surface embroidery & dyeing & printing part-a

8/11/2019 Surface Embroidery & Dyeing & Printing Part-A

1/120

Page1

BSC Degree in Textile Design

1

st

Year

Surface Embroidery & Dyeing& Printing Part -A


2/120

Page2

INDEX

UNIT-I .................................................................... 3

Lesson 1: Kantha of Bengal .................................... 4

Lesson 2: Phulkari of Punjab ................................ 23

Lesson 3: Kasuti of Karnataka .............................. 42

Lesson 4: Applique Craft of Orissa ........................ 60

UNIT-II ................................................................ 84

Lesson 5: Stencil and Screen Printing .................. 85

Lesson 6: Block Printing ..................................... 102

Unit III ............................................................ 116

Development of End Product .............................. 117

Books for Further References ............................. 120


3/120

Page3

UNIT-I

Lesson 1: Kantha of Bengal

Lesson 2: Phulkari of Punjab

Lesson 3: Kasuti of Karnataka

Lesson 4: Applique Craft of Orissa


4/120

Page4

Lesson 1:Kantha of BengalObjective:

After going through this unit you should be ableto understand the traditional embroidery ofWest Bengal.

Structure:

1.1 Introduction1.2 Styles of Kantha1.3 Fabric Used1.4 Stitches Used1.5 Threads Used1.6 Motifs Used1.7 Types of Kantha

1.1 Introduction

The traditional folk art of Bengal is famous as

kantha, which means patched cloth. The specialsignificance of kantha is quilting.

Kantha is embroidered using worn out textiles thatare to be thrown away. It is a treasured art inBengal where ladies irrespective of their castes,classes and socio economic groups are expert at

the embroidery not only depicts the stitchesemployed but also express the outflow of theircreative, resourceful, imaginary and patientcraftsman ship.

Kanthas are produced at Hugli, Patna, Satagaon,Jessore, Faridpur , Khulan and other parts of Eastand West Bengal. Kanthas were domestic and

feminine are never prepared for sale. A kanthamade by each individual is unique in itself. Each


5/120

Page5

woman make new fresh form of art on the fabrics.The ideas themes, scenes and symbols are almostcommon as they come from similar economicalbackground. Some basic traditional designs are seen

in each piece of work.

1.2 Styles of Kantha

Two kinds of style are adopted to produce kantha

a) Old discarded cotton saris or dhotis were piled ontop of each other, quilted and embroidered.

b) Discarded cotton bed covers were piled up orfolded, quilted and embroidered with pictorialembroidery.


6/120

Page6

1.3 Fabric Used

Base fabric used in the traditional kantha was

always white cotton, as the saris of the Bengaliwoman are mostly white and of cotton. Silk was alsoused at times. Now tussar silk in black, beige, dullorange are used. The colour of the base fabric of akantha is always neutral black, white, beige, grey,dull brown.

1.4 Stitches Used

Kantha embroidery is widely done by using therunning stitch; but stem and satin stitches are alsoused.

1.5 Threads Used

White cotton threads and sometimes-silk threadsare also used. Sometimes the borders of the oldsaris are stitched around the piece of embroideredkantha. Colours of the threads used are red, black,blue, green, and yellow/ mustard.


7/120

Page7

1.6 Motifs Used

Portuguese and European traditions have a great

influence on the motifs of kantha. The first time thekanthas were commercially manufactured was in1875 in Patna. The motifs used are rotons, mandala,trees, creepers, foliage, paisleys, animal, humanfigures, spiral, birds, fish, shell, nutcrackers, mirrorcomb, umbrella, chariot, palanquin, boats,sceneries, mermaids etc.

There were also scenes from day to day life scenesfrom the epics, peacock, temple, hukka, jewelery.Come kanthas even had steeds of gods like bull,swan, lion, elephant, Cat and swan. Lotus is themost widely used kantha motif. Some other motifslike thunderbolt and swastik are also used. The

spiral represent the eternal life cycle.Do - rukha kantha is the one which appearsidentical on both sides face and back of the fabric.

1.7 Types of Kantha

There are different kinds of kanthas namedaccording to its utility. According to JasleenDhamija, there are seven types of kantha used aswrapper in winter, for books, valuables, mirrors,combs, wallets, pillow and bed spreads.

Arshilatais used as cover or wrap for mirror, comband other such toilet articles. It is a narrow

rectangular piece of eight inch wide and twelve inchlength. It has a wide border and the central motif istaken from the scenes of Krishna leela or Radha Krishna raas. The lotus trees, creepers, spiralsinverted triangles, zigzag lines, scrolls are also someof the commonly used motifs.

Bayton,a three feet square piece serves as a wrapfor books and other similar valuables. It has a


8/120


9/120

Page9

a wavy rippled appearance by working simpleembroideries.

Oar (ooar), the kantha serves as a pillow cover. Itis rectangular piece whose size is about two feet byone and half feet. Usually simple designs like trees,foliages, creepers, birds or a liner design withlongitudinal border constitutes the ground base anddecorative border is stitched around its four sides.

The most popular and striking kantha is the Sunjani(Sujni), generally large rectangular piece of threefeet by six feet, used as a spread during ceremonialoccasion. Its size has provided full scope for theworkers to express and exhibit her imaginary, selfcreated design. The rectangular piece is divided intonine equal parts and the motifs are distributed inthese equal sized rectangular block. The lotus motifwith a whirl in the centre is the commonly usedmotif in Sujani. The other motifs observed are thescenes from Ramayana, Mahabharat, folk tales,dancing girl, men riding, birds pecking the fruits,prancing movement of the animals, bees suckingthe nectar, procession in motion etc. A moderately

thick, light weighed Sujani has either two or moreborders at the edge to strengthen the layers and toprevent further tearing. The border stitched at theedge to strengthen the layers and to prevent furthertearing. The border stitched at the edge of therectangular piece has geometrical patterns in singlecolour, while the other is more ornamental and

colourful. The cover sometimes has large kalka laidhorizontally and separated by Vajra, the thunderbolt or a broad band of circles, lotus in each circleand heart shaped foliage between the circles.Sarfani is also quilt used during ceremonies orfunctions as a cover or wrap.


