Tanuja Sahu,Fashion Design ,Dezyne E'cole College

Project Report On
Print Development
At
Dezyne E’cole College
Submitted To
Towards
The Partial Fulfilment
Of
2nd Year Diploma In Fashion Design
NSQF Level 6 Of NSDC
By
Tanuja Sahu
106/10 Civil Line Ajmer
2017-18

The Project Of Ms. Tanuja Sahu Student Of 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 of NSDC Has Been Checked
And Graded As .
Thank You
Principal
[Seal & Signature]

Acknowledgment
I Am Tanuja Sahu Student Of Fashion Department 2nd Year Diploma In Fashion Design NSQF Level 6 Of NSDC Of Dezyne E’cole College
Would Like To Express My Gratitude To Each And Every Person Who Has Contributed Stimulating Suggestions And Encouragement Which
Really Helped Me To Coordinate My Project.
I Also Thank Dezyne E’cole College Who Provided In Sight And Expertise That Greatly Assisted The Project. Also, A Special Thanks To My
Teachers, Parents And Colleagues Who Have Supported Me At Every Step Not To Forget, The Almighty Who Blessed Me With Good Heath
Because Of Which I Worked More Efficiently And Better.
Tanuja Sahu
2nd Year Diploma In Fashion Design
NSQF Level 6 Of NSDC

Content
The Traditional Indian Saree An Introduction
History Of Indian Saree
Ways Of Wearing Sarees In India
Types Of Saree Worn In India
Traditional Indian Motif
Paisley Motif
Conch Motif
Peepal Leaf Motif
Tample Motif
Kalasha Motif
Creeping Vines Motif
Flower Motif
Lotus Motif
Rudraksh Motif
Buti And Buti Motif
Tree Of Life Motif
Sun Tree Motif
Peacock Motif
Hansa Motif
Fish Motif
Parrot Motif
Elephant Motif
Tortoise Motif
Hunting Scene Motif
Exercise On Repetition In Geometrical Shape
What Is Design By Different Types Of Shape
Print Development For A Motif
Design Development
Motif Collage
Simplifying The Motif

Content
Pattern In A Shape
Regular Repetition
Brick Repetition
Half Drop Repetition
Overlapping Repetition
Grouping Repetition
Stripes Repetition
Scattered Repetition
Fabric Selection
Colour Selection
Saree Design

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 very bit stylish. Over the years, the saree
has evolved into a fashion statement which most fashion designers
glorify the look and feel of this traditional garment.
A saree consist of a drape varying from five to nine yards in length
and two to four feel in breadth, that is typically wrapped around
the waist, with one end draped over the various styles of saree
draping, the most common being the Navi style, which originated
in Andhra Pradesh.
The saree is usually worn over a petticoat, with a fitted upper
garment commonly called a blouse. The saree is associated with
grace and is widely regarded as a symbol of grace in cultures of the
Indian Subcontinent.

HISTORY OF INDIAN SAREE
In the history of Indian clothing of the saree is traced back to the
Indus Valley Civilisation, which flourished during 2800-1800 BC
around the north-western part of the Indian subcontinent.
Cotton was first cultivated and woven in Indian subcontinent
around 5th millennium BC. Dyes used during this period are still
in use, particularly indigo, 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 is one-piece.
The modern way of draping saree was invented by Gyan and
anadini Devi. She was the wife of Satyendranath Tagore, first
Indian ICS officer and elder brother of R.N. Tagore, Asian to win
Nobel. After becoming an IAS officer, Satyendranath Tagore and
his wife needed to socialize house did not want to adopt western cloth totally, but then the prevalent way of wearing one-piece saree
was not very civil for that Victorian age. Till then women used to stay inside their own home, so the one piece saree was kind of
adequate. To suit with the new age, Gyanadanandini Divi started wearing saree with blouse , which gradually became the saree we
know today.

