lostart of india - hobby ideas · 2019-08-19 · 41 resist batik with aari embroidery 43 rogan art...

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 1

Lost Art of India

APR - JUNE 2018 l Vol 12 l Issue 4

Design sheetsincluded


Dear readers, welcome back to yet another edition of Feviart. This time the theme chosen is both fascinating and nostalgic. It reminds us of the core roots of our culture through Art and Craft. Therefore it's called Feviart - “Lost Art of India”. In this edition one would see how history too is interwoven in the weaves of myriad arts forms, that were developed or were typical of a particular age / time and place geographically.

Feviart - “Lost Art of India”, I would say is a treasure trove, that one would cherish and refer to for years to come. The Art that prevailed in the yesteryears were concrete fundamentals and we see the reflections till today.

For instance, the famous Ajrakh print, a kind of block printing on fabric where resist dyes were used to create numerous patterns and colours, was pioneered amongst the Khatri community of Rajasthan. Today Ajrakh prints are known in a more modernistic fashionretaining the main essence of tradition but probably done differently in a less labourintensive manner.

In Feviart – ‘Lost Art of India’ we have covered a vast variety of arts, giving each art form a brief introduction. One can find Baluchari work, Pithora Art, Rogan art form and more that have been made using Fevicryl range of products. These products have rendered theirversatility in colour and shades, to do justice to these ancient art forms. For us it was a huge learning curve as we ourselves delved into history and created articles that just spelt magic. So here's to Indian history and it's enriching arts that define us today.Happy creating!

Feviart – Lost Art of India

03 Ajrakh Top

05 Blue Pottery Vase

07 Baluchari Clutches

11 Bidri Trunk

13 Chamba Fans

15 Chennai Ikat Kurti

17 Chauu Mask Nameplate

19 Ganjifa Wall Art

21 Gulkari Cushions

23 Kalamkari - Tree of Life Saree

25 Kashidakari Pants

27 Kinari Work - Gota Work on Stole

31 Necklace with Bead Work

33 Paithani Motifs - Table Runner

35 Pichhwai Scroll

37 Pithora Pot

39 Pipli Table Cover

41 Resist Batik with Aari Embroidery

43 Rogan Art Frame

47 Royal Meenakari Boxes

49 Sanjhi Paper Stencil Art

51 Sikki Art Lampshade

53 Sujani Kantha Stole

55 Tarakasi - Jewellery

57 Tibetan Brocade Blouse

59 Thangka Painting

With Warm Regards,Kavita JagtianiHead MarketingConsumer Products (ASF)

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51pg.

47pg.

05pg.


AjrAkh Top

Material: Fevicryl Fabric Colours - Maroon 214, Sap Green 221, Fine Art Brushes, A4 White Paper, White Carbon Paper, Pencil, Plain Yellow Top, Colour Palette, Water Container

What is Ajrakh print ? It is a kind of block printing, where the fabric is resist dyed using natural dyes like indigo (blue pigment) and madder (red dye or pigment obtained from madder root).It has it's origins in Kutch amongst the community of the Khatris in Rajasthan, where it is still practised in the traditional manner. With passage of time the colours of the natural dyes have changed but the style and patterns still remain traditional. It can be distinguished by it's typical intricate and complex geometrical and floral patterns. A lot of garments like kurtis, dupattas, stoles, quilts, bedspreads and curtains have taken inspiration from the Ajrakh style motif and imbibed the traditional patterns onto them.

1. Take an A4 white paper; draw a floral Ajarakh motif on it.

2. Trace the same motif all over on the yellow top using white carbon paper. Similarly, draw and trace the leaves on the collar line of the top using white carbon paper.

3. Paint the motifs using Fevicryl Fabric Colours - Maroon 214 and Sap Green 221. Leave it to dry.

1. EH$ A4 gmBµO H$m ìhmBQ> nona b|& Bg na µâbmoab AOaI _mo{Q>µ\$ ~Zm b|&

2. ìhmBQ> H$m~©Z nona boH$a, Bg _mo{Q>µ\$ H$mo nyao `obmo Q>m°n na Q´>og H$a b|& Bgr Vah ìhmBQ> H$m~©Z nona go Q>m°n H$s H$m°ba bmBZ na n{Îm`m§ ~ZmH$a Q´>og H$a b|&

3. µ\o${d{H«$b µ\¡${~«H$ H$bg©-_ê$Z 214 Am¡a g¡n J«rZ 221 go _mo{Q>µâg H$mo n|Q> H$a b|& Bgo gyIZo X|&

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Blue poTTery VAse

Material: Fevicryl Acrylic Colours - Prussian Blue 19, Ultramarine Blue 23, White 27, Fevicryl Acrylic Colours Pearl - White 301, Lemon Yellow 302, Fine Art Brushes, Pencil, A3 White Paper, Yellow Carbon Paper, Colour Palette, Water Container, Big Terracotta Pot

Blue Pottery, Jaipur is widely known for it's traditional Blue pottery, though it's also known to have it's origins in the Turko-Persian region. The name comes from the brilliant colour cobalt with which the pottery is dyed. Blue pottery can have numerous variants and hues of blue that are rare. Planters, vases, plates, curios and a lot many things are made using Blue Pottery

1. Take an A3 white paper; draw few motifs from the traditional blue pottery on it; a different motif in a different box.

2. Take a big size terracotta pot; paint the pot with the base coat of Acrylic Colour - White 27. Paint a second coat which is a mixture of Acrylic Colour Pearl - White 301 and Lemon Yellow 302. Let it dry.

3. Trace the motifs aesthetically on the painted pot using yellow carbon paper.

4. Paint the blue pottery motifs in a shading effect using Acrylic Colours - Prussian Blue 19, Ultramarine Blue 23 and White 27. Similarly, paint the edge of the pot with Acrylic Colours - Prussian Blue 19 and Ultramarine Blue 23.

5. Leave it to dry.

1. EH$ A3 ìhmBQ> nona b|& Bg na nma§n[aH$ ãby nm°Q²>ar e¡br _| Hw$N> _mo{Q>µâg ~Zm b|& AbJ ~m°Šg _| AbJ-AbJ _mo{Q>µâg ~ZmE§&

2. A~ EH$ ~‹S>r gmBµO H$m Q>oamH$moQ>m nm°Q> b|& nm°Q> na EH«o${bH$ H$ba-ìhmBQ> 27 go EH$ ~og H$moQ> bJm X|& EH«o${bH$ H$ba nb© ìhmBQ> 301 Am¡a bo_Z `obmo 302 H$mo {_bmH$a, Bg H$ba go nm°Q> na Xÿgam H$moQ> bJm X|& Bgo gyIZo X|&

3. `obmo H$m~©Z nona go _mo{Q>µâg H$mo n|Q> {H$E hþE nm°Q> na H$bmË_H$ ê$n go Q´>og H$a b|&

4. ãby nm°Q²>ar _mo{Q>µâg H$mo EH«o${bH$ H$bg©-àw{e`Z ãby 19, AëQ´>m_arZ ãby 23 Am¡a ìhmBQ> 27 go eoqS>J à^md OJmVo hþE n|Q> H$a b|& Bgr Vah nm°Q> Ho$ {H$Zmam| H$mo EH«o${bH$ H$bg©-àw{e`Z ãby 19 Am¡a AëQ´>m_arZ ãby 23 go n|Q> H$a b|&

5. Bgo gyIZo X§o&

VarH$mMETHOD


FeviArt | Vol 12 | Issue 4 | Apr - June 2018 7 FeviArt | Vol 12 | Issue 4 | Apr - June 2018 8

BidriTrunk


BAluchAri cluTches

Material: Fevicryl Colour Pearl - Turquoise Blue 520, Fevicryl Colour Pearl Metallic - Gold 552, Fevicryl Fabric Glue, Fine Art Brushes, Half a Meter Black Silk Fabric, White Carbon Paper, A4 White Paper, Pencil, Readymade Fabric Clutches, Colour Palatte, Water Container

Baluchari is a type of sari that is traditionally worn by women in West Bengal. Baluchari design originated in Bengal, and today the towns that practise this form and style are Bishnupur and Murshidabad. It can be recognised very easily, as it is typified by mythological scenes depicted on saree pallus. The design being so beautiful, it has now being adopted on numerous surfaces due to it's elegance.

1. Take an A4 paper; draw a mythological scene and paisleys inspired from traditional Baluchari art form in the size of the clutch on it.

2. Take the black silk fabric, mark and cut the fabric in the size of the clutch by leaving a 1” border from all the sides. Trace the Baluchari design on both the fabric pieces using white carbon paper.

3. Paint the design using Fevicryl Colours Pearl - Turquoise Blue 520 and Pearl Metallic - Gold 552. Let it dry.

4. Stick the painted fabric patch on the fabric clutch using Fevicryl Fabric Glue. Let it dry.

1. g~go nhbo EH$ A4 gmBµO H$m nona b|& Bg na ŠbM H$s gmBµO Ho$ AZwgma H$moB© ^r nm¡am{UH$ {MÌ Am¡a nma§n[aH$ ~bwMmar e¡br go ào[aV nogbrµO ~Zm b|&

2. A~ ãb¡H$ {gëH$ µ\¡${~«H$ b|& BgHo$ Mmam| Va\$ 1” H$s ~m°S>©a N>mo‹S>H$a, ŠbM H$s gmBµO _| hr {ZemZ bJmH$a µ\¡${~«H$ H$mo H$mQ b|& ìhmBQ> H$m~©Z nona go µ\¡${~«H$ Ho$ XmoZm| Qw>H$‹S>m| na ~bwMmar {S>µOmBZ Q´>og H$a b|&

3. {S>µOmBZ H$mo µ\o${d{H«$b H$bg© nb©-Q>aH$m°BµO ãby 520 Am¡a nb© _oQ>m{bH$-JmoëS> 552 go noQ> H$a b|& Bgo gyIZo X|&

4. n|Q> {H$E hþE µ\¡${~«H$ H$mo µ\o${d{H«$b µ\¡${~«H$ ½by go µ\¡${~«H$ ŠbM na {MnH$m X|& Bgo gyIZo X§o&

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FeviArt | Vol 12 | Issue 4 | Apr - June 2018 11FeviArt | Vol 12 | Issue 4 | Apr - June 2018 11

Bidri Trunk

Material: Fevicryl Acrylic Colour - Black 02, Fevicryl Acrylic Colour Pearl Metallic - Silver 351, Fine Art Brushes, White Paper, Pencil, White Carbon Paper, Metal Trunk Box, Colour Palette, Water Container

Bidri Work is a work of precision and dexterity. It requires some skill to do Bidri work. It is carving of alloy metal to create a kind of jali design with tools especially made for the art form. As part of the original technique, copper and steel are used as the base with either silver or gold as inlays. The name Bidri comes from a place called Bidar near Hyderabad. There are different stages to Bidri work – casting, engraving, inlaying and oxidising.

