wood block report ( kawoosa khalisa )

7/28/2019 Wood Block Report ( Kawoosa Khalisa )

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A REPORT ON

HAND BLOCK MAKING

UNDER HRD

DATED- 25-03-2011 TO 25-06-2011

VENUE- KAWOOSA KHALISA ( J&K) INDIA.

SPONSERED BY

O/o DEVELOPMENT COMMISSIONER OF HANDICRAFT

MINISTRY OF TEXTILE, GOVT. OF INDIA

WEST BLOCK NO. 7, R.K.PURAM, DELHI.

ORGANIZED & SUBMITTED BY-

SUKHNAG ARI STAPLE EMBROIDERY I.C LTD. ,

NOWPORA KAWOOSA H/O KAWOOSA BUDGAM

(J&K) INDIA


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Contents

preface

Introduction

HRD. the schme

the craft- wood block making

the place- Khawoosa Khalisa (J&K), india.

design methodology and process

inspiration

design development

day by day progress

sketches of the prototypes

list of the prototypes

photographs of the prototypes

designers report

new elements added

performance cum achivement report

conclusion

resume of the designer


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empanelment letter

Preface

Its well said fact that by forgetting the history you can succeed and can'tlet any impression to follow for your coming generation. one should knowabout their roots. to become successful distinct & superior you have toidentify yourself with your culture. and government is making continuedeffort to make it alive but such initiative. by providing equitable growth

opportunities for common men, which is increasingly being reflectedamong others in increased participation by men in local government anddecision making process, promoting of income generation activities andthrift and credit for men.

the three months skill up-gradation workshop in block making craft,program was organized by SUKHNAG ARI STAPLE EMBROIDERY I. C LTD.,sponsored by the o/o the development commissioner (handicraft)ministry of textiles, govt. of india , is one such step in this direction.

detail survey of the area, established the fact that the artisans working inblock making craft for their personal use, for their children and someitems for their relatives, and repeating the old designs they are equippedwith. In present arena, everything from the basic needs to wantschanging as per the time passes. No more old traditions were followed oridolized by the new generation. as new generation is techno savvy, theydon't want to invest long time required to exhibit the act, are runningtowards the western culture, they don't have the respect or acceptability

for their old tradition because they were not have knowledge about theretradition an its importance.

it needs to update the craft knowledge and continuous effort to make itopportunity oriented so that younger generation can pursue the craft.and HRD scheme is one of that courageous efforts from the government.


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Introduction

One is gifted with a good pair of hand..by god almighty..with the help of that nothing isimpossible in this world we are the firm believer in this notion and keep us motivated all

the time and we always pass the massage to the world through our work and sinceritynot only through word. we believe and tries to provide all kind of support and hand whor willing to put their foot forwards to explore the world. .so don't stop dreaming..dream..think..we are always there to stand by you..the massage of us for our artisans.

the government is making continued effort to provide equitable growth opportunitiesfor women which is increasingly being reflected among others in increased participationby men and women in local government and decision making process, promoting ofincome generation activities and thrift and credit self help groups (shg's) for women.the 3 months innovative pattern making of wooden blocks workshop in block makingcraft sponsored by the o/o development commissioner, handicrafts, ministry of textiles,

govt. of india, is one such step in this direction.

the program was organized by SUKHNAG ARI STAPLE EMBROIDERY I.C LTD. , an ngoworking for the promotion of the art & culture and their own overall upliftment. adetailed survey of the area was made to access the existing design in block makingcraft , the available materials, technical inputs, production process and marketability ofproduct etc. for the development of new designs which can easily marketed

in this modern area, life style has been changed completely and accordingly. there hasbeen a change in styling . it has become artistic & attractive. this artistic change in

footwear and other items is seen anywhere. physical & mental change takes placeduring young age. during that period individual selects decorative items andaccessories according to choice of colors, pattern and designs etc, not according to thefamily traditions. from this point of view and to get a good export order andmarketability product, it was necessary a series of product which will suit to thecontemporary styles of living which necessitates designers intervention.

