3. Traditional Crafts are innovations of yesterday. It reflect the
immense creativity of ordinary people and their quest for self-
expression and fulfillment.
The craftsmen derive their inspiration, innate wisdom and skills not
from books but from nature and their surroundings and from their
ancestors.
Evolution is necessary Just as human evolution, crafts also evolve
over time by mixing and churning influences and events. If we want
to keep it alive, then we have to modify it according to the new
generation needs, without loosing its own essence
4. BLOCK PRINTING
(Haldawani, Nanital)
Woodblock printing on textiles is the process
of printing patterns on textiles, usually
of linen, cotton or silk. It is the earliest,
simplest and slowest of all methods of textile
printing. Motifs are geomatrical, floral based
on lotus, rose, sunflower. Some traditional
motifs are also used - gulab booti, kamal ki
booti, imli booti, ambi booti etc.
Technique:
Stamping, Rubbing
Products:
• Dupatta-stoles
• towels
• turbans
• Sari
• Bedcovers
• handkerchief
• Curtains
• Cushion Covers
• Tablecloth
5. ZARI & EMBROIDRY
(Roorkee, Haridawar)
• Zardozi is a Persian word.(Zar in
Persian means gold and Dozi is
embroidery).
Done with metallic threads but originally
done with silver or gold threads or silver
coated with pure gold.
• The artisans of Uttarakhand use an
array of stitches that are used to
decorate the items.
This has ornamentation of tikris and
beads, which make them, look
attractive. This is done on a frame of
wooden beams.
Another type of embroidery pattern is
the jaali or net embroidery in geometric
or floral shapes and is done by pulling
the warp and weft threads and fixing
them with minute buttonhole stitches.
The desired motif is neatly embroidered
with different stitches
(Pakko, Kachho, Soof, Rabari, kharek etc)to
achieve desired motif.
6. AIPAN (Nanital)
AIPAN is a ritual painting drawn on the floor and walls
where religious ceremonies are to be performed. The
symbolic white patterns differ for each ceremony and
social occasion.
Traditionally, aipan on the threshold are freshly made
every morning. The ground is first prepared by smearing
it with a liquid mixture of clay,cowdung and straw.
When it dries, a coat of geru, red clay, is applied and
allowed to dry. The artist, a woman, swiftly draws out
the prescribed motif in rice paste using her ring finger,
anamika, and moving out from the centre. The rice
paste drips onto the ring finger from the other fingers.
The aipan is drawn freehand, from memory.
Products
• Floor paintings
• Painting on winnows
• Greeting cards
• Stickers
• Wall hangings
• Boxes
• Wall tiles
A ritual floor diagram.The deity will
be placed in the centre. The motif of
feet indicate that it is meant for
Goddess Lakshmi
8. CRAFT
BASED
PRODUCTS
Inspired from the Gushaini Craft utility products
were designed in order to promote the craft,
Keeping in the mind the target customers which
were mostly tourists who trekked to mountains
bags and bottle covers were designed. To give the
essence of Gushaini Craft its borders and fabrics
produced in the locality was used including other
resources like bamboo straws.
9.
10. The traditional
Zardozi
contemporization:
Intricacy is the area of exploration; It
has been done according to the kind of
wear.
Instead of basic red, green, blue fabrics-
transparent white fabric with neon
shaded threads are used so that it
expresses freshness, energy and
youthfulness in the process of
contemporization. Motifs are kept small,
simple and straightforward to suit the
new evolution of younger generation.
11. Surfaces have the use of metallic
sequences, zari and neon stitching
threads. They are embroidered on the
surface to contemporize the regular
Zardozi.
