design awareness programme report

DESIGN AWARENESS

PROGRAMME REPORT

Tikuli clusterDigha, Distt- patna (Bihar), India

Submitted by : Swati BhartiaFor DCS, MSMEs Scheme 2014

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This project has been purely a team effort. I would like to thank all those who have sup-ported the project. Firstly, I am thankful to the Design Clinics Scheme (DCS)team Mr. Shashank Me-hta, (Project Head, DCS for MSMEs), Mr. Sudev Mondal, (DCS coordinator, east zone), Mr. Ashok Mondal, (DCS team, east zone) for their valuable inputs and support during the NAS Tikuli cluster located at Digha, Patna, Bihar A special thanks to Mr. Ashok Kr. Sinha, Deputy Devel-opment Officer, UMSAS, De-partment of Industries (Govt. of Bihar), the entire team of Ti-kuli artists, Digha, Patna, local shopkeeper who has helped in the NAS and shared their valuable experiences with me, This report would have been incomplete without their sup-port and co-operation through the workshop. Thanks to Mr. Ashok Biswas & his family, Founder, Sonaart, Patna, Bihar; state awardee, Tikuli, Patna for in-troducing me to all the artists, his insights, time, support and guidance during the workshop and NAS. For sharing insights, past experiences, time and co-operation without which the workshop couldn’t have been

possible. . I am thankful to Mr. Ashok Mishra, Assistant Direc-tor (Upendra Maharathi Shilp Anusandhan(UMSAS,Patna, Bihar) for his invaluable effort and support as a nodal organi-sation through the NAS and design workshop. Thanks to all other friends who have contributed directly or indirectly to my knowledge and the successful completion of the NAS and De-sign workshop of Tikuli cluster located at Digha, Patna, Bihar. Special thanks to Mr and Mrs. Vikas Poddar, resi-dents, Patna for helping me find accommodation and their moral support during the pro-ject.

Radha Krishna, Tikuli painting, Digha, Bihar

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Tikuli is a form of enamel painting (now) has been one of the oldest crafts of Bihar. It has also been the one most effected by political changes in the state. Digha - a suburb of Patna located just 20 kms away from the state capital, have been engaged in painting of these items without much publicity and public attention in Bihar. The cluster units have registered popularity amongst their users because of the good degree of artisan skills based quality. The rural entrepreneurial ac-tivities of cluster units is a way of earning one’s financial inde-pendence, since most of the artists are women and house-wives. However, as the pro-ducers of this cluster are still using traditional production infrastructure and knowledge base. They have been work-ing in isolation with the rapid technological advancements and market changes the coun-try has witnessed in recent past and have reached to a state where their traditional knowledge needs further in-tegration and reinforcements with knowledge inputs for im-provement in quality, cost and product ranges. The entrepre-neurs can adopt these devel-

opments using their existing/modern infrastructure using existing business strategy or a modified one. Now with and objec-tive to initiate inclusive growth and competition led growth in the country aiming at total productivity improvement and Design need at all scales, the cluster was selected for Need Assessment Survey (NAS) by Design Clinic Scheme (DCS) for MSMEs (Govt. of India).

< Tikuli artist , Saket, Digha, Bihar

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1.introduction 1.1. Micro, Small and Medium Enterprises (MSMEs) 1.2. Design Clinic Scheme (DCS) 1.3. National Institute of Design (NID) 1.4. Upendra Maharathi Shilp Anusandhan Sansthan 2. Location : Digha, Patna, Bihar 2.1. Digha 2.2. Geography and climate 2.3. Economy 2.4. Demographics 2.5. Festivals 2.6. Connectivity

3. NAS : Need assessment survey 3.1. Contribution of DCS and UMSAS for Tikuli cluster 3.2. Purpose of Tikuli cluster NAS 3.3. Time line for NAS 3.4. Deliverables 3.5. Scope 3.6. NAS approach and methodology

4. About Tikuli 4.1. Tikuli 4.2. History of Bindi 4.3. The Craft : History 4.4. The Craft : Features 4.5. The Craft : Importance/Significance 4.6. The Process 4.7. Factors effecting the craft and its productivity

5. Cluster information 5.1. Tikuli Cluster 5.2. Tikuli cluster structure/value addition flowchart 5.3. Location Maps and Geographical Spread 5.4. Demographic Profile of the Cluster 5.5. Characteristic & Inhabitants 5.6. Existing Product Range 5.7. Key Operators and Inhabitants of the cluster 5.8. Market Size and Current Output 6. Tikuli – Process, from raw material to retail | Find-ings / scope of intervention 6.1. Raw material 6.2. Tools and equipments 6.3. Sources of raw material and tools 6.4. Storage of raw material

6.5. Work Space 6.6. Ergonomics 6.7. Process of production 6.8. Finishing techniques 6.9. Packaging of the Products 6.10. Product storage 6.11. Waste management 6.12. Transportation of the Finished Goods 6.13. Marketing 6.14. Branding and Visual Identity 6.15. Display of the products 7. Unit case studies

8. Design Intervention 8.1. Short term Intervention 8.2. Long term Intervention 8.3. Existing Market Model vs Proposed Market Model 8.4. Findings and scope 8.5. SWOT analysis of the craft and the cluster 8.6. Design Intervention & Action Plan 8.7. Branding and Communication. 8.8. New Packaging Design 9. Design Clinic Workshop 9.1. Day One 9.2. Day Two 9.3. Day Three 9.4. Day Four 9.5. Day Five

10. Workshop Output : New product development11. Tools and workstation design12. List of beneficiaries13. Conclusion

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The President under Notifica-tion dated 9th May 2007 has amended the Government of India (Allocation of Busi-ness) Rules, 1961. Pursuant to this amendment, Ministry of Agro and Rural Industries (Krishi Evam Gramin Udyog Mantralaya) and Ministry of Small Scale Industries (Laghu Udyog Mantralaya) have been merged into a single Ministry,Namely, “MINISTRY OF MI-CRO, SMALL AND MEDIUM ENTERPRISES (SUKSHMA LA-GHU AUR MADHYAM UDYAM MANTRALAYA)” Worldwide, the micro small and medium enterprises (MSMEs) have been accepted as the engine of economic growth and for promoting eq-uitable development. The ma-jor advantage of the sector is its employment potential at low capital cost. The labour in-tensity of the MSME sector is much higher than that of the large enterprises. The MSMEs constitute over 90% of to-tal enterprises in most of the economies and are credited with generating the highest rates of employment growth and account for a major share of industrial production and exports. In India too, the MS-MEs play a pivotal role in the

overall industrial economy of the country. In recent years the MSME sector has consist-ently registered higher growth rate compared to the overall industrial sector. With its agil-ity and dynamism, the sector has shown admirable innova-tiveness and adaptability to survive the recent economic downturn and recession. As per available sta-tistics (4th Census of MSME Sector), this sector employs an estimated 59.7 million per-sons spread over 26.1 million enterprises. It is estimated that in terms of value, MSME sector accounts for about 45% of the manufacturing output and around 40% of the total export of the country.

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For easy percolation of design thinking and philosophy and maximum benefit for MSME units the Design Clinic Scheme is divided at 3 broader levels.These activities are helpful in smooth transition in to several levels of design intervention in industrial and business activi-ties of MSMEs. The Design Clinic Scheme (DCS) is an initiative of he Ministry of Micro, Small and Medium Scale enterpris-es (MSME) and India’s pre-mier Design institute namely National Institute of Design. Launched under the National Manufacturing Competitive-ness Programme (NMCP) on February 17th, 2010 in New Delhi, the unique and am-bitious design intervention scheme proposes to benefit 200 industry clusters to create a dynamic platform to provide expert solutions to real time Design problems, and in that add value to existing products.

PurposeTo increase awareness about the value of design and estab-lish design learning in MSMEs.To increase competitiveness of MSME products and servic-es through design.

ObjectivesTo create a sustainable design ecosystem for the MSME sec-tor through continuous learn-ing and skill development.To promote use of design by MSMEs for developing prod-ucts and services that are market led. To focus on build-ing the design capability of MSMEs to enable them to im-prove business performanceas well as compete in the glob-al market..

Key principlesAdopting a rigorous, yet appli-cant friendly, process. Promot-ing and disseminating design concepts in regional or local languages understood by the MSMEs. Establishing benefits without overwhelming the MSMEs. Learning from other successful design-support programmes. Establishing sys-tematic processes

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National Institute of Design is internationally acclaimed as one of the foremost Multi- dis-ciplinary institutes in the field of Design Education, training, design consultancy services and outreach pro- grams. Es-tablished in 1961, NID is the autonomous institute under the Ministry of Industry, which is now known as Ministry of commerce and Industry, Gov-ernment of India NID has been a pioneer in Industrial Design Education after Bauhaus andUlm in Germany, and is known for its pursuit in Design excel-lence to con- vert the designs of India for the world. The National Institute of Design is the nodal agency for the Design Clinic Scheme with its rich experience in Design training and Consultancy, NID being the synergizing catalyst between Design profession-als and Design Clinic Scheme beneficiaries, with an admin-istrative command of facilitat-ing the Design Clinic Scheme schedule. The Design Clinic Scheme offers an enriching opportunity to the large sec-tor of MSME (Associations and Units) as well as the Indi-an Design fraternity, including consulting firms, independent

Designers, Design institutes as also Design students, to en-gage in assisting the country’s large and significant MSME sector.

