Dezyne E'cole College. www.dezyneecole.com

1. Divya Vijayvargiya
2nd year Fashion Design Diploma
NSQF Level 6 of NSDC

2. Project Report
on
Print Development
At
Dezyne E’cole college
Submitted to
Dezyne E’cole college
Towards
The Partial Fulfillment of the
2nd year Diploma in Fashion Design
By
Divya Vijayvargiya
Dezyne E’cole college
106/10,civil line ,Ajmer
2017-18

3. I am Divya Vijayvargiya student of Fashion department of 2nd year diploma Fashion design 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 helped me to coordinate my project
I also thanks Dezyne E’ Cole college who provided insight and expertise that great assisted the project. Also A
special thanks to my teachers parents and colleagues who came support me at every step not to forget, the
almighty who blessed me with good heath because of which I worked more efficiently and better.
Acknowledgement

4. This project of Ms. Divya Vijayvargiya Student of 2nd Year Diploma Fashion Design conforming to NSQF Level 6,
of NSDC has been checked and graded as
Grade Sheet

5. Contents
Traditional Indian Motifs
Traditinal Indian Saree
Ways of Wearing Saree In India
Types of Sarees Worn in India
Exercise on Repeats
Design Created Using Different Shapes
Print Development Through Corel
Saree Design
Various Printing Methods
Swatch Board
Saree Selected

6. TRADITIONAL INDIANMOTIF
Traditional motifs can be described as the motifs
which are being used in Indian textile since ancient
times 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
of 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 bringing
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 explained in the following slides:

7. The Lotus is among the most popular motifs in Indian art. There
are various forms of lotus motifs like astadal padma- eight
pettalled to the satadal – hundred pettalled. It is 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 spritual aspect is emphasized particularly
in Indian sarees and furnishings. The colours used are always
bright to depict the richness of the lotus.
Textiles : In kantha embroidery the central motif is almost always
a fully bloomed lotus seen from above. Other textiles,
Chinkankari, Phulkari, Chamba Rumal, Kashidakari, Kutch
Embroidary, Ajrakh Prints, Sanganeri Prints, Ikat and Patola.
Name 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 and
closing of the petals. Is is also the symbol of recreating power of
life.
Lotus Motif

8. The Assamese sun-tree motif is now such an
archetypal pattern of the north-eastern region
that many Assamese textiles are recognized as
such just on the basis of 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
roof-like top to the tree, and its sides are often
straight.
Textiles : It is used as embroidery or as prints
in textiles. Also it is found on may woven
textiles of the Northern India.
Symbol Of Motif: Sun tree motif represents
reaching upward and growth.
Sun Tree Motif

9. 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 of the mature 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 Kanthakari
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
generative powers of the supernatural. The fish is also an
avtaar of Lord Vishnu who, as the Preserver, is associated
with prosperity and material comforts
Fish Motif

10. Tree of life motif is a many branched tress 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-industrial India with
food, medicines, timber and even cloth. Many of
the rural rituals still being practised 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

11. 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 wrap.
Textiles: Temple motif is found in 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 In 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..
Temple Motif

12. Elephant Motif it is widely used motif in Indian
textiles. Elephants are regarded as the mount of
Kings in India. Elephant is a devastating weapon
of war in India, It is used in richly decorated form
in their printed, painted and embroidered textiles
to depict war scenes and royal extravaganza.
Textiles: 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 languages.
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

13. Shankha is a Sanskrit word used to denote a sleek and
smooth conch shell. It is believed that if the Shankha
is blown with skill, it can scare away evil spirits and is
described as a killer of germs and enemies. The Conch
or Shankh has remained as integral part of Hindu
socio-religious philosophy since the mythological past.
It is regarded as a divine jewel always held by Lord
Vishnu on his right hand. The Shankh is part of Hindu
aesthetics as a permanent motif in the stone carvings
and canvases made by sculptors and artists of
ancients days.
Textiles: This motif is majorly used in Phulkari of
Punjab, Ikat of Andhra Pradesh, Patola of Gujarat and
Mochi Embroidery of Gujarat.
Symbol of Motif: It is symbol of fertility.
Conch Motif