1. Take a plain white paper in the size of the lid of the trunk.

2. Draw a traditional Bidri design on it; similarly, draw a border design on another paper.

3. Take the trunk and paint it with Acrylic Colour - Black 02. Leave it to dry.

4. Trace the design on the trunk using white carbon paper.

5. Paint the design with Fevicryl Acrylic Colour Pearl Metallic - Silver 351. Give it a slight embossed effect while painting. This is achieved by a thicker application of the colour. Leave it to dry.

1. Q´>§H$ Ho$ T>ŠH$Z H$s gmBµO H$m EH$ ßboZ ìhmBQ> nona b|&

2. Bg na nma§n[aH$ {~Xar {S>µOmBZ ~ZmE§& Bgr Vah EH$ Am¡a nona na ~m°S>©a {S>µOmBZ ~ZmE§&

3. A~ EH$ ßboZ Q´>§H$ b| Am¡a Bgo EH«o${bH$ H$ba-ãb¡H$ 02 go n|Q> H$a b|& Bgo gyIZo X|&

4. ìhmBQ> H$m~©Z nona go {~Xar {S>µOmBZ H$mo Q´>§H$ na Q´>og H$a b|&

5. {S>µOmBZ H$mo µ\o${d{H«$b EH«o${bH$ H$ba nb© _oQ>m{bH$ - {gëda 351 go n|Q> H$a b|& n|Q> H$aVo g_` hëH$m Eå~m°g à^md n¡Xm H$a|& BgHo$ {bE n|Q> H$mo Wmo‹S>m Jm‹T>m BñVo_mb H$a|& Bgo gyIZo X|&

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chAmBA FAns

Chamba – Chamba work or art style is pictorial in nature and was pre dominantly practised in Himachal Pradesh and Jammu. These places were prominent centres of Pahari paintings. Chamba art work is unique and elegant embroidery that's done on hand spun cloth using untwisted silk threads. The outlines are made with a fine brush, the patterns, floral motifs and figures are distinct in their painting depictions.

1. Take half imperial sheet of white card paper; draw two different shapes of fans on it.

2. Take light pink and light yellow coloured fabric; mark the shape of the fan on it. Take an A4 white paper, draw traditional motifs and figures from Chamba art form on it for the two fans.

3. Trace the same design on the respective fabric pieces in the centre of the marked fan shape using white and red carbon paper.

4. Paint the figures and the border design with Fevicryl Fabric Colours - Black 202, Crimson 204, Dark Brown 205, Golden Yellow 209, Indian Red 210, Light Green 212, Orange 217, Sap Green 221, White 227, Flesh Tint 230 and Cerulean Blue 232. Leave it to dry.

5. After drying cut along the outlines of the fan shape by leaving 1” border from all the sides. Similarly, cut one more fan shape from the same fabric.

6. Take the paper canvas; mark and cut the fan shape out of it. Cut 2 such fan shapes out of it.

7. Sandwich the paper canvas in between the pieces of the two similar painted design fabrics using Fabric Glue. Leave it to dry.

8. Attach the flat and round shaped cane stick to the fan shapes using Fabric Glue. Let it dry.

1. g~go nhbo ìhmBQ> H$mS>© nona H$s hmµ\$ Bånr[a`b erQ> b|& Bg na µ\¡$Z H$s Xmo AbJ-AbJ AmH$ma _| AmH¥${V ~Zm b|&

2. A~ bmBQ> qnH$ Am¡a bmBQ> òbmo H$ba H$m µ\¡${~«H$ b|; Bg na µ\¡$Z H$m AmH$ma {MpÝhV H$a|& EH$ A4 ìhmBQ> nona b|& Bg na Xmo µ\¡$Z Ho$ {bE M§~m H$bm e¡br _| nma§n[aH$ _mo{Q>µâg Am¡a AmH¥${V`m§ ~Zm b|&

3. Bgr {S>µOmBZ H$mo ìhmBQ> Am¡a aoS> H$m~©Z nona go {MpÝhV µ\¡$Z AmH$ma Ho$ ~rM _| g§~§{YV µ\¡${~«H$ na Q>óg H$a b|&

4. AmH¥${V`m| Am¡a ~m°S>©a {S>µOmBZ H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg© - ãb¡H$ 202, {H«$_gZ 204, S>mH©$ ~«mCZ 205, JmoëS>Z òbmo 209, B§{S>`Z aoS> 210, bmBQ> J«rZ 212, Am°a|O 217, g¡n J«rZ 221, ìhmBQ> 227, µâboe qQ>Q> 230 Am¡a goa`wbrZ ãby 232 go n|Q> H$a b|& Bgo gyIZo X§o&

5. gyIZo Ho$ ~mX, Mmam| Va\$ go 1""H$s ~m°S>©a N>mo‹S>Vo hþE µ\¡$Z AmH$ma H$mo AmCQ>bmBZ go H$mQ> b|& Bgr Vah Bgr µ\¡${~«H$ go EH$ Am¡a µ\¡$Z AmH$ma H$mQ> b|&

6. A~ EH$ nona H¡$Zdmg b|& Bg na µ\¡$Z H$s AmH¥${V ~ZmH$a H$mQ> b|& Bg Vah go H¡$Zdmg go Xmo µ\¡$Z AmH$ma H$mQ> b|&

7. nona H¡$Zdmg H$mo EH$ O¡go n|Q> {H$E µ\¡${~«H$ Ho$ Qw>H$‹S>m| Ho$ ~rM g¡ÊS>{dM H$aHo$, µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&

8. µ\¡$Z AmH$ma na µ\¡${~«H$ ½by go EH$ µâb¡Q> Am¡a Jmob AmH$ma H$s Ho$Z pñQ>H$ {MnH$m X|& Bgo gyIZo X|&

Material: Fevicryl Fabric Colours - Black 202, Crimson 204, Dark Brown 205, Golden Yellow 209, Indian Red 210, Light Green 212, Orange, 217, Sap Green 221, White 227, Flesh Tint 230, Cerulean Blue 232, Fevicryl Fabric Glue, Fine Art Brushes, Half a Meter Light Yellow and Light Pink Fabric, Half Imperial Sheet of White Card Paper, Thick Paper Canvas, Flat and Round Shaped Cane Sticks, A4 White Paper, Red and White Carbon Paper, Pencil, Scissors, Ruler, Colour Palette, Water Container, Embroidery Ring.

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FeviArt | Vol 12 | Issue 4 | Apr - June 2018 15FeviArt | Vol 12 | Issue 2 | Oct - Dec 2017 15

chennAi ikAT kurTi

Material: Fevicryl Fabric Colours - Dark Green 206, Maroon 214, Prussian Blue 219, White 227, Leaf Green 262, Fine Art Brushes, A3 White Paper, Black Carbon Paper, Pencil, Colour Palette, Water Container, Plain Yellow Tussar Silk Kurti

Pochampally (Chennai) Ikat are sarees woven in Bhoodan Pochampally, Telegana. It is distinguished by geometric designs which makes them unique in itself. These are decorative techniques in which warp or weft threads, or both, are tied-dyed before weaving. The term “Ikat” refers to the dyeing technique used to create the designs on the fabric. It is a resist dyeing process, where bundles of yarn are tightly wrapped together and then dyed as many times as is required to create the desired pattern.

1. Take A3 white papers. Mark the neckline of the kurti to make the yoke design and draw Ikat motifs aesthetically on it.

2. Similarly, draw the Ikat border design for the bottom side of the kurti.

3. Trace the same design on the yoke line and the bottom side of the kurti with black carbon paper. Trace few Ikat buttas all over on the kurti.

4. Paint the Ikat design yoke, border and the buttas using Fevicryl Fabric Colours - Dark Green 206, Maroon 214, Prussian Blue 219, White 227 and Leaf Green 262. Make fine vertical strokes to replicate the weave.

5. Leave it to dry.

1. g~go nhbo A3 ìhmBQ> nong© b|& `moH$ {S>µOmBZ ~ZmZo Ho$ {bE Hw$Vu H$s ZoH$bmBZ {MpÝhV H$a| Am¡a Bg na H$bmË_H$ VarHo$ go BH$V _mo{Q>µâg ~ZmE§&

2. Bgr Vah Hw$Vu Ho$ {ZMbo {hñgo _| BH$V ~m°S>©a {S>µOmBZ ~Zm b|&

3. Bgr {S>µOmBZ H$mo ãb¡H$ H$m~©Z nona go `moH$ bmBZ Am¡a Hw$Vu Ho$ {ZMbo {hñgo na Q´>og H$a b|& nyar Hw$Vu na Hw$N> BH$V ~wQ²>Q>m Q´>og H$a b|&

4. BH$V {S>µOmBZ `moH$, ~m°S>©a Am¡a ~wQ²>Q>m| H$mo µ µ\o${d{H«$b \$¡{~«H$ H$bg© - S>mH©$ J«rZ 206, _oê$Z 214, àw{e`Z ãby 219, ìhmBQ> 227 Am¡a brµ\$ J«rZ 262 go n|Q> H$a b|& ~wZmdQ> H$s à{VH¥${V ~ZmZo Ho$ {bE Bg na I‹S>o ñQ´>moŠg go BH$V {S>µOmBZ ~ZmE§&

5. Bgo gyIZo X§o&

VarH$mMETHOD



chAuu mAsk nAmeplATe

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05, Dark Green 06, Light Green 12, Turquoise Blue 22, White 27, Flesh Tint 30, Fevicryl Mouldit, Fevicryl Fabric Glue, Fine Art Brushes, Rolling Pin, Paper Cutter, Clay Carving Tools, Wooden Plank - 4” x 18”, Colourful Feathers, Red Satin Ribbon, Scissors, Pencil, Colour Palette, Water Container

Chauu dance is a semi Indian classical dance form prevalent in the eastern states of India, like Jharkhand, West Bengal and Odisha. One of the major accessories used during this dance are the Chauu masks which celebrates martial arts, acrobatics and in festive themes of a folk dance, to a structured dance with religious themes found in Shaivism, Shaktism and Vaishnavism.

1. Take a wooden plank with a self-texture, paint it with a thin coat of Fevicryl Acrylic Colours - Burnt Sienna 01 and Dark Brown 05. Keep it aside for drying.

2. Take Fevicryl Mouldit resin base and hardener; mix it thoroughly to make even dough. You will need 2 packs of Mouldit to make the tribal faces of the man and the woman. Take the dough; roll it to make the medium thin slabs, draw and cut two oval shapes out of it to make the faces, using paper cutter.

3. Place the oval slabs on any pet bottle. Let it semi dry. Take some clay to make the features of the man and the woman like nose, eyes, hair, lips and ears aesthetically. Use clay carving tools for the texture of the hair. Let it dry.