10/120

Page1

0

Rumal is nothing but a handkerchief and is thesmallest among all the kanthas. A square piecehaving a size about one square foot. Lotus is thecore and other motifs embroidered around it.Sometimes plant and animal motifs are alsoembroidered but invariably has a well decoratedborder.


11/120

Page1

1


12/120

Page1

2


13/120

Page1

3


14/120


15/120

Page1

5


16/120

Page1

6


17/120

Page1

7

Stepwise execution of a leaf in Kantha Embroidery

Using simple running stitch


18/120

Page1

8


19/120

Page1

9


20/120


21/120

Page2

1

Summary:

Traditional embroidery of Bengal is famous as

kantha.The special significance of kantha is quilting.Running stitch is the main stitch of kanthaembroidery and cotton and silk threads are used forit. Portuguese and European tradition have a greatinfluence on the motifs of kantha. Lotus is the mostwidely used kantha embroidery. There are differentkinds of kanthas named according to its utilitylike:Arshilata,Bayton,Durjani,Lep,Sujani,Oor,Rumaletc.

Revision Points:

Kantha is the traditional embroidery of West-Bengal. Which means patched cloth.

Base fabric used in kantha was always cotton.silkwas also used at times.

Main stitch of kantha is running stitch but satinand stem stitches are also used.

White cotton threads and sometimes silk threadsare also used for kantha embroidery.

According to utility there is different types ofkanthas like: Bayton, Durjani, Lep, Oor,Arshilata, Sujani, Rumal etc.

Intext Questions:

1. Explain the different types of Kantha in detail?


22/120

Page2

2

Terminal questions:

1.

What is meant by kantha and is the traditionalfolk art of which place?

2. What are the motifs used for kantha?

3. Name the different types of kantha?

4. What are the base fabrics used for kantha andwhat are their colours?

5.

What are the areas of production of kantha?

Key Words:

1.

Manifest: Easily noticed, obvious.

Assignments:

Students have to make 50 motifs of Kanthaembroidery in the Researh file.

Students have to make the painted and

embroidered sample of kantha embroidery.


23/120

Page2

3

Lesson 2:Phulkari of Punjab

Objective:

To understand the traditional embroidery ofPunjab.

Structure:

2.1 Introduction

2.2 Classification of Phulkaris2.3 Fabric Used2.4 Threads Used2.5 Stitches Used2.6 Technique Used

2.1 Introduction

Phulkari is the traditional embroidery of the land ofPunjab. It is the land of energetic

and vibrant people, colours and dances.

The exact history and origin of phulkari in notknown. It is in Wari Shah Heer and excellent social

document that the word phlukari appears for thefirst time.

Banabhatta in his book Harshachartra (7C BC)describes the wedding of Rajyashree and talks of

some people engaged in decorating the hems of thegarments from the wring side of the fabric (phulkariis executed from the wrong side of the fabrics).

It is also said that the word phulkari came fromIran, where gulkari resembling phulkari wasprevalent. It is thought that the art was brought toIndia by the gujjar nomads of central Asia.


24/120


25/120

Page2

5

Phulkari

Bagh


26/120

Page2

6


27/120


28/120


29/120


30/120


31/120

Page3

1

Other Phulkaris

1. Sarpallo was used to draw a veil. It had a

triangular motif in the centre in such a way thatthe base of the triangle. Such a may that thebase of the triangle tell on the forehead and theapex point at the nape.

2. Nilok had a blue background. Embroidery wasalone with yellow and red silk thread. It wasused for the young girls to learn embroidery.

3. Tilpatra was dotted all over to give to theservents on auspicious occasions.

4. Shishadar phulkari and geometrical designs withmirrors embroidered alongwith the designs.

5. Sainchi phulkaris: Sainchi comes from the word

'Sangha' meaning together. This phulkari hadmotifs of routine daily life, prized possessionslike jewellery, animals, pets, games (chess)embroidered together. This phulkari had motifsof routine dailylife, prized possessions like motifsof routine daily life, prized possessions like

jewellery, animals, pets, games (chess)

embroidered together.

6.

Bhawan Bagh' had fifty two squares embroideredon it. Each squared a different motif inside it.The motifs were always geometrical.

7.

Phulkari with a black background was wornduring mourning. Simple motifs in yellow and red

were embroidered on it.

8. Thirma - Phulkari done on white khadder givento a hindu bride by her parents.


32/120

Page3

2

2.3 Fabric Used

Khaddar (a coarse, loose weave cotton fabric) was

used as the base fabric for almost all phulkaris andbaghs. In Rawalpindi and Hazara (now in Pakistan)phulkari embroidery was done on very lightweightfabric resembling cambric. These phulkaris werecalled Halwan.

2.4 Threads Used

Dyed untwisted silk threads called 'Pat' were used.

Sometimes black and white cotton threads called'bandi' were used.


33/120

Page3

3

2.5 Stitches Used

Darning stitch, chope, running, herringbone run and

back, buttonhole, stem and chain stitches wereused.

2.6 Technique Used

-

The base fabric i.e. the khaddar was woven bythe village weaver. This fabric was of narrowwidths. To make large widths phulakaris thewomen used to join 2 or 3 widths together. The

joints were neatly and expertly done in herringbone stitch.

-

Darning stitch was executed from the wrong side

of the fabric. The length of the stitch ranged


34/120

Page3

4

from of an inch to one inch. The motifs werealways symmetrical.

-

The untwisted silk thread shown at differentangles giving it an exotic appearance. A smallbuti in black was embroidered at times or themotif was slightly distorted to wand off the evil.This was called the nazar buti.

Areas of Production - Phulkari

1.

Peshawar 4. Rawalpindi 7. Jalandhar2. Sialkot 5. Amritsar 8. Rohtak

3. Jehhum 6. Faridkot


35/120

Page3

5


36/120

Page3

6


37/120

Page3

7


38/120


39/120


40/120

Page4

0


41/120


42/120


43/120


44/120

Page4

4

3.4 Stitches Used

Stitches in Kasuti are always vertical, horizontal anddiagonal. The main speciality of this embroidery isthat never the design is traced in the material to beembroidered and the embroidery starts withoutknotting thread but with a tiny back stitch. Thestitches are simple, minute, intricate and pretty.