14. The motif was found in Indus Valley pottery and on
the wall paintings 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
Saraswati, it is symbol of divine knowledge and
creativity.
Hansa Motif

15. 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. Tortoises 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 were made in the north-west.
Textiles: Today, tortoise are traditionally woven in
the supplementary-wrap bands of east Deccan
sarees.
Symbol of Motif: The tortoise has associations
with prosperity and the creation wealth.
Tortoise Motif

16. 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
to the traditional Indian textile.
Textiles: 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

17. 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 paintings 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 saree of Tamil Nadu, Paithani saree of
Maharashtra and Patola saree of Gujarat.
Names in Different Languages: It is called “Morbangad i’
in Maharashtrian languages,‘ Mor’ in Hindi and ‘Nemali’
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

18. 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 plan background. The
smaller buti is usually created in rows figures.
Textiles: These are used in Chinkari, Phulkari, Chamba,
Rumal, Kashidakari, Kutch Embroidery, Ajrakh Prints,
Sanganeri Prints, Ikat and Patola, Brocade, and most of
the woven textiles.
Names in Different Languages: Buta is most common
word used in most of the languages, their names are
differ in terms of motifs used in butas, i.e. ‘kalga Buta’
motif.
Symbol of Motif: symbol of this depends upon which
motif is chosen to create butas, It can be flower or
paisley.
Buta aur Buti Motif

19. Various types of floral forms abound in Indian
sarees. Flowers have played a major role in
Hindu and early Buddhist iconography, and many
designs were then 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 design is not
strictly floral.
Textiles: This motif is found in most of the
textiles, like Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch Embroidery, Ajrakh Prints,
Sanganeri Prints, Ikat and Patola, Brocade,
Kancheevaam, 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

20. It is a Persian origin which came to 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, buds, and fruits makes 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

21. 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

22. The Paisley motif evolved from seventeenth century
floral and tree of life designs that were created in
expensive, tapestry woven Mughal textiles,
primarily patkas (Sashes) made for the Mughal
court. The kaigas 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 at Paisley, Scotland, that the
name ‘Paisley’ was derived, 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 populary known
as ‘kalga’ in Urdu languages, ‘Mankolam’ in Tamil
Nadu, ‘Ambi’ in Punjabi and ‘carrey’ in Hindi.
Symbol of Motif: It is a symbol of life and eternity.
Paisley Motif

23. 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 lampas textiles
whose designs were conceptually similar because
they also depicts hunts and war, but the style of
representation is completely different. The hunting
scene prints excavated at al-Fustat suggest that the
roots of this design 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

24. THE TRADITIONAL INDIAN SAREE AN INTRODUCTION
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 every 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 feet in breadth, that is typically wrapped around
the waist, with one end draped over the shouder bearing the
midriff. There are 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.

25. HISTORY OF INDIAN SAREE
In the history of Indian clothing 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, lac, 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 in 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. Tosuit with the new age, Gyanadanandini Devi started wearing with blouse, which
gradually became the saree we know today.

26. There are more than 80 ways to wear a saree. The most common style is for the saree to be wrapped around the waist, with
the loose end of the drape to be worn over the shoulder, baring the midriff. However, the saree can be draped in several
different styles, though some styles do require a saree of a particular length or form. The French cultural anthropologist and
saree researcher Chantal Boulanger categorized saree drapes in the following families
WAYS OF WEARING SAREE IN INDIA
NIVI STYLE BENGALI STYLE PROFESSIONAL STYLE MALAYALI STYLE