Block making activity is one of the very skilled and highly investment activity ,and mostof the units run by women and men both. the technology for making of prototypes hasbeen changed .these prototypes made of thread and embellishment in various designsand sizes are in great demand in the market

.

these products are manufactured in various sizes and more popular . the one which isliked most by the women are color block printing. for finding a new solution to thetraditional craft skills both in terms of design & product modification and aesthetics forwhich the program was proposed. the place selected for the workshop was ideallysuitable for the purpose. along with 10 (thirty) craft men of self help group's (shg's)having trained or traditionally semi-skilled in block making participated in the workshopand prepared 20 prototypes in two sets. the organizers and local officers and the mediapersons played their significant positive role and encouraged the participants and thedesigner during the workshop. the workshop in overall was adjudged to be verysuccessful and the outcome was appreciated by the persons concerned.


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about the hrd

the human resource development scheme has been formulated to provide qualified andtrained workforce capable of establishing a strong production base coupled with

improvement, quality and use of appropriate techniques, processes and innovative

designs to meet present day market requirements.

Components of the scheme:

(1) Training through established institutions

(a) Objectives:

to upgrade the existing ski ll as wel l as to add the addi tional ski ll to

handicrafts artisans through existing vocational institutions/industrial training

institutes/polytechnics etc. who are imparting skill based training such as

carpentary, welding, tailoring, carpet weaving etc. handicrafts artisans shall

get the benefit of exposure/interaction with the other courses allied to the

crafts i .e. wood carvers shall get the benefit of carpentry, embroidery

artisans shall get benefit of trailoring etc. training of handicrafts artisans

through such institutions will bring in systematic approach for continuous and

sustainable development of artisans community, fruitful employment, as well

as s trong production base for meeting the short production cyc le o f international market.

(b) eligibility of institutions

the technical training institutes such as industrial training institutes,

polytechnics and vocat iona l inst itutes recognized by centralgovt/concerned state government/universities run by govt. as well as

reputed ngos and rehabilitation institutions etc.

institutes should have at least 3 years experience in imparting training

in carpentry, carpet weaving, block printing, embroidery tailoring etc.

should have suff icient premises for imparting the training in craft

activity/ establishment of workshop/laboratories.

should have necessary power connection for operating machinery and

tools.

should have necessary administrative/technical staff for maintenance of

requisite records and imparting training.


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should device sysmatic syllabus containing theory wherever applicable

as well as practicals.

(c) Nature of training

* Long term course varying from 4-9 months (depending on the craft up to

4 batches per year.)

* Short term course varying from 1-3 months (depending on craft up to 12

batches per year.)

* number of trainees - 10 per batch (maximum) (both long term and short

term)

(D) financial parameters

Note:

s.no sub-head/components maximumassistance inrs.lakhs

(i ) non recurring grant (one t ime for instal lat ion ofmachinery & equipment

24.00

(ii) recurring grant1. wages for 2 mastercraftspersons and 1 asstt,mastercraftperson (per year) 10000 x 2 + 7500 = 27500x 12 months

3.30

2. stipend to 10 trainees per batch (rs. 2000 permonth/per trainees (long term course varying from4-9 months depending on the craft up to 4 batches)

3.60

3. stipend to 10 trainees per batch (rs. 2000 permonth/per trainees (short term course varying from1-3 months depending on crafts up to 12 batches.

2.40

4. compen sa ti on fo r was tage of raw materi al rs. 1000/-per t ra inee or 30% of the cost of raw mater ia lconsumed sub jec t to max imum rs.1.60 lakhswhichever is least.

1.60

5. purchase of tools 0.356. misc expendi ture (s ta ti onery, t elephon e, repa ir s of

machinery etc.)0.15

7. administrative charges @ 25% of the cost of recurring expenditure subject to a maximum of rs.2.50 lakhs.

