcraft 78
  80. 80. Explorations 79
  81. 81. Using rivets in making Chennapatna products. “ “ Objectives Abhishek Kotiyal 80
  82. 82. Theme Board 81
  83. 83. Explorations 82
  84. 84. Forms
  85. 85. Group Objectives To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand the technicality of the chennapatna products which would maily include the in-depth study of forms. Also find a solution of the weaknesses and problems of the artisans . Probably come out with some new lathing processes or tools or a different design on the same tool. 84
  86. 86. Group Research Characteristics of Wrightia tinctoria: It is cheaper, and there is more because it grows more quickly, it is lighter. They are also easy to carve and can be used for detail work. They are lightweight and easy to work with. It is quite tacky sometimes, and not very strong, so it isn't good for furniture. Issues - Seasoned wood 4” thick or more is virtually unobtainable The reason is purely economic. It takes many years to fully air dry a 4” plank of wood or sev- eral expensive weeks in a kiln. The high wastage and the cost of the overheads are so high that most sawmills are reluctant to cut anything thicker than 2” for stock. Thicker timber is available but it is usually sold as “part seasoned” before it has a chance to dry fully. It is a sad fact that many sawmills, even reputable ones, will sell thick wood as “kiln dried” which is only dry on the outside skin. If you turn something out of it - say a bowl - you are asking for trouble. The stresses inside the timber are released when it is turned and it will soon warp or split. You might be lucky and find some timber which has been stored for years for some reason, but normally you can be sure that wood more than 3” thick will be only “part seasoned” and will not be suitable for turning immediately into a finished object. Properties important for lathing : I deal wood - Fairly straight grain, and few, tight, knots. Never turn a split piece of stock, or one with loose knots, these may separate during turning, and become projectiles traveling at a significant speed. Wrightia tinctoria 85
  87. 87. Woods similar to rhito tinctoria - Turning Branches Some of the prettiest turned objects are made from branches and small logs of Laburnum, yew or similar trees. These can be turned green or part seasoned. If they are well sealed after turning, perhaps with three or four coats of sand- ing sealer, they will be O.K. It is worth trying the following home grown timbers. . . Laburnum Yew Boxwood Oak Strawberry tree (garden shrub) Lilac Mulberry Hawthorn and Blackthorn Plum, Cherry, Apple etc Basic Profiles and Tools In woodturning there are only a handful of basic profiles a wood- turner would cut when turning spindles. These basic shapes include: •Fillet •Cove •V-Cut •Bead •Ogee •Swell •Hollow •Flat There are only four different types of tools one would need to cut these shapes: •the roughing gouge •spindle gouge •skew chisel •parting tool. Lathe Tools Turning tools are generally made from three different types of steel, carbon steel, high speed steel (HSS) and more recently powdered metal. Comparing the three types, high speed steel tools maintain their edge longer, requiring less frequent sharp- ening than carbon steel, but not as long as powdered metal tools. The harder the type of high speed steel used, the longer the edge will maintain sharpness. Powdered steel is even harder than HSS, but takes more effort to obtain an edge as sharp as HSS, just as HSS is harder to get as sharp as Carbon Steel. Unlike other edged woodworking tools, woodturning tools require more frequent sharpening, because the wood passes at a great speed. To maintain a clean cut, the sharpness of the tools edge must be maintained. The sharpening process requires either skill of the craftsman, or one of the many available sharpening jigs, which facilitate maintaining a specific bevel on the tool. High speed steel is not prone to blueing (overheating) whereas carbon steel blues easily, requiring frequent quenching to avoid losing temper (mak- ing the edge too soft.) Lathe tools are called knives or chisels, sometimes interchange- ably. They feature long, round, curved handles to afford a solid grip and sufficient lever- age to enable the turner to control the cutting edge accurately with minimal fatigue. Common wood chisels simply are too short and are ill-designed for this purpose. 86