Kasuti is done always by counting the threads. Thefour types of stitches are, Gavanti, Murgi, Negi andMenthi. Different patterns and motifs are worked indifferent stitches but some have mixed stitches. Thenumber of threads on the material forms a unit, twoto six threads for fine and coarse work respectively.However, the unit should remain constant till the

design is completed.

'Gavanti' is the most simple and common stitch,derived from the Kannada word 'Gantu' means'knot'. It is a double running stitch, in which the firstrunning stitchs is filled in by the second runningstitch on the same line. The second running stitch

works exactly opposite to the first one. Gavanthi


45/120

Page4

5

may be worked in horizontal, vertical or diagonaldirections.

'Murgi'is a zigzag running stitch which appears likesteps of a ladder or staircase. It is same as gavanthistitch but works in a stepwise manner. The work inboth gavanthi and murgi stitches is neat and tidy,where the design appears same on right and wrongside of the material. However, the stitches shouldbe of uniform size. The distance between twostitches is nothing but the length of each stitch.Smallest motifs like square, triangle, hexagonal,ladders, flower are to be practiced so that theelaborate designs can be worked. A large geometricdesign is produced by grouping the tiny designs onregular intervals and sequences. 'Negi' is anotherstitch in Kasuti. 'Negi' in Kannada means 'to weave'i.e. the design with Negi design has an overall effectof a woven design. Negi is nothing but ordinaryrunning or darning stitch. It is worked in long andshort straight lines or floats and therefore, thedesign does not appear identical on either sides of

the cloth. Menthi' is the fourth type of stitch whichmeans the ordinary cross stitch. In Karnataka'Menthi' means fenugreek seed but however, peopleof Karnataka identify the cross stitch as 'menthi'only. This cross stitch is usually appears heavy as isused for filling purpose. This stitch requires morelength of thread than the other three stitches.

Similar to Negi, even this stitch does not give sameappearance on either sides of the Cloth.


46/120

Page4

6


47/120


48/120

Page4

8

3.6 Articles Made

In olden days Kasuti was done on Ilkal silk sari or

Ilkal type village sari having broad pallav, called'tope-teni' and simple border with plain body. Inorder to add colour and beauty to the sari, smallKasuti motifs were worked in the pallav region andmany times the borders in negi and murgi stitcheswere also worked in. However, this simple handloomsari was made appear gorgeous by Kasuti

embroidery. The choli worn along with the sari isknown as 'khan', on which Kasuti was done with thematching colour, motifs and borders of the sari. Thewomen folk used to decorate the Kunchagi kulai(bonnets), used for children other women's regionalcostume was embroidered. But now Kasuti is alsodone on the household linen like, kerchiefs, bed

covers, sofa covers, cushion covers curtains,shopping bags, carpets (Jute), plain saris of silk,cotton or synthetics, salwar suits, yolkes, cuffs,collars, belts, pockets, dupattas, caps, and used astrimming for children's garments.

Areas of Production - Kasuti Embroidery

1. Mysore 2. Bijapur 3. Dharwad


49/120


50/120

Page5

0


51/120

Page5

1


52/120


53/120


54/120


55/120


56/120

Page5

6


57/120

Page5

7

Summary:

Traditional embroidery of Punjab is known as

phulkari.when the whole fabric is so embroideredthat no part of the base fabric is visible,is calledBagh. Darning stitch, chope, Buttonhole, Stem,Herringbone, Running and Chain stitch is used forphulkari

Kasuti is the traditional embroidery of Karnataka.Main stitches of kasuti are Gavanti, Murgi, Negi, andMenthi. The motifs used in kasuti embroideryranged from mythological and architectural to thebeautiful flora and fauna.

Revision Points:

1.

Phulkari is the traditional embroidery of Punjab.

2. Phulkari

a. Wedding phulkari b.Religious phulkari.

a.Chope b.suber c.vari-da-bagh


58/120


59/120

Page5

9

Assignments:

Students have to make 50 motifs of each

embroidery in the Researh file.Students have to make the painted andembroidered sample of phulkari and kasutiembroidery.


60/120

Page6

0

Lesson 4:Applique Craft of

OrissaObjective:

To understand the traditional embroidery ofOrissa.

Structure:

4.1 Introduction4.2 Fabric Used4.3 Threads and Stitches Used4.4 Motifs Used4.5 Production

4.1 Introduction

Orissa is situated in the eastern part of the country.The world famous traditional craft of this state is the

appliqu craft, a French term exploring about thetechnology of applying patches of colourful fabricpieces on a base fabric .The row edges are finishedwith a definite mode of stitchery.

This is carried out in and around the Puri district,with Pipli as its main centre. It is also called Pipliwork.Gangam and Baudh districts also carry out this

craft.

Pipli is the capital of applique craft in Orissa. Most ofthe work sold on the street stalls of Pipli is producedfor a growing tourist market; however supurbcraftwork is still produced and available if you havethe time to look around.

The people of Orissa are religious and God fearing.The applique craft of Puri is connected with religious


61/120

Page6

1

festivals and processions. It is done by the DarjiCommunity. The articles produced traditionally werefor the Lord Jagannath Yatra. These were canopies,umbrellas, banners, coverings of dummy horses andcows. Today other articles such as bedspreadscushion covers, bags, garden and sea shoreumbrellas and lampshades are made. Many timesthe applique is combined with embroidery.


62/120


63/120

Page6

3

4.4 Motifs Used

The craft of Orissa is mainly connected with

religious festivals and processions, the motifs pickedup are from actual life, modified stylized forms,nature, animals and plant kingdom, and of coursegeometrical as per the shapes of the article. Thecommodity used motifs are ,lotus, duck, peacock,elephant, swan, parrot, fish, lion, betel leaf, belaleaf, creeper, tree, (gachha), sun (Surya), moon

(Chandra), and rahu (the demon that swallows sunand the moon during eclipses).

A colourful display of Applique


64/120

Page6

4

4.5 Production

1. Selection of the design is the first step involved,

followed by cutting the motifs from the selectedappliques material. However, specially preparedmotifs are made separately.

2.

These motifs are then placed on the base cloth inpredetermined layout and sequence.

3.

The raw edges of the cut motifs are neatly and

evenly turned in and sewn on to the base orsometimes embroidered without turning the rawedges.