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Eames Plaza, National Institute of Design, Paldi, AhmedabadSource : https://www.facebook.com/333633610590/photos/a.10151866597605591.869233.333633610590/10151866597645591/?type=1&theater

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Upendra Maharathi Shilp Anu-sandhan Sansthan is aimed to preserve, research and pro-mote the various forms of Bi-hari handicrafts. The institute is continuously working on growth and development of crafts sector and craftsmen in an integrated manner by generating requisite knowl-edge, training programme and workshops for up gradation of relevant skills. The Institute conducts product develop-ment, research and training activities and also attempts to safeguard the languishing crafts of the state. The museum of Up-endra Maharathi Shilp Anu-sandhan Sansthan showcases an awesome and permanent collection of arts and crafts of Bihar. People can see a huge collection of handicrafts in this museum like stone and wood carvings, Madhu-bani paintings, paper mache art, tikuli art, bamboo work, brass and bell metal products and many more. Museum is unique in the sense that apart from showcasing some of the most fascinating collections of traditional craft items it also provides an opportunity to craftsmen to visit here and participate in creativity work-

shops. Upendra Maharathi Shilp Anusandhan Sansthan runs training program of six months duration throughout the year in 10 various forms of art and craft. Students get trained under the guidance of skilled craftsmen. They also learn entrepreneurial skills, promotional activities con-nected with their traditional arts and crafts. These crafts-men come from various parts of India. Hostel facility is avail-able for outstation students. The Institute’s library provides access to a unique collection of diverse resources that support curricular and research activities at UMSAS. The primary focus of the col-lection is art & craft of Bihar. It is open to the public as a refer-ence library. Aims and objectives1. Support Craft Production2. Strengthen Craft Marketing Initiatives3. Establish craft resource bank/ preservation and revival4. Outreach, Collaboration and Network5. Artisan welfare6. To perform such other acts including execution of projects and programmes as Training and Assessment

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7. To manage and supervise training centres.8. To help setting-up of train-ing centres at field level. The Institute con-ducts several craft-specific workshops and training pro-grammes to help artisans with new designs, tools, technol-ogy, techniques, raw material, etc. Most of these workshops have had global consultants coming together to work with groups of 20-50 artisans at a time. Upendra Maharathi Shilp Anusandhan Sansthan runs training program of six months duration throughout the year in 10 various forms of art and craft. Students get trained under the guidance of skilled craftsmen. They also learn entrepreneurial skills, promotional activities con-nected with their traditional arts and crafts. These crafts-men come from various parts of India. Hostel facility is avail-able for outstation students.

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Location : Digha, Patna, Bihar

Digha Geography and climate Economy Demographics Festivals Connectivity

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Digha, during the British Raj, was a village and agricultur-al area in Patna. Digha was famous for its mangoes or-chards, moreover, famous Mango variety Digha Malda, which is popular in Bihar and even outside the state, got its name from it.[2] In 1858, the Congregation of Christian Brothers established St. Mi-chael’s High School, Patna, the second oldest catholic institu-tion in the city (now owned by the Jesuits). The school pro-vided education to the chil-dren of Catholics, British expa-triates and Anglo-Indians only. The major developments in the area took place after the 19th century, which helped spur high-density residential development in the locality. Today it has developed into a crowded residential col-ony of Patna; marked by resi-dential houses and high raise apartments. Its nearness to western Patna, development of Gola road which connects it to Bailey Road and the pro-

posed road on Ganga and the ongoing construction of Gan-ga Rail-Road Bridge[3] would provide easy access to the people. There is also a plan to connect the Patna Junction Metro line to Digha.[4]

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Geography and demo-graphics Coordinates : 25°38′28″N 85°5′26″ELocation : Patna, India State : BiharMetro : PatnaLanguages Spoken : Hindi, EnglishTime zone : IST (UTC+5:30)Planning agency : Patna Re-gional Development AuthorityCivic agency : Patna Municipal Corporation.

Digha Ghat is a part of Patna. Adjacent to Ganges, Patna is the capital and largest city of the state of Bihar in India. The second largest city in eastern India, had an estimated popu-lation of 1,683,200 in 2011, making it the 19th largest city in India. It’s Urban-agglomer-ation is 18th largest in India with over 2 million people. HistoryPatna was founded in 490 BCE by the king of Magadha. An-cient Patna, known as Patali-putra, was the capital of the Magadha Empire under the Haryanka, Nanda, Mauryan, Sunga, Gupta and Pala.The city also straddles the riv-ers Sone, Gandak and Punpun.

The city is approximately 35 km long and 16 km to 18 km wide. It is the largest riverine city in the world.

Agriculture Rice, sugarcane , mango or-chards, bamboo clumps, date palm.

FloraBel, siris, jack fruits and the red cotton tree. Climate Humid subtropical climate with extremely hot summers from late March to early June, the monsoon season from late June to late September and a cold winter with bitter chilling nights and foggy or sunny days from November to February Patna has long been a major agricultural centre of trade, its most active exports being grain, sugarcane, sesame, and medium-grained Patna rice.

TourismBodh Gaya, Kumhrar and Agam Kuan are the sites of the ruins of the Ashokan Patalipu-tra. Didarganj Yakshi remains as an example of Mauryan art, Takht Sri Patna Sahib, one of the Five Takhts of Sikhism and

consecrates the birthplace of the tenth Guru of the Sikhs, Gobind Singh, Padri Ki Haveli, High Court, Golghar,

Media Many national media agen-cies, including the Press Trust of India and Doordarshan’s re-gional offices are based in the city. The Times of India, Hin-dustan Times, The Economic Times and The Telegraph have Patna editions. TourismBodh Gaya, Kumhrar and Agam Kuan are the sites of the ruins of the Ashokan Patalipu-tra. Didarganj Yakshi remains as an example of Mauryan art, Takht Sri Patna Sahib, one of the Five Takhts of Sikhism and consecrates the birthplace of the tenth Guru of the Sikhs, Gobind Singh, Padri Ki Haveli, High Court, Golghar, Some important fes-tivals celebrates are Chatth Puja, Durga Puja, Sama-chake-va, Ram Navami, Makar-sank-ranti, Bihula, Madhushravani,Teej, Pitrapaksha Mela at Gaya, Sonepur Fair.

FestivalsChatth PujaThis puja is celebrated twice a year. Once in Chaitra and the

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next in the month of Kartik. People worship sun during the sunset time. This is a festival for cleanliness. Even tough it is festival of the family. Cele-brated mostly by the people inBagalpur district.

TeejIt is the festival celebrated by women. This festival is dedi-cated to Goddess Parvathi and Lord Shiva, Apart from Chatth, all major festivals of India areCelebrated in Bihar, such as Makar Sankranti, Sarasawati Puja, Holi, Id-ud-fitra, Id-ud-joha (Bakri-eid), Muharram, Ram Nawami, Rath yatra, Ra-khi, Mahashivaratri, Durga Puja, Divali, Laxmi Puja, Christ-mas, Mahavir Jayanti, Buddha Purnima, and several other lo-cal festivals as well.

FairSonepur Fair is the animal fair which takes place every year, Asia’s biggest fair which takes for a period for 15 days. Mil-lions People from so many places visit here every year. Sonepur is merely 52 km from District Headquarter Hazipur.Celebrated for 4 days peo-ple maintain purity for even a month. Women do fasting during this puja time for fam-

ily wellbeing.

Ram navamiPeople celebrate the day when Lord ram was born with fastings and prayers.

Makar-sankrantiCelebrated as the beginning of summer season,also know as Tila Sankranti. People on this day, fast and pray.BihulaPeople pray Goddess Manasa for the wellness

ConnectivityAirwaysThe nearest airport is Patna (70 Kms).Railways Patna Junction is an important railway junction of the Eastern Railway of India.RoadwaysPatna is well connected by road to West bengal, Jharkhand and Odisha. The state capital Patna is linked with famous MahatmaGandhi Setu.Media Many national media agen-cies, including the Press Trust of India and Doordarshan’s re-gional offices are based in the city. The Times of India, Hin-dustan Times, The Economic

Times and The Telegraph have Patna editions.