4. Paint the faces using Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05, White 27 and Flesh Tint 30. Let it dry. Take some dough, roll it to make a thick coil; leave it till semi dry. Stick the painted faces on the wooden plank using Fabric Glue and a little amount of clay. Similarly, make your own surname using a thick coil just like we have used the surname “Thakurs”.

5. Stick the coiled surname beside the faces with Fabric Glue. Let it dry. Paint the coiled surname in shading effect using Acrylic Colours - Chrome Yellow 03, Dark Green 06, Light Green 12 and Turquoise Blue 22. Enhance the faces by sticking the head gear using red satin ribbon and colourful feathers using Fabric Glue .

1. g~go nhbo EH$ goëµ\$-Q>¡ŠgMS>© bH$‹S>r H$m ßb¢H$> b|& Bg na µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01 Am¡a S>mH©$ ~«mCZ 05 H$m EH$ nVbm H$moQ> bJm X|& Bgo gyIZo Ho$ {bE AbJ aI X|&

2. A~ µ\o${d{H«$b _moëS>BQ> ao{µOZ ~og Am¡a hmS>©Za b|& Bgo AÀN>r Vah {_bmH$a EH$ g_mZ {_lU V¡`ma H$a b|& nwê$f Am¡a ór Ho$ Am{Xdmgr Mohao ~ZmZo Ho$ {bE AmnH$mo _moëS>BQ> Ho$ 2 n¡H$ H$s µOê$aV n‹S>oJr& Bg {_lU H$mo b|& Bgo ~obH$a, _Ü`_ nVbo ñb¡~ ~Zm b|& nwê$f Am¡a ór H$m Moham ~ZmZo Ho$ {bE nona H$Q>a go Xmo AmH$ma ~ZmH$a, Bgo H$mQ> b|&

3. A§S>mH$ma Qw>H$‹S>m| H$mo {H$gr ^r n°Q> ~m°Q>b na aI|& Bgo Wmo‹S>m gm gyIZo X|& A~ Wmo‹S>m gm {_lU boH$a, BZ nwê$f Am¡a ñÌr H$s ZmH$, Am§I, ~mb, hm|R> Am¡a H$mZ Iy~gyaVr go ~Zm b|& ~mbm| H$m Q>oŠgMa V¡`ma H$aZo Ho$ {bE Šbo H$m{dªJ Qy>b H$m BñVo_mb H$a|& Bgo gyIZo X|&

4. BZHo$ Moham| H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01, ãb¡H$ 02, H«$mo_ òbmo 03, {H«$_gZ 04, S>mH©$ ~«mCZ 05, ìhmBQ> 27 Am¡a µâboe qQ>Q> 30 go n|Q> H$a b|& Bgo gyIZo X|& A~ Wmo‹S>m gm {_lU Am¡a boH$a, Bgo ~ob| Am¡a _moQ>r H$m°Bb V¡`ma H$a b|& Bgo Wmo‹S>m gm gyIZo X|& BZ n|Q> {H$E Moham| H$mo µ\¡${~«H$ ½by Am¡a Wmo‹S>m gm Šbo boH$a Bgo bH$‹S>r Ho$ ßb¢H$ na {MnH$m X|& Bgr Vah, A~ _moQ>r H$m°Bb go AnZm gaZo_ ~Zm b|, O¡gm {H$ h_Zo ""R>mHw$a'' gaZo_ ~Zm`m h¡&

5. gyIZo X|& gaZo_ dmbr H$m°Bb H$mo EH«o${bH$ H$bg© - H«$mo_ òbmo 03, S>mH©$ J«rZ 06, bmBQ> J«rZ 12 Am¡a Q>aH$m°BµO ãby 22 go eoqS>J VH$ZrH$ go n|Q> H$a b|& Moham| H$mo Am¡a µÁ`mXm C^maZo Ho$ {bE aoS> gm{Q>Z [a~Z Am¡a a§J{~a§Jo n§Im| Ho$ gmW, µ\¡${~«H$ ½by go h¡S>{Jà ({eamodó) ^r {MnH$m X|&

VarH$mMETHOD



GAnjiFA WAll ArT

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05, Dark Green 06, Ultramarine Blue 23, White 27, Flesh Tint 30, Fevicryl Acrylic Colours - Neon Yellow 011, Green 012, Orange 017, Pink 018, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl Fabric Glue, Fine Art Brushes, Pencil, White Card Papers, A4 - White Papers, Yellow Carbon Paper, 4” x 4” - MDF Wooden Coasters, Wooden Plank, Colour Palette, Water Container, Scissors

Ganjifa is a card game or a kind of playing cards that were prevalent in Persia and India. They were either circular or rectangular in shape and hand painted by artisans. They would be made of light wood, palm leaf, stiffened cloth or pasteboard. Ganjifa designs always had a painted / coloured background and then motifs were drawn on them; each suit having a different colour.

1. Take a white paper of an A4 size, draw traditional Ganjifa Dashavatar motifs in circles on it. Take the white card paper, and draw 10 circles of 2�” radius on it. Trace the Dashavatar motifs in the circle using yellow carbon paper.

2. Paint the motifs using Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05, Dark Green 06, Ultramarine Blue 23, White 27, Flesh Tint 30, Fevicryl Acrylic Colours - Neon Yellow 011, Green 012, Orange 017 and Pink 018. Let it dry.

3. Cut along the outlines of the circles neatly. Take the MDF wooden coasters, paint it with a base coat of Acrylic Colour - White 27. Let it dry. Stick the cutouts of Dashavatara in the centre of the coasters using Fevicryl Fabric Glue. Let it dry.

4. Paint the background of the Dashavatara using Acrylic Colour - Crimson 04, Fevicryl Acrylic Colours - Neon Yellow 011, Green 012, Orange 017, Pink 018 and Pearl Metallic - Gold 352. Let it dry.

5. Take the 3 wooden planks; paint the planks with Acrylic Colours - Burnt Sienna 01 and Dark Brown 05. Let it dry. Stick the painted coasters aesthetically on the planks using Fabric Glue. Leave it to dry. Attach the metal screw from the rear side of the planks for it to dangle on the wall.

1. g~go nhbo A4 gmBµO H$m ìhmBQ> nona b|& Bg na EH$ gH©$b _| nma§n[aH$ J§Orµ\$m XemdVma _mo{Q>µâg ~Zm b|& A~ ìhmBQ> H$mS>© nona b| Am¡a Bg 2�” ì`mg Ho$ 10 gH©$ëg ~Zm b|& òbmo H$m~©Z nona go gH©$ëg _| XemdVma _mo{Q>µâg Q´>og H$a b|&

2. BZ _mo{Q>µâg H$mo µ\o${d{H«$b EH«o${bH$ H$bg© - ~ÝQ>© {gEZm 01, ãb¡H$ 02, H«$mo_ òbmo 03, {H«$_gZ 04, S>mH©$ ~«mCZ 05, S>mH©$ J«rZ 06, AëQ´>m_arZ ãby 23, ìhmBQ> 27, âboe {Q>ÝQ> 30, µ\¡${d{H«$b EH«o${bH$ H$bg©-{ZAm°Z òbmo 011, J«rZ 012, Am°a|O 017 Am¡a qnH$ 018 go n|Q> H$a b|& Bgo gyIZo X|&

3. gH©$ëg H$mo AmCQ>bmBÝg na go gµ\$mB© go H$mQ> b|& A~ E_ S>r Eµ\$ dwS>oZ H$moñQ>g© b| Am¡a Bg na EH«o${bH$ H$ba-ìhmBQ> 27 go EH$ ~og H$moQ> bJm X|& Bgo gyIZo X§o& XemdVma Ho$ H$Q>AmCQ²>g H$mo H$moñQ>g© Ho$ ~rM _| µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X§o& Bgo gyIZo X|&

4. XemdVma H$s n¥ð>^y{_ H$mo \o${d{H«$b EH«o${bH$ H$ba-{H«$_gZ 04, \o${d{H«$b EH«o${bH$ H$bg© - {ZAm°Z òbmo 011,J«rZ 012, Am°a|O 017, qnH$ 018 Am¡a nb© _¡Q>m{bH$ JmoëS> 352 go n|Q> H$a b|& Bgo gyIZo X|&

5. 3 dwS>oZ ßb¢H$ b|; BZ ßb¢H$ H$mo EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01 Am¡a S>mH©$ ~«mCZ 05 go n|Q> H$a b|& Bgo A~ gyIZo X|& n|Q> {H$E hþE H$moñQ>g© H$mo µ\¡${~«H$ ½by go H$bmË_H$ VarHo$ go ßb¢Šg na {MnH$m X|& Bgo gyIZo X|& Xrdma na Q>m§JZo Ho$ {bE ßb¢H$ Ho$ {nN>bo {hñgo na EH$ _¡Q>b ñH«y$ bJm X|&

METHOD VarH$m



Material: Fevicryl Fabric Colours - Chrome Yellow 203, White 227, Greenery 267, Fevicryl Liquid Embroidery - Yellow 703, Light Green 704, Fevicryl Fabric Glue , Fine Art Brushes, Readymade Dark Pink Cushion Covers, A3 White Paper, White Carbon Paper, Pencil, Foil Mirrors (Small, Medium), Colour Palette, Water Container

This is a typical embroidery technique done commonly in Punjab (the region between India and Pakistan) and Haryana. The work literally translates to flower work and has it's origins in Persia. It is predominently done on head scarves, dupattas, shawls and garments. It is denoted mostly by geometrical patterns. Gulkari was a true folk art wherein it was never for sale but was done within the family and remained a kind of an exclusivity within the families that practiced it.

1. Take A3 white paper; draw a Gulkari pattern in the size of the cushion cover on it.

2. Trace the same design on the cushion covers using white carbon paper.

3. Paint the design by replicating the traditional embroidery stitches of Gulkari using Fevicryl Fabric Colours - Chrome Yellow 203, White 227 and Greenery 267. Start from the edges and move towards the centre; enhance the central part of the motif with strokes of White 227. Let it dry.