4. The layout of the motifs varies according to thesize and articles to be prepared since the shapevaries for each article, Canopy is a square piece,umbrella is circular, trasa is somewhat circular,having a small pointed part of the circumferenceas neck. The motifs are encircled with number ofborders, inside and outside, many times it evenreaches the edges of the ground fabric Forexample the square or circular motif, which lateris bound by several borders of different widths.

5.

The size of applique piece varies from one metreto a very small size of 1.5 cms. The small piecesare for fine decorations and borders whereas thelarge pieces of geometrical pieces are used ascentral motifs for canopies and so on. Thenatural and stylized motifs in the design throughmedium size either reduced or enlarged

according to the size of the piece. Sometimes thefigured motifs are padded to bring aboutembossed effect and make them morenaturalistic. The local market for these productsis limited. The Government is trying to make aneffort to enter the international market byimproving the products and establishing

cooperative societies.


65/120

Page6

5


66/120

Page6

6

.


67/120

Page6

7


68/120


69/120

Page6

9


70/120

Page7

0

Applique end-products

Applique wall-hanging

PAppliqu jhallar


71/120

Page7

1


72/120

Page7

2

Applique Jhallar


73/120


74/120

Page7

4


75/120

Page7

5


76/120


77/120

Page7

7


78/120

Page7

8


79/120

Page7

9


80/120

Page8

0


81/120

Page8

1


82/120

Page8

2

Summary:

The world famous traditional craft of Orissa is

known as appliqu craft. In this art row edges arefinished with a definite mode of stitchery. Thethreads used are twisted cotton threads. Stitchesused for appliqu are: Chain stitch, invisiblehemming, Blanket stitch, Running stitch, Ruchingstitch etc.

Revisionpoints:Traditional craft of orissa is called Appliquecraft.

Pipli, in puri dist. Is its main center so it is alsocalled pipli work?

Fabric used is always cotton in dark colours.

The appliqus are attached to the base fabric byusing chain stitch and invisible hemming.

Motifs are picked up from actual life, modifiedstylized forms, nature, animals and plantkingdome.

Intext questions:

1. What are the different steps involved in theproduction of Appliques of Orissa?

2.

What is Applique ? What are the threads andstitches used for Orissa Applique?

Terminal Questions:

1. What are kind of fabric is used for the basicmaterial of Orissa Applique?

2. The motifs and colours used for OrissaAppliques?


83/120

Page8

3

Assignments:

Students have to make 50 motifs of Applique

Craft in the Researh file.Students have to make the painted andembroidered sample of Applique


84/120

Page8

4

UNIT-II

Lesson 5: Stencil and Screen Printing

Lesson 6: Block Printing


85/120

Page8

5

Lesson 5:Stencil and ScreenPrinting

Objectives

In this lesson we learn-

- What is stencil? Its origin?-

Carry out stencil printing exercises.-

Thorough understanding of the process ofscreen printing.

- Types of binders used for screen printing.

Structure

5.1 Stencil Printing5.2 Screen Printing

5.1 Stencil PrintingThe word stencil is derived from the medieval word

stanselon which means to decorate with brightcolours, which in turn come from the old Frenchword estencele which means to sparkle.

Stenciling has been used over the centuries bymany different cultures for a wide variety offunctional and decorative purposes and some of theearliest examples date back to 30,000 BC. Duringthe Paleolithic times, prints were made by peoplewho used their hands as stencil when splatteringpigments patterns onto the caves walls. The Chinese

developed stencil printing in about AD 1000 for themass production of religious images .The Japanese


86/120

Page8

6

decorated interiors ceramics and fabrics withstencils and by the 18th C they had solved theproblem of printing intricate images whichincorporated floating shapes by weaving these intoposition by with human hair and silk.

Wall paper, playing cards and other items decoratedwith stencil work were very popular in France up tillthe 19thC.

Stencil printing is the precursor of the modern dayscreen printing. Today it is considered as ahandcraft.

In stencil printing design areas are cut from sheetsof paper coated with oil, wax or varnish or fromsheets of metal. A separate stencil is prepared foreach color .The stencil must be planned so that they

fit together properly to result in a perfect print.A difficulty with stencil printing is that the designareas must be connected to prevent the parts of thestencil from falling out. To offset this problemJapanese stencil articles developed a method oftying the various sections with silk filament orhuman hair. In producing stencil prints today,one can apply the color by hand brush, airbrush, orspray gun. The technique is necessarily limited tosmall amount of yardage.

Practical Exercises

Stencil Printing

The students can carry out their first exercise fora simple start.

Draw out any simple floral motif on a thick sheetwith pencil and cut it out neatly.

Place this stencil on a fresh sheet using differentrepeats.

Using water colors and an old tooth brush sprayor three different colors on the stencils.


87/120

Page8

7

The cut out areas will get the colors and the restwill be resisted.

Students can also use the cut out and the stenciltogether to produce interesting effects.

The above exercise can carry out in the sketchfile.

Trace the stencil designs given,on talc sheet, andcut them out. Use them to decorate furniture,

walls, and tiles, T-Shirts, Towels, sheets, cushioncovers.

Fabric colors are to be used on fabric. Paintbrush can be used to paint or a both brush canbe used to spray.

The sizes of the stencils can be increased or

reduced depending on the area to be decorated.

If a design or motif has three colors, there willbe three stencils for that design/motif; as shownin design 1 & 2.

Country Cupboards


88/120

Page8

8

Rossini Frieze and Leafy Twist

5.2 Screen Printing

Development of screen printing

Hand made stencil work was expensive and there

was a desire for cheaper and factor productionmethods. Towards in end of the 19thC, a stencilingtechnique which used a printing frame was patentedin Michigan, USA. In 1907 a patent was granted inManchester, England, for a printing press using awooden frame stretched with silk on which a stencilwas hand printed with screen filler. The ink couldnot pass through the resulting stencil but wassqueezed through silk onto the paper below, making


89/120

Page8

9

a print .This process of a fixed stencil on the meshallowed intricate patterns to be printed and came tobe known as silk screen printing or screen printing.

Process of Screen Printing

The screen is made by covering a frame with afine mesh fabric of silk, metal, nylon, orpolyester

This fabric mesh is then covered with a fiberThe design areas are cut out of the fiber leavingthe fine mesh open for the dye stuff to passthrough and print the fabric.