2.50

total recurring 13.90

i ) The recurr ing grant of rs. 13.90 lakhs per year wi l l be provided for a per iod of 5

years.

i i) Total cost for 5 year per institute = 24.00 +(13.90 x 5) = rs.93.50 lakhs


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(e) Funding pattern

(i) Non-recurring grant:-

50% of the sanctioned amount will be released as f irst instal lment andbalance amount will be released as second and final installment in the shapeof reimbursement after receipt of requisite audited statement of expenditure,uti lisation certi ficate in gfr-19 a format, f inal report on the tra iningprogramme and other required documents etc.

(ii) Recurring grant:-

1st year 100% at the time of sanction.

2nd , 3rd , 4 th & 5 th year the balance due to the organization as reimbursementafter receipt of requisite audited statement of expenditure, util isationcertificate in gfr-19 a formate, final report on the training programme andother required documents etc.

(f) Submission of application

Fil led in application as per performa to be submitted at the concernedhandicrafts marketing and service extension centre (hm&sec)/regionaloffices/h.qr., new delhi.

note:

an mou has to be signed by the institution/implementing agency to run thetraining programme for a minimum period of five years successfully.

(2) Training in innovative designs for the persons involved in patternmaking/talim writing/plaster/rubber moulds/block making etc.

a) objective

Artisans involved in hand block printing, terracotta etc. depend on the blockmaker, pop mould maker etc, which are total ly dif ferent ski ll orientedactivities. thus development of skill in such backward integrated activity isessential for sustainance and developnment of handicrafts. this schemeaims to train the artisans involved in pattern making, stencil making etc. foruniform specification and increase in production.


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b) Eligibility

1. State initiated design centre (sidc)

1. Indian institute of carpet technology (iict)

2. Entrepreneurship development institute (edi)

3. National institure of design (nid)

4. Indian institute of craft development (iicd)

5. National centre for design & product development (ncdpd)

6. National institute of fashion technology (nift)

7. Institute of arts and crafts

8. State handicrafts dev. corpn.

9. Craft councils

10. reputed ngos etc.

(c) financial parameter

batch size : 10 trainees (maximum)

duration : upto 3 months

s.no sub header and components maximum assistancein rs.lakhs

1 consultancy for the designer to create newdesigns

0.50

2 wages compenstion for 10 trainees @ rs.2000/- per month for 3 month

0.60

3 3 master t rainer @ rs. 15,000/ - per monthupto 3 months

0.45

4 institutional charges per batch 0.255 equipment/design 0.20

6raw materials

0.307 documentation charges 0.108 misc (stationery etc.) 0.10

total 2.50

(d) Funding pattern

50% of the sanctioned amount will be released as f irst instal lment and

balance amount will be released as second and final installment in the shapeof reimbursement after receipt of requisite audited statement of expenditure,


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uti lisation certi ficate in gfr-19 a format, f inal report on the tra iningprogramme and other required documents etc.

(f) Submission of application :

f il led in application as per performa to be submitted at the concernedhandicrafts marketing and service extension centre (hm&sec)/regionaloffice/h.qr. new delhi.

(3) scheme : training of artisans/shg leaders/ngo in capacitybuilding

a) objectives:

the scheme aims to train the artisans & ngos, potential entrepreneur and shgleaders in non-technical skil ls such as micro f inance/entrepreneurshipdevelopment/preparation of business plans/preparation of project reports/

packaging/ export procedures/documentation etc.

b) Eligible organizations

1. nisset

2. edi

3. institute of packaging

4. institutions of management/export

5. registered organization bodies, etc.

c) Financial parameters

Maximum amount of rs. 2.00 lakhs will be given as financial assistance for perbatch of 20 participants ( i.e. maximum). the said assistance includes thefollowing components :

s.no. components1 rent of venue including electricity, water charges, furniture


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2 boarding & lodging charges for 20 participants & experts3 ta/da to participant & experts4 honorarium for resource persons/experts

5 documentation/study material, etc.6 refreshment

7 misc. expenses, (local conveyance, inaugural expenses,

photography invitation cards, video cd of the programmeetc.)