4. Each butta will be enhanced by sticking small and medium foil mirrors using Fabric Glue. Leave it to dry.

5. Outline each foil mirror using Liquid Embroidery - Yellow 703 and Light Green 704. Let it dry.

1. g~go nhbo A3 ìhmBQ> nona b|& Bg na Hw$eZ H$da H$s gmBµO _| ½mwbH$mar {S>µOmBZ ~Zm b|&

2. ìhmBQ> H$m~©Z nona go Hw$eZ H$dg© na Bg {S>µOmBZ H$mo Q´>og H$a b|&

3. A~ µ\o${d{H«$b µ\¡${~«H$ H$bg©-H«$mo_ òbmo 203, ìhmBQ> 227 Am¡a J«rZar 267 go ½mwbH$mar H$s nma§nm[aH$ Eå~«m°`S²>ar pñQ>Mog H$s à{VH¥${V ~ZmVo hþE {S>µOmBZ H$mo n|Q> H$a b|& {H$Zmam| go ewê$ H$aVo hþE ~rM H$s Va\$ n|Q> H$a|& _mo{Q>µ\$ Ho$ ~rM Ho$ {hñgo H$mo ìhmBQ> 227 Ho$ ñQ´>moŠg bJmH$a Am¡a C^ma b|& Bgo gyIZo X|&

4. àËòH$ ~wQ²>Q>o H$s Iy~gyaVr ~‹T>mZo Ho$ {bE Bg na µ\¡${~«H$ ½by go N>moQ>o Am¡a _Ü`_ gmBµO Ho$ µ\$m°Bb {_ag© {MnH$m X|& BÝh| gyIZo X|&

5. {bpŠdS> Eå~«m°`S²>ar-òbmo 703 Am¡a bmBQ> J«rZ 704 go àËòH$ µ\$m°Bb {_aa H$s AmCQ>bmBZ ~Zm b|& BÝh| gyIZo X|&

GulkAri cushions

METHOD VarH$m



kAlAmkAri - Tree oF liFe sAree

Material: Fevicryl Colours Pearl Metallic - Gold 552, Fine Art Brushes, Plain Aqua Green Saree, Full Imperial Sheet of White Paper, White Carbon Paper, Pencil, Colour Palette, Water Container.

Kalamkari is a kind of cotton textile on which one would find hand painted work or block printed work done. A very vital and unique feature in Kalamkari is that only natural dyes are used and it is believed that there are as many as seventeen stages involved. Kalamkari art was produced in Iran and India. The depictions one would categorically see in Kalamkari are – free hand drawing of the subject and then filling in the colours. There are styled floral patterns around temples, lending a kind of religious connotation, with scrolls, temple hangings, chariot banners, depiction of dieties and scenes from the Ramayna, Mahabharata, Puranas and other mythological classics in Kalamkari art form.

1. Take a full imperial sheet of white paper, draw the tree of life from traditional art form Kalamkari on it.

2. Take plain aqua green saree; trace the same design on the pallu of the saree using white carbon paper.

3. Paint the Kalamkari design using Pearl Metallic - Gold 552. Leave it to dry completely.

4. Paint small Kalamkari leaf motifs all over the saree.

1. g~go nhbo ìhmBQ> nona H$s \w$b Bånrar`b erQ> b|& Bg na H$b_H$mar H$bm e¡br _| EH$ Q´>r Am°µ\$ bmBµ\$ ~ZmE§&

2. A~ ßboZ AŠdm J«rZ gm‹S>r b|& Bg gm‹S>r Ho$ nëby na ìhmBQ> H$m~©Z nona go Bgr {S>µOmBZ H$mo Q´>og H$a b|&

3. H$b_H$mar {S>µOmBZ H$mo nb© _oQ>m{bH$ - JmoëS> 552 go n|Q> H$a b|& Bgo nyar Vah gyIZo X|&

4. nyar gm‹S>r na N>moQ>r H$b_H$mar brµ\$ _mo{Q>µâg n|Q> H$a b|&

METHOD VarH$m



kAshidAkAri pAnTs

It is known to be one of the most ancient and traditional type of embroidery art form from Persia. It is defined by thread work that gained a lot of popularity in Jammu and Kashmir. One can find motifs in the work inspired from nature like birds, leaves, trees, fruits, flowers etc. Shawls and sarees are mostly made in the Kashidakari style. It is, prominently recognised and characterized by it's single stitch style. Threads used are multi-coloured and metallic that render the rich and exotic look to the work of art. One can see stitches like satin stitch, herringbone, stem stitch, chain stitch, knot stitch among others.

Material: Fevicryl Fabric Colours - Black 202, Lemon Yellow 211, Orange 217, Sap Green 221, Ultramarine Blue 223, White 227, Deep Brilliant Purple 264, Ultra Violet 269, Fine Art Brushes, Plain White Pants, A4 White Paper, Yellow and White Carbon Paper, Pencil, Colour Palette, Water Container

1. Take an A4 white paper; draw a traditional embroidery pattern design of Kashidakari on it.

2. First, trace the outline of the design using yellow carbon paper towards the cuff of the pants

3. Then, paint the design with a base coat of Fabric Colour - Black 202. Let it dry.

4. Trace the Kashidakari embroidery pattern design on it using white carbon paper.

5. Paint the embroidery pattern by replicating chain stitch using Fabric Colours - Lemon Yellow 211, Orange 217, Sap Green 221, Ultramarine Blue 223, White 227, Deep Brilliant Purple 264 and Ultra Violet 269. If required, paint a second coat onto the first. Leave it to dry.

1. EH$ A4 ìhmBQ> nona b|; Bg na EH$ H$erXmH$mar H$s EH$ nma§n[aH$ Eå~«m°`S>ar n¡Q>Z© {S>µOmBZ ~Zm`|&

2. g~go nhbo, nrbo H$m~©Z nona H$s _XX go n¢Q> H$s _mohar na {S>µOmBZ Ho$ AmCQ>bmBZ H$mo Q´>og H$a b|&

3. BgHo$ ~mX, {S>µOmBZ H$mo \¡${~«H$ H$ba - ãb¡H$ 202 Ho$ ~og H$moQ> go n|Q> H$a b|& Bgo gyIZo X|&

4. g\o$X H$m~©Z nona H$s _XX go Bg na H$erXmH$mar Eå~«m°`S>ar n¡Q>Z© Q´>og H$a b|&

5. MoZ pñQ>M H$s ZH$b H$aVo hþE Eå~«m°`S>ar n¡Q>Z© H$mo \¡${~«H$ H$bg© - bo_Z `bmo 211, Am°a|O 217, g¡n J«rZ 221, AëQ´>m_arZ ãby 223, ìhmBQ> 227, S>rn {~«{b`§Q> nn©b 264 Am¡a AëQ´>m dm°`boQ> 269 go n|Q> H$a|& µOê$aV hmo, Vmo nhbr H$moQ> na n|Q> H$s Xÿgar H$moQ> M‹T>m`|& Bgo gyIZo X|&

METHOD VarH$m



kinAri Work - GoTA Work on sTole

Material: Fevicryl Fabric Colour - Orange 217, Fevicryl Liquid Embroidery Pearl Metallic - Gold 352, Fevicryl Fabric Glue, Fine Art Brushes, Gotta Patti Packet (Small Size - Tear Drop Shaped), A3 White Paper, Pencil, 1 meter White Georgette Fabric, Colour Palette, Water Container

Kinara Work is what we commonly know as Gota Patti work; usually done on the edges and borders of sarees and chunaris. Originally it is a kind of metal work embroidery that found it's roots in Rajasthan. Places like Jaipur, Bikaner, Ajmer, Udaipur and Kota too began the styled Gota work. It looks rich and elaborate and gives that heavy look to a garment. Elaborate patterns and designs are created using the applique technique with gold, silver, copper etc.

1. Take an A3 white paper; draw a border design of creeper on it.

2. Take the white georgette fabric stole, dampen the stole with a little amount of water.

3. Give it a wash effect using Fevicry Fabric Colour - Orange 217. Let it dry completely.

4. After drying, place the border design of the creeper below the fabric of the stole and trace the design with a pencil.

5. Enhance the design by sticking the gotta patti leaves using Fevicryl Fabric Glue. Let it dry.

6. Outline the leaves and the stems of the creeper using Liquid Embroidery Pearl Metallic - Gold 352. Leave it to dry.

1. g~go nhbo EH$ A3 gmBµO ìhmBQ> noona b|& Bg na H«$sna H$s EH$ ~m°S>©a {S>µOmBZ ~ZmE§&

2. A~ EH$ ìhmBQ> Om°O}Q> µ\¡${~«H$ ñQ>mob b|& ñQ>mob H$mo Wmo‹S>o nmZr go Jrbm H$a b|&

3. µ\o${d{H«$b µ\¡${~«H$ H$ba-Am°a|O 217 go dm°e à^md OJmVo hþE Bgo n|Q> H$a b|& Bgo nyar Vah gyIZo X|&

4. gyIZo Ho$ ~mX, H«$sna H$s ~m°S>©a {S>µOmBZ H$mo ñQ>mob Ho$ µ\¡${~«H$ Ho$ ZrMo aIH$a, n|{gb go {S>µOmBZ H$mo Q´>og H$a b|&

5. {S>µOmBZ H$mo µÁ`mXm C^maZo Ho$ {bE Bg na JmoQ>m nQ²>Q>r n{Îm`m| H$mo µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&

6. {bpŠdS> Eå~«m°`S²>ar _oQ>m{bH$ - JmoëS> 352 go n{Îm`m| Am¡a H«$sna H$s ñQ>oåg H$s AmCQ>bmBZ ~Zm b|& Bgo gyIZo X|&

Bead WorkJewellery

METHOD VarH$m



necklAce WiTh BeAd Work

Material: Fevicryl 3D Cone Outliner Non Sticky - Black 708, Fevicryl Fabric Glue, Half meter Polycot Fabric, A4 White Paper, Yellow Carbon Paper, Pencil, Toothpick, Incense Stick, Black Thick Cord, Scissors, Glass Beads (Blue & Pink)

Bead work art is an age old art where beads of either same sizes or different sizes and colours are sewn together to make adornments, like jewellery, wall hangings, coasters, garments where the neckline or the cuffs of sleeves have bead work on it. These beads can be strung in with a needle or merely stuck ina pattern depending on the requirement. Bead work is an amazing way to enhance simple artefacts, jewellery or clothing.

1. Take an A4 white paper.

2. Draw and mark your neckline starting from one shoulder to the other shoulder, in a semi-circle, to make a neckpiece. Make diamonds along the semi-circle in progression. Refer to the main image.