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NAS : NeedAssessment

Survey22 - 26 May 2014

Contribution of DCS and UMSAS for Tikuli cluster Purpose of Tikuli cluster NAS Time line for NAS Deliverables Scope NAS approach and methodology

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The DCS for Tikuli Cluster is sup-ported and implemented by the east zone office of DCS for MSMEs, Kolkata in association with Upendra Maharathi Shilp Anusadhan Sansthan(UMSAS) Patna(Bihar). In total, 25 units (25 craftsmen) were inter-acted which represented the Tikuli cluster, Digha for Need Assessment Survey (NAS) un-der DCS for MSMEs. Accord-ing to definition of MSMEs, all the representing units of the Tikuli Cluster are classified as micro enterprises, since their investments in tools, plant & machinery does not exceed 25 lakh Rupees. DAP is aimed to cre-ate design awareness within the Tikuli Cluster members with cluster centric design in-formation and participatory workshop for better under-standing the role and benefits of design. Out of the fund al-lotted under the DCS for MS-MEs, to Woodcarving cluster for DAP, 25% is contributed by Upendra Maharathi Shilp Anusadhan Sansthan(UMSAS) Patna(Bihar). To create more insights relating to cluster craftsmen, work place, prod-ucts, operations and market scenario, technology, commu-nication, research and devel-

opment, design diagnosis and remedies the DAP is divided in 2 segments: 1. Need Assessment Survey (NAS)2. Design Clinic Workshop (DCW) In order to understand the design issues and design need of the Tikuli Cluster, the expert designer was appointed to conduct an intensive design research to develop a holistic map the present scenario and opportunities for design inter-vention in the clusters through interactive learning, guidance and training. This aims to serve, as a base for address-ing the general design needs of the Tikuli Cluster and work-ing out design solutions in the following Design Clinic Work-shop (DCW) with the units of the metal craft in the follow-ing DCW with the units of the Tikuli Cluster. The Need As-sessment Survey (NAS) which was conducted for 5 days for the Tikuli Cluster in Danapur, Digha, Patna(Bihar) is part of the DAP done under the DCS and will be followed by Design Clinic Workshop (DCW). In the interactive DCW that will be conducted by the design experts, the cluster members learn the creative

problem solving techniques/design process to explore opportunities and devel-op breakthrough solutions. Through interactive discus-sions and workshop activities, remedial solutions are gener-ated. The workshop could be for 1-5 days depending upon the need of the clusters and the number of units covered under NAS.

Mr. Ashok MondalEast zone coordinator

Design clinic, MSME, India

Mr. Sudev MandalEast zone coordinator

Design clinic, MSME, India

Mr. Shailesh Thakur, IRSDirector of Industries

Director, UMSASDepartment of Industries

Government of Bihar

Mr. Navin Verma, IASPrincipal Secretary

Department of Industries Government of Bihar

Mr. Ashok kr. SinhaDeputy Development Officer, UM-

SAS, Department of Industries Government of Bihar

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In order to contribute to the development of DCS strategy for Tikuli Painting, the NAS of the current and possible stakeholders in Tikuli Cluster in Digha, Patna, Bihar was car-ried out. This report seeks to put forward the efforts and ac-tivities of individuals involved in the Tikuli Cluster initiatives through three deliverable:1. Analysis of the current- Location- Present condition of the clus-ter.- The product and service de-veloped by the cluster.- The holistic system, of con-cept to customer approach of the cluster.2. Analysis of challenges- Tikuli Cluster business ap-proach.-Art, shopkeepers, buyers, and other important individuals who involved.- In context to process and production.- Moral values of the products.3. Recommendations for ad-dressing those challenges.- The future direction for the cluster development- Awareness of modern trends and market need.- Improvement in existing skills.4. To Identify hard interven-

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tion to be undertaken in terms of- Improvement in the product quality, process and technol-ogy.- Cost competitiveness.- Diversification in the product portfolio.

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Need Assessment Survey

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Need Assessment Survey (NAS)NAS was a way of finding an-swers to questions that arose during the secondary re-search.

•Understanding the craft and the process. Finding out its time line and the factors that effected it’s transforma-tion. Visit to the UMSAS mu-seum to see the original tikuli.

•Interview with the state awardee and expert of Tikuli painting, Mr. Ashok Biswas and his wife Ms. Shibani Bis-was who have founded SO-NAART Pvt. Ltd. Mr. Biswas also has a collection of the old and new tikuli painting which gave me a clear picture of the craft’s time line.

•Visiting the vendors and carpenters for understanding the preparatory process and it’s scope. Visit to Mr. Biswas’s community meeting to under-stand existing organisational system and operations

••Visiting the tikuli paint-ers i.e. The units in and around Danapur, Digha understanding

them, their workspace and the their work culture. Spot-ting participants for the work-shop.

5 Day WorkshopWith the NAS, the process of analysis of the data collected and spotting scope of design intervention was taken up at parallel. Raw materials were purchased, a strategic ap-proach to the workshop was laid out and the base for the actual painting was prepared.

•Introductory session : MSME, Design Clinics scheme, designer, artists participating in the workshop, their moti-vation behind it, their vision, mission. Neutralizing the set expectation and establishing open minded attitude. Ex-plaining efficient method of design development and trac-ing design on actual base.

•Establishing quality stand-ards/setting up ideal stand-ards. Getting hands on with the techniques for an effective outcome.

•Discussing importance of maintaining consistency and

effective ways for achieving it.

•Work in progress, under-standing possibility and rea-son behind introducing new materials, existing markets and scope.

•Devising finishing tech-niques, it’s significance in maintaining quality standards, Motivating for groups and cluster formation, training and skill development, looking be-yond the visible, self criticism and setting up of high goals.

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The NAS report will highlight key information, issues and opportunity areas for design intervention in the cluster and help participating MSMEs to explore benefits of design ex-pert help during the design clinic workshop...• Raw Material at different stages of manufacturing• Infrastructure setup and work station• Skill and techniques• Surface design patterns and painting• Product form, shape and us-age• Tools and technology in use• Capability of manufacturing unit• Present Market status• Customer expectation and behaviour• Current Competition• Packaging, logistic and stor-age• Exhibition, display and mer-chandising

The NAS will conduct a value mapping assessment to better understand the limitation and design opportunities for the Tikuli Cluster in Digha, Patna. This value mapping analysis will build on the study of the Local and global market place for Brass-Bronze Utensil Clus-ter and will clarify...• Competitiveness strategy (focused on improved efficien-cy, improved quality/differen-tiation, or changes in demand)• The limitation and oppor-tunities along the value map-ping, especially in light of internal conditions in Digha, Patna.• The design interventions re-quired benefiting the cluster including the workflow pro-cesses.

< Making of the table out of bamboo

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Field research/primary researchThe objective was to...• Investigate the craftsmen’s level of understanding and knowledge of the process of creating the end products. • Their understanding of the business and market• Field research contain ofQuantitative and qualitative research of Tikuli Cluster.

Quantitative researchA structured research was con-ducted that yielded closed-ended answers, like profile of the members: age, education, the length of time they have been in the business, other business engagements, the kind of products they make, their buyers, etc. The quanti-tative research consisted of a total of 48 face-to-face struc-tured interviews conducted across at Danapur in Digha, Patna, Bihar

Qualitative researchThe aim of qualitative research was to get in-depth insights about the cluster • Day-to-day activities• The living conditions• Difficulties in their business • Issues with local dealers

• Family issues• Financial issues• Educational facilities, etc.• Interview with other stake-holders...• One to one interaction with individual artists in their own houses/workspace• Discussion about various techniques and possibilities in tikuli painting• Find traces from earlier technique and usage of tools and material.• Self observation and analy-sis about their present status.

Secondary ResearchBasic anthropological, botani-cal, geographical,commercial and sociological information search related to Tikuli paint-ing was collected.

< Measuring diameter of the wood before cutting a cylin-drical container out of it.

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About Tikuli Tikuli History of Bindi The Craft : History The Craft : Features The Craft : Importance/Significance The Process Factors effecting the

craft and its productivity

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‘Tikuli’ is a local term for ‘Bindi’ a dot that is a part of what de-fines a woman in Bihar. Yes!! It is the Bindi that adorned the forehead of every royal mar-ried woman of the royalty in Bihar. It was a mark that ‘she‘ is married and committed for life. Ancient India was known as the ‘golden bird’ cause it was rich, it had huge gold reserves and so was the Bihar region then. It was dur-ing the Mughal rule that the bindi took on a completely new definition. The Bindi be-came means of social distinc-tion. Tikuli making involved melting glass, adding traced pattern in natural colours and thereafter embellishing it with gold foil to create the “tikuli” or “bindi”. They were made so intricate and detailed that only the royalty could adorn it. The more detailed it was, higher was it’s value. It was not only patronized by the royals but it flourished during the Mughal rule. Traders from the far off states of northern and western India to Patna where bulk purchasers of the gorgeously embellished Tiku-lis made in gold and silver foils with glistening glasses acting

as a solid bases. It was after colonization in India that the craft took a back burner and later was almost extinct. Thus by the year 1900, the Tikuli art was facing the threat of extinction. In 1954, Chitracharya Padmashree Up-endra Maharathi, painter, arit-ist and designer, provided a new dimension to the Tikuli art. Inspired by his visit to Ja-pan and witnessing colourful hardboard paintings depicting the centuries old Nipponese motifs and being sold com-mercially to both foreigners and locals, Shri Maharathi adopted the Japanese method to portray the dying Tikuli art on glazed hardboard. Since, 1974 the un-deterred efforts and undying spirit of painter and craftsman Ashok K. Biswas ad his wife, entrepreneur Smt. Shibani Bis-was has not only helped the craft survive but also helped the craft reach its zenith.