There are more than 80 recorded ways to wear a saree. The most common style is for the saree to be wrapped around the waist, with
the loose and of the drape to be worn over the shoulder, baring the midriff, the saree can be draped in several different styles,
though some styles do require a saree of a particular length of form. The French cultural anthropologist and saree researcher Chantal
Boulanger categorized drapes in the following families.
WAYS OF WEARING SAREES IN INDIA
Nepali Style
Gujarati Style
Malayali Style
Madisar Style
Brahmini Style

WAYS OF WEARING SAREES IN INDIA
Nivi Style
Bengali Style
Professional Style
Tribal Style

TYPES OF SAREE WORN IN INDIA
While an international image of the modern style saree may have been popularized by airline stewardesses, each region in the Indian
subcontinent has developed, over the centuries, its own unique saree style. Following are the other well-known varieties, distinct on
the basis of fabric, weaving style, or motif.
Brocade saree
Originating in the northern
region of the country, these
Indian traditional sires are
made of silk and a heavy
mughal influence to it and is
quite a popular for wadding
and occasions. The
trademark of the saree is its
intricate floral pattern and
zari work as well as foliate
motifs such as the kalga,
phool and bel adorning the
whole saree in silver, golden
or copper thread works. The
signature design of a
banarasi brocade silk saree is
the jhalar that is nothing but
an intricate fringe-like
pattern that is often found in
the outer edge of borders of
the saree
Jamawer saree
More popularly know it be a
product of Kashmir, jamawer is a
glorious variant of the silk saree
with an array of skilful designs and
colour on a parchment of pure silk
or pashmina. The term ‘jamawer’
literally means robe and yard,
witch now is a very popular
variety of Indian traditional sarees
that you can invest in for a
wedding. The uniqueness of the
saree is that many of its varieties
come with matching silk shawls
attached along them and are
embellished in meenakari colour
like orange and green and have
beautiful aksi embroidery for the
borders.

Lucknowi
chikankari saree
The art of chlkankri is
quite popular in the
regions of
uttarpradesh. The
thread work with fine
intricate design show
grace and elegance.
The colour of
ckikankari sarees are
often very subtle and
in pastel shades which
can never go out of
style. The light texture
and soft shade of
colours makes it a
very versatile variety
of Indian traditional
sarees , makesit a very
it a very versatile
variety of indian
traditional sarees, fit
for any occasions, be
it casual or formal.
Tanchoi saree
tanchoi is actually a kind
of weaving technique
which colour placed in
the welf that are often of
the same shade and done
on silk fabric. The
richness of the shades
and the softness of the
material make it a really
popular silk saree all
across India and abroad
too. There are numerous
varieties of tanchol
weave which includes
satin tanchol, satin jari
tanchol, atlas or gilt and
mushabbar. These saree
are quit popular for
formal occasions such as
weddings ceremonies,
and festivities. The ideal
time to wear a tanchol
saree is during the cooler
months of autumn and
winter because of the
warmth of the fabric.

Kanjeevaram silk
saree
Originating in the town
of Kanchipuram in Tamil
nadu, the weavers here
have a tradition of more
then 150 years of
weaving these beautiful
south Indian silk sires.
This variety of Indian
traditional sires are
made form silk and get
Their name form the
town itself. The unique
aspect of the saree is
the gold-dipped thread
that is woven along with
premium silk fabric for a
magnificent finish.
Kinkhab saree
Kinkhab brocade sarees
were very popular in the
Mughal era and they
were considered one of
the finest and luxurious
textile in that era.
Nowadays, this pattern
is widely used for
wedding sarees with a
heavy brocade and
intricate embroidery
inspired from the Islamic
heritage. The pattern of
the brocade has wefts,
numerous layers as well
as warp threads that
add to the glory of the
elaborate look created
by the embroidery
design. Other popular
Indian traditional sarees
of the northern region
of India include the
amru brocades tissue
sarees, shikargarh
brocades etc.

Konrad silk
saree
Also called as the
temple saree, Konrad
south Indian saree is
a special weave form
the state of Tamil
Nadu. The original
purpose for the
weaving of there
saree was to adorn
the deities of the
temple, which gives
the saree its name
and uniqueness. The
special features of
this saree is that it
consists of wide
borders and they are
mostly adorned with
designs of elephants,
peacocks and other
natural things like
flowers and fems,
spread over the
length of the saree.
Mysore silk
saree
One saree that is really
popular in India which
belongs to the
Karnataka region is the
Mysore silk. It is one of
the most sought-after
sarees of south India
and it has every reason
to be so popular. The
specialty of these saree
is that there is a
shimmering quality in
the material that
reflects with suitable
hints. This kind of silk
saree has gained
popularity for its bright
and vibrant colours, a
soft and breathable
fabric, and its pure
sheen. It is popular as a
wedding saree.