27. MADISAR STYLEGUJARATI STYLEBRAHMINI STYLETRIBAL STYLENEPALI STYLE

28. 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 basis of fabric, weaving style, or motif:
1. Brocade saree
Originating in the northern region of the country, these Indian
traditional sarees are made of silk and has heavy Mughal
influence to it and is quite a popular saree for weddings and
occasions. The trademark of the saree is its intricate floral
patterns 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 jhalar that is nothing but an intricate
fringe-like pattern that is often found in the outer edge of the
borders of the saree .
2. Jamawar saree
More popularly known to be a product of Kashmir, Jamawar is
a glorious variant of the silk saree an array of skilful design and
colours on parchmnet of pure silk or pashmina. The term
“jamawar’ literally means robes and yard, which was once
used by the royalty for the purpose of robes and which now is
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 colours like
orange and green and have beautiful aksi embroidery for the
borders.
TYPES OF SAREE WORN IN INDIA

29. 3. Lucknowi Chikankari saree
The art of chikankari is quiet popular in the regions
of Uttar Pradesh. The thread work with fine
intricate designs show grace and elegance. The
colours 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 colors
makes it a very versatile variety of Indian traditional
sarees, fit for any occasion, be it casual or formal.
4. Tanchoi saree
Tanchoi is actually a kind of weaving technique
which involves a single or double warp along with
two to five colours 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 tanchoi weave which includes satin tanchoi, satin
jari tanchoi, atlas or gilt and mushabbar. These
sarees are quite 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.

30. 5. Kinkhwab saree
Kinkhwab brocade sarees were very popular in
the Mughal era and they were considered one
of the finest and luxurious textiles 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.
6. Kancheevaram Silk saree
Originating in the town of Kanchipuram in
Tamil Nadu, the weavers here have a tradition
of more than 150 years of weaving these
beautiful south Indian silk sarees. This variety
of Indian traditional sarees are made from silk
and get their name from the town itself. The
unique aspect of the saree is gold-dipped
thread that is woven along with premium silk
fabric for a magnificent finish.

31. 7. 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 speciality of
these sarees is that there is a shimmering
quality in the material that reflects with
subtle 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.
8. Konard Silk saree
Also called as the temple saree, Konard
south Indian saree is a special weave from
the state of Tamil Nadu. The original
purpose for the weaving of these sarees was
to adorn the deities of the temples, which
gives the sarees 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 naturalthings like flowers and
ferns, spread over the length of the saree.

32. 9. Pochampally
The name of these Indian traditional sarees comes
from the small town of Pochampally in Hyderabad,
which is the origin for this variety of silk saree. The
unique pattern of the saree comes from 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 colours, these sarees are widely produced in
Andhra Pradesh, Gujarat and Orissa too.
10. Kerala Kasavu saree
The Kerala kasavu saree is made with super-fine
quality of cotton fabric which is used in shades of
white with golden zari border. They come in colours
such as off-white, pure white, ivory white and pale
yellowish white colours 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 trademark. Other popular
sarees down south include the Ikai sarees
originating in Karnataka, Balarampuram mundu
veshti sarees from Kerela, Madurai silk sarees,
Chettinad sarees, Coimbatore cotton south Indian
saree, and many more.

33. 11. Pathani saree
Named after a small village in Aurangabad in
Maharashtra, 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 length
of the saree, you will find distinct patterns and
motifs like parrots, tress, and plants, which are
woven along the borders and on the pallu of the
saree. These Indian traditional sarees otherwise
known as Pathani sarees are woven using pure silk
threads, and given vibrant colours using with a
touch of pure gold, making it perfect for a
wedding.
12. 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 spots or dots that are created
using the resist-dying method which creates
elaborate and skillful patterns with the coloured
and uncoloured parts in the saree. They are further
adorned with shells or cowrie and are quite
popular across the country and abroad too. The
lahariya saree of Rajasthan is also created using
the smae concept.