Read more about...Shri Upendra Maharathi : http://www.geocities.jp/upendra_maha-rathi/profile.html

Shri Ashok kumar Biswas : http://www.biharmahilaudyogsangh.com/memdirectory/sonaart.htm

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A bindi meaning “a drop, small particle, dot”; is a fore-head decoration worn in South Asia (particularly India, Bangladesh, Nepal, Sri Lanka, Pakistan and Mauritius) and Southeast Asia. Traditionally it is a bright dot of red colour applied in the centre of the forehead close to the eye-brows, but it can also consist of other colours with a sign or piece of jewellery worn at this location.

Traditionally, the area be-tween the eyebrows (where the bindi is placed) is said to be the sixth chakra, ajna, the seat of “concealed wisdom”. The bindi is said to retain ener-gy and strengthen concentra-tion. The bindi also represents the third eye. According to the Jabala Upanishad, Avimukta (the middle of the eyebrows) “is the abode of Brahman in all beings”. From Vedic times, the bindi was created as a means to worship one’s intellect. Therefore, it was used by both men and women. The belief was that on this a strong in-dividual, a strong family and strong society can be formed.Most images of Buddha or Hindu divinities in meditative

pose with their eyes nearly closed show the gaze focused between eyebrows (other spot being the tip of the nose – naasikagra). A traditional bindi is red or maroon in colour. A pinch of vermilion powder applied skilfully with a prac-tised fingertip makes a perfect red dot. It takes considerable practice to achieve the perfect round shape by hand. A small annular disc (perhaps a coin) aids application for begin-ners. First they apply a sticky wax paste through the empty centre of the disc. This is then covered with kumkum or ver-milion and then the disc is re-moved to get a perfect round bindi. Various materials such as sandal, ‘aguru’, ‘kasturi’, ‘kumkum’ (made of red tur-meric) and ‘sindoor’ (made of zinc oxide and dye) colour the dot. Saffron ground together with ‘kusumba’ flower can also work.

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Tikuli has been the most inte-gral part of a woman’s identity in ancient India i.e. during and after the Mughal rule. It held the mark of royalty and rich-ness. Some features are...• Etching of gold foil on glass• Involved both men and women• Expensive raw materials• Etching (technique)of gold foil on glass• Natural raw material used• Equivalent to jewellery/ gold adornment.• Rich, Royal Elegant• Expensive, hence signified flamboyance• Exclusive/rare/unique• Time taking• Fragile/delicate• Small and intricate• Needs special skill sets• A necessity because Bindi is integral to a married woman’s ‘sringaar’(adornment)• The only available hand-made Bindi then.• Unique motifs and themes Since, the industri-al revolution the felt bindis have replaced tikuli, it lost its monopoly. Infact it became a second choice for those who couldn’t afford it so eas-ily. With reduced demand the craftsmen and craftswomen faced losses and hence the skilled hands gradually gave

up on making them, such that today the skill and technique is history. Later, those who were not able to adopt to a new craft/skill switched on to enamel painting on glazed hard boards, known as ‘Tikuli paintings’ , under the guid-ance of Shri Upendra Maha-rathi. Hence, it’s material the techniques changed com-pletely and so did the out-come. The tikuli craftswomen (since it’s women dominated) converted into painters.Features of Tikuli Painting...• Enamel painting• Inexpensive raw material• Painting/layering technique• Equivalent to lifestyle acces-sories• More rough and tough : heat proof, water proof.• An art piece more than craft• No cultural/social signifi-cance• An object of choice not need• Intricate and detailed• Needs painting skills• Products are a combination of the machine made and handmade (painting skills)• Themes and motifs bor-rowed from Madhubani• Products are more than 10 times larger in size.• Low priced

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< (Clockwise from top left)• Oldest form of Tikuli in the form of a painting.• Last remains of the original Tikuli in the form of bindi.• Ardhanareshwar, the revived art in the form of enamel painting.• Radha krishna, tikuli paint-ing approx. 1970s• Doli, Tikuli painting 1980s• Chhath, tikuli painting now• Doli, tikuli painting now

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Originally, it involved melting glass, blowing it into a thin sheet and making and adding traced pattern in natural colors and afterwards embellishing it with gold foil and jewels. The gold foil was etched to form traced patterns and later , nat-ural colours were added for enhancing the etched designs. Tikuli were mainly adorned by Queens and Aristocrat women of yore. Jewels were put on gold leaves according to the status of the women in the so-ciety and these beautiful hand crafted Bindi’s were a proud possession of women in India. Later, post British raj and industrialisation machine made bindi’s in felt replaced tikuli. For more than a decade thereafter tikuli artists were jobless. Many shifted their occupations, others lost their houses. Hence, Shri Upendra Maharathi, a renowned artist then, re established the craft in the form of enamel painting on hardboard. The base was prepared out of wood which was coated and smoothed using sand pa-per 4-5 times till the base was a dark brown/black glistening surface like polished granite. Now ready to be embellished using enamel paint and a fine

sable/squirrel hair brush , it was painted by women in sin-gle strokes in a complimentary colour scheme using primary colors to create a piece of art. Themes, shapes, col-our schemes and style of com-position has seen changes since then. Since, enamel paint makes the surface heat proof and water proof, making utili-tarian items like coasters, trays and mobile stands have been practised.

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Geographical and climat-ic factorsThe craft involves use of enam-el paint which requires dry air at room temperature or mild sunlight to dry. It needs a dust free atmosphere for a finished look. Moreover, the painting is difficult to do under artificial light. Due to use of chemical based polyurethane based paints that emits fumes, the workspace need to be well ventilated. The Brushes used are round sable/squirrel hair brush of size ranging from 000-0 for ornamentation and flat brush of size 20 or above for base coat. The Brushes need to be kept in a dry and cool place for longevity. Hence, spring and summer are the ideal seasons for the craft whereas mon-soon is completely unfavour-able. Winter is ideal but the number of working hours in daylight reduces considerably which inturn effects produc-tivity.

Social and Cultural factorsTikuli had been practiced by men originally, but since it’s reformation by padma vib-hushan shree Upendra Ma-

harathi as a form of enamel painting Tikuli has been a woman’s affair. The women in-volved are mostly housewives or college going girls (would-be -housewives), young girls ready to be married. It is pre-dominantly practised by not -so-well educated housewives as a full time source of income whereas for the college going girls as a part time affair to earn their pocket money. Both ways, the idea is to earn pocket money than bread and butter cause in Bi-har, as in most parts of eastern India, gender inequality still exists and patriarchal school of thought dominates. The fact that they are housewives, also implies that the number of working hours and level of commit-ment is effected. Although, Tikuli as products don’t hold any cultural significance, but the themes that are painted revolve around Indian wed-ding, festivals of Bihar (chatth, Deepavali and holi) and Krish-na leela, which definitely propagates the culture and history of Bihar to the world. Since, Tikuli is more popular as exports, it plays a significant role in popularising Indian cul-ture because it is a part of the

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user’s day to day life in form of lifestyle products like tray, coasters and mobile stands.

Economic factorsThe lower class and the lower middle class section of the society are involved in mak-ing the craft. Hence, the craft is practised at homes. Work-space and tools are a make-shift arrangement. Their personal investment is only on the tools which include Brushes that the craftswomen purchase at a nominal rate. It accumulates up to >1% of the total cost. Lack of ample work-space results in inefficiency and compromised quality of work. It also leads to low productivity under unfavour-able climatic conditions, due lack of appropriate provisions which are costly. Political factorsPolitical factors effect the craft indirectly through the crafts-women.

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Cluster Information

Tikuli Cluster Tikuli cluster structure/value

addition flowchart Location Maps and Geographical Spread Demographic Profile of the Cluster Characteristic & Inhabitants Existing Product Range Key Operators and Inhabitants of the cluster Market Size and Current Output

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Cutting of wood Edge finishingPreparing base

coat using enamel paint

Quality checkTracing designPainting design

Finishing touches Edge finishing Quality check and collection

Framing / packing

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Wood cuttingpainting basepainting designTracing DesignFinishing and QCFraming and packing

< Value addition flow chart and pie diagram

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The Cluster units comprises of 1-2 craftswomen/per unit. They are micro scale and com-prise of activities typical of an unorganized sector with non registered with UMSAS or any other government body. Gender equality ratio amongst the cluster is females : male :: 25:1 . Literacy rate is an aver-age of 90% in males and 50% in females. Occupation of the women group is Married: housewife 90%Single : service/ job 50% house-hold work 50%

1:1Single married

20:1Women men

3:1Working housewife

< Part of the cluster in DighaWho participated in the workshop

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Lifestyle productsMobile holderTrayCoaster with coaster stand3” X 3” Round Coaster3” x 3” Square Coaster 4”x 4” Round Coaster 4” x 4” Square Coaster

Wall Hanging/Table mat4.5 x 4.5 Sq. To 24’’x 12’’ Rectangle

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0 10 20 30

Paintings (upto 4ft X 2ft)

Paintings (upto 8 sq inch)

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Market size and shareInternational and national market shareExports has more than 50% share in the market size of Ti-kuli. Online retail and interna-tional exhibitions are the ma-jor source of marketing. National exhibitions and display through govern-ment emporiums play a signif-icant role in national and local sales. Some unique wall paintings are also sold trough curators and art collectors

Current output

Per unit has one artisan Their productivity per month is as follows...