  88. 88. Turning tools can be divided in four groups: •Gouges. These usually have specially shaped cutting edges for performing particular cuts, such as bowl gouges, with concave, curved cutting edges to form the smooth, curved surface of a bowl, or vee, or knurling gouges for cutting grooves or knurls in wooden spindles. form the smooth, curved surface of a bowl, or vee, or knurling gouges for cutting grooves or knurls in wooden spindles. •Scrapers. These are often flat or slightly curved chisels for re- moving wood from flat or cylindrical shapes, or for roughing out a shape. •Parting tools. These are thin, vee tipped tools for cutting off work pieces. •Spoon cutters have a spoon shaped cutting edge and are also often used for shaping bowls. •Other tools you may encounter are skew chisels, fluted gouges, spindle gouges, and nose chisels. Often used types of turning tools •roughing gouge - a wide fluted gouge used to initially round a wooden spindle, and to roughly shape it. Generally not intended for cutting end grain due to the large cut it takes and the rela- tively weak tang connecting the blade to the handle. Unsafe for making bowls or any faceplate work. •spindle gouge or detail gouge - a shallow fluted gouge used to create details on spindles, including beads (raised portions of the turning typically semi-circular in cross section) and coves (relieved portions of the turning). •bowl gouge - a deep fluted gouge used to turn the outside and inside of bowls and vessels. Often has a thicker shaft and longer handle than a spin- dle gouge because it has to cut farther away from the hand rest and deal with the forces of turning a large bowl. •skew chisel - a wide, steeply point chisel with the edge running at an angle to the length of the tool. Used to smooth flat spindles, cut beads, and add details. Skew chisels are only used on spindle work (never on faceplate work) and are honed after sharpening to create a razor edge. •parting tool - a pointed tool used to separate (part off) work from the lathe, and to create a straight edge separating large and small diameter sections - wide parting tools also called bedans are used to create evenly sized spindle sections. •hollowing tool - many different types of tools used to cut out the deep sections of steep bowls, vases and hollow vessels. Often with very long han- dles, to maintain enough leverage when working in a deep vessel, far away from the hand rest. •scraper - a tool that scrapes the wood fibres instead of cutting - these are used to smooth off wooden items cut with other tools, and to shape items that are not possible or difficult to shape with gouges. A sharp scrap- er has a burr at the edge which cuts the wood, only a dull scraper actually scrapes. •bowl saver - a tool used to core out the inside part of a bowl, allowing the waste piece to be used to create a smaller bowl, and to limit the amount of wood chips created when hollowing out a bowl. •auger – a drill bit used to drill a hole partway or all the way through a wooden item. For cutting the hole for a lamp cord, or as the first step when hollowing out a bowl or vessel •chatter tool - a flexible scraper used to add decorative chatter marks to turned items •wire - a simple wire, sometimes with handles attached at either side, for the purpose of burning lines into the piece with friction. there are also several tool types for special purposes, as well as tools that are a combination design of the above tools, i.e. skew/chisel combinations, thread cutting tools, ring cutting tools, medium fluted gouges, etc. 87
  89. 89. LATHE OPERATIONS The engine lathe is an accurate and versatile machine on which many operations can be performed. These operations are: 1. Plain Turning and Step Turning 2. Facing 3. Parting 4. Drilling 5. Reaming 6. Boring 7. Knurling 8. Grooving 9. Threading 10. Forming Pyrography Pyrography or pyrogravure is the art of decorating wood or other materials with burn marks resulting from the controlled application of a heated object such as a poker. It is also known as pokerwork or wood burning. Pyrography is also popular among gourd crafters and artists, where designs are burned onto the exterior of a dried hard-shell gourd, usually with dramatic results. wood carving Wood Carving Wood carving is a form of working wood by means of a cutting tool (knife) in one hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object. The phrase may also refer to the finished product, from individual sculptures, to hand-worked mouldings Pyrography Some of the finest extant examples of early European wood carving are from the Middle Ages in Germany, Russia, Italy and France, where the typical themes of that era were Christian iconography. In England many complete examples remain from the 16th and 17th century, where oak was the pre- ferred medium in this case. Methods and styles •Chip carving •Relief carving •Scandinavian flat-plane •Caricature carving •Lovespoon •Treen •Whittling 88
  90. 90. Priyanka Gangwal Mehul Sharma Mansha Chawla Ninon Kersbergen Group 1
  91. 91. Mehul Sharma 89
  92. 92. Client Board 90
  93. 93. Mood Board 91
  94. 94. Explorations 92