3. Take polycot fabric piece to make the neckpiece.

4. Trace the design on the fabric using yellow carbon paper.

5. Outline the design with 3D Cone Outliner Non Sticky - Black 708. Let it dry.

6. Using the burn out technique, burn the extra fabric with an incense stick to make a jali design. Refer to the image.

7. Enhance the design by sticking the small blue and pink glass beads using Fevicryl Fabric Glue. Let it dry.

8. Fold the fabric near the neck along with a black cord and stick it with Fabric Glue. Leave it to dry.

1. g~go nhbo A4 ìhmBQ> nona b|&

2. ZoH$nrg ~ZmZo Ho$ {bE EH$ AY©-JmobmH$ma _| EH$ H§$Yo go Xÿgao H§$Yo VH$ ZoH$bmBZ H$m {ZemZ ~Zm X|& AY©-JmobmH$ma ZoH$bmBZ Ho$ gmW-gmW, N>moQ>o go ~‹S>o AmH$ma _| S>m`_§S²>g AmH$ma ~Zm b|& g§X^© Ho$ {bE _w»` {MÌ XoI|&

3. A~ ZoH$nrg ~ZmZo Ho$ {bE nm°brH$m°Q> µ\¡${~«H$ b|&

4. `obmo H$m~©Z nona go µ\¡${~«H$ na {S>µOmBZ H$mo Q´>og H$a b|&

5. 3D H$moZ AmCQ>bmBZa Zm°Z-pñQ>H$s-ãb¡H$ 708 go {S>µOmBZ H$s AmCQ>bmBZ ~Zm b|& Bgo gyIZo X|&

6. ~Z©-AmCQ> VH$ZrH$ go Ombr {S>µOmBZ V¡`ma H$aZo Ho$ {bE AJa~Îmr Ûmam A{V[aŠV µ\¡${~«H$ H$mo Obm X|& g§X^© Ho$ {bE {MÌ XoI|&

7. {S>µOmBZ H$mo Am¡a C^maZo Ho$ {bE Bg na µ\o${d{H«$b µ\¡${~«H$ ½by go N>moQ>o-N>moQ>o ãby Am¡a qnH$ ½bmg ~rS²>g {MnH$m X|& Bgo gyIZo X|&

8. ãb¡H$ H$m°S>© (S>moar) Ho$ gmW Z¡H$bmBZ Ho$ nmg µ\¡${~«H$ H$mo _mo‹S>H$a µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&

METHOD VarH$m



pAiThAni moTiFs - TABle runner

Paithani is a town in Aurangabad, Maharashtra, where Paithani sarees are hand woven and are made in pure silk. It is considered to be one of the richest sarees in India. It is very distinctly characterised by borders that have an oblique square design and the pallu of the sarees have exotically coloured peacocks on them.

Material: Fevicryl Fabric Colours - Leaf Green 262, Indian Red 210, Salmon Pink 265, Fevicryl Colours Sparkling Pearl - Poppy Red 701, Orange 703, Turquoise Blue 705, Violet 706, Golden Yellow 707, Silver 710, Light Pink 713, Fine Art Brushes, 1� Meter of Golden Tissue Fabric, Ruler, Pencil, Scissors, A3 White Paper, White Carbon Paper, Pencil, Colour Palette, Water Container

1. Take 1�meter of golden tissue fabric.

2. Mark and cut the fabric into half, length wise to make the Paithani motifs on the table runner.

3. On the white paper, draw few traditional Paithani motifs like a lotus creeper for the border design and the peacocks with pots on it.

4. Take the golden tissue fabric and trace the same design on it using white carbon paper.

5. Paint the motifs with Fevicryl Fabric Colours - Leaf Green 262, Indian Red 210, Salmon Pink 265, Fevicryl Colours Sparkling Pearl - Poppy Red 701, Orange 703, Turquoise Blue 705, Violet 706, Golden Yellow 707, Silver 710 and Light Pink 713. Leave it to dry.

6. Your table runner with Paithani motifs is ready. Refer to the main image.

1. g~go nhbo 1� _rQ>a JmoëS>Z {Q>í`y µ\¡${~«H$ b|&

2. A~ Q>o~b aZa na n¡R>Ur _mo{Q>µâg ~ZmZo Ho$ {bE µ\¡${~«H$ H$mo b§~mB© _| AmYm H$mQ> b|&

3. ìhmBQ> nona na ~m°S>©a {S>µOmBZ Ho$ {bE bmoQ>g H«$sna H$s Vah Hw$N> nma§n[aH$ n¡R>Ur _mo{Q>µâg Am¡a nm°Q²>g Ho$ gmW nrH$m°H$ ~Zm b|&

4. A~ JmoëS>Z {Q>í`y µ\¡${~«H$ b| Am¡a Bg na ìhmBQ> H$m~©Z nona go Bg {S>µOmBZ H$mo Q´>og H$a b|&

5. BZ _mo{Q>µâg H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-brµ\$ J«rZ 262, B§{S>`Z a¡S> 210, gmb_Z qnH$ 265, µ\o${d{H«$b H$bg© ñnmH©$qbJ nb©-nm°nr a¡S> 701, Am°a|O 703, Q>aH$m°BµO ãby 705, dm`boQ> 706, JmoëS>Z `obmo 707, {gëda 710 Am¡a bmBQ> qnH$ 713 go n|Q> H$a b|& Bgo gyIZo X|&

6. br[OE n¡R>Ur _mo{Q>µâg Ho$ gmW AmnH$m Q>o~b aZa V¡`ma h¡& g§X^© Ho$ {bE _w»` {MÌ XoI|&

METHOD VarH$m



pichhWAi scroll

Pichhwai Work – These are devotional and religious images that are painted on cloth or paper that specifically portray Lord Krishna. Pichhwai style of painting started in the Deccan, Aurangabad and certain small towns in Rajasthan. The main intent of Pichhwai was to convey folklore and tales of Lord Krishna pictorically through this art form, to the less or non educated population. Artists mainly use natural dyes for this form of painting. These paintings are often a kind of group painting, where individuals together finally make one huge Pichhwai painting that is usually hung on the backdrop of the idol of Lord Srinathji.

Material: Fevicryl Fabric Colours - Black 202, Dark Brown 205, Orange 217, Yellow Ochre 226, Ultramarine Blue 223, White 227, Flesh Tint 230, Fevicryl Colours Pearl Metallic - Silver 551, Gold 552, Bronze 555, Fevicryl Colours Sparkling Pearl - Dark Blue 704, Turquoise Blue 705, Violet 706, Golden Yellow 707, Light Green 709, Golden Green 711, Light Pink 713, Cherry Red 716, Fine Art Brushes, Full imperial sheet of White Paper, White Carbon Paper, Pencil, Colour Palette, Water Container, Half a Meter Black Mul Fabric, Ruler, Scissors.

1. Take the white sheet of paper; draw a rectangle measuring 24” x 16” in size on it.

2. Draw a traditional Pichhwai design in the rectangle. Take the black mul fabric and trace the same design on it using white carbon paper.

3. Paint the design using Fevicryl Fabric Colours - Black 202, Dark Brown 205, Orange 217, Yellow Ochre 226, Ultramarine Blue 223, White 227, Flesh Tint 230, Fevicryl Colours Pearl Metallic - Silver 551, Gold 552, Bronze 555, Fevicryl Colours Sparkling Pearl - Dark Blue 704, Turquoise Blue 705, Violet 706, Golden Yellow 707, Light Green 709, Golden Green 711, Light Pink 713 and Cherry Red 716. Leave it to dry completely. Similarly paint the border. Refer to the image.

4. After drying make a beautiful frame for the painting.

1. g~go nhbo nona H$s EH$ ìhmBQ> erQ> b|& Bg na 24”x16” H$s EH$ Am`VmH$ma AmH¥${V ~ZmE§&

2. Bg Am`VmH$ma _| EH$ nma§n[aH$ {nN>dmB© {S>µOmBZ ~ZmE§& A~ ãb¡H$ _b µ\¡${~«H$ b| Am¡a ìhmBQ> H$m~©Z nona go Bg na `hr {S>µOmBZ Q´>og H$a b|&

3. {S>µOmBZ H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-ãb¡H$ 202, S>mH©$ ~«mCZ 205, Am°a|O 217, `obmo AmoMa 226, AëQ´m_arZ ãby 223, ìhmBQ> 227, âboe [QÝQ 230, µ\o${d{H«$b H$bg© nb© _oQ>m{bH$-{gëda 551, JmoëS> 552, ~«m°ÝµO 555, µ\o${d{H«$b H$bg© ñnmH©$qbJ nb©-S>mH©$ ãby 704, Q>aH$m°BµO, ãby 705, dm`boQ> 706, JmoëS>Z `obmo 707, bmBQ> J«rZ 709, JmoëS>Z J«rZ 711, bmBQ> qnH$ 713 Am¡a M¡ar a¡S> 716 go n|Q> H$a b|& Bgo nyar Vah gyIZo X|& Bgr Vah ~m°S>©a H$mo ^r n|Q> H$a b|& g§X^© Ho$ {bE _w»` {MÌ XoI|&

4. gyIZo Ho$ ~mX n|qQ>J Ho$ {bE EH$ Iy~gyaV \«o$_ ~Zm b|&

METHOD VarH$m



Material: Fevicryl Acrylic Colours - Black 02, White 27, Fine Art Brushes, Colour Palette, Water Container, A4 White Paper, Yellow Carbon Paper, Pencil, Terracotta Pot

Pithora art is a more ritualistic kind of an art form. It's done on the walls of the homes and verandahs of certain tribes who inhabit the central part of Gujarat. Often found on the threshold of homes. It is of great prominence and importance to the people who do this art, as they revere it with the belief that it brings in happiness, prosperity and peace. There is a conscious effort on their part not to imitate nature in their paintings. The depictions are bulls and horses that they feel impress God and so these are the inspirations translated into Pithora paintings.

1. Take white paper of an A4 size; draw a traditional design from the Pithora of art form.

2. Take a terracotta pot, paint it with a base coat of Fevicryl Acrylic Colour - White 27. Let it dry.

3. Trace the Pithora design on the pot using yellow carbon paper, keeping in mind the curvatures on the pot.

4. Paint the design with Fevicryl Acrylic Colour - Black 02. Leave it to dry.

1. g~go nhbo A4 gmBµO H$m ìhmBQ> nona b|& Bg na {nWmoam H$bme¡br _| EH$ nma§n[aH$ {S>µOmBZ ~ZmE§&

2. A~ EH$ Q>oamH$moQ>m nm°Q> b|& Bg na µ\o${d{H«$b EH«o${bH$ H$ba-ìhmBQ> 27 go EH$ ~og H$moQ> bJm X|& Bgo gyIZo X|&

3. `obmo H$m~©Z nona go nm°Q> Ho Mmam| Va\ {nWmoam {S>µOmBZ Q´>og H$a b|&

4. µ\o${d{H«$b EH«o${bH$ H$ba-ãb¡H$ 02 go {S>µOmBZ H$mo n|Q> H$a b|& Bgo gyIZo X|&

piThorA poT

METHOD VarH$m



There is a small village called Pipli in Odisha, from where Pipli work originates. It is famous for it's applique work. Applique is a technique where fabric shapes are cut out and sewn on the base layer of the original fabric. The motifs that are very commonly used in Pipli art are peacocks, ducks, parrots, trees, elephants, creepers, flowers like jasmine, lotus, Sun, half-moon etc. The art has both embroidery and stitching. Sometimes you could also have mirror work and decorative stitches in Pipli art.

pipli TABle coVer

Material: Fevicryl Liquid Embroidery - White 707, Fevicryl Fabric Glue, Colourful Polycot Fabric Pieces (Half a Meter), Pencil, A4 White Paper, White Carbon Paper, Foil Mirrors (Small, Medium Sizes), Scissors

1. Take a white paper of an A4 size; draw a few motifs like a peacock, lotus and flowers from the traditional Pipli appliqué art form on it. (The Pipli Applique work owes it's origin to Lord Jagannath)

2. Trace these motifs on different coloured fabric pieces using white carbon paper. Cut along the outlines of the motifs neatly with a pair of scissors.