34. 13. Patola Saree
One of the most time-consuming and
elaborate sarees. Patola has a charm of its
own. It is created using the most complex
weave techniques with five colour designs
that are resist dyed carefully into both warp
and weft threads before woven into both
beautiful patterns. The variations in the
designs of the Patola saree range from
geometrical patterns to floral or vegetable as
well as the elephant and the maiden motifs.
14. Kota Doria saree
Also known as Kota saree, these sarees are
made in the villages in Kota, Rajasthan. The
unique thing about these sarees 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 sarees ideal
for the summer months. These sarees have a
graph-like pattern all over the length and are
lightly embellished with Zari work on the
borders.

35. 15. Muga Silk saree
One of the most durable and highly reliable
silk sarees from 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 fibre. The
fabric is not dyed but embellished with
motifs in black, red, green or bright orange
colours to set a good contrast against the
golden backdrop.
16. 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
from cotton fabric and have a very crisp,
smooth finish, and are light in weight.
Available in a wide range of patterns and
colours, you can take your picl for the
summers.

36. 17. 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 canvas
depicting the stories from the Hindu
mythology, the Ramayana and the
Mahabharata, which makes it a unique
creation.
18. 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
patterns all over these Indian traditional
saree, especially on the pallu and the
border using colourful silk threads

37. 19. Maheshwari saree
The motifs of Maheshwari sarees have been
derived from the temple carving and the carving
of the place built by Rani Ahilyabai Holkar. Rani
lived near the banks of Narmada. Maheshwari
sarees are woven by men as well as women
folks. The weaving done is intricate with
geometric designs with no motifs on the body of
the saree. Weaving is done with fine silk warp
and cotton weft. Lines play a vital role as vertical
stripes, and large checks are woven to shape up
the pattern.
20.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 designs 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 from chemical
processors. Chanderi sarees are very light and
ideal for summers. The beauty of fabric lies in its
feel, simplicity and the borders and butties. They
give a sophisticated look.

38. 21. Bagru Block Printed saree
Bagru is known for natural dyes and hand
block paintings. Bagru is the place of Raiger
and Chhipa community. Bagru is also known
for natural dyeing and indigo dyeing and
wooden hand block printing over textile
articles. Artisans use traditional vegetable
dyes for printing the cloth. Like, the colour is
made from indigo, greens out of indigo mixed
with pomegranate, red from madder root and
yellow from turmeric. Usually Bagru prints
have ethnic floral patterns in natural colours.
22. Sambalpuri saree
Sambalpuri saree is a traditional hand-woven
ikator saree. Wherein the warp and weft are
tie and dyed before weaving. It is produced in
Bargarh, Sambhalpur, Balangir district, Baudh
district of Orissa. Sambalpuri sarees are known
for their incorporation of tradiotnal motifs like
Shankha (shell), Chakra (wheel), Phula
(Flower) all of which have deep symbolism.

39. Exercise on
Repeats

45. Design
Created Using
Different
Shapes

57. Print Development
through Corel

58. 5” 5”
5”
Simplify Stretching Slimming
Simplify

59. Regular Repeat

60. Brick Repeat

61. Scattered Repeat

62. Stripes Repeat

63. Overlapping Repeat

64. Half Drop Repeat

65. SAREE DESIGN

66. Monochromatic Colour Scheme

67. Split Complementary Colour Scheme

68. Accented Neutral Colour Scheme

69. Acromatic Colour Scheme

70. Chikankari
Batik
Printing
Bagru
Printing
Dabbu
Printing
Sanganeri
Printing
Block
Printing
Various Printing Methods

71. MurshidabadSilk Muga Silk Khadi Cottonkhadi Silk
Tussar Silk Poly Cotton Raw Silk Taffeta Silk
Bhagalpuri Silk Cotton Silk PatSilk Jamawar Woven
Swatch Board

72. C-0 M-0 Y-0 K-70
C-0 M-0 Y-0 K-0
C-0 M-100 Y-0 K-0
C-0 M-0 Y-0 K-100
Saree Selected

73. Thank youDivya Vijayvargiya
2nd year Fashion Design Diploma
NSQF Level 6 of NSDC