Bagru block printed
saree
Bagru is known for natural dye
and hand block printing. Bagru
is the place of raiger and
chhipa community. Bagru is
also known for natural dyeing.
Indigo dyeing and wooden
hand block printing over textile
articles. Artisans use
traditional vegetable dyes for
printing the cloth. Like, the
color blue is made from indigo,
greens out of indigo mixed
with pomegranate ,red from
madder root and yellow from
turmeric. Usually bagru prints
hove ethnic floral patterns in
natural colour.
Kantha stitch saree
The pattern of the saree is
created using simple run
stitch on a silk or cotton
yard. The stitches are used
to create intricate pattern
allover these Indian
traditional saree,
especially on the pallu and
the border using colourful
silk threads.

Kerala kasavu saree
The Kerala kasavu saree is
made with super-fine quality
of cotton fabric which is
usually in shades of white with
golden zari border. They come
in colour such as off-white,
pure white and pale yellowish
white colour and have a very
sober appeal. The whole yard
of the saree is free of any zari
work, embroidery or print but
it is kept plain only with a six
inch golden border along with
an elaborate pallu that is its
trade mark other popular
sarees Balarampuram mundu
veshti sarees form Kerala
Madurai silk sarees, Chettinad
sarees, Coimbatore cotton
south Indian saree, and many
more.
Pochampally
The name of these
Indian traditional
sarees comes form the
small town of
pochampally in
Hyderabad, which is
the origin for this
verity of silk saree.
The unique pattern of
the saree comes form
the symmetrical size
of the weft and the
warp of the yarns that
are then resist dyed
which gives you the
pre-fixed design on
the silk saree that is
then interlaced to get
the final look. Woven
in silk and in bright
coloures, these sarees
are widely produced
in Andhra Pradesh,
Gujarat and Orissa
too.

Bandhani saree
It is a popular saree which is
made using the tie and dye
concept. This form of saree
weaving is carried out mostly
in the parts of Gujarat. The
sarees have small sport or
dots that are created using
the resist dying method
which creates elaborate and
skillful pattern with the
coloured and uncoloured prt
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 same concept.
Paithani saree
Named after a small village
in Aurangabad in
Maharashtra this the
making of this saree needs
enormous skill and labour as
the expanse of material that
goes into its weaving and
creation makes it just
awesome. Through the
entire like parrots, trees,
and plants, which are
woven along the boder and
on the pallu of the saree.
These india traditional saree
other wise know as Parthian
saree are woven using pure
silk threads and given
vibrant colour a long with a
touch of pure gold, making
the perfect for a wedding.

Patola saree
One of the most
time-consuming and
elaborate
sarees,patola has a
charm of its own. It is
crated using the most
complex weave
techniques with five
colour dessign that
are resist dyed
carefully into both
warp and weft
threads before woen
into beautiful
pattern. The
variation in the
deesign of the patola
saree range from
geometrical
patterrns to floral or
vegetable patterns as
well as the elephant
and the maiden
motif.
Kota doria saree
Also known as Kota
saree these sarees are
made in the villages in
Kota, Rajasthan. The
unique thing about these
saree is that they are of
a transparent texture,
woven using very fine
cotton or cotton-silk
weave. The lightness of
the texture and
weightlessness makes
these Indian traditional
saree ideal for the
summer months. These
saree have a graph-like
pattern all over the
length and are lightly
embellished with zari
work on the borders.

Muga silk saree
One of the most
durable and highly
reliable silk sarees form
Assam, muga silk sarees
are popular across the
globe for their natural
sheen and aa touch of
golden colour that is the
natural shade of the
raw silk fiber. The fabric
is not dyed but
embellished with motif
is black rad ,green or
bright orange colours to
set a good contrast
against the golden
backdrop.
Taant saree
The word ‘taant’ literally
translates to ‘made on
the loom’. It is
considered to be the
pride of Bengal
handloom. Taant sarees
are made form cotton
fabric and have a very
crisp, smooth finish and
are light in weight.
Available in a wide
range of pattern and
colours, you can take
your pick for the
summers.

Maheshwari
sarees
The motif of
masheswari sarees
have been derived
form the temple
carving of the place
built by Rani Ahilyabal
Holkar. Rani lived near
the banks of Narmada.
Maheshwari saree are
woven by men as well
as women folks. The
weaving done in
intricate wit
geometric design with
no motif on body of
the saree. Weaving is
done with fine silk
warp and cotton weft.
Line paly a vital role as
vertical stripes, and
large checks are
woven to shape up
the pattern.
Baluchuri
saree
The baluchuri sarees
are woven in the
town of baluchur in
Murshidabad, west
Bengal and are
known for their
unique and intricate
designs. The borders
of these Indian
traditional sarees
serve as a canvas
depicting the stories
form the Hindu
mythology, the
Ramayana and the
Mahabharata, which
makes it a unique
creation.