  95. 95. Priyanka Gangwal 93
  96. 96. Theme Board Baroque 94
  97. 97. Mood Board Design Brief To design an elaborate collection of lifestyle accessories, like jewelry for women falling in the age group of 20-25, who like experimenting with bold forms, using wood turning, taking inspiration from baroque period, making the collection look elaborate through forms or designs of products, as wood turned jewelry are generally too simple by nature. 95
  98. 98. Explorations 96
  99. 99. Mansha Chawla 97
  100. 100. Explorations Cutlery inspired from Greek Architecture and style of simplicity 98
  101. 101. Surface
  102. 102. Group Objectives To study and analyze all the strenghts and weaknesses of the chennapatna products , to understand the technicality of the chennapatna products which would maily include the in-depth study of surface techniques. Also find a solution of the weaknesses and problems of the artisans . Probably come out with some new lathing processes and finishing techniques. 100
  103. 103. Group Research Channapatna. which is also commonly known as the “Toy Town” of India, is a small city located 80 km south-west of Bangalore, on the Bangalore-Mysore state highway. It has a legacy of toys which is more than 200 years old. Centuries ago Tipu Sultan invited artisans from Persia to train the locals of Channapatna. They started by carving toys out of ivory initially then switched to rubber, cedar, and teak. The art has gone global in the recent years and there has been a great demand of toys from the UK and The US. Rocking horses, jumping clowns and the clapping monkeys have recently become one of the favourites amongst the children in India and abroad. Tools Machinery and Color Channapatna still uses traditional machinery and tools in terms of production equipments. These are as follows:- 1. The artisans have the overhead belt drivers that are driven by a small motor and one end of the belt drive converts the vertical rotatory motion into horizontal rotatory motion. 2. The artisans use various measuring equipments such as a com- pass, angles, planes and a wide variety of other instruments to achieve various shapes. 3. For chipping they use a number of files and chisels of different shapes and sizes. 4. Coloring is done using vegetable dyes while the wooden block is still rotating on the lathe. Apart from the mechanized or hand machines they use a number of other tools to manipulate the surface of the toys, such as a drilling machine is used to drill holes in certain toys, a chisel is used to develop grooves and create curves on the surface. • Process of Lacquering Vegetable dyes are used in the colouring process to ensure that the toys and dolls are safe for use by children. • Manufacturing Process - Channapatna Toys LAC Lac is the scarlet resinous secretion of a number of species of insects. Shellac is a resin secreted by the female lac bug, on trees in the forests of India and Thailand. It is processed and sold as dry flakes (pictured at right), which are dissolved in ethyl alcohol to make liquid shellac, which is used as a brush-on colorant, food glaze and wood finish. Shellac was once used in electrical applications as it possesses good insulation qualities and it seals out moisture. 101
  104. 104. WHAT IS LACQUER? Lacquer is a somewhat imprecise term for a clear or colored wood finish that dries by solvent evaporation. It is also often a curing process as well that produces a hard, durable finish. This finish can be of any sheen level from ultra matte to high gloss, and it can be further polished as required. In terms of modern products, lac-based finishes are referred to as shellac, while lacquer refers to other polymers dissolved in volatile organic compounds (VOCs), such as nitrocellulose, and later acrylic compounds dissolved in lacquer thinner, a mixture of several solvents typically containing butyl acetate and xylene or toluene. While both lacquer and shellac are traditional finishes, lacquer is more durable than shellac. SHELLAC Shellac is scraped from the bark of the trees where the female lac bug, secretes it to form a tunnel-like tube as it traverses the branches of tree. The insects suck the sap of the tree and excrete “stick-lac” almost constantly. The least colored shellac is produced when the insects feed on the kursum tree. It takes about 100,000 lac bugs to make 500 grams of shellac flake. The raw shellac, which contains bark shavings and lac bugs removed during scraping, is placed in canvas tubes (much like long socks) and heated over a fire. This causes the shellac to liquefy, and it seeps out of the canvas, leaving the bark and bugs behind. The thick, sticky shellac is then dried into a flat sheet and broken into flakes, or dried into “buttons” (pucks/cakes), then bagged and sold. The end-user