During dry weather/favour-able climate...

Paintings (up to 4 ft X 2 ft) 8-10 per piecesPaintings (10 sq inch) Up to 15 pieces

Tray (up to 1.5 ft X 10”)15-20 pieces

Coasters (up to 4 sq inches) with stand25-30 sets

Mobile stands and boxes20-25 pieces

The productivity reduces by 25 during rainy season/humid conditions/non - favourable conditions

International marketNational market

Market share

Productivity during seasons

Sales

International marketNational market

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Wood Medium density and high density fibre boards (MDF/HDF)Coasters and wall paintings are usually made on coated medium density and high den-sity fibre boards. Source : Through whole sellers and suppliers within Patna. It is provided by the contractor

Ply boardCoaster stands, trays, mobile stands and boxes are made of ply board. Source : Through whole sellers and suppliers within Patna. It is provided by the contractor

Wood fillingsEdges and surfaces crevices coaster stands, trays, mobile stands and boxes are finished using wood fillings (dust)Source : Waste from cutting ply board and HDF/MDF.

Enamel PaintEnamel paint is used to pre-pare base coat and main or-namentation process. Asian paints enamel paint is used. Source : Through whole seller within Patna. Paint is provided by the contractor.

Thinner / AstringentIt is used to dilute the enamel

paint to achieve the right con-sistency for painting and also to clean excess paint and the used BrushesSource : Through whole sell-ers within Patna. It is provided by the contractor

Brushes and colour pal-ette0, 00, 000 round Brushes are used for painting whereas flat Brushes up to number 30 is used for preparing the base coat. Plastic small colour pal-ettes are used to mix colors.Source : Through whole sell-ers in Kolkata through vendors or is purchased locally. It is purchased by the crafts wom-en themselves from the assis-tance of the contractor.

Tracing paper It is used for tracing the design during replication.Source : Through whole sell-ers in bulk and later divided within the group. It is provid-ed by the contractor

Cleaning clothCotton fabric (preferably knitted) is required to clean Brushes and excess paint.Source : Waste fabric from households are reused. It is craft women’s own.

< Wood stored in the wood workshop

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Raw material for framingRaw materials like Three ply nylon loop, thin cotton fab-ric and Fevibond is locally sourced. Wood framing is out sourced through vendors in Kolkata.

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< (Above) MDF of varied thickness(Left) Shaping of a wood block on the lathe machine

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3d objects placed so that hands can rest well for stability

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^Brushes stiffen and turn redundant because of keeping and later storing them in open

Photocopied designs kept under mattresses leads to blurring of lines due to

heat and pressurev

photocopied designs stacked and kept in poly bags may damage paper

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Storing paint in open area causes drying of paint sometimes

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^Paint is sometimes mixed in paint can caps. It

sticks onto the painter’s hand and spoils the paintings later

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The postures cause pain in neck and upper arm

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Working on a 3d surface is difficult >

Bad posture >

< Keeping the hand sta-ble is difficult . It effects the finish of the work.

The colour gets dam-aged due to mixing

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Procuring raw materialAs mentioned in the previous chapter, wood, the commonly used raw material, is sourced locally. Usually Green Ply ply board and MDF/HDF is used. Wood used is safeda or sea-sum Bamboo can be an ex-cellent base for tikuli due to it’s smooth surface. Glass or mirror can also be used.

Cutting and chiselling of wood creating base• Coasters and wall hangingsMDF/HDF is layered (5-6 at a time). It is cut in the automat-ic cutting machine. Edges ate smoothed using sand paper.• Coaster stands, tray, mobile stands, boxesPly board is cut -> Hole is drilled for joinery -> Joinery is implemented (either screw or a stick of wood) -> Crev-ices/holes/gaps are filled with a putty, a mix of Fevicol and wood dust (waste generated while cutting). edges and sur-face is smoothed by sanding process.It is out sourced through job work Use of bamboo shall involve use of the lathe ma-chine which otherwise remain

redundant, in the workshopWood moulding and bending can be used to create trays and mobile stand without any joinery.

Preparing baseA smooth and glossy base is prepared before the actual tikuli painting is done. The wood base prepared is coated with black enamel paint us-ing a flat brush. It is allowed to dry, preferably under di-rect but low sunlight, but dust proof area to avoid any noise on the surface. It is then smoothed using sand paper. This process is repeated 4-5 times. Before the last step, no sanding takes place, instead the surface is wiped using a thin cotton fabric to remove any dust particles that may have settled while drying. The last and final coat of enamel paint is done Use of glass and mirror means readily available base i.e. It shall reduce this step from the process flowchart. It may require only 1-2 quotes of enamel to prepare base.

Tracing of design Due to commercialization rep-lication of design has been practised. This involves trac-

Procuring wood

Cutting and chiseling of wood creating base

• Smoothening the surface for base coat• Applying base coat. Enamel base coat (black/dark brown) • Drying followed by sanding• Application of base coat • This process is repeated 5-6 times till the base appears smooth and shiny

Preparing base

Tracing of design outline on tracing paper

Application of talcum powder/chalk powder on plate

Tracing of design on base using the back of a brush

• outline• Drying of outline• Filling in color 1• Drying• Filling color 2• Drying• Filling color 3 • Drying • Filling color 4• Drying• Filling color 5• Black outline• Drying

Painting design

• Finishing outlines with White paint• Drying• Wiping any dust particles off the surface

Finishing

QC and Finishing of wall hangings by attaching loops/ framing

QC and Packing

Dispatch

< Process flow chart

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ing of the design directly on a tracing paper. Commonly the craftswomen photocopy the design, instead of hand trac-ing it on to the tracing paper in order to save time. Main-taining symmetry and visual balance is not a focus, they depend completely on the copied design. Use of tracing paper for photocopy and checking it for symmetry and visual bal-ance before tracing it onto the actual surface shall improve the quality of work.

Application of talcum powder on the baseThe process of direct tracing on to the plate/surface to be painted is adopted by apply-ing talcum powder on to the surface to be painted. The base is first wiped off all dust from the surface. The traced imprint gets erased out easily. Some-times it leads to improper/in-accurate design.

Tracing of design on the baseThe design is then traced onto the surface using the a pen. The same traced design is used repeatedly for 15-20

paintings. Use of pen on pho-tocopied design leads to de-viation in the design outlines. Repeated use of pen on the same paper causes complete change of shapes and tears the paper at times. This effects the quality of work adversely. Use of clear glass can omit the process of tracing the design. Use of a bamboo pen with a blunt tip can help avoid deviation from the actual de-sign. Use of clips to hold the paper on to the surface can help achieve accuracy/greater perfection.

Painting and finishingPainting the actual design in-volves painting the outline first using white paint. This is to avoid lose of any traced design. It is then allowed to dry. Colors like royal blue, red, green and orange are applied one after the other. Each col-our is allowed to dry partially before the next is applied for a finished painting. The last step id to paint black outlines us-ing 000 round brush. All colors are allowed to dry completely before applying black to avoid any smudging. In case of acci-dental smudging due to hand contact. The paint is easily

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Mdf marked to be cut -----------------------------------> Mdf being cut -------------> Automatic cutting machine ----------------> Separating cut pieces----------------V

-----------> Drilling hole on the cut piece --------------------------------------------> Sticking pieces together ----------------------------------> coaster and it’s stand is ready ---------V

--> Mixing thinner with paint --------------> painting first layer of black and letting it dry ----> smoothening with sand paper ---------> it is repeated 4-5 times -----------V

--------------------> Surface at 3rd coat --------------------------------------------> surface after 5th final coat ----------------------------------> coaster, mobile stand and tray ----------------------->

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wiped of using a thin cotton fabric dampened with thinner. Finally any touch ups are done to complete the painting. It is allowed to dry completely. Lack of covered drying space leads to sticking of dust on the painted surface, caus-ing unnecessary noise.

Finishing of wall hangingsAll painted are checked by the contractor/collector for any errors in filling colors or out-line finishing. Discrepancies in the existing system is obvious. Hence, it is not checked/com-mented on. Wall hangings are finished by attaching loops or framing. Framing is an out sourced pro-cess. Loops are attached using fevibond fabric and 3 ply nylon thread. Use of fevibond and method of application causes sticking of the adhesive on the top surface. It also spoils the edge finishing of the wall hanging. In-house framing can save costs. Use of a clean mat/cloth under the plate can save the adhesive from sticking to the top side. The edges can be cleaned using a thin cotton fabric.

Packing and dispatchCoasters, wall hangings, coast-ers are packed in plain boxes fro exports with a sticker for branding. During exhibitions individual pieces are wrapped in newspaper and packed in carry bags. Branding is required.