Sambalpuri saree
Sambalpuri saree is a
traditional hand-woven ikat
or saree. Where in the warp
and weft are tie and dyed
before weaving. It’s
produced in Bargard,
sambhalpur, balangir
district, baudh district of
Orissa. Smbalpuri sarees are
known for their
incorporation of traditional
motif like shank (shall),
Chakra (wheel), Phula
(flower) all of which have
deep symbolism.
Chanderi silk
saree
Chanderi silk is made by
hand weaving. It is
considered as the fabric
of choice for sarees
produced for royalty, as it
is light-weight, of fine
quality and has intricate
design developed. It is
produced in a town called
chanderi which is located
in the state of Madhya
Pradesh in India. The
colours of chanderi silk
are natural as well as the
ones that can be
developed form chemical
processes. Chanderi
saree are very light and
ideal for summers. The
beauty of fabric lien in its
feel, simplicity and the
bonders and buttes. They
give a sophisticated look.

TRADITIONAL INDIAN MOTIF
Traditional motifs can be described ad the motifs
which are being used in Indian textile since ancient
and are handed over from one generation to the
other. Our traditional motifs are deeply influenced by
religious belief, culture, environment, activities, of day
to day life, architecture, history, rulers etc.
The artisans have modified motifs based on the whims
and fancies of the kings who invaded and ruled India
for several years. For creating the variety to motifs
and designs, weavers and designers had also taken
inspiration from their environment.
Indian artisans have created varied motifs and
patterns which are exclusive in their styles and colour
combinations like creeping vines and floral patterns,
which remind us of Mughal history and the Islamic
portrayals. Motifs like lotus, conch shells, fish,
elephant and horse etc. Which represent the
philosophy of Hinduism and the concept of bring good-luck, health and prosperity are typiclally found in the textiles worn in the
occasional ceremonies.
These motifs represent over poetic expressions and imagination towards life, and devotional characters. These motifs are explainded
in the following slides.

PAISLEY MOTIF
The Paisley motif evolved from seventeenth
century floral and tree of life designs that
were created in expensive, tapestry woven
Mugal textiles, primarily patkas (Sashes)
made for the Mugal court. The kalgas created
on Kashmir shawls, which became fashion
item in Europe for over a century , were
certainly the most imaginative and intricate
and it was from the imitations of these shawls
woven in factories, still commonly used in
Europe and the United States.
Textiles : It is found in Phulkari of Punjab,
Kantha of West Bengal, Kashidakari of
Kashmir, Chikankari of Lucknow and Brocade
of Banaras.
Names In Different Languages : It is popularly
known as ‘Kalga’ in Urdu language,
‘Mankolam’ in Tamil Nadu, ‘Ambi’ in Punjab
and ‘Carrey’ in hindi.
Symbol of Motifs : It is a symbol of life and
eternity.

CONCH MOTIF
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 spritis and is described as a
killer of germs and enemies. The Conch or
Shankh has remained as intergal 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
ancient days.
Textiles :This motif is majorly used in Phulkari
of Punjab, Ikat of Andhra Pradesh, Patola of
Gujrat and Mochi Embroidery of Gujrat.
Symbol of motif : It is a symbol of fertility.

PEEPAL LEAF MOTIF
Depictions of the heart-shaped leaves of the
peepal tree are one of the earliest and most
common motifs found in early and Mature
Indus Valley pottery. Yet, subsequent to the
Indus Valley period, few depictions of the
peepal or its leaves have survived in Indian
art.
Textiles : It is found in Gujarati Patola called
‘Peepal Patra Bhat’.
Symbol Of Motif : Peepal leaf motif has a
religious significance.

TAMPLE MOTIF
The temple motif consist of rows of large
triangles found along ethnic and tribal saree
borders, as well as in the end pieces of
Dravidian and some central Deccan sarees.
They are usually woven into the ground fabric
of the saree in the interlocked weft
technique. So making the triangles point in
the weft direction of the fabric, never the
warp.
Textiles : Temple motif is found is many
Indian textile. It is found in Phulkari
(Darshandwar Bagh) of Punjab, Mochi
embroidery of Gujarat, Bandha of Orissa,
Kancheevaram sarees of Tamil Nadu and
Kalamkari of Andhra Pradesh.
Names Of Different Languages : It is called
‘daant’ (teeth) in West Bengal, ‘Kumbbam’ in
Telgu, ‘Kumb’ in Orissa and Andhra Pradesh.
Symbol Of Motif : It is the symbol of
protection against evil eye, the Kumbba is
fertility symbol.