then crushes it into a fine powder and mixes it with ethyl alcohol prior to use, to dissolve the flakes and make liquid shellac. Lac cultivation and extraction For cultivating lac, two types of host trees are used, perennial trees and annual bushes. They are infested with lac insects and left undisturbed. Thousands of lac insects colonize branches of the trees and secrete the resinous pigment. After five to six months lac-bearing branches are cut, and broods are tied to new host trees. The harvested trees are left for one to two years so that they grow new branches. For cultivating lac, two types of host trees are used, perennial trees and annual bushes. They are infested with lac insects and left undisturbed. Thousands of lac insects colonize branches of the trees and secrete the resinous pigment. After five to six months lac-bearing branches are cut, and broods are tied to new host trees. The harvested trees are left for one to two years so that they grow new branches. Kerria lacca is a species of scale insect of the family Kerriidae. It is most well known for secreting lac, a scarlet substance that is used for dyeing wool and silk, as a cosmetic, and as a medicinal drug. Kerria lacca insects inhabit trees in colonies of thousands and secrete the resinous substance. Kerria lacca excretions can be processed to produce shellac. Kerria Lacca or the Lac bug 102
  105. 105. Vikas Prabhakar Janhavi Wadekar Deepshikha Simran Bahmania Sneha M.S Group 1
  106. 106. Possible Joinery Techniques between Chennapatna laquering techniques and Terecotta “ “ Objectives Janhavi Wadekar 104
  107. 107. Research RESEARCH ON TERRACOTA Terra cotta is one of the oldest building materials and sculpting media. The term simply means “baked earth” in Latin. Used in ancient times to make pipes, cooking pots, bricks, cornices and architectural ornaments, its principal use today is in the sculp- ture and tile that bear its unmistakable orange color and porous texture. In archaeology and art history, “terracotta” is often used of objects not made on a potter’s wheel, such as figurines, where objects made on the wheel from the same material, possibly even by the same person, are called pottery; the choice of term depending on the type of object rather than the material. PROCESS- Mix clay. Terra cotta--as opposed to earthenware, which is mostly soil--is simply a mixture of fine-grained clays made of primarily silica, alumina, and other alkaline material such as lime. Ready powdered mixes can be purchased that, when mixed with water, yield malleable clay. Recycled clay that hasn’t been fired is called “grog” and can be used like new terra cotta. Wet or partially dried terra cotta can be molded by hand, on a pottery wheel or using a cast. Apply glaze (optional). Unlike some forms of pottery, terra cotta is not glazed after it has been fired. Therefore, if the finish product is going to be waterproofed, a glaze containing variable proportions of water and metallic oxides can be sprayed on the piece to produce either a matte, satin or gloss finish. Powders in the gloss can also be added to modify the color of the finished product Dry and fire. After allowing the terra cotta mix to dry and harden somewhat, it is fired in a pottery kiln at a temperature of 1,080 degrees Celsius, which is hotter than a bisque firing. Firing can take from as little as 3 to as many 20 hours depending on the moisture of the clay and the thickness of the design. Use tongs to handle or remove hot clay from the kiln. Terracotta Horse 105
  108. 108. Exploration LearningPOSSIBLE JOINERY BETWEEN WOOD AND TERRACOTA- Tongue and groove joint Halved joint MORTISE AND TENON JOINT- A stub (the tenon) will fit tightly into a hole cut for it (the mortise). INSERTION USE OF ADHESIVE Combination of wood and terracotta- Terracotta and Channapatna products have similarity in terms of shape and hence, it was interesting to merge these two crafts to- gether. Terracotta is eco friendly and has not been previously used with Channapatna products. Combination of wood and thread- Surface ornamentation using thread wound on wood surface. This can be done both manually as well as on running lathe. This gives a soft as well as hard texture on one product. The traditional Channapatna products basically small in size and basic color s are used. However, minimal use of colors will suit the modern contemporary taste. It may involve use of single color or use of wax to preserve the natural look of wood yet giving it a finish. We experimented with the size and choose to try something different by shifting from small scale products. Making of bigger products is a little risky because there are chances of wood cracking. The major problem faced that everyone faced was shortage of large sized wood logs. Traditionally, small sized logs are used by every artisan and very few of them had bigger wood logs. Working on lathe is very easy and interesting but you have to follow some safety measures. While working on lathe, the forms you can make are very limited but you can experiment with the color and texture. Of all the processes involved in making Channapatna products, the most difficult one is filling color and giving surface finish using palm leaf. This task requires patience and experience. 106