3. Take a navy blue fabric, mark and cut the fabric in square shape measuring 24” x 24” in size.

4. Place the fabric appliqué patches on the navy blue fabric, aesthetically and stick it using Fevicryl Fabric Glue. Let it dry.

5. Make patterns on the patches using Liquid Embriodery - White 707.

6. Enhance the appliqué design patches by sticking the foil mirrors using Fevicryl Fabric Glue. Let it dry.

7. Outline the appliqué patches with Liquid Embroidery - White 707. Leave it to dry completely.

8. Complete the finishing touches on the table cloth by stitching the borders neatly.

1. g~go nhbo EH$ A4 gmBµO H$m ìhmBQ> nona b|& Bg na nma§n[aH$ {nnbr EßbrH$ H$bme¡br Ho$ Hw$N> _mo{Q>µâg O¡go nrH$m°H$, bmoQ>g Am¡a µâbmdg© ~Zm b|& ({nnbr EßbrH$ H$bm H$m _yb ^JdmZ OJÝZmW go CX²^{dV h¡)&

2. BZ _mo{Q>µâg H$mo AbJ-AbJ a§J Ho$ µ\¡${~«H$ Qw>H$‹S>m| na ìhmBQ> H$m~©Z nona go Q´>og H$a b|& A~ H¢$Mr boH$a _mo{Q>µâg H$mo AmCQ>bmBZ go gµ\$mB© Ho$ gmW H$mQ> b|&

3. EH$ Zodr ãby H$ba H$m µ\¡${~«H$ b|& Bg na 24”x 24” gmBµO H$m Mm¡H$moa {ZemZ bJmE§ Am¡a Bgo H$mQ> b|&

4. A~ µ\¡${~«H$ EpßbH$ n¡Mog H$mo Zodr ãby µ\¡${~«H$ na H$bmË_H$ T>§J go aIH$a, µ\¡${d{H«$b µ\¡$[~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&

5. {bpŠdS> Eå~«m°`S²>ar-ìhmBQ> 707 go n¡Mog na n¡Q>Z© ~Zm b|&

6. EßbrH$ {S>µOmBZ n¡Mog na µ\¡$[d{H«$b µ\¡${~«H$ ½by go µ\$m°Bb {_ag© {MnH$mH$a Bgo Am¡a Iy~gyaV ~Zm b|& Bgo gyIZo X|&

7. [bpŠdS> Eå~«m°`S²>ar-ìhmBQ> 707 go EßbrH$ n¡Mog H$s AmCQ>bmBZ ~Zm b|& Bgo nyar Vah gyIZo X|&

8. ~m°S>©g© H$mo gµ\$mB© go {gbH$a Q>o~b Šbm°W H$mo Am{Iar {µ\${Ze Xo X|&

METHOD VarH$m



Batik work is a wax resist type of dyeing on cloth. Dots or lines are drawn in wax resist with the help of a convenient tool, or by merely printing the resist with a stamp or cap. The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired. Aari Embroidery is popular for it's delicate and fine threadwork which heightens hand embroidery. It was patronised during the Mughal rule where it was propogated due to the grandeur it could create. This popularised Aari work and spread far and wide. Places like Kutch, Lucknow, Uttar Pradesh, Rajasthan and Delhi began recognising Aari work and it's finer nuances and took it forward. There are a lot of floral motifs in Aari work

resisT BATik WiTh AAri emBroidery

MATERIAL: Fevicryl Fabric Colours - Dark Green 206, Light Green 212, Prussian Blue 219, Ultramarine Blue 223, Cerulean Blue 232, Fevicryl Colours Pearl Metallic - Bronze 555, Fevicryl Liquid Embroidery Pearl Metallic - Gold 352, Fevicryl Fabric Glue, Fevicol MR, Fine Art Brushes, Pencil, Plain White Cotton Bag, Ornamental Stones, Colour Palette, Water Container

1. Take a plain white cotton bag; draw a big peacock feather on it.

2. Outline the feather with Fevicol MR. Make sure to make a thick outline. Leave it to dry.

3. Paint the feather with the water shading effect using Fevcryl Fabric Colours - Dark Green 206, Light Green 212, Prussian Blue 219, Ultramarine Blue 223, Cerulean Blue 232 and Pearl Metallic Bronze 555. Leave it to dry.

4. After drying remove the dried Fevicol MR from the bag. You will get the effect of the resist technique which we can see in the traditional Batik art form.

5. Paint the spaces in between the lines of the feather using Liquid Embroidery Pearl Metallic - Gold 352 which would give a delicate Aari work effect. Let it dry.

6. Enhance the feather by sticking light and dark blue ornamental stones using Fabric Glue. Let it dry.

1. g~go nhbo EH$ ßboZ H$m°Q>Z ~¡J b|& Bg na EH$ ~‹S>m _moan§I ~ZmE§&

2. µ\o${dH$m°b MR go _moan§I H$s AmCQ>bmBZ ~Zm b|& Ü`mZ aI| `h AmCQ>bmBZ ~hþV _moQ>r hmo& Bgo gyIZo X|&

3. Bg _moan§I H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-S>mH©$ J«rZ 206, bmBQ> J«rZ 212, àw{e`Z ãby 219, AëQ´>m_arZ ãby 223, goébrZ ãby 232 Am¡a nb© _oQ>m{bH$ ~«m°ÝµO 555 go dm°Q>a eoqS>J à^md n¡Xm H$aVo hþE n|Q> H$a b|& Bgo gyIZo X|&

4. gyIZo Ho$ ~mX ~¡J go µ\o${dH$m°b MR H$s gyIr AmCQ>bmBZ AbJ H$a X|& Bggo ao{OñQ> VH$ZrH$ H$m à^md n¡Xm hmo OmEJm, Omo h_| nma§n[aH$ ~m{Q>H$ H$bm e¡br _| {XImB© XoVm h¡&

5. _moan§I Ho$ ~rM _§o _m¡OyX OJh H$mo {bpŠdS> Eå~«m°`S>ar nb© _oQ>m{bH$ - JmoëS> 352 go n|Q> H$a b|, {Oggo EH$ ~hþV hr H$bmË_H$ Amar e¡br H$m à^md n¡Xm hmo OmEJm& Bgo gyIZo X|&

6. µ\¡${~«H$ ½by go bmBQ> Am¡a S>mH©$ ãby Am°aZm_|Q>b ñQ>moÝg {MnH$mH$a _moan§I H$mo Am¡a ^r Iy~gyaV ~Zm b|& Bgo gyIZo X|&

METHOD VarH$m



Material: Fevicryl Fabric Colours - Chrome Yellow 203, White 227, Sky Blue 263, Salmon Pink 265, Coral Red 266, Teal Blue 268, Fevicryl Fabric Glue, Fine Art Brushes, Half a Meter Black Coloured Mul Fabric, Ornamental Stones (Small and Medium - White), Full Imperial Sheet of White Paper, White Carbon Paper, Pencil, Colour Palette, Water Container, Scissors, Ruler

The word 'Rogan' is a Persian word for varnish or oil. This art form has a unique technique of making the paint thick and shiny. Usually it is castor oil that is boiled for nearly two days and then vegetable pigments along with a binder are put into it, thereby achieving a paint consistency that is thick and shiny. The cloth on which this art is translated onto is usually dark so that the colours are more pronounced. Either done with metal blocks that have a print on the rear end or a stylus for finer workmanship. The inspirational motifs are animals, floral or local folk art depictions.

1. Take a full imperial sheet of white paper, draw a rectangle measuring 32” x 42” in size on it.

2. Take a traditional design inspired from Rogan art form and trace it neatly in the rectangle.

3. Take black mul fabric; trace the same design on it using white carbon paper.

4. Paint the design by replicating Rogan art using Fabric Colours - Chrome Yellow 203, White 227, Sky Blue 263, Salmon Pink 265, Coral Red 266 and Teal Blue 268. Leave it to dry. Refer to the image.

5. Enhance the design by sticking ornamental stones using Fevicryl Fabric Glue. Leave it to dry.

6. Frame the painting aesthetically.

1. ìhmBQ> nona H$s EH$ \w$b Bånr[a`b erQ> b|& Bg na 32”x 42” H$m EH$ Am`VmH$ma ~ZmE§&

2. A~ amoJZ H$bm e¡br go ào[aV EH$ nma§n[aH$ {S>µOmBZ b| Am¡a Bgo Bg Am`VmH$ma _| gµ\$mB© go Q´>og H$a b|&

3. ãb¡H$ _b µ\¡${~«H$ b|& Bg na ìhmBQ> H$m~©Z nona go Bg {S>µOmBZ H$mo Q´>og H$a b|&

4. µ\¡${~«H$ H$bg©-H«$mo_ `obmo 203, ìhmBQ> 227, ñH$m` ãby, 263, gmb_Z qnH$ 265, H$moab a¡S> 266 Am¡a Q>rb ãby 268 go à{VH¥${V à^md OJmVo hþE n|Q> H$a b|& Bgo gyIZo X|& g§X^© Ho$ {bE {MÌ XoI|&

5. µ\o${d{H«$b µ\¡${~«H$ ½by go Am°aZm_|Q>b ñQ>moÝg {MnH$mH$a {S>µOmBZ H$mo Am¡a C^ma b|& Bgo gyIZo X|&

6. n|qQ>J H$mo Iy~gyaVr go \«o$_ H$a b|&

roGAn ArT FrAme

Meenakari Boxes

METHOD VarH$m



Meenakari Work is a kind of work where the surface of metals are ornamented, coloured brilliantly and intricate designs are done on it. It is an interesting procedure that goes from one expert to the next, the designer who designs the pattern, the goldsmith who gives form, the engraver who makes the intricate design, the enamalist who renders colour, the polisher who gives the piece a sheen and glaze, the stone setter and finally, putting it altogether which is done by the stringer. You then get your Meenakari jewellery set ! It's labourious and is a luxury to have something made of Meenakari as the beauty lies in the work and craftsmanship.

1. Take an A4 white paper. Draw a floral design inspired from the traditional Meenakari work in the size of the lid and the walls of the MDF boxes. Take the MDF wooden boxes; paint the boxes with a base coat of Acrylic Colour - White 27. Trace the same Meenakari design on the respective boxes as per the size using yellow carbon paper.

2. Outline the design with Fevicryl 3D Cone Outliner Pearl Metallic - Gold 352. Paint the design on the lid as well as on the walls of the boxes with Fevicryl - Water Based - Glass Colours - Tomato Red 851, Golden Yellow 852 and Crystal Green 854. Let it dry.

3. Take Fevicryl Mouldit - resin base and hardener; mix it thoroughly to make even dough. Take the dough ball and make 21 to 25 medium size simple flowers and 48 tiny flowers out of it. Leave it to dry.