Ideally the duration of the training shall be from 2 to 5 days, depending onthe nature of the training programme and f inancial assistance wil l berestricted accordingly.

d) Funding pattern

50% of the sanctioned amount will be released as first installment and

balance amount will be released as second and final installment in the shapeof reimbursement after receipt of requisite audited statement of expenditure,uti lization certi ficate in gfr 19-a format, f inal report on the tra iningprogramme and other required documents etc.

e) Submission of application

f il led in application as per performa to be submitted at the concernedhandicrafts marketing and service extension centre(hm&sec)/regional office/hqrs., new delhi.

4) Scheme: conducting seminars/workshops

a) Objectives

for continuous dissemination and creation of awareness about schemes/programmes technological developments, market intelligence etc. amongstartisans and stakeholder of handicrafts sector, sharing of experience with theexperts for adoption of best practices and improving the scheme bases onsuggestions/discussion and experience faced by handicrafts artisans andpersons involved in this sector.

b) Eligible organizations

1. central /state govt. handicrafts corporations

2. organizations involved in the development of technology and design.

3. reputed ngos engaged in development of handicrafts, etc.

c) Financial parameters

The financ ial assi stance wi ll be given for the fol lowing components towardsconducting seminar/workshop. minimum number of participants/beneficiaries

shall not be less than 100, shall be chosen from various clusters of the stateor neighboring states. number of participants from any single organizationshall be restricted to 5 or less.


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Duration of the seminar/workshop shall be 2 to 5 days depending on thenature of the programme and f inancial ass is tance w il l be restr ic tedaccordingly

s.no. components1 rent of venue including electricity, water charges, furniture2 boarding & lodging charges participants & experts

3 ta/da to participant & experts4 honorarium for resource persons/experts

5 documentation/study material, etc.6 refreshment7 misc. expenses, (local conveyance, inaugural expenses,

photography invitation cards, video cd of the programme

etc.)

d) Funding pattern

50% of the sanctioned amount will be released as first installment andbalance amount will be released as second and final installment in the shapeof reimbursement after receipt of requisite audited statement of expenditure,final report on the workshop/seminar and other required documents etc.

e) Submission of application

filled in application as per performa to be submitted at the concerned

handicrafts marketing and service extension centre(hm&sec)/regionaloffice/head quarter, new delhi.


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INSPECTOR (DCH) WITH DESIGNER MR. PANKAJ AND THE NGO OWNER MR.NISAR

&ARTISANS.

About the craft: block making

History:

Woodblock printing is a technique for printing text, images orpatterns used widely throughout East Asia and originating in China inantiquity as a method of printing on textiles and later paper.

As a method of printing on cloth, the earliest surviving examples fromChina date to before 220, and from Egypt to the 4th century.[1]

Ukiyo-e is the best known type ofJapanese woodblock art print. MostEuropean uses of the technique on paper are covered by the art termwoodcut, except for the block-books produced mainly in the 15th century.

the wood block is carefully prepared as a reliefmatrix, which means theareas to show 'white' are cut away with a knife, chisel, or sandpaper