  109. 109. Explore the various surface finishing and polishing techniques and come up with somthing different and equally useful“ “ Objectives Deepshikha 107
  110. 110. Research Dyes :- •Shades can be done in wood •Sinthic colour used •Need too be cheap in market •Collected the colour from nature •Dye colour can be use on wood •Dye printing can happen but no durabilty •Dye can get mix with lacquer Types of texture we try :- 1.Saw dust 2.Thread 3.Punching/ dumping 4.Fevicol 5.Carving 6.Embossed Come with alternatives of fevicol :- •Plastic •Acrylic •Resin (Transparent, Parmanent, Flexible). It was made by using fevicol on wood and spreading poster colours on it which gave the above outcome. Different shades of poster colour were blown on a piece of wood and merged together to get secondary and tertiary colours. It was made by using fevicol on wood and letting it to dry thus attaining a three dimentional textured look. Explorations 108
  111. 111. Colour blocking technique has been applied. Wood was dipped into the red pster colour and then it was wrapped on the piece of wood and then it was removed. Exploration with wood and resin Exploration with colorbeads 109
  112. 112. Incorporating Dimpling technique in Chennapatna products especially in the jewellery sector. “ “ Objectives Simran Bahmahnia 110
  113. 113. Research Dimpling : Using various size countersink bits.This is a simple technique but when using different depth,diameters and randomly spaced dim- ples this can turn out to be very attractive. To enhance this even more colouring can be applied. Carving: This can be carried out using various tools and using them on different angles. Proxxon mini arbortech is a tool which is a very quick way to remove material in a ran- dom way without too much accuracy Pyrography: Most pyrography toolsdo similar jobs but tobe really effective, theyneed to be of fairly highpower to produce fineburnt lines. Most typescan also be used with homemade tips ofvarious shapes to create different decorations. Piercing: Piercing does not need to be carried out using the expensive dentist type drills and other very high speed machines. The mainrequirement though to make it quick and fairly easy is to use a relatively soft wood. 111
  114. 114. Explorations Punch tool has been used with different diameters ans has been punched on a wood piece by different angles at random places. Punch tool was used to punch on the wooden piece using hammer and then stone fitting was done. Wood piece has been burnt using candle by differ- ent angles so as to get this texture. Different tools has been used and punched by hammer and material has been removed from wooden piece to get such texture. 112
  115. 115. I carried forward the idea of dimpling and stone setting.i thought of bringing a change in Textures of channapatna. Area of Textures has never been explored much in chanapatna. Dimpling and removing material with tools is an easy technique which can be used by artisans and its not that time consuming so, it becomes easy for them to pro- duce more number of pieces in less time. Looking at the earlier products of channapatna i personally found that jewelry section wasn’t explored that widely. I thought of incorporating these techniques in beads. 113
  116. 116. Incorporating the technique of blending of colors in laquer and using it to make containers. “ “ Objectives Sneha MS 114
  117. 117. Research Tools Machinery and Color Channapatna still uses traditional machinery and tools in terms of production equipments. These are as follows:- 1. The artisans have the overhead belt drivers that are driven by a small motor and one end of the belt drive converts the vertical rotatory motion into horizontal rotatory motion. 2. The artisans use various measuring equipments such as a compass, angles, planes and a wide variety of other instruments to achieve various shapes. 3. For chipping they use a number of files and chis- els of different shapes and sizes. 4. Coloring is done using vegetable dyes while the wooden block is still rotating on the lathe. Apart from the mechanized or hand machines they use a number of other tools to manipulate the surface of the toys, such as a drilling machine is used to drill holes in certain toys, a chisel is used to develop grooves and create curves on the sur- face. • Process of Lacquering Vegetable dyes are used in the colouring process to ensure that the toys and dolls are safe for use by children. Products The products created in Channapatna are absolutely eco friendly and non hazard- ous items and particularly are safe for children. The toys are without any sharp edges and non toxic , thus rendering them safe for children. These products are made using soft wood and vegetable dyes. Vividly coloured and finely finished these products attract a large number of tourists from India and abroad. 115