KALASHA MOTIF
Amongst all auspicious symbols used in
Indian art throughout history, Kalasha, the
holy ceremonial water jar hold a special
place. It is an important part of ceremonial
occasions and weeding in Hindu culture. The
motif is seen in the carvings of the
sculptures , and paintings of ancient India.
Textiles : With time craftsman started using
it as motif in the enrichment of textiles
through weaving, embroidery or printing.
Names In Different Languages : The motif is
called ‘Purna Kumba’ in Suthern India.
Symbol Of Motif : It is a symbol of fertility
and puirty.

CREEPING VINES MOTIF
It is a Persian origin which came ti India
through Mughal. It is mostly preferred by the
designers or the craftsman for filling the
empty area with free flow designs. They look
harmonious and rhythmic which gives the
viewer a pleasant feeling. Creepers with
flowers, leaves, birds and fruits make a
heavy creeping wine pattern and fruitful.
Textiles : It is majorly used in block prints
from Machlipattnam and other
embroideries. It is also used in Chikankari or
Lucknow and Kashidakari of Kashmir. In
woven textiles it is used in Paithani sarees.
Symbol Of Motif : It is the symbol of unity
and flawlessness.

FLOWER MOTIF
Various types of forms abound in Indian
sarees. Flowers have played a major role in
Hindu and Early Buddhist iconography, and
many designs were than used by the
Muslims. Various types of flowers are
depicted in traditional Indian saree. In
many Deccan Sarees, narrow bands of
repeat supplementary warp figuring are
generically called phool, even if the deign is
not strictly floral.
Textiles : This motif is found in most of the
textile. Like Chikankari, Phulkari, Chamba
Rumal, Kashidakari, Kutch Embroidery,
Ajrakh Prints Sanganeri Prints, Ikat and
Patola, Brocade , Kancheevaram, Paithani,
among woven textiles.
Symbol Of Motif : Flowers are mostly linked
with feminine and many God and
Goddesses. Flower is a symbol of fertility,
protection and good luck.

LOTUS MOTIF
The lotus is among the most popular motifs in
Indian art. There are various forms of lotus
motifs like astadal padma – eight petalled to
the satadal – hundred petalled. It also
symbolizes prosperity and material wealth,
associated closely with the Goddess Sri
Lakshmi. It is one of the multifaceted symbols
in the traditional patterns. Its spiritual aspect is
emphasized particularly in Indian sarees and
furnishing. The colours used are always bright
to depict the richness of the lotus.
Textile : In Kantha embroidery the central
motif is almoat always a fully bloomed lotus
seen from above. Other textiles are,
Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch embroidery, Ajrakh Prints,
Sanganeri Prints, Ikat and Patola.
Names In Different Languages : It is popularly
known as ‘Kamal” in India.
Symbol Of Motif : Lotus is the symbol of
eternal order of the union earth, water and
sky. It represents the life giving power of water
but is also associated with the sun for the
opening the closing of the petals. It is also the
symbol of recreating power of life.

RUDRAKSH MOTIF
Rudraksh beads have an ascetic charm.
Associated with Lord Shiva and mentioned in
Vedic literature, it has significance for peace
and power. Bestwood with electrical and
magnetic properties which make them
spiritually and medicaiiy curative, these
beads are positively charged. Rudraksh
beads are common motif among South
woven saress.
Textiles : Used in Kancheevaram, Gadwal
and hand woven saress of Orissa.
Symbol Of Motif : The name rudraksh
literally means ‘eye of Shiva’, this motif is
associated with Lord Shiva.

BUTI AND BUTI MOTIF
Another group of floral motifs found in sarees
is the small buti and large buta, which are
depicted as flowers, springs or bushes. As with
the phool, however, these names are also
given to geometric and zoo-morphic motifs.
They are always created as floating design
elements placed against a plain background.
The smaller buti is usually create in rows
figure.
Textiles : These are used in Chikankari,
Phulkari, Chanba Rumal, Kashidakari, Kutch
embroidery, Ajrakh Prints, Sanganeri Prints,
Ikat and Patola, Brocade and most of the
woven textile.
Names In Different Languages : Buta is most
common word used in most of the languages,
their names are different in terms of motifs
used in butas, i.e. ‘kalga Buta’ motif.
Symbol Of Motif : Symbol of this depends
upon which motif is chosen to create butas. It
can be flower or paisley.