leaving the characters or image to show in 'black' at the original surfacelevel. the block was cut along the grain of the wood. it is only necessary to
http://en.wikipedia.org/wiki/Printinghttp://en.wikipedia.org/wiki/Imagehttp://en.wikipedia.org/wiki/East_Asiahttp://en.wikipedia.org/wiki/Chinahttp://en.wikipedia.org/wiki/Textilehttp://en.wikipedia.org/wiki/Paperhttp://en.wikipedia.org/wiki/Woodblock_printing_on_textileshttp://en.wikipedia.org/wiki/Chinahttp://en.wikipedia.org/wiki/Egypthttp://en.wikipedia.org/wiki/Woodblock_printing#cite_note-touregypt.net-0http://en.wikipedia.org/wiki/Ukiyo-ehttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/Woodcuthttp://en.wikipedia.org/wiki/Woodblock_printing#15th_century_Europehttp://en.wikipedia.org/wiki/Relief_printhttp://en.wikipedia.org/wiki/Printinghttp://en.wikipedia.org/wiki/Imagehttp://en.wikipedia.org/wiki/East_Asiahttp://en.wikipedia.org/wiki/Chinahttp://en.wikipedia.org/wiki/Textilehttp://en.wikipedia.org/wiki/Paperhttp://en.wikipedia.org/wiki/Woodblock_printing_on_textileshttp://en.wikipedia.org/wiki/Chinahttp://en.wikipedia.org/wiki/Egypthttp://en.wikipedia.org/wiki/Woodblock_printing#cite_note-touregypt.net-0http://en.wikipedia.org/wiki/Ukiyo-ehttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/Woodcuthttp://en.wikipedia.org/wiki/Woodblock_printing#15th_century_Europehttp://en.wikipedia.org/wiki/Relief_print


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ink the block and bring it into firm and even contact with the paper orcloth to achieve an acceptable print. the content would of course print "inreverse" or mirror-image, a further complication when text was involved.the art of carving the woodcut is technically known as xylography, thoughthe term is rarely used in english.

for colour printing, multiple blocks are used, each for one colour, althoughoverprinting two colours may produce further colours on the print.multiple colours can be printed by keying the paper to a frame around thewoodblocks.

there are three methods of printing to consider:

Stamping

used for many fabrics, and most early european woodcuts (1400

40) these were printed by putting the paper or fabric on a table or

other flat surface with the block on top, and pressing or hammering

the back of the block.

Rubbing

apparently the most common for far eastern printing on paper at all

times. used for european woodcuts and block-books later in the15th century, and very widely for cloth. the block goes face up on a
http://en.wikipedia.org/wiki/Xylographyhttp://en.wikipedia.org/wiki/Xylography


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table, with the paper or fabric on top. the back is rubbed with a

"hard pad, a flat piece of wood, a burnisher, or a leather frotton"

Printing in a press

presses only seem to have been used in asia in relatively recent

times. simple weighted presses may have been used in europe, but

firm evidence is lacking. later, printing-presses were used (from

about 1480). a deceased abbess ofmechelen in flanders in 1465

had "unum instrumentum ad imprintendum scripturas et

ymagines ... cum 14 aliis lapideis printis" ("an instrument for

printing texts and pictures ... with 14 stones for printing") which is

probably too early to be a gutenberg-type printing press in that

location.in addition, jia xie is a method for dyeing textiles (usually

silk) using wood blocks invented in the 5th-6th centuries in china. an

upper and a lower block is made, with carved out compartments

opening to the back, fitted with plugs. the cloth, usually folded a

number of times, is inserted and clamped between the two blocks.

by unplugging the different compartments and filling them with

dyes of different colours, a multi-coloured pattern can be printed

over quite a large area of folded cloth. the method is not strictly

printing however, as the pattern is not caused by pressure againstthe bloc

The place: KHAWOOSA KHALISA , BUDGAM ( J&K )

Kawoosa khalisa, is one of the small place in town srinagar of j&k)( andpredominantly known as a residential area dotted with small marketplaces and general stores. This region homes a population from different

religious sects, creed and caste all residing harmoniously.Kawoosa khalia mainly falls in the rural zone of j&k and people might notbe that friendly or inviting as they are mostly rough in behaviour and rudeby inherent characteristics. Though some people may not find it offendingbut for a few who are not used to the local language and their style ofspeaking might find it a little unfriendly due to the well knownpermanent disturbance in the area.
http://en.wikipedia.org/wiki/Mechelenhttp://en.wikipedia.org/wiki/Flandershttp://en.wikipedia.org/wiki/Johannes_Gutenberghttp://en.wikipedia.org/wiki/Mechelenhttp://en.wikipedia.org/wiki/Flandershttp://en.wikipedia.org/wiki/Johannes_Gutenberg