TransportationThrough courier services avail-able for exports/ national orders. It is packed in metal trunks for exhibitions. There, purchased products are car-ried by customers them selves during exhibitions

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-------> Final base ready to be painted ------------------> photocopied design ---------> applying talc on the board-----> placing design on top-------->Tracing design----V

-----------> Tracing design --------------------------------> checking traced pattern---------> painting outline -----------------------------------------filling colors-----------------------V

> Drying under sun after every colour applied----> final black outline ------> finishing touches with white again------> stitching cobbler thread loops with fabric backing--V

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< Talcum powder to trace design on base

< Pen to trace design on the final base

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Brush used for paintingv

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Enamel paint once dried is heat proof, water proof and dust proof. Yet, humidity can effect the base material i.e. wood. Hence the products are stored in cool and dry place, also enamel paint under slight heat and pressure can stick to another enamel surface eas-ily. Hence, the plates are nev-er stacked face to face, they stacked are either face up to face down.

A girl fixing loops on paintings

< Cloth backing for strengthening loops

Backing cloth (cotton) >

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Wood dust/shaved woodFine wood dust is mixed with fevicol to create putty which is used to mend crev-ices, holes, cracks and gaps in wood and joinery. Wood shavings are resold which is converted into putty in facto-ries.

Wood cut-outsWood cutout are used to mend gaps or sold to factories to be converted in to wood dust.

Design tracingsTorn and used tracings are sold to be recycled. There is no cut-out waste generated during the process.

PaintingEnamel paint is a waste gen-erated when it dries in the palette. It is scraped off and disposed in common waste. Used, redundant wooden Brushes are also disposed as common waste. Re-use of old discard-ed cotton cloth was found.

Finishing and packingSince packing of framed paint-ings are done in corrugated boxes, which are out sourced,

we assume there to be very little waste generation. Other products are wrapped in dis-carded/old newspaper.

Preparing wood base on Lathe machine

Observing painting methods

Waste generated while cutting HDF/MDF

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Marketing and Retail MediumsE - commerce/online retail etsy.comBiharmahilaudyogsangh.comcraftsvilla.comMjb.org.inConceptsnfashion.comUmsas.orgGallery.getquicker.netArthomepatna.comTikuliart.comQuickr.com

National and Local StoresUmsas, Patna, BiharBihar emporium across the nationLocal art stores in Patna, Luc-know, New Delhi, Vadodara

Exhibitions International, national and lo-cal

Curators and art galleriesSome unique wall paintings are also sold trough curators and art collectors

Exhibitions

Online Retail

Stores and physical retailsCollectors and curators

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Visual Identity of the product

The craft is unique in many ways...• Shapes, colour, composition• Surface finish of enamel paint• Folk• Hand painted• White and black outline de-tail• Vector fill of colors• Black/dark brown base• Stylisation of real objects• Realistic themes• Flat drawings/lack of per-spective in objects• Detailing known as ‘Sa-jaawat’.•

Existing market and share

Sales

Exhibitions

Online Retail

Stores and physical retailsCollectors and curators

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Unit caseStudy

Need Assessment survey22 - 26 May 2014

at PatnaDigha

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Particulars DetailsName Anita DeviAge 23Marital status MarriedHusband’s name Govind SinghPresent Address Baligunj near petrol pumpThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9608386875Work Experience 10 yearsDesignation Craftswoman, trainerEducation GraduateNo. of Artisans involved 3Family members 4

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Anita has trained 2 girls from her locality in Digha for tikuli. They execute small products like coasters now.

Infrastructure/tools Brushes, table, colour palette

Name of products Painting, coasters, tray, mobile stands

New products None

Particulars DetailsName Reema DeviAge 27Marital status MarriedHusband’s name Dewakar SinghPresent Address Baligunj near petrol pumpThana DighaDistt. PatnaPermanent Address Aaraa, BiharContact number -Work Experience 15 yearsDesignation Craftswoman, trainerEducation GraduateNo. of Artisans involved 1Family members 5

Note

Reema was visiting her parents when the training took place. Although she is still in the process of forming a group in Ara and resuming tikuli painting, she participated in the training to discuss and initiate training activity in Ara.



New products None

UNIT 1 # UNIT 2 #

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Particulars DetailsName Kiran KumariAge 19Marital status SingleFather’s name Brijnandan Rai

Present Address Ramjee chak, Bata Gunj, near Nasrigunj petrol pump

Thana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 7488496488Work Experience 7 yearsDesignation CraftswomanEducation Pursuing graduation , 3rd yearNo. of Artisans involved 1Family members 4

NoteKiran and Kusum belong to the same family but function as independent units



New products None

Particulars DetailsName Kusum deviAge 27Marital status MarriedHusband’s name Phool kumar Rai

Present Address Ramjee chak, Bata Gunj, near Nasrigunj petrol pump

Thana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 9 yearsContact number +91 9852086290Designation CraftswomanEducation up to class 4No. of Artisans involved 1Family members 4

NoteKiran and Kusum belong to the same family but function as independent units



New products None

UNIT 3 # UNIT 4 #

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Particulars DetailsName Kabita KumariAge 18Marital Status SingleFather’s name Ramgahan DasPresent Address Narsigunj, Mithila colony turningThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9334480636Work Experience 3 yearsDesignation CraftswomanEducation MatriculationNo. of Artisans involved 2Family members 4

Note Kabita and arohi are from the same family but work as individual units



New products None

Particulars DetailsName Arohi KumariAge 20Marital Status SingleFather’s name Ramgahan DasPresent Address Narsigunj, Mithila colony turningThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9334480636Work Experience 2 yearsDesignation CraftswomanEducation MatriculationNo. of Artisans involved 2Family members 4

Note Kabita and arohi are from the same family but work as individual units



New products None

UNIT 5 # UNIT 6 #

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Particulars DetailsName Gudiya KumariAge 18Marital Status SingleFather’s name Ranjan MehetaPresent Address Narsigunj, HazamtoliThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9386784871Work Experience 3 yearsDesignation CraftswomanEducation Pursuing graduationNo. of Artisans involved 1Family members 5

Note



New products None

Particulars DetailsName Babita devi SahuAge 32Marital status MarriedHusband’s name Umesh PrasadPresent Address Near Biscuit factory, NarsigunjThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 7 yearsContact number +91 9334556133Designation Craftswoman, trainerEducation MatriculationNo. of Artisans involved 1Family members 5

Note She has been training woman since 2 years.



New products None

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Particulars DetailsName Guria KumariAge 20Marital Status SingleFather’s name Hriday prasadPresent Address Near biscuit factory, narsigunjThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9386334731Work Experience 4 yearsDesignation CraftswomanEducation Up to class 7No. of Artisans involved 1Family members 3

NoteBabita devi and Guria are sister in laws. They work as individual units and also work as a team.



New products None

Particulars DetailsName Soni GoswamiAge 21Marital Status SingleFather’s name Aditya GoswamiPresent Address Ramje chak, BatagunjThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 13 yearsContact number +91 8294436565Designation CraftswomanEducation GraduateNo. of Artisans involved 1Family members 4

Note



New products None

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Particulars Details

Name Puja KumariAge 23Marital Status SingleFather’s name Shriram babu sharmaPresent Address Ramjee chak, Bata GunjThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9608604063Work Experience 6 YearsDesignation CraftswomanEducation B A finalNo. of Artisans involved 1Family members 4

Note



New products None

Particulars DetailsName Soni deviAge 32Marital Status MarriedHusband’s name Dev prasadPresent Address Ramje chak, BatagunjThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 2 YearsContact number +91 9155648918Designation CraftswomanEducation MatriculationNo. of Artisans involved 1Family members 6

Note 3



New products None

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Particulars DetailsName Radha deviAge 37Marital Status MarriedHusband’s name Satyendra PrasadPresent Address Near biscuit factory, NasrigunjThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9709380374Work Experience 8 yearsDesignation CraftswomanEducation Up to class 8No. of Artisans involved 1Family members 4

Note



New products None

Particulars DetailsName Puja BhartiAge 23Marital status SingleFather’s name NAPresent Address Ramjee chak, patel galiThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 6 YearsContact number +91 9608985213 | 8804948328Designation CraftswomanEducation GraduateNo. of Artisans involved 1Family members 3

Note



New products None

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Particulars DetailsName Shanti SinhaAge 30Marital status MarriedHusband’s name Suresh Prasad

Present Address Pathantoli, Nasrigunj

Thana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9304524052Work Experience 14 yearsDesignation Craftswoman, trainerEducation MatriculationNo. of Artisans involved 1Family members 5

Note She has been training other girls and woman in the art.



New products None

Particulars DetailsName Nitu KumariAge 25Marital status SingleFather’s name Arun Prasad

Present Address Devi Chouri Gali, Pachu chak, Bibiganj, Danapur

Thana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 2 yearsContact number +91 7870114798Designation CraftswomanEducation MatriculationNo. of Artisans involved 2Family members 4

NoteRupa and Nitu are sisters. Yet, they work independently as individual units.