TREE OF LIFE MOTIF
Tree of life motif is a many branched tree
laden with flowers and fruits, birds in the
tree branches, animals roaming under it
illustrating the idea that all life on earth are
related and has been used in religion,
philosophy, mythology and other areas. Lot
of colours are associated with this motif.
Specific trees supplied pre-industriak India
with food, medicines, timber, utensils and
even cloth. Many of the rular rituals still
being practiced reflect this heritage.
Textiles : It is mostly seen in the
embroideries and Kalamkari of India. It is
also seen in Kashmiri carpets.
Symbol Of Motif : The tree of life is a
metaphysical extrapolation of the basic
concepts of fertility and protection.

SUN TREE MOTIF
The Assamese sun-tree motif is now such an
archetypal pattern of the north-estern region
that many Assamese textiles are recognized
as such just on the basic of this design. It
depicts two birds, animals or flowers, facing
each other on either side of a tree whose
branches spread above them. The motif is
rigidly symmetrical, highly stylized and
angular, with a pointed ro of like top to the
tree, and its sides are often straight.
Textiles : It is used as embroidery or as prints
in textile. Also it is found on way woven
textile of the Northern India.
Symbol Of Motif : Sun tree motif represents
reaching upward and growth.

PEACOCK MOTIF
The Peacock was painted on Indus Valley
depicting tribal art; it was also found in
Mauryan Buddhist sculpture, Gupta-period
artifacts, Mughal miniatures, and in present –
day wall painting and textiles. Although it is
hard to say if it had the same symbolism in
every age, the peacock was found in the arts of
most post-indus cultures, indicating that it
remained a potent symbol. The peacock is now
India’s national bird.
Textiles : In all types of Indian textiles peacock
is either printed or embroidered on light
background with dark colour combinations. It is
majorly used in MOCHI Embroidery and Kutch
embroidery of Gujarat, Kancheevaram silk sraee
of Tamil Nadu, Paithani saree of Maharashtra
and Patola saree of Gujarat.
Names In Different Languages : It is called
‘Morbangadi;’ in Maharashtra language, ‘mor’
in Hindi and ‘Nemail
in Tamil’
Symbol Of Motif : The peacock has had several
associations that at first glance appear to be
unrelated : immortality, love, courtship,
fertility, regal pomp, war and protection.

HANSA MOTIF
The motif was found in Indus Valley pottery
and on the wall painting at Ajanta. In
Buddhist illustrations, it represented spiritual
purity. It was also common in Indian art prior
to Mughal times, but afterwards, it
disappeared. Its use in textiles is
characterized by its highly stylized forms as
depicted in woven and embroidered textiles
of Southern India.
Textiles : This motif is found in some of the
Tamil sarees and ethnic Orissa Ikats.
Symbol Of Motif : As it is associated with
Goddess Sarawati. It is a symbol of divine
knowledge and creativity.

FISH MOTIF
The fish appears early in the archaeological
record, and is painted onto Early Indus
Valley pottery as well as carved into
Mohenjo-Daro seals and plaques in the
nature Indus Valley civilization. Yet is was
rarely depicted in the sculptures and
architecture of later historical periods and
was never a vehicle for any deity-
Nevertheless, its relationship with India folk
and tribal art remains strong.
Textiles : It is often depicted in textiles
where fish form a major part of the diet, as
in Orissa, or where the Vaishnavism is
important. It is majorly found in Kanthkari
of West Bengal.
Symbol Of Motif : Fish are potent fertility
symbols throughout tribal and caste Hindu
India, indicating abundance of food, wealth
and children, as well as the generation
powers of the supernatural. The fish is also
an avatar of Lord Vishnu who, as the
preserver, is associated with prosperity and
material comforts.

PARROT MOTIF
Representations of the parrot do not have
the historical and iconographic depth of those
of the goose. It has not depicted in ancient,
classical or even medieval India architecture.
This dearth of historical representation
suggests that it is a relatively recent addition
to the traditional Indian textile.
Textile : Motif of parrot is generally found in
textiles from West Bengal, Gujarat and
Rajasthan embroideries and resist textiles.
Symbol Of Motif : Parrot motif it is a symbol
of courtship and passion seen in Indian art
mostly in company of Krishna and Radha,
Hinduism’s eternal lovers.