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The craftsmen use only teak wood (locally known as Sagwan) sourced from Valsad(near Gujarat-Maharashtra border). Teak is the perfect base for carving as it is strong anddoesnt absorb water or distort in shape or size. The craftsmen cut pieces according tothe required block size, careful to cut away from any knots in the wood. The wood ispainted white and then the design traced on to it, to increase contrast andvisibility. The craftsmen use a hand drill arrangement that involves a bow (Kamthi) anda driller (Saarardi) to drill out larger portions from the block; and for the finer shapes,they use a variety of chisels in different shapes and sizes. They make theirtools themselves according to their requirement.

These expert craftsmen can carve blocks with lines almost a millimeter thin and soclose together, that it is a wonder how even one chisel stroke, that could leave thedesign spoiled and useless, does not go wrong. They make blocks for printing designs inone to four colours, sometimes more, but the craftsmanship is so precise that thefields and outlines of the motifs match flawlessly.


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Fifth phase: after drawing the motifs, craftsmen started to do the chilai, and while

doing it, they have to go till a certain depth so that when printing happens, motifs are

printed clearly.


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While getting the motifs developed on wood block, with the craftsman.

(One of the final product- paisley)


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designers report:

a detailed survey of the area was made to access the existing in block making, the

available material, technical inputs, production process and marketability of the productsetc. for the development of new designs which can be easily marketed. the baselinesurvey got done before starting the workshop keeping certain things in mind such as thepresent condition of the craft and its practitioners, to know the basic requirement theproblem and the solution and last but not the least for the scope and possibilities of thecraft and its practitioners. how one can get them in the fine line of current world ofcompetition, what are their needs and wants, required facilities and about their habits.

i had started the work by keeping basic aspects of the development like locating the

active area i.e. geographically where the craft stands, what level of skills the craft

person has, basic difficulties that lies around the area so that it could be easy to reach

and rectify the problem. the result reveals heartening facts, no doubt they are skilled to

get all the recognition, others enjoying.

the craftsperson were talented and practicing it. as the products made out of this craft

are used in every day workout. the craft person practicing the art for the household

needs and for some small business point. there products of concern and there designs

were of limited stock. as they dont have exposure to the outer world of competition. the

artisans are highly skilled but can be easily moulded into any shape of desire. the

ultimate story is that, by proper guidance regarding the designs, ability to judge the

trend and requirement of the market, technical inputs, providing proper marketing

network, refinement of taste and choices to be built up among the artisans to enable

them to put an overall performance on the craft to ensure end user satisfaction.the

result of the survey reveals the facts, can be summarised as:

the craft persons at Kawoosa Khalisa ( J&K ), practicing the craft werent too lucky

compared to others, as the area of concerned was not geographically gifted place but

accessibility to connect internationally and domestic market itself is little difficult. The

craft persons were talented and practicing it as earning from this plays a major role for

their bread and butter. the crafts persons practicing it just for the sake of their survival

and not for their growth, business. there products of concerned and the designs were

limited, as they dont have exposure to the outer world of competition. they are highly

skilled but raw.

it can be underlined as mentioned below:

practiced by females of the family

they lack innovation and skills

lack the knowledge of trends due to lack of market exposure

limited product range and designs

they dont know the techniques to cure, processing and finishing

they dont have the proper marketing channel and costing method.