New products None

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Particulars DetailsName Chanchal deviAge 34Marital status MarriedHusband’s name Jitendra KumarPresent Address Near biscuit factory, NasrigunjThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 8252670341Work Experience 8 yearsDesignation CraftswomanEducation MatriculationNo. of Artisans involved 1Family members 4

Note



New products None

Particulars DetailsName Khushbu kumariAge 26 Marital status EngagedHusband’s name Mukesh Kumar

Present Address Ramjee chak, Batagunj, Digha, Patna

Thana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 11 yearsContact number +91 9308286677Designation Craftswoman, trainerEducation Masters in ArtsNo. of Artisans involved 1Family members 4

NoteShe is a painting expert. She trains girls in the painting too. She aspires to win state award.



New products None

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Particulars DetailsName Anuradha KumariAge 20Marital Status SingleFather’s name Virendar KumarPresent Address Gandigali, Bata GunjThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9693937892Work Experience 6 yearsDesignation Craftswoman, trainerEducation GraduateNo. of Artisans involved 1Family members 4

Note

She has been training girls since 2 years now. Newer than the rest yet, she is an expert in the field of Tikuli painting.



New products None

Particulars DetailsName Khushbu kumariAge 16Marital status SingleFather’s name Virendra kumarPresent Address Gandigali, Bata GunjThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 5 YearsContact number +91 8083961862Designation CraftswomanEducation Pusuing matriculationNo. of Artisans involved 2Family members 4

Note Anuradha



New products None

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Particulars DetailsName Rupa KumariAge 25Marital Status SingleFather’s name Arun Prasad

Present Address Devi choura gali, Pachu chak, Bibigunj, Danapur

Thana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 7870114398Work Experience YearsDesignation CraftswomanEducation Pursuing graduationNo. of Artisans involved 2Family members 3

NoteRupa and Nitu are sisters. Yet, they work independently as individual units.



New products None

Particulars DetailsName Shikha kumariAge 24Marital status SingleFather’s name Anil Kumar Das, Jayanti DeviPresent Address ESI colony, near Bata factoryThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 3 yearsContact number +91 8252071425Designation Craftswoman

Education Pursuing graduation in Jain Institute, Patna

No. of Artisans involved 1Family members 5

Note

She is physically disabled (Deaf and Dumb). Although, newer than other, she is an expert in Tikuli painting Her mother has helped her become an artist. She accompanies her everywhere, communicate and understand everything. She aspires to win state award.



New products None

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Particulars DetailsName Kiran DeviAge 32Marital status MarriedHusband’s name Laliteshwar PrasadPresent Address Rajeev nagarThana DighaDistt. PatnaPermanent Address Same as present addressContact number +91 9386132167Work Experience 10 yearsDesignation CraftswomanEducation GraduateNo. of Artisans involved 1Family members 4

Note She aspires to be a state awardee.



New products None

Particulars DetailsName Anita KumariAge 23Marital status SingleFather’s name NAPresent Address Near biscuit factory, NasrigunjThana DighaDistt. PatnaPermanent Address Same as present addressWork Experience 6 YearsContact number NADesignation CraftswomanEducation Pursuing graduationNo. of Artisans involved 1Family members 4

Note



New products None

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Particulars DetailsName Deepu KumarAge 24Marital Status SingleFather’s name Sitaram KumarPresent Address J P Narain gali, KadamkuanThana KadamkuanDistt. PatnaPermanent Address Same as present addressWork Experience 5 yearsContact number +91 9304034360Designation artistEducation Post graduate in fine artsNo. of Artisans involved 1Family members 3

Note

He is trained in arts and coaches as an art teacher. He has also undergone training at Upendra Maharathi Ship Anusandhan Sansthan as a Tikuli artist. He is an expert in this field.



New products None

UNIT 25 #Particulars Details

Name Jaiprakash SharmaAge 45Marital Status MarriedWife’s name Vidya devi SharmaPresent Address -Thana DanapurDistt. PatnaPermanent Address Same as present addressWork Experience 30 yearsContact number naDesignation Carpenter, ownerEducation Post graduate in fine artsNo. of carpenters in-volved 8

Family members 4

Note

Carpentry is involved as a job work process in tikuli painting for preparing the wood base for painting



New products None

UNIT : CARPENTER#

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Design Intervention

Short term Intervention Long term Intervention Existing Market Model vs Proposed Market Model Findings and scope SWOT analysis of the craft and the cluster Design Intervention & Action Plan Branding and Communication. New Packaging Design

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ErgonomicsErgonomics need design in-tervention. Nothing has been done so far.

Design and New Product developmentTo widen the scope of busi-ness for a sustainable business model product diversification has been a popular. The raw material i.e. Enamel paint al-lows a lot to be done with ti-kuli painting.

OutsourcingA marketing model should be adopted to out source the products to both local and in-ternational markets. Current model allows them to supply the products to a local ven-dor who buys it for a price and sells it in a local market. This way the craftsmen will earn very little however the profits will be high when the products are exported it to the foreignmarkets.

Reconnecting with the original form of the craftThe USP of a craft form is it’s originality in terms of tech-nique, raw material, forms, colour and shape put together

by human hands in a composi-tion Although, in my opinion, handicraft is the outcome of a phenomena undertaken by the craftsman, but unity among the diverse pieces created by each one of them threads them into a single craft from. In the case of Ti-kuli, the original form of the craft of gold foil on glass has been totally lost cause there are no craftsmen/woman left who are familiar to the tech-niques. Yet the look and feel can be replicated using gold enamel paint , on glass, to a great extent.

Workshop TrainingThe craftsmen will be bene-fited from short term training courses by teaching new tech-niques and current process as well as encourage them to come up with new solutions. Tools & MachineryAlong with the workplace there is an urgent need to cre-ate a proper and hygienic sys-tem for storing tools and raw materials and also to invest on skill development and up gra-dation.

Finance and Working CapitalSo far the craft has been into business through contrac-tors. The craftswomen haven’t gathered to form clusters/co-operative/society. The major hindrance has been availabil-ity of working capital/finance for these women.

Common Facility CentreAbsence of common facility centre is a low investment op-tion to the production units located in clusters and estab-lishment of CFC is likely to give flexibility in operating prac-tices.

Production Quality Con-trolQuality standards and bench-marks need to be set for main-taining quality standards in a sustainable format. At the same time, orientating the craftswomen on how to follow the standards is necessary. Standard work tools and ergonomics need to be worked upon before establish-ing quality standards.

Crafts fairs & exhibitionsThe state government and central government should fa-

cilitate the participation of the unit members in various na-tional and international fairs and exhibitions for better ex-posure

Branding & Visual Iden-tityThe cluster lacks visual identi-ty, The cluster needs to brand itself in the eye of the modern business approach in terms of creative its identity. The unique identity will highlight the cluster units as original producers and help establish them in the global market.

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Development CentreIt will be beneficial in setting up development centre where all the craftswomen can col-lectively work to a greater good of the community. Work-ing in a single place will always keep them united and they can distribute their work from production to marketing. This way there is a chance to eliminate the com-mon issues faced by the them and develop an efficient work system. Moreover it can ben-efit new generations in gener-ating more Tikuli painting art-ists.

Business ModelAn efficient business model has to be setup to run the sys-tem efficiently as well distrib-ute the products to as many markets. This can only happen by forming cooperative soci-ety. It will gain unity as they all will be working for a single goal. They will also be intro-duce to the better market for selling their products and it will increase the exposure for the weavers. The system has to be monitored and should be able to adopt to new trends.

Tikulicraftswomen

Contractor and private

organizations

Exhibitions and shows

State government organization

Emporiums

Private sector showrooms and brands

Tikuli craftswomen

Contractor and private

organizations


State government organization


Existing Market Model

Proposed Market Model

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Strengths• Heat proof• Waterproof• Light weight• Colourful• Variety in size• Fast / less time taking• Craftswomen are educated• Uniqueness in terms of it be-ing enamel paint, the shapes and compositions

Opportunity• New range of products• Re connecting to the original style of work• New colour schemes• New design pattern• Wide range of colors are present• Development of typo and font for nameplates, enamel paint is perfect to work with.• New base material

Threats / challenges• The paint is toxic and hinder exports• Other forms of painting in India.• Loss of market due to in-crease in price range.• Loss of skill due to relocation of young girls after marriage.

Weakness• Chemical based colour/paint in other words non-organic and non biodegradable paint.• Single base colour used• Influenced by Madhubani in terms of composition and themes• 50% process is out sourced• Limited colour schemes• Painting on 3d forms is dif-ficult• Limited range of products• Lack of utilitarian range of products.• Limited base material in terms of variety• Existing market is limited to low price range buyers• Lack of luxury segment prod-ucts.• Lack of skill development ac-tivities.

< Preparing wood base on Lathe machine

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Ergonomically viable workspace and toolsIt was important to first pro-vide a comfortable workspace to the craftswoman. Tools developed will include a kalam to trace de-sign instead of a pen and trac-ing paper rather than talc or chalk powder. Process of productionRef. Diagram for a suggested model of production.

Raw Material and tech-niqueReconnecting and revisiting the past was important in or-der to strengthen the USP of the craft. Hence, gold was in-troduced into colour palette. It also enhanced the skill sets of the painter as less use of colors shifted focus to brush details. Introducing various materials for the base apart from wood was intended to harness the heat proof and water proof quality of the painting. Boiling down to a three colour palette and the base material changed, the process changed too.