A squeegee is used to move the dye across thescreen and force the color through the open

areas on to the fabric.One screen is prepared for each color.


90/120

Page9

0

The size of the screen must be large enough toinclude at least one respect pattern.

All screens necessary for a design are arrangedto register or fit together accurately forproduction of a complete design.

Screen printing is desirable for the production oflarge patterns and for fabric that requireconsiderable dye, such as uncut pile.

Before the introduction of automatic screen printingthe amount of yardage that could be printed at onetime was limited because of the length of theprinting table, he speed of the operator and thenumber of colors and screen used.

Now flat bed screen printing machine and rotatingscreen printers are used.

Practical Exercises

Screen Printing

1.

Each student is required to make motifs and

designs for the stencil printing end products.2.

The students can choose any end product forexample cushions covers (for chairs and floor),sheets, towels, table sheets napkins, Dupattas,or any thing else that the student can think of.

3.

The students are required to place the motifs in

creative way and get the layout approved by theteacher.

4. Screen can be made out of approved motifs andprinting can be done according to the layout.

5.

The printing paste is made by adding pigmentdyes to a binder. The consistency should be such

that it doesnt drop from the spoon.


91/120

Page9

1

There are three kinds of binders available in themarket.

Normal binder which gives a plain smooth pasteand is used for printing dark designs on lighterback ground.

Dhari binder is used for mixing in the gold,silver, or bronze dust and is used for printinglight/metallic colors on dark background.

Pearl binder gives a pearly effect to the designwhen mixed with any color. It can be used bothon light and dark base fabrics.

1. A Simple Start

From an equipment point of view, screen printing is

the do-it-yourself form of print making. Whereasmost others forms of printing rely on heavy,specialized and often expensive equipment such aspresses, everything required for starting in screenprinting can be packed into a couple of lightweightcardboard boxes. The few simple items needed tobegin with can easily be home-made, or adapted

from common place odds and ends. For those of youwith little time, or inclination, to adapt equipment, acomplete range of products is readily available, bothas single items or as packaged systems.

In addition to these favourable economic andpractical considerations, the medium is also very

flexible, and it is possible to device a system towork in almost any space available. Whereas thesmallest area can be used for producing card-sizedprints, large screens can just as readily be made upfor coping with oversize images.

Simple Equipment

One most important requirement is the need for agood secure working and printing surface of aworkable height. The surface of this needs to be


92/120

Page9

2

perfectly flat. A sturdy kitchens table, covered withnewspaper, makes an ideal surface. Most laminatedkitchens working tops can just as easily be used. Inboth cases, you will find that having a water supplyand sink close to hand can be very useful.

The frame

The purpose of the frame is to act as a support,over which the (mesh) is stretched. To beserviceable, the frame needs to be sturdy and of arigid construction. Any flexing would result in poor-quality printing and hopeless registration of colors.A good test of a frame is that it should rest evenlyon a flat surface. If one or two of the corners appearraised in this position, it is doubtful whether thescreen will print evenly.

As well as holding the stencil in place, the screenacts as a reservoir for the ink during printing. Amplespace on either side of the stencil is needed duringin order to retain the ink.

The following is a list of the equipment you will need

to start screen printing

Wooden frame Scissors Cotton rags

Mesh Newsprint paper

Squeegee Varnish/enamel

Spoons Pegs of paper clips

Palette knife Cartridge paper

Sponge Paper parcel tape


93/120

Page9

3

Making the frame

For the purpose of explaining the printing process, I

have taken a particular frame size as my examplethroughout this description. A frame of 60 60cm(24 24 ) would provide a useful average sizeproportions to start with. For this, use plannedtimber of 5 2.5cm (2 1 ) dimensions, obtainablefrom any wood yard. The 5cm (2 ) measurementrepresents the height of the frame section, ensuring

rigidity. When selecting the wood, look for knot freelengths and reject any appearing warped throughpoor storage. After cutting the four sides, join thecorners adequately to prevent movement.

a) The easiest way of joining the corners is withstraight cuts, glues and nailed together andfurther reinforced with angle irons screwed tothe top. Make sure the butt end of the joint hasbeen cut square; otherwise the frame may goout of alignment.

b)

A simple, yet more robust joint allows the woodto be glued and nailed on two edges.

c)

A strong and easy alternative for joining cornersis to use meter cuts, similar to those used inpicture framing. These can be reinforced withangle irons after gluing and nailing. Nail and gluethe frame together on a flat surface. This willensure that it does not end up askew and out ofalignment. The finished frame will need to be

sandpapered for easy handling, and the outsidebottom edges slightly levelled so as not to snagthe organise as it is stretched over the frame.

Finally apply a liberal coat of varnish to the finishedframe. This will prevent the wood from getting wetwhen washing out the screen, and ensure againstfuture warping.


94/120

Page9

4

The Screen fabric

The screen fabric needs to be of a fine, open weave

to allow ink to be squeezed through the mesh to theunderlying print surface. The over strength of thefabric must by such that it stands up to beingstretched totally over the frame and does not sagwhen wet.

Silk was originally used for this purpose, but thesedays silk has largely been replaced by a number ofsynthetic fabrics which offer greater resilience andimproved properties. For our purpose cottonorgandie provides a cheap, serviceable material withwhich to make a start. Make sure you buy cottonorgandie and not nylon, which stretches and sagswhen wet.

Stretching the Screen Fabric

Unrail the organdie on a tabletop and place theframe upon it. The weave of the material should runparallel to the sides of the frame. Cut a square ofmaterial, allowing approximately 7.5cm (3 inches)

on all sides. The material can now be fastened tothe frame by using drawing pins or a staple gun. Itis important that the organdie should be stretchedevenly over the frame. To ensure you get an eventension follow the procedure below.

Place the frame over the organdie, adjusting toensure that there is about the same amount of

overlapping organdie on each side. Turn up oneedge of organdie and drawing pin it to the center ofone side of the frame. Place two further pins oneither side of the first one, about 7.5cm (3 inches)apart. As you do this, pull gently towards thecorners for tension.


95/120

Page9

5

Now fasten the center of the opposite side, pullingthe organdie tightly across the frame as you do so.It is important to pull the material really tight, butto do so steadily so as not to tear it. Fasten theother two pins as before, and then secure thecenters of the other two sides in a similar fashion.