4. Paint the flowers with Fevicryl Acrylic Colour Pearl Metallic - Gold 352. Let it dry.

5. Stick the Mouldit flowers aesthetically on the painted boxes using Fevicryl Fabric Glue. Let it dry.

6. Enhance each clay flower by sticking red, white and green ornamental stones in the centre of each flower, aesthetically using Fabric Glue. Your Meenakari boxes are ready.

1. g~go nhbo EH$ A4 ìhmBQ> nona b|& Bg na E_ S>r Eµ\$ ~m°Šg Ho$ T>ŠH$Z Am¡a Mmam| Xrdmam| H$s gmBµO _| nma§n[aH$ _rZmH$mar e¡br go ào[aV µâbmoab {S>µOmBZ ~Zm b|& A~ E_ S>r Eµ\$ dwS>oZ ~m°Šg b|& BZ ~m°Šgm| na EH«o${bH$ H$ba-ìhmBQ> 27 H$m EH$ ~og H$moQ> bJm X|& A~ ~m°Šg H$s gmBµO Ho$ AZwgma òbmo H$m~©Z nona go g§~§{YV ~m°Šg na `hr _rZmH$mar {S>µOmBZ Q´>og H$a b|&

2. µ\o${d{H«$b 3D H$moZ AmCQ>bmBZa nb© _oQ>m{bH$-JmoëS> 352 go {S>µOmBZ H$s AmCQ>bmBZ ~Zm b|& µ\o${d{H«$b-dm°Q>a ~oñS>-½bmg H$bg©-Q>°_oQ>mo a¡S> 851, JmoëS>Z òbmo 852 Am¡a {H«$ñQ>b J«rZ 854 go ~m°Šg Ho$ T>ŠH$Z Am¡a Xrdmam| H$s {S>µOmBZ H$mo n|Q> H$a b|& Bgo gyIZo X|&

3. A~ µ\o${d{H«$b _moëS>BQ>-ao{µOZ ~og Am¡a hmS>©Za boH$a, AÀN>r Vah _gbH$a EH$ g_mZ {_lU V¡`ma H$a b|& Bg {_lU go EH$ Jmobm ~ZmE§ Am¡a Bggo 21 go 25 _Ü`_ gmBµO Ho$ gmXo µâbmdg© Am¡a 48 N>moQ>o-N>moQ>o µâbmdg© ~Zm b|& BÝh| gyIZo X|&

4. µâbmdg© H$mo µ\o${d{H«$b EHo«${bH$ H$ba nb© _oQ>m{bH$-JmoëS> 352 go n|Q> H$a b|& BÝh| gyIZo X|&

5. BZ _moëS>BQ> µâbmdg© H$mo µ\o${d{H«$b µ\¡${~«H$ ½by go n|Q> {H$E ~m°Šg na H$bmË_H$ VarHo$ go {MnH$m X|& BÝh| gyIZo X|&

6. àËòH$ Šbo µâbmda H$mo Am¡a Iy~gyaV ~ZmZo Ho$ {bE àËòH$ µâbmda Ho$ ~rM _| µ\¡${~«H$ ½by go a¡S>, ìhmBQ> Am¡a J«rZ Am°aZm_|Q>b ñQ>moÝg {MnH$m X|& br{OE AmnHo$ _rZmH$mar ~m°Šg V¡`ma h¢&

royAl meenAkAri Boxes

Material: Fevicryl Acrylic Colour - White 27, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl 3D Cone Outliner Non Sticky Pearl Metallic - Gold 352, Fevicryl - Water Based - Glass Colours Kit, Fevicryl Mouldit, Fevicryl Fabric Glue, Fine Art Brushes, MDF Wooden Hexagonal Boxes (2 Small, 1 Big), A4 White Paper, Yellow Carbon Paper, Pencil, Ornamental Stones (Small White, Red & Green), Colour Palette, Water Container

VarH$mMETHOD



Sanjhi art is an age old renowned art of paper stencilling that was predominantly practised in Mathura, Uttar Pradesh. It was used to decorate temples with ritualistic and ceremonial rangolis that were dedicated to Lord Krishna. It's beauty lies in it's delicate and intricate motifs done with precision. The craftsmen use custom made scissors to cut the stencils neatly. In the olden times, the stencils were made using rough paper, or banana leaves, however more contemporary artisans use handmade or recycled paper.

1. Take an A3 paper, draw 2 rectangles 11” x 14” in size.

2. Draw two different designs one is with a lotus motif and second, a jharokha from the traditional paper cutting art Sanjhi, in a rectangle measuring 9” x 12” in size.

3. Take the white card paper, mark and cut three rectangles measuring 11” x 14” in size.

4. Trace the same design of Sanjhi art in the rectangle by leaving a 2” border from all the sides using yellow carbon paper. We have taken two papers for the lotus motif and one for the jharokha.

5. Cut out the design neatly and carefully by using fine paper cutters. Refer to the image.

6. Outline the design with Fevicryl 3D Outliner Pearl Metallic - Gold 352 intermittently. Leave it to dry.

7. Mount the paper on to a frame which has 3 sections for the 3 papers.

8. Using 3D Outliner Pearl Metallic – Gold 352, make a motif design on the border. Refer to the image.

9. Leave it to dry,

1. EH$ A3 nona b|, Cgna 11” x 14” AmH$ma Ho$ Xmo Am`V ~Zm`|&

2. 9” x 12” AmH$ma Ho$ EH$ Am`V na Xmo {S>µOmBZ ~Zm`|, EH$ H$_b H$m Z_yZm Am¡a nma§n[aH$ nona H$qQ>J AmQ>© gm§Pr go ~Zm EH$ PamoIm&

3. g\o$X H$mS>© nona b|, Bgna {ZemZ bJm H$a 11” x 14” AmH$ma Ho$ VrZ Am`V H$mQ> b|&

4. gm§Pr AmQ>© H$s Bgr {S>µOmBZ H$mo nrbo H$m~©Z nona H$s _XX go Mmam| Amoa go 2” H$m ~m°S>©a N>mo‹S>Vo hþE Am`V Ho$ ^rVa Q´>og H$a b|& h_Zo Xmo nong© {bò h¢, EH$ H$_b Ho$ Z_yZo Ho$ {bò Am¡a Xÿgam PamoIo Ho$ {bò&

5. VoµO Yma dmbo nona H$Q>g© go {S>µOmBZ H$mo AÀN>r Vah Am¡a gmdYmZr go H$mQ> b|& CXmhaU Ho$ {bò Vgdra XoI|&

6. {S>µOmBZ H$mo OJh N>mo‹S>-N>mo‹S> H$a \o${d{H«$b 3D AmCQ>bmBZa nb© _oQ>m{bH$ - JmoëS> 352 go aoIm§{H$V H$a|& Bgo gyIZo X|&

7. nona H$mo EH$ \«o$_ na _mC§Q> H$a|, {Og_| 3 nong© Ho$ {bò 3 ImZo hm|&

8. 3D AmCQ>bmBZa nb© _oQ>m{bH$ - JmoëS> 352 H$s _XX go ~m°S>©a na EH$ _mo{Q>µ\$ {S>µOmBZ ~Zm`|& CXmhaU Ho$ {bò Vgdra XoI|&

9. Bgo gyIZo X|&

sAnjhi pAper sTencil ArT

Material: Fevicryl 3D Outliner Pearl Metallic - Gold 325, Fine Paper Cutters, White Card Papers, A3 Paper, Yellow Carbon Paper, Pencil, Pointed Scissors, Ruler

VarH$mMETHOD



Material: Fevicryl Liquid Embroidery Pearl Metallic - Gold 352, Fevicryl Fabric Glue, Metal Skeleton of a Lampshade, 1 Meter Green Polycot Fabric, A3 White Paper, White Carbon Paper, Pencil, Scissors, Ruler

Sikki Art – A lot of handicrafts are made using Sikki Art form. It is made by a special kind of grass called Sikki that is found in Bihar and Uttar Pradesh. It is virtually like a fusion between art and nature. The art of making handicrafts with Sikki grass has been prevalent in Bihar for ages. Boxes for sindoor, ornaments and jewellery are made with this art. It can be woven well and so toys, dolls and baskets too are made with this technique. At times the articles made are painted, for a more finished look.

1. Take an A3 white paper; draw a border design inspired from the traditional Sikki craft form.

2. Take green polycot fabric, mark and cut the fabric in the size of the skeleton of the lampshade.

3. Trace the Sikki border design in a repetitive manner on the fabric using white carbon paper.

4. Paint the design using Liquid Embroidery Pearl Metallic - Gold 352. Leave it to dry completely

5. After drying cover the metal skeleton with the painted fabric neatly using Fevicryl Fabric Glue. Leave it to dry completely. Your Sikki Art lampshade is ready to use.

1. g~go nhbo A3 ìhmBQ> nona b|& Bg na nma§n[aH$ {gŠH$s H«$mµâQ> go ào[aV EH$ ~m°S>©a {L>µOmBZ ~ZmE§&

2. A~ J«rZ nm°brH$m°Q> µ\¡${~«H$ boH$a, Bggo b¡åneoS> Ho$ ñHo$boQ>Z H$s gmBµO _| µ\¡${~«H$ H$mo H$mQ> b|&

3. ìhmBQ> H$m~©Z nona b|& µ\¡${~«H$ na [anrQ>o{Q>d H«$_ go {gŠH$s ~m°S>©a {S>µOmBZ H$mo Q´>og H$a b|&

4. {S>µOmBZ H$mo {bpŠdS> Eå~«m°`S´>ar nb© _oQ>m{bH$ - JmoëS> 352 go n|Q> H$a b|& Bgo nyar Vah gyIZo X|&

5. gyIZo Ho$ ~mX _oQ>b ñHo$boQ>Z H$mo n|Q> {H$E µ\¡${~«H$ go ~hþV gµ\$mB© Ho$ gmW H$da H$aHo$, µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X|& Bgo nyar Vah gyIZo X|& br{OE AmnH$m {gŠH$s AmQ>© b¡åneoS> BñVo_mb Ho$ {bE V¡`ma h¡&

sikki ArT lAmpshAde

VarH$mMETHOD



Material: Fevicryl Fabric Colours - Black 202, Golden Yellow 209, Indian Red 210, Orange 217, Sap Green 221, Coral Red 266, Fine Art Brushes, Full Imperial Sheet of White Paper, Yellow Carbon Paper, Pencil, Plain White Mal Fabric Stole, Colour Palette, Water Container.

Sujani also known as Sujini, is a form of embroidery that originated in Bhusura village in Bihar, in India. Sujani style of embroidery was more like the quilting method where old sarees and dhotis were used as the base creative canvas. The cloth was folded twice and thrice, and then a single stitch was done which rendered a newness to the entire fabric. Today Sujani art is practised in the southern parts of Rajasthan to make sarees, dupattas, upholsteries and furnishing fabrics.