ELEPHANT MOTIF
Elephant motif it is widely used motif in
Indian textiles. Elephant is regarded as the
mount of kings in India, it is used in richly
decorated from in their printed, painted and
embroidered textiles to depict war scenes
and royal extravaganza.
Textile : It is mostly used in Mochi
embroidery of Gujarat, Ikat of Andhra
Pradesh and Patola of Gujarat.
Names In Different Languages : It is called
‘Vagh’ in Gujarati and ‘Gajah/Hathi’ in hindi
language’
Symbol Of Motif : Elephant came to
symbolize the God of Warriors. It is a sign of
wealth and power and influence denoting
royalty, inner strength and nobility.

TORTOISE MOTIF
The tortoise is the second incarnation of
Vishnu, who was both the Cosmic Tortoise
upon which the universe rests, and the
foundation of the churning stick with which
Vishnu stirred the Cosmic Ocean that
created the universe. Tortoise are known to
have been part of the late, upper Paleolithic
diet, and they were depicted on Early Indus
Valley pottery, suggests they were already a
noticeable part of local life. During the
Gupta period, when Vaishnavism began to
take recognizable shape, tortoise amulets
were made in the north-West.
Textiles : Today, tortoise are traditionally
woven in the supplementary-warp bands of
east Deccan sarees.
Symbol Of Motif : The tortoise has
associations with prosperity and the creation
wealth.

HUNTING SCENE MOTIF
The origins of the hunting-scene designs are
obscure. It is easy to assume that these
textiles were inspired by the elaborately
figured seventeenth-century. Safavid lamps
textiles whose designs were conceptually
similar because they also depict hunts and
war, but the style of representation is
completely different. The hunting scene
prints excavated at al-Ffustat suggest that
the roots of this designs are much older.
Textiles : These are found in Gujarati textiles.
Symbol Of Motif : It has no such symbolism
except the passion of hunting.

EXERCISE ON
REPETITION IN
GEOMETRICAL
SHAPE

EXERCISE ON REPETITION IN GEOMETRICAL SHAPE

DESIGN BY DIFFERENT
TYPES OF SHAPE

Measurement
15cm
15cm
R=7.5cm
7 cm5 cm
5 cm
• Draw a square ABCD with one of its sides measuring 15cm produce BC and DC to P and G respectively outside the square, so the
CP and CG are 5cm each in length. Join PG thus the figure would appear like a kite.
prepare a design in shape by organizing the following unit.
1) A circle of any radius.
2) Three decorative form of a bird.
3) Decorative form of leaves, if necessary.
DESIGN BY DIFFERENT TYPES OF SHAPE

24cm
19cm
R=2.25 cm
R=2 cm
R=1.9 cm
6.5 cm6.5 cm
6.25 cm
• Construct a rectangle with two of its side measuring 24cm and 18 cm . Divide it into two unequal part with a straight or a curved
line.
prepare a design with the following units in the given rectangle:
1) Three kite-forms of different size.
2) Three circle of different size.
3) Any suitable shape you like.
Measurement

Measurement
R=12cm
R=12cm
R=12cm
R=12.75cm
R=2.6cm
R=1.5cm
R=1cm
8cm9cm
3cm
8.75cm8cm
2.75cm
• Draw a semi circle of 24 cm diameter.
prepress a design for well decorative using the following motif.
1) Three curved line.
2) Three circle of different sizes.
3) Two triangle of different sizes.
4) Two different forms of fish.

Measurement
R=10cm
R=5 cm
20 cm
2.5 cm
6.5 cm6.5 cm
10 cm
• Draw an attractive shape for a hand-fan. The outer shape of the fan should not be less than 20cm in height or width excluding the
handle.
prepare the design, organizing in it the following unit.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shape any be used, if necessary.

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

Measurement
18 cm
9 cm(every side)
9 cm
2 cm
4 cm
4 cm
R=4cm
R=3.9cm
R=4.1cm
• Hold the paper given to you in a vertical position and draw a line of 18cm in the middle of it and parallel to the shorter sides of
the paper.
using this line as a diagonal, prepare a regular Hexagon.
on the two side of the Hexagon, which are parallel to the diagonal, construct two rectangle of 2 cm in width, form outsides of the
hexagon.
Prepare a design only in the hexagon using the following element.
1) Two straight line joining the opposite angle of the hexagon.
2) Three circle of different size, with a little width to their circumferences.
3) A square with some width.