With about the same 7.5 cm (3 inches) betweenpins, secure the remaining material by working

towards the corners. As you do so, pull firmlytowards the corner you are working to. This shouldcreate an even tension across the screen.

Although the organdie is now fully stretched, youmay possibly have to improve the tension at thisstage. By working from the center outwards, on

opposite sides, pull the organdie tighter between the


96/120

Page9

6

pins, securing with new pins, or staples, as you doso.

The finished result should be tight and even, like adrum skin. Any slackness would result in the stencilmoving during printing, spoiling the printed result. Ifthe surface is not tight on completion, it may bepossible by removing some of the pins ,to retightenand secure the areas affected. Falling this, removethe pins and start afresh. Never make do with a

poorly stretched screen.

Masking the Edges and Making a Waterproof

Border

Once the screen is stretched, the inside edges willneed to be masked. This is done to prevent inkseeping underneath during printing and masking theresults. At the same time, a waterproof borderaround the edges is needed to act as an inkreservoir late on. Brown gummed paper tape, isideal for both purposes.

Cut four 56cm (22 ) strips (the internal size of the

frame). Fold these in half along the length and wetthem under a tap. Then secure them to the insideedges of the frame, half on the wood half againstthe organdie (fig 6). Carefully dab a sponge alongthe inner edges to remove air bubbles and wrinkles.

Turn the frame over and apply overlapping strips oftape on the back to form a masked border at 10cm(4 ) width all round. Smooth these flat with a dampsponge. When dry, waterproof both sides of thetaped off margins and taped inside edges byapplying two coats of varnish.


97/120

Page9

7

Squeegee (Printing Blade)

The only specialized piece of equipment you may

need to buy to start with is the blade (squeegee). Asqueegee consists of a strip of rubber or polythene,usually 5cm (2 ) wide and 1cm (3/8 ) thick, set inwood, or metal, holder. It can be purchasedcomplete from screen printing suppliers and isusually priced by the inch. A cheaper solution is tobuy a length of rubber strip from the supplier and

make your own wooden holder. The easiest way ofdoing this is by using three separate length of wood.

As a third, even cheaper, alternative items such asrubber window cleaning wipers or plastic draughtexcluder strips can be used effectively for simpleprinting. These can also prove useful when printingan isolated part of a design in a particular color anda smaller blade is needed.

The size of the blade has to be shorter than theinside measurement of the frame with added spaceallowed for manoeuvring.

Finding the cause of problem

Finding the exact cause of a problem is not alwayseasy. At times, a number of quite different factorscan accumulatively cause a mistake. If for instance,small errors of register have been made in thecutting of stencils, a loose screen fabric, or loosehinges, would tend to magnify the discrepancyduring printing. Once a problem has arisen, it is aquestion of looking at all the possible causes andidentifying those responsible. Knowing what to lookfor when sorting out problems comes withexperience. In the meantime, the following faultfinding and remedial suggestion should help you to

overcome the most usual problems.


98/120

Page9

8

Problem:Registration out of alignment

Colors print with double image or gaps appear

between different colors.

a) Screen fabric too loose: Always check the screentension before use. If it is loose, tighten it byusing a staple gun or drawing pins.

b)

Loose screen hinges: Check movement onhinges. Tighten screws if necessary.

c) Poorly cut or designed stencils: If sufficient carehas not been taken in the design and making ofthe stencils, the print will not work. If thisoccurs, the only remedy is to start again.

d)

Sharp change of atmosphere affecting printingstock: If the atmosphere of the printing area

radically changes during printing the effect couldcause the printing stock to swell or shrink. Eitherway would affect the registration. Using fanheaters to hasten drying between printing couldcause this. For the same reason, stock paper forprinting in the area to be used for a few days toprinting to acclimatize it to the atmosphere.

e) Loose register tabs: If the register tabs becomesloose, they will need to be retapped down.Always ensure that paper is placed full againstregister guides.

Problem:Uneven Color

Colors appear weaker on certain parts of the print.a)

Uneven pressure on the squeegee. Apply evenpressure to squeegee when printing.

b)

Squeegee blades has become rigid.

After periods of disuse, or in cold weather,polyurethane squeegee blades tend to harden. Tocounteract this, hold the blade in front of a fanheater, or run hot water over the blade. Then


99/120

Page9

9

carefully massage the side of the blade to make itmore flexible.

Problem: Pinheads of unwanted colorSmall breaks in stencil.

Raise the screen and patch the affected area withtape.

Problem: Ink seeps past the stencil edge during

printing.This is more likely to happen when using paperstencils.

In all cases, carefully wipe the overlapping ink fromthe back of the stencil.

a)

Ink too thin: Thicken mixture by adding more

binder and pigments.

b)

Screen fabric too loose: Paper stencils may notstick evenly to mesh, causing the stencil toripple. Remove the stencil and thicken the screenfabric.

c)

Damp paper stencil: Damp stencils may cause

ink to seep through and overrun. Cut a newstencil.

d)

Torn stencil: Mend small tears with tape. Failingthis, cut a new stencil.

Problem:Paper stencil becomes unattached duringprinting.

a)

Printing on damp ink

If the print is still tacky when overprinting, thestencil may stick to the print, pulling away from thescreen. Ensure that prints are dry beforeoverprinting.

b)

Too large a surround on paper stencils


100/120

Page1

00

If the surround on the paper stencil overlaps thetaped border by too much, the edges of the stencilwill flop down, pulling the stencil away from thescreen. If this happens, cut back the overlappingstencil.

c)

Too slight, or uneven pressure put on squeegeeduring the first pull

Carefully peel off the part of the stencil that hasstuck down and reposition it on a fresh sheet ofpaper. Take another pull, this time using more, all-over, pressure.

Problem: The screen clogs during printing

Printing becomes lighter and parts of the stencilcease to print. Details become lost and blurred andthe problem usually gets worse.

a) Too little pressure on the squeegee.

Harder pressure on the squeegee should be triedand will work provided that the ink has not dried in.

b)

Ink is too thick

Clean the screen and add the appropriate thinner to

the ink and stir well.

c)

Ink dries in screen

Small areas of drying-in can often be cleared byrubbing the area with a cloth soaked in theappropriate thinner. For large areas, especiallywhen paper stencils are used, cut a new stencil,

clean and start afresh. To deter ink from drying in,always reflood the screen once a print has beentaken.