  118. 118. Try to work with a combination of ink and laqcuer to create new surface finishes. “ “ Objectives Vikas Prabhakar 116
  119. 119. Research Explorations I basically did my entire cluster on surface finishing and ornamentations.In channapatna they use the vegetable lac for finishing but during my cluster, I tried to explore the lac with ink so that I could get new finishes. I tried to get the data aboutvarious types of inks the market today, and which types of ink we can use. The types of inks that I found were: Hybrid system ink : this ink required no heat to cure it . Soy based ink : unlike petroleum based ink, it was vivid in color. Flink ink : based in Detroit is a vegetable based line of ink, made up of 40% of blend soybean and corn oil,allows fast set drying Sun chemical :lined of vegetable Gun ink & supply derived from soyabean oil Apparel water based ink : used on clothing for soft print Eco solvent ink : it comes in a wide range of colors Pen with laquer Ink with laquer Use pen ink and lac without sanding the surface 117
  120. 120. Paint color + ink with pen +lac Explore lac Blue ink with lac without using sand paper Gradient by exploring lac single color green 118
  121. 121. Group 2 Rohan Kumar Singh Aparna Gupta Monika Rai Swati Basanwal
  122. 122. Using the technique Ukibori to give a new form of texture to Chennapatna products.“ “ Objectives Aparna Gupta 120
  123. 123. Coloring is done using vegetable dyes while the wooden block is still rotating on the lathe. The vegetable dyes are used to impart eye catching and bright colours to the toys to make them attractive for the buyers and visitors who visit the village. Moreover there is a wide range of files of different shapes and sizes used to further manipulate the surface by creating other innovative designs on the toys. Ukibori Step 1 is to impress the lines. This can be done with knitting needles of a couple of thicknesses. Step 2 is to sand the surface down to the level of the lines. Step 3 is to wet the surface. Pouring on near-boiling water here and the lines just popped out pretty much immediately Research 121
  124. 124. Exploration Trend Board Forecast My exploration on wood. Ukibori Modern Myth The Modern Myth consumer tribe Fable Seekers consists of people re- evaluating folklore and tradition, mixing religions and finding new paths to spirituality. They are dreamers who are penning their own histories and tapping into forgotten tales, ancient foods and alternative communities. Modern Myth looks at how consumers around the world are tapping into traditional folklore and stories in order to make sense of contemporary culture. This trend also highlights the hybrid mindset that is becom- ing more commonplace, with blurred interpretations of east and west -through culture, history and tradition 122
  125. 125. Inspiration Board 123
  126. 126. Brand Board 124
  127. 127. Explorations in Chennapatna Learning Refined Work My learning through the course- This course taught me a very important aspect of design and product in terms of market. Being in a design school one should know which material will be more cost effec- tive and functionally useful. This module also made me understand the need of making technical drawings, how to communicate the design, and how to get it made. This module helped me in understanding the various steps involved in a making a mock up and how important each step is. I understood each and every step however small it may be is very crucial in design process prototyping. 125
  128. 128. Incorporating the inlay technique in Chennapatna produts to give them a textured finish.“ “ Objectives Monika Rai 126
  129. 129. Inlay technique – It is a decorative technique of inserting pieces of contrasting, often colored materials into depressions in a base object to form patterns or pictures. Resin crystal used for better inlay And I explored that lines used by artisian on Channapatna toys is so simple and uniform and it is done on small area of product , so I tried to play with these simple lines to create new and interesting textures Research Explorations Metal wire inlay Textures produced using fevicol and resin. 127