Refer diagram for the process flow chart.Themes and ConceptsIn order to launch the idea of reconnecting with original form of tikuli, we decided to replicate the frames done in gold foil on glass by original ti-kuli artists during the Mughal period. New border ornamen-tations were also tried.

Product diversificationProduct diversification was aimed by tapping the quali-ties of enamel paint to be able take on any surface ranging from cloth to metals. Utilitarian items were targeted including stationery, table top and candle stands .

Skill development and in-stitution buildingIt was important to motivate the craftswoman to rise from their level of work that they have been practicing since years. To impart them a high-er vision not only in terms of business or entrepreneurship but to propagate the craft by motivating youngsters and other women.

Table for painting

Re-design of tools and raw material

< Use of tracing paper

Gold enamel paint >

< Bamboo as base(even glass, alumin-ium and plastic was used)

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EntrepreneurshipIt was important to encourage entrepreneurship since, ‘loss of skill’ happens due to girls relocating after marriage. Finance and supportDiscussion on model of work-ing were conducted with UMSAS to introduce greater finance and organisational support for entrepreneurship and skill development. A six months skill de-velopment programme for planned to be initiate by UMSAS as a result of the dis-cussion. Minutes were to be worked out.

Packaging and BrandingOnce, marketing of tikuli paintings, through UMSAS as an independent cluster, takes place, branding and packaging were strongly suggested. Keeping the USP of the craft clear lines were drawn between any other form of painting Bihar to be able to en cash on it dur-ing marketing strategies.

MarketingSources for marketing were suggested which included e-commerce portals and stores

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that stock handcrafted prod-ucts.

• Glass• Bamboo

Procuring raw material

Cutting

• Smoothening the surface for base coat• Applying base coat. Enamel base coat (black/dark brown) • Drying followed by sanding• Application of base coat • This process is repeated 2 times instead of 5-6 times

Preparing base

Tracing of design outline on tracing paper

Placing white ink Kores paper on base

Tracing of design on base using a bamboo kalam

• outline• Drying of outline• Filling in color 1• Drying• Filling color 2• Drying• Filling color 3 • Drying • Filling color 4• Drying• Filling color 5• Black outline• Drying

Painting design

• Finishing outlines with White paint• Drying• Wiping any dust particles off the surface

Finishing

QC

Packing

Dispatch Action Plan : Modified Pro-cess flow chart

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Design clinic workshop

27 - 31 May 2014

at Community Hall

Himalayan Public Schoolopp. Bata factory

Digha, PatnaBihar

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Day 1Inauguration in the presence of Mr. Ashok Mondal, mr. Ashok Mishra, Mr. Ashok Bis-was, madhubani state awar-dee with all 25 participants A brief introduction and assessing existing skill sets

Day 2Understanding the objective of the workshop Beginning design with tracing paper. Understanding basic geometry , symmetry and how to achieve it Establishing quality standards and methodology to follow it.

Assessing skills by looking at past work

Tracing design onto tracing paper

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Day 3Tracing designs on tracing pa-per. Tracing design on ac-tual base already prepared.

Day 4Painting with colors. Discuss-ing new colour schemes Reconnecting with original tikuli form. Introduction of gold and related technique.

Understanding proportion and tracing design on to trac-ing paper

Tracing design on the base

Painting traced design

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Soni applying second layer of golden paint

Anita innovating border design Roopa and Shikha applying first layer of golden paint

Border design development Guddi and KhushbooLearning from each other

Reema drying golden enamel paint . Preparing for the final black outline

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Day 5 Finishing products Discussing skill devel-opment activities, motivating new craftswomen to join the craft.Discussing entrepreneurial opportunities, barriers and so-lutions

Deepu finishing the painting with black outline Painting on clear glass pot

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Paintings(Above and below) Enamel paint on MDF(Left) Enamel paint on clear glass

131 (Left) Mobile cover, (Above) Geometry box

Enamel paint on fibre, aluminium

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PaintingsEnamel paint on MDF

Hard Bound NotebookEnamel paint on MDF

PaintingsEnamel paint on MDF

Card HolderEnamel paint on

Aluminium

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Container for SugarGold enamel on lathe cut wood

Pen standGold enamel on Bamboo

Candle standBlack and gold enamel on clear glass

Container set, Tea & SugarGold enamel on lathe cut wood

(Left) Pen stand, (right) Sindoor daaniGold enamel on Bamboo and wood

Set of glasses (6)Golden enamel on glass

(Left) Re- created painting of DurgaGold enamel paint on MDF

(Above) Spiral NotebookGolden enamel paint on texturized plastic

(Below) Post-it holder, gold enamel on MDF(Left) Candle holder, enamel paint on clear glass

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(Above) Table developed from bamboo for tikuli art-ists, (Below) ‘Kalam’ developed from bamboo for tracing

(Below)coloured tracing pa-per introduced for tracing on glass and wood

Workstation designAn effort was made to estab-lish inter cluster links by inte-grating bamboo cluster with tikuli cluster. My colleague Mr. Kulveer Singh Bhati, Fur-niture designer from NID was conducting NAS and design workshop for bamboo cluster at Naubatpur, Patna. With his technical know how and bamboo work-shop and NAS conducted in the Tikuli cluster, a worksta-tion was designed for the artists. The workstation was deigned such that is was • Low cost• Convenient to sit on floor and work• Has provision to store Brush-es and tracing of designsCost : Approx. INR 300

ScopeFurther refinement of design is needed to create compart-mental storage and foldable legs for easier storage since crisis of space is a common problem.

Tool DesignA bamboo stick with sharp-ened tip, like that of a pencil was created to trace designs from paper on to the final

base. Coloured carbon sheet was also introduced for better tracing so that the traced de-sign doesn’t erase while paint-ing outlines in white. Clips (board or clothes-line) or double-sided sticking tape was also introduced so the tracing paper doesn’t shift from the base while tracing the design. Since tape doesn’t hold the surface of the tracing paper or the dry enamel base at all, it was a convenient and easily available option.

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NAME AGE SKILL LEVEL

Gudiya Kumari 18 Learner

Khushboo Kumari Learner

Pooja Kumari Experienced

Soni Goswami 21 Experienced

Kavita Kumari 18 Learner

Deepu Kumar 24 Experienced

Anita devi 23 Experienced

Kiran devi 30 Experienced

Kiran Kumari 19 Experienced

Kusum Devi 27 Experienced

Babita Devi 32 Experienced

Khushboo Kumari 26 Experienced

Arohi Kumari 20 Learner

Soni Devi Learner

Shanti Sinha 30 Experienced

Guriya Kumari 20 Learner

Chanchal Devi 34 Experienced

Anuradha Kumari 20 Experienced

Radha Devi 37 Experienced

Shikha Kumari 24 Learner

Anita kumari Learner

Roopa Kumari 25 Experienced

Neetu kumari 25 Experienced

Reema Kumari 27 Experienced

Pooja Bharti Experienced

Shikha kumari Shanti Sinha Chanchal Devi Soni devi Arohi Kumari Khushboo kumari

Babita devi Anita kumari Kusum Devi Pooja Bharti Neetu kumari Khushboo

Pooja kumari Kiran kumari Soni Goswami Anuradha kumari Guriya kumari Kavita kumari

Reema devi Anita Devi Deepu Kumar Roopa kumari Gudiya kumari Kiran devi

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Tikuli expert and state awardeeI had the privilege to meet and work with Mr. Ashok Kumar Biswas, Tikuli expert and state awardee, owner of Sonaart He has contributed im-mensely in Tikuli painting and it’s sustenance and revival. The present day

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The five day NAS and five day workshop gave a valuable un-derstanding about the cluster and skill sets of the artisans. At the end of the work-shop we were able to come up with lot of prototypes imple-menting design strategies for greater productions and bet-ter market positioning. The artisans were excited about new designs and were ready to explore their production in the near future. The product diversifi-cation ideas included simple technique to develop tea-lights, wall paintings & station-ary products. They were well accepted among the artisans.Emphasis was also on explor-ing new materials and surfac-es to widen scope. Quality standards were setup, finishing techniques were discussed and applied. What is recommended is that practicing the same in day to day functioning is important. The new look given to the craft, in a way bringing it closer to it’s original look, needs right market positioning for which, appropriate sugges-tions and solutions has been discussed with director of in-dustries Mr. Shailesh Thakur and Assistant Director, UM-SAS, Mr. Ashok Mishra for im-

plementation. In the present scenario, involving more and more women into the craft by widening it’s scope and mar-ket is recommended, which was also discussed.

Other suggestions were...• Organising the individual ar-tisans into groups or clusters.

• Providing a work space with the basic amenities like furni-ture ,good lighting and ergo-nomically seating.

• Working with good quality raw material

• Design development work-shops to be conducted to pro-vide a wider range of products after a training workshop/skill development workshop with experts.

• Branding & packaging need to be provided for the prod-ucts developed.

• Developing market linkages

• Exposure to the existing market is very important.

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< Location, of a unit in Digha, Patna, Bihar

design awareness programme report

Documents