Problem: blended colors appear streaky

a) Colours insufficiently mixed on the screen.

Clean the screen and, with the edges of the blades,blend the colors in the more fully.


101/120

Page1

01

b)

Colors in the blend consist of differentthicknesses.

It is important that colors used in a blend arethinned by the same amount. If this is not done,colors may not blend evenly. To remedy this, cleanthe screen and remix colors, thinning to equalconsistency.


102/120

Page1

02

Lesson 6:Block Printing

Objectives

In this lesson we learn-

- What is block printing?

-

Block printing is a form of direct printing.

-

Making creative blocks out of various

materials.

Structure

6.1 Introduction

6.2 Creative block printing

6.3 Mounting Items for Stamping

6.4 How to Make a Printing Block from ArtistsEraser Material

6.1 Introduction

It is one of the oldest arts of fabric decoration.Actual samples of fabric stamped with block printsand dated about 1600 BC have been discovered by

archeologists. Wall printing indicating the possibleapplication of pattern by block stamping appear tohave been made as far back as 2100 BC . Some ofthe early blocks were up to eighteen inches squareand more than three inches thick.

In block printing, a separate block is required foreach color as seen in the design. On the block the

design area is raised, where as the back groundarea is carved away.


103/120

Page1

03

Block Printing on Textiles

Hand Block Printing on textiles refers to the

technique by which carved wooden blocks coveredwith dye are repeatedly pressed along a length ofcloth to create patterns. What makes this techniqueunique is the fact that the design has to be firstcarved onto the wooden block by hand, and thenexecuted on the fabric.

In India, the art of Hand block printing has passedfrom generation to generation, and has traditionallybeen done using Natural Dyes. Various garmentslike saris, kurtas, shirts, salwar kameez, dupattas,skirts, etc are made from block printed fabrics. Inrecent times, the export of block printed garmentshave grown manifolds as its demand has increased

especially in the western countries because of itsdurability and distinctive patterns and designs.

Techniques of Block Printing

Direct Block Printing

In this technique, the cotton or silk cloth is firstbleached. Then the fabric is dyed, unless a light

background is desired. Thereafter, the fabric isprinted using carved blocks; first the outline blocks,then the ones to fill color. The famous prints of Bagh

(from Madhya Pradesh) and Bagru (from Rajasthan)are made using this technique.


104/120

Page1

04

Resist Printing

In the resist technique, areas that are to be

protected from the dye are covered with a mixtureof clay and resin. The dyed fabric is then washed.The dye spreads into the protected areas throughcracks, producing a rippled effect. Block prints arethen used to create further designs. Ajrakh Printingof Kutch (India) and Sindh (Pakistan) andKalamkarifrom South India use this technique.

Discharge Printing

In this technique, the fabric is dyed. Then, achemical is used to remove the dye from theportions that are to have designs in different colour.These portions are then treated, so they may be re-colored. Block printing is both a handcraft and an

art form. It can be done on paper as well as fabric.In India block printing is done widely as a form offabric decoration where sanganer, bhagm inRajisthan; Bhuj and Anjar in Gujarat andSrikalahasti in Andhrapradesh are famous.

Blocks of various designs are available in the marketand can also be made on order.

6.2 Creative block printing

With a little imagination, many household itemsbecome tools for stamping designs on fabric. Try awooden spaghetti lifter, flat metal hardware items,

plastic bubble wrap, or a ball of string. Smallobjects, such as buttons, coins, or keys can beglued to the end of the wooden dowel, empty filmcontainer, or large cork for easy stamping. In factcork itself can be cut into interesting shapes forprinting fabric. Some items are more easily used forstamping if they are not mounted to a surface.

Cellulose sponges cut into shapes producewonderful textured effects. Leaves, flowers petals,
http://www.copperwiki.org/index.php/Ajrakh_Printinghttp://www.copperwiki.org/index.php/Kalamkarihttp://www.copperwiki.org/index.php/Kalamkarihttp://www.copperwiki.org/index.php/Ajrakh_Printing


105/120

Page1

05

or gresses may be used to produce whispy, natureprints. And dont forget your vegetables!

Purchased stamps, particularly those with less finedetail work, are also useful for stamping on fabric.Printing blocks can be cut from a number ofmaterials, including white artists erasers or largerblocks made of the same material, available at artsupply stores. These blocks are easily cut with amat knife or linoleum block cutters. Any closed cell

foam materials, including neoprene sheets insulationtapes or computer mouse pads can be cut intoshapes with scissors and attached to a block ofprinting. Art supply stores also carry adhesive-backed sheets of closed cell foam, designed for thispurpose.

The weave structure of the fabric plays a large partin the clarity of the printing. Obviously, the clearestresults are obtained on tightly woven fabric with fineyarns. The looser the weave and the larger the


106/120

Page1

06

yarns, the more distorted the stamped image willbe.

Use any fabric paints, inks, or dyes to stamp theimage an fabric. Also, use this stamping techniquefor applying resists or discharge paste to create astamped image. Follow the manufacturersdirections for using the product and for setting thestamped image permanently in the fabric.

6.3 Mounting Items for Stamping

Securesmall items such as coins, buttons, or metalwashers to dowel ends, bottle corks, or empty filmcontainers, using silicone glue.

Spread wood glue on the block, arrange uniform

layer of rope, cording or string in desired design inwet glue; allow to dry. Or secure ribbed fabric,corrugated cardboard, or other textual material.Print design on paper; adhere to top of block, to aidin positioning stamp.

Cut clear 1/4 (6mm) acrylic sheet into shapes or

use empty clear plastic boxes in assorted sizes forsee-through printing blocks. Cut layered self-adhesive foam into desired shapes amount toblocks. Mount other items using silicone glue.


107/120

Page1

07


108/120

Page1

08

6.4 How to Make a Printing Block fromArtists Eraser Material

1.

Draw design on surface of block material ortransfer design to surface using transfer paper.Cut about 1/4 (6mm) deep into block alongouter design lines, using mat knife.

2. Remove large background area around design bycutting horizontally through of block up to cuts

made for design outline.3. Cut and remove negative areas within design,

cutting at an angle along each edge.