  130. 130. Inlay with Resin Learning The whole cluster programme brought me closer to the artisans and their everyday life and how these Chennapatna toys were made from scratch. I learnt about how the lathe machine works in producing the forms. 128
  131. 131. Exploring the existing textures and coming up with new texture using various surface techniques.“ “ Objectives Rohan Kumar Singh 129
  132. 132. Explorations 130
  133. 133. Other Techniques Learning Fevicol :- while rotating the device on lathe apply different layers of fevicol. After drying it gives a dry tactile texture. Sanding machine:- give textures by sanding machine or sand paper. Waxing – wax gives a natural glossy finish to the product. The entire visit of cluster was interesting and i learnt lots of things and techniques. It was interesting to see how things work there. From nothing they creates many interesting products. I learnt how to handle lathe and how to work on it. Giving colors n textures is also a very interesting part of learning. 131
  134. 134. Exploring the existing textures and coming up with new texture using various surface techniques.“ Objectives Swati Basanwal “ 132
  135. 135. Mood Board I got inspired from the Natural texture and Raw forms which gives peaceful feeling. Living in urban area yet to rememorize the good old days of simple life. There is only shades of black and white.Nothing more can be natural than the sunrise and sunset which gives feeling of calmness in life. 133
  136. 136. Client Board My client boards depicts the urban business people who wants to connect to the peaceful world from their busy and hectic life. 134
  137. 137. Explorations After i explored different types of texture.For example 1.using Fevicol and paper 2.hammering the wood 3. sand 4. differnt fabrics, leather 5. soldering on the wood i decided to use leather. Soft wood and black leather gives classic feeling all together. On softwood with clear wax i pasted black leather giving it a simple and earthy feeling. 135
  138. 138. Conclusion This visit to Channapatna and conversations with people living there and artisans working has truly been an eye opening experience. It has taught us much more than what we had initially expected. It’s a misnomer to say that Channapatna craft is dying. Yes, resources are shrinking and skilled artisans do not know how to market their craft. But it is the responsibility of us as future designers to step up and show how the crafts can be used to fulfill the demands of the contemporary market and come up with products that are useful, well-designed and marketable. It took some time to understand the craft. We could see many skilled artisans, but they were not doing much beyond the typical napkin rings and such products demanded by the export houses. And the traditional lacquering technique had almost died out. The beauty of Channapatna lacquer work is in the tonal gradation of the color and the export houses would have none of it. They wanted monotones and prompted the artisans to fall back on syn- thetic dyes. We realized that there is a need for cutting out the middle men, providing the designs and concepts and get the artisans to work from their own units, working with the traditional methods to pro- duce edgy, contemporary objects. People’s lifestyle and aspirations have changed dramatically. They want new things every six months and as designers we will have to ensure that they get those. That’s the only way for crafts to survive. And instead of individual products, it helps to work on entire concepts. Say, the living room. Instead of offering just a candle-holder which may or may not go with the overall décor of a home, why not help create a look for the entire room with lights, vases, fittings and the whole works, To keep the craft forms going, as design school graduates we have to step up and play a role. We gave in our best to contribute something to the growth and marketability of the artisans as one can’t sell the tragedy of the craftsmen and retail their products in isolated fairs and forums. Each one of us worked on specific aspects of the craft, and devel- oped product concepts in the hope of seeing the final product out in the market some day. Thus, the cluster has taught us a lot, there’s much more to one-sided lathe works, coloring using lacquer, tools used by artisans, their lifestyle and about Channaptna craft on the whole. What we tried doing and need to do in future is show them how to survive in the market, show them how to innovate and thrive. 136
  139. 139. Bibliography References to websites visited for research data : 1. www.dsource.in 2. www.article.wn.com 3. www.wikipedia.com Primary data was attained by talking to the artisans and local inhabitants and surveing the existing market,etc.
  140. 140. The End

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