1. Take a white paper, mark and cut the paper in the size of the stole.

2. Draw a traditional Sujani kantha design with a border on it.

3. Trace the same design using yellow carbon on the stole neatly.

4. Paint the design by replicating the kantha embroidery stitch using Fabric Colours - Black 202, Golden Yellow 209, Indian Red 210, Orange 217, Sap Green 221 and Coral Red 266 with a fine tip brush. Leave it to dry completely.

5. Secure the ends of the stole and your stole is ready to be worn.

1. EH$ g\o$X H$mJµO b|& H$mJµO na {ZemZ bJm H$a Cgo ñQ>mob Ho$ AmH$ma _| H$mQ> b|&

2. Bg na EH$ ~m°S>©a Ho$ gmW gwOmZr H§$Wm {S>µOmBZ ~Zm`|&

3. ñQ>mob na nrbo H$m~©Z go Bg {S>µOmBZ H$mo Q´>og H$a b|&

4. H§$Wm Eå~«m°`S>ar H$s {gbmB© H$s ZH$b H$aVo hþE {S>µOmBZ H$mo \¡${~«H$ H$bg© - ãb¡H$ 202, JmoëS>Z `bmo 209, B§{S>`Z aoS> 210, Am°a|O 217, g¡n J«rZ 221 Am¡a H$moab aoS> 266 go EH$ nVbr ZmoH$ dmbr ~«e go n|Q> H$a|& Bgo nyar Vah gyIZo X|&

5. ñQ>mob Ho$ {H$Zmam| H$mo [nH$mo H$a| Am¡a AmnH$m ñQ>mob nhZo Ho$ {b`o V¡`ma h¡&

sujAni kAnThA sTole

VarH$mMETHOD



Material: Fevicryl Acrylic Colours - Black 02, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl Mouldit, Fevicryl Fabric Glue, Fine Art Brushes, Clay Carving Tools, OHP Sheet, Jewellery Attachments, Colour Palette, Water Container

Tarakasi is a type of silver filigree work from Cuttack, Odisha. Forms of animals, birds, flowers, and even miniature handbags and other souveniers are made in Tarakasi work. Odisi dancers adorn jewellery made in the Tarakasi style. The filigree work is exceptionally rich in pattern and form. Adornments like hairpins, earrings, intricate anklets, necklaces, toe rings, pendants, brooches and more.

1. We are going to make a pair of earrings with a pendant, in the Tarakasi art form. For that you would require 2 packs of Fevicryl Mouldit.

2. Take Mouldit - resin base and hardener; mix it thoroughly to make even dough.

3. Take the dough, roll it to make thin coils out of it. Leave the coils till it is semi dry.

4. Take each coil and shape it to make the individual petals of a flower. Let it dry. Then make some more coils to form the body of the petals.

5. Assemble the individual petals aesthetically, by attaching them to make the layered flower for the pendant, using a little amount of clay and Fabric Glue. Let it dry. Similarly, make the earrings. Refer to the image.

6. Fix the jewellery attachments appropriately for a finished look.

1. A~ h_ VmaH$gr H$bm e¡br _| n¡ÊS>oÝQ> Ho$ gmW Bà [a¨J ~ZmZo Om aho h¢& BgHo$ {bE AmnH$mo µ\o${d{H«$b _moëS>BQ> Ho$ 2 n¡H$ H$s Amdí`H$Vm hmoJr&

2. A~ _moëS>BQ>-ao{µOZ ~og Am¡a hmS>©Za ~og b|& BÝh| AÀN>r Vah _gbH$a, Bggo EH$ Jmobm ~Zm b|&

3. Bg Jmobo H$mo ~obH$a, Bggo nVbr H$m°Bëg ~Zm b|& BZ H$m°Bëg H$mo Wmo‹S>m gm gyIZo X|&

4. BZ H$m°Bëg go àËòH$ µâbmda H$s n§Iw‹S>r ~ZmZo Ho$ {bE BÝh| AmH$ma Xo X|& gyIZo X|& BgHo$ ~mX n§Iw{‹S>`m| H$s ~m°S>r ~ZmZo Ho$ {bE Hw$N> Am¡a H$m°Bëg V¡`ma H$a b|&

5. A~ ha n§Iw‹S>r H$mo EH$ Ho$ D$na EH$ aIVo hþE Bg Vah O_mE§ {H$ n¡ÊS>oÝQ> Ho$ {bE EH$ gw§Xa µâbmda V¡`ma hmo OmE& BZ n§Iw{‹S>`m| H$mo Šbo Am¡a µ\¡${~«H$ ½by H$s _XX go {MnH$m X|& gyIZo X|& Bgr Vah Bà [a¨½g ^r V¡`ma H$a b|& g§X^© Ho$ {bE {MÌ XoI|&

6. BÝh| {µ\${ZíS> ê$n XoZo Ho$ {bE ghr VarHo$ go Ádobar AQ>¡M_|Q> bJm X|&

TArAkAsi - jeWellery

VarH$mMETHOD



Brocade is woven on a loom, it is done by supplementary weft technique, which means, the ornamental brocading is produced by a supplementary, non structural, weft in addition to the standard weft that holds threads together. This is done so that it gives a look of actual richness and elegance of embroidery. Tibetan Brocade is characterised by floral patterns in bright colours. It's usually done on silk to bring out the real essence of the traditional design that looks like rich embroidery with a sheen. They are handloom fabrics, with brilliant colours with gold and silver threads incorporated in their weave. Tibetan brocade is revered and is used at shrines, displayed on auspicious and religious ceremonies, on banners, teaching thrones amongst Buddhist fraternity and frames for Thangka paintings.

METHOD VarH$m

Material: Fevicryl Acrylic Colours Pearl - Lemon Yellow 502, Pink 503, Blue 505, Rose Pink 510, Fevicryl Acrylic Colours Pearl Metallic - Gold 552, Copper 553, Fevicryl Acrylic Colours Sparkling Pearl - Orange 703, Turquoise Blue 705, Golden Yellow 707, Golden Green 711, Fine Art Brushes, A3 White Paper, White Carbon Paper, Pencil, Plain Royal Blue Blouse, Colour Palette, Water Container

1. Take a white paper of A3 size; draw a traditional floral design inspired from the Tibetan brocade style on it.

2. Trace the same design on the backline of the blouse using white carbon paper.

3. Paint the floral brocade design with Fevicryl Acrylic Colours Pearl - Lemon Yellow 502, Pink 503, Blue 505, Rose Pink 510, Feviryl Acrylic Colours Sparkling Pearl - Orange 703, Turquoise Blue 705, Golden Yellow 707 and Golden Green 711. Leave it to dry. Refer to the image.

4. Outline each flower with Fevicryl Acrylic Colours Pearl Metallic - Gold 552 and Copper 553. Leave it to dry completely.

1. g~go nhbo EH$ A3 gmBµO H$m ìhmBQ> nona b|& Bg na {Q>~oQ>Z ~«moHo$S> e¡br go ào[aV EH$ nma§n[aH$ µâbmoab {S>µOmBZ ~Zm b|&

2. ìhmBQ> H$m~©Z nona go ãbmCµO H$s ~¡H$bmBZ na Bg {S>µOmBZ H$mo Q´>og H$a b|&

3. âbmoab ~«moHo$S> {S>µOmBZ H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-nb©-bo_Z òbmo 502, qnH$ 503, ãby 505, amoµO qnH$ 510, µ\o${d{H«$b EH«o${bH$ H$bg© ñnmH©$qbJ nb©-Am°a|O 703, Q>aH$m°BµO ãby 705, JmoëS>Z òbmo 707 Am¡a JmoëS>Z J«rZ 711 go n|Q> H$a b|& Bgo gyIZo X|& g§X^© Ho$ {bE {MÌ XoI|&

4. \o${d{H«$b EH«o${bH$ H$bg© nb© _oQ>m{bH$ - JmoëS> 552 Am¡a H$m°na 553 go àËòH$ µâbmda H$s AmCQ>bmBZ ~Zm b| Bgo nyar Vah gyIZo X|&

TiBeTAn BrocAde Blouse



Thangka painting has it's roots in Tibet. It is a kind of painting that is done on cotton cloth or fine silk cloth / material. It is protected with yet another silken cloth so as to preserve the artform due to it's delicate nature and the work of intricacy. These paintings depict the Buddhist “Wheel Of Life” that are visual representations of “Art of Enlightenment”. It is a rendition of teachings also very important tool for the teachings of the life of Buddha. Thangka painting often depicts Buddhist dieties, related scenes and / or mandalas.

ThAnGkA pAinTinG

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Orange 17, Pink 18, Prussian Blue 19, Sap Green 21, Violet 25, White 27, Cerulean Blue 32, Fevicryl Acrylic Colours Pearl Metallic - Gold 352, Fevicryl 3D Cone Outliner Non Sticky Pearl Metallic - Gold 352, Fine Art Canvas Board 18” x 24”, A3 White Papers, Yellow Carbon Paper, Pencil, Colour Palette, Water Container

1. Take a white paper of an A3 size; draw a female Goddess from traditional Buddhist Thangka art on it.

2. Take a canvas board measuring 18” x 24” in size. Trace the Goddess on it using yellow carbon paper.

3. Paint the canvas using Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Orange 17, Pink 18, Prussian Blue 19, Sap Green 21, Violet 25, White 27, Cerulean Blue 32 and Fevicryl Acrylic Colours Pearl Metallic - Gold 352. Let it dry. Refer to the image for gradient shading.

4. Enhance the jewellery of the Goddess using Fevicryl 3D Cone Outliner Pearl Metallic - Gold 352. Let it dry.

1. EH$ A3 gmBµO H$m ìhmBQ> nona b|& Bg na nma§n[aH$ ~m¡Õ W§JH$m e¡br go EH$ Xodr H$s AmH¥${V ~Zm b|&

2. A~ 18” x 24” H$m H¡$Zdmg ~moS>© b|& `obmo H$m~©Z nona go Bg na Xodr H$s AmH¥${V Q´>og H$a b|&

3. H¡$Zdmg H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01, ãb¡H$ 02, H«$mo_ `obmo 03, Am°a|O 17, qnH$ 18, àw[e`Z ãby 19, g¡n J«rZ 21, dm`boQ> 25, ìhmBQ> 27, goa`wbrZ ãby 32 Am¡a µ\o${d{H«$b EH«o${bH$ H$bg© nb© _oQ>m{bH$ JmoëS> 352 go n|Q> H$a b|& Bgo gyIZo X|& J«o{S>`§Q> eo{S>§J Ho$ {bE g§X^© {MÌ XoI|&

4. µ\o${d{H«$b 3D H$moZ AmCQ>bmBZa nb© _oQ>m{bH$-JmoëS> 352 go Ádobar H$mo Am¡a C^ma b|& Bgo gyIZo X|&

METHOD VarH$m


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lostart of india - hobby ideas · 2019-08-19 · 41 resist batik with aari embroidery 43 rogan art...

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