109/120

Page1

09

Linoleum cutter methodCarve away negativeareas of design using linoleum cutting tools. Follow

manufacturers direction for using tools. Some stylesare pushed to cut; others are pulled.


110/120

Page1

10


111/120

Page1

11


112/120

Page1

12

Place fabric to be stamped over smooth, paddedsurface, such as muslin layered over foam-coreboard. Stretch taut, and secure with masking tapearound edges.

Apply thin layer of fabric paint to smooth surface,such as sheet of glass. Press stamping material ontosurface to pick up paint for stamping. Recoatsurface as needed.

Apply paint or ink directly onto stamping surface,using foam applicator. This allows you to printmulticolored designs.

Make a stamp pad by placing several layers of felton a smooth, flat surface thoroughly wet, but do notsaturate, felt with fabric dye, ink or thinned paint(four parts paint to one part extender). Press printing

block into felt pad, lightly coating surface Stampfabric.

Reapply dye, ink or paint after each stamp fordesign of relatively same intensity.


113/120

Page1

13

Brush paint onto uncut surface of artists eraser orprinting block. Remove paint to create a negativedesign, using a wipe out tool, pencil eraser, orcorner of another artists eraser. Print design ontofabric.

Stamp two or three times before reapplying paintor ink for designs with varying intensities, depth,and shading.

The students can carry out the above listedactivities in their sketch files.


114/120

Page1

14

Summary:

Stencil Printing is the precursor of todays Screen

Printing. The screen is made by covering a framewith a fine mesh of nylon. One screen/stencil/Blockis prepared for each colour. Screen printing is usedfor the production of large patterns. For unlimitedprinting now Flat bed screen printing machine androating screen printers are used. Four types ofbinders used for screen printing: Normal, Khari,

Pearl and Embose.

Block printing is the oldest art of fabric decoration.It can be done on paper as well as fabric.

In text questions

1. What is the process of screen printing?

2.

What are the steps involved in executing adesign on a fabric using a block?

Terminal questions:

1. How is the word stencil derived?

2.

What kinds of sheets are used for stenciling?

3. What is a squeegee?

4. How did stencil printing give rise to screenprinting?

Revision Points:

1. Stencil printing is the precursor of the modernday screen printingToday it is considered as ahandcraft.

2. In stencil printing design areas are cut fromsheets of paper coated with oil, wax or

varnish or from sheets of metal.s


115/120

Page1

15

3.

A separate stencil is prepared for each colour.

4.

The stencil must be planned so that they fittogether properly to result in a perfect print.

5. The screen is made by covering a frame witha fine mesh fabric of silk,metal,nylon.

6. One screen is prepared for each colour.

7.

All screens necessary for a design are

arranged to fit together accurately forproduction of a complete designe.

8. Block printing is a form of direct printingwhere the fabric is laid flat on a smoothpadded surface and anchored securely.

9. In Block Printing, a separate Block is required

for each colour.

Assignments:

1.

Students have to make 5 samples of eachprinting. Size should be 10x10.

2.

Students have to make an end-product out ofthese printings.

3.

Cut minimum 5 stencils on t.p. sheet.


116/120

Page1

16

Unit III

Development of End Product


117/120

Page1

17

Development of EndProduct

Each student is required to maintain a research file.This file will have fifty [50] motifs of eachembroidery. The motifs will be neatly drawn inpencil. Each motif will be drawn in a square of 3

3 .

The student will then pick out motifs and makedesign compositions. There will be five 5) design

compositions for each embroidery, made on 8 by 8of ivory sheet. For each composition the student hasto use these or more motifs of the traditionalembroidery. The placement of the motifs can bedone in the following ways to make differentcompositions.

One design com-position will be selected by the

teacher, painted and then embroidered usingtraditional colors.


118/120

Page1

18

The students are required to maintain thecompositions and embroidered sample in a folderor a file

Two end products have to be developed by eachstudent

a) --One end product will be purely based on anyone or two of the traditional embroideries

--The student can stylise the motifs and use

contemporary colours for the end products.--The motifs need not be necessarilyembroidered or printed on machine embroideredor printed

--Other embellishments like beads, sequence,mirrors ribbons, cords, tassels, fringes, laces can

also be used to highlight the end product.b)

The second end product will be a combination ofprinting and embroidery.

The fabric will be first screen or stencil or blockprinted and then highlighted by using oneembroidery technique.

NOTE:Care must be taken that there is a balanceof both techniques and either one of it is nothighlighted.

--Contemporary colours and stylised motifs can beused.

NOTE: The size of the end product, the motifscolours scheme and placement of the motifs have tobe approved by the teacher in charge

-- The students should have the following things atthe end of the semester.

1. Research file.2. Folder for design composition


119/120

Page1

19

3. Screen printing articles and end product.

4. Embroidery end product with two embroideries.

5. End product of printing and embroidery.

6. Sketch with stencil and block printing activities.

List of the end products that can be made by thestudents.

1.

Study table accessories

Paper weight, table lamp, card holder, pencilstand, photo frame, soft board frame, book rest.

2.

Kitchen articles

Pot holders, mats, napkins holders, coasters.

3.

Decorative articles

Lamps, furniture articles, cushion covers, bags,shoes, belts, jewellery articles, tiles, blinds.

4. Bathroom accessories

Soap case, brush holder, towel ring, set of hand

towels, mirrors.5.

The student can think of any other innovativeproduct and make it.


120/120

Books for Further

References

1.

Adam Robert 2003 Screenprinting

Thomas andHudson ltd London

2.

Nicholas

Bernard

1991 Traditional

textiles ofIndia

Thomas and

Hudson ltd London

3.

Gauss Jone 1995 Stencilingtechniques

Watson guptillpublica-tions

4.

Naik Shalja

D

1996 TraditionalEmbroideriesof India

APH Publishingcorpora-tion Delhi

5.

Color and

design on

Fabric

Creative

publishingMinnesota.

6.

Joseph

Marfony L

1980 Essentials oftextiles

Holt, Rhine hartand Winston.

7.

Pannu

Gurpreet

1995 Phulkari Anexpression ofart inembroidery

Dept of textiles,ClothingLady Irwin college,Delhi University

surface embroidery & dyeing & printing part-a

Documents