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new elements added

keeping in mind the growing interest all over the world in block makings

and especially the emergence of ethnic wear printed clothing and others, i

have tried to design a few products, in block making without moving from

the traditional elements and the creative trends in accessories. new

inspiration based on old modes designs and motifs of today. The focus

was to teach them making their own patterns and accessories, not onlywill allow artisans to express their personal style but also teach them the

importance of colors and details and tell them if these all elements well

coordinated can add grace to design and product.

the focus was to teach them how to create design patterns from an

inspiration. give it appropriate color combinations and use ideal colors and

motifs to enhance the pattern and the basic steps of creating a design

pattern for work by taking inspiration from the beautiful thins presents in

the nature, books, surroundings and pictures etc.

It was a highly innovative pattern making workshop of wooden blocks and

provided them with new patterns at the end solved the purpose of this 3

months workshop.


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performance cum achievement report

the 3 months workshop with the craftsmen of SUKHNAG ARI STAPLEEMBROIDERY I.C LTD., has been an insightful process.

the work that has emerged, through the collective effort of the craftsmen ,team, and the designer, reveals the great potentials that the block makingcraft practices of the craftsmen hold. The products created by thecraftsmen, supposedly low skilled, are neat and well executed and havemade us rethink about their potential. it is heartening to see that theentire process, from the conception of the designs, to tracing them,

making out in model, and then finishing the product, has been highlyparticipatory one, and everybody enjoyed every moments of it.

as i am a witness of this whole journey as designer and a human beingwant to suggest few things to the government-

1) Arrange more workshops for them followed by an exhibition.

2) Allot them more funds to enhance their efforts.

3) Scheduled awareness camp in particular duration so that they can get

know about the schemes and got access.

4) A department like caretaker should be established which can look afterthem during off-seasons.

The products created are wooden blocks for block printing. These qualify

the design brief, which had required the designer to focus on the products.

The idea was to have prototype with the quality and difference, and that

can be produced faster without any technical difficulty and have a fancy

look.

Designer:

pankaj arora


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Conclusion

the 3 months workshop with the craftssmen of sukhnag ari stapleembroidery i.c ltd. , has been an insightful process.

the work that has emerged, through the collective effort of the craftmen,

n.g.o. team, and the designer, reveals the great potentials that the

traditional craft of block making practiced by the men. The products

created by the craftsmen, supposedly low skilled but are neat and well

executed and have made us rethink about their potential. it is heartening

to see that the entire process, from the conception of the designs, to

tracing them, cutting, and then filling and finishing the product, has beenhighly participatory one, and everybody enjoyed every moments of it.


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LIST OF THE PROTOTYPE

CRAFT- block making

DATE- 10-12-2010 to 09-03-2011

VENUE: kawoosa khalia, ( J&K)

S.R.NO. PRODUCT NAME PRODUCT CODE SIZE IN CMS. PRICE/

PC/RS.

PCS.

1 WOOD BLOCK PA/SASEL/WB-1 13 X 6.5 1400/- 1

2. WOOD BLOCK PA/SASEL/WB-2 15 X 5.5 1300/- 1

3. WOOD BLOCK PA/SASEL/WB-3 13.5 X 3.5 1200/- 1

4. WOOD BLOCK PA/SASEL/WB-4 14.5 X 5 1400/- 1







11. WOOD BLOCK PA/SASEL/WB-11 7 DIAMETER 600/- 1




15. WOOD BLOCK PA/SASEL/WB-15 6 DIAMETER 800/- 1

16. WOOD BLOCK PA/SASEL/WB-16 3.5 DIAMETER 500/- 1

Total cost of the 16 blocks : 15,100/- inr


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photographs of the prototypes

product code : pa/sasel/wb-1

Wood block


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material used: wood

product code : pa/sasel/wb - 2

Wood block


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material used: wood

product code : pa/sasel/wb - 3

Wood block


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material used: wood

product code : pa/sasel/wb -4

Wood block


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material used: wood


Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

material used: wood


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Wood block

wood block report ( kawoosa khalisa )

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