Measurement
R=10cm
R=2cm
R=4cm
R=2cm
3.5cm
3.5cm
2cm
2cm
2.5cm
2.5cm
• Draw a circle with its radius measuring 10 cm. draw another smaller circle of 4 cm radius in such a way that it would touch the
circumference of the larger circle.
keeping the smaller circle black. Prepare a design in the remaining space of the whole outer shape, be organizing in it the
following
unit:
1) Three square of different size.
2) Two unequal circle.
3) Five flower-form of different size
4) A bird-form ,if necessary.

Measurement
14cm
14cm
20cm
R=7cm
• Draw a tringle ABCD with its base measuring 14cm and its attitude 14cm. Draw a semicircle, with center D of the bested AB as its
center on the other side of the triangle. In the whole outer shape, thus obtained. Prepares a design for an ‘ear pendant’.
organize the following unit in your design.
1) Decorative from of leaves, flower, fruits, bird etc.
2) Use geometrical shape .

Measurement
R=10cm
R=2.5cm
R=2.4cm
8.5cm
2.5cm
7.75cm
5.5cm
5.5cm
• Construct a semi –circle of 10 cm radius. Organize a design in it . With the use of following units:
1) Two unequal circles.
2) A square.
3) Two equilateral triangles of equal size.
4) Two rectangles.
5) Two or three straight line , if necessary

Measurement
Vase L.=30cm
Vase W.=30cm
• Prepare a design for a vase with its height measuring 30cm. Width and outer shape of the vase are left to your choice. Prepare a
design based on the following units.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shapes may be used, if necessary.

Measurement
R=10cm
R=6.75cm
R=5cm
4cm
4cm
• Draw circle with its radius measuring 10cm. Prepare a design in it organizing the following unit.
1) A Straight line dividing the circle in two unequal part.
2) Three curved line touching the circle.
3) Two circle of unequal size.
4) A square with one side measuring 4 cm.

Measurement
18cm
20cm
6cm6cm
5cm
8cm8cm
4.25cm
7.5cm7.5cm
7cm
R=3.5cm
R=3.4cm
5.75cm
11.5cm
11cm
4cm
• Hold the paper given to you in a vertical position and construct a rectangle of 18cm in width and 20 cm in height for a cotton bag
design .
Draw a suitable handle to it outside the rectangle .
Prepare a design in the above figure using the following units :
1) Two equal rectangle
2) Two unequal circles
3) Three triangle varying in sizes
4) Give some width to any one figure you like from A,B,C.
5) If you so think, straight or curved line may be used with some thickness to beautify the design.

Measurement
18cm
18cm
R=8cm
R=1.75cm
R=.85cm
• Construct a square, 18cm as one of its side and organize the following units in it , to create a design
1) Three curved lines, each to touch two side of the square.
2) Three fish of different sizes.
3) Three unequal circle.

PRINT DEVELOPMENT
BY HAND DRAFTING

PRINT DEVELOPMENT
BY CORAL DRAW

MOTIF COLLAGE
Papyrus Flower
(Egyptian Motif)
Selection

Formal wear is the dress which a person wear for his working hours. And every one want a outfit for working hour is comfortable and
stylish too. Fabric is the primary need of any garment. Fabric properties are most important for any fabric ex-wrinkle resistance, stain
resistance and brea thable etc.
In a formal saree as uniform wear always want a stiff fabric which can hold the saree pleats in a elegant manner and don’t causes
static charge with body.
As a fashion designer will used these fabric design a saree ass uniform:
Silk blends
Tussar silk khadi silk cotton
Muga silk
Pat silk
Murshidabad silk
Bhaga lquri silk
Poly cotton
Taffeta
Manmade synthetic silk
FABRIC SELECTION

Colour is one of the most vital tool in thr hands of designer. It is the most perceptible &prominent aspect of any designer hence is
central to the success or failure of a design schene.
It is very important that a designer has the full knowledge &understanding of this.
Colours are the most important element of any design. When we search for any formal design wee an found the neutrals, earthy and
urban colour.
Generally we can see the bright colour are not used in formal design but the variation in the colour are used ex-tints and shades of
any bright colour . Here are the variuse colour schemes wich can be used in any formal saree’s design.
1. Related colour schemes
2. Complementary colour schemes
COLOUR SELECTION

Thank You
Dezyne E’ Cole College
Tanuja Sahu
2nd Year Diploma Fashion Design (NSQF Level- 6 Of NSDC )

Tanuja Sahu,Fashion Design ,Dezyne E'cole College

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