DESIGN RESEARCH
Batik And Banjara
PREPARED AND PRESENTED BY
MAHEK, SEEMANTI, SHRUTI, SMRUTHI, VIDHI, VRINDA
Declaration
We here by declare that the project work
entitled "Batik And Banjara" submitted to
NIFT Mumbai, is a record of an original work
done by us under the guidance of Mrs.
Sangita Dad Choudhary and Mr Sushil Raturi
our mentor for the workshop study
conducted on 25th April 2022.
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Certificate of ownership
All the data provided in the report have been
taken from our own sources and are true to
the best of our knowledge. No part of this
report should be copied in any physical form
or digital form. The output of this research
report is for the use of academic purpose. No
commercial value should be derived out of it.
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Acknowledgement
We would like to express greatest gratitude
to the people who helped and support us
through our report. We are grateful to our
faculty for the support on the report, for
initial advice and contact in the early stage of
conceptual inception and going advice
encouragement to this day.
We wish to thank to our parent for
undividable support and interest which
inspired us to go on our own way, without
them we would unable to complete our
report and finally to god who made all the
things.
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Preface
This report is on the subject Design Research.
This is divided into different sections related
to the craft. Efforts have been directed
towards making the topics stimulating &
exciting. The information part has been
significantly reduced & wherever possible it
has been sustained with facts. It gives me
immense pleasure to acknowledge the
valuable contributors. Efforts have been
made to bring out this report free of errors.
The overall target of the report is to ignite
the interest & give brief knowledge about the
craft.
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Batik
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Contents
1. Introduction
2. About the Craft and it's history
3. About the Artist
4. Raw Materials
5. Process of Batik Printing
6. Practice Swatches
7. Products
8. Problem they face
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Introduction
Batik printing is a form of resist dyeing
technique, the unique design and contrast
between dyed and undyed area makes the
pattern affective and interesting. It can be
use anywhere garments, accessories, home
products etc.
We will talk about the materials, process
and products in detail with example of
practice swatches. Also the problems of
today's artists which they face in
developing their product.
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About Batik And it's history
Batik is a fascinating craft but many people hesitate to try it
because the process is both tedious and time consuming.
Historians say that some swatches of Batik have been found in
Chinese tombs that are extremely old (about 900 A.D.).
A tradition of making batik is found in various countries, including
Indonesia, Singapore, Malaysia, India, Bangladesh, Sri Lanka, and
Nigeria; the batik of Indonesia, however, is the best known.
The word batik (pronounced Bateek) means, "wax written". It is a
form of resist dyeing.
It uses wax to give a resist. A part of the cloth is covered with a
coat of wax and the cloth is then dyed. The waxed area keeps its,
original colour and when the wax is removed the contrast
between the dyed area and the undyed area, makes the pattern or
the design.
Some of the best effects in Batik are in fact the work of chance.
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About the artist-
tutu Singh
She is from Kolkata
She started her work in
1984
Got Award for Batik in
1989
In 1995, She started her
work in Mumbai.
Family- From Bengal but
currently lives in Mumbai
Education- Metric not
qualified
She learned a course on
batik in 1982-83 from
Kolkata
She taught 60 workers
She works with India
Tourism
Her Assistant's name is
Nanda konde
She is working with her
from past 10 years.
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Raw Materials
Fabric- Pure ( Pure cotton, Pure
georgette )
Wax- Paraffin wax ( it get remove
after dipping in water ), Bees wax
Brushes
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Process of Batik printing
At first one has to wash the cloth well before doing
batik, as one has to ensure that starch, if any, is
removed from the cloth completely.
Cloth needs to get dry then ironed.
Sketch your design on the cloth.
Use mixture of bee wax and paraffin wax therefore
assures adherence and decorative crackling effect.
Use a fat brush to apply wax and keep two or three
small brushes to make requisite designs. After the
brush has been used clean it with petrol.
Please ensure that the wax is melted on a low
flame.
We have to keep in mind that wax should be
painted only on those places where we have to
keep the base colours and one has to ensure that
the wax penetrates the cloth.
When your sketch is finished in wax, you are ready
to dye.
After the cloth has been dyed, wash it with plain
water and dry it in shade.
Soak the cloth in boiling water which contains
detergent powder and salt for removing of wax.
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Practice Swatches
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Their Products
Saree
T-Shirts
Kurta > 5-6 pieces get ready in 1 day
Scarfs > Trust is the important key for
Shirts their business.
Dresses
Articles
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problems They face
Lack of Space
They face problem in making brush
because they try to make it naturally
Thier next generation are not
interested in learning these kind of
techniques.
She hasn't worked with any designer
Problems in making new modern
designs as clients don't want
repeated patterns but they do only
traditional style
International clients also buy their
products but only those who like
Indian traditional motifs and
designs.
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Analysis
All information which we have collected from
the workshop conducted by the Nift is based
on true facts answered by the Artists, Their
problem and difficulties in developing their
product in today's competitive world is
almost same as the problems facing by
different crafts like uninterested upcoming
generation, money issue, unable to create
modern design and features and lack of help
by any designer or people who are from
design background creates problem in
approaching the trends and current needs of
world.
Batik printing is an interesting craft it needs
a proper direction to get their worthy
outcomes.
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Conclusion
The purpose of the study is to get the
proper knowledge about Batik craft and the
status of their qualitive productivity which
isn't getting right direction to compete
with the current trends and needs
according to the analysis.
Based on this, it can be concluded that if
the artists would get any help from the
person who has the knowledge of
designing, branding and marketing then
the products will become more perfect and
worthy.
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Banjara
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Contents
1. Introduction
2. About the Craft and History
3. About the Artist
4. Raw Materials, Time taken in
making a product, Target market,
Price Range
5. Stitches and Popular motifs
6. Process of Banjara Embroidery
7. Practice Swatch
8. Products
9. Contemporization
10. Problem they face
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Introduction
Banjara embroidery is an ancient craft,
initially done by banjarans. The speciality of
the craft is mirror, vibrant color combination
and the stitches and motifs banjarans use.
This embroidery is done only by hand and it
can be use in modern outfits also.
We will talk about the materials, process and
products in detail with example of practice
swatches. Also the problems of today's artists
which they face in developing their product.
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ABOUT THE Craft and
History
It's an ancient craft of Harrapan times.
Lavishing craft.
Craft Cluster- Beed District
Working on this craft needs a lot of patience.
Banjaras used to do this craft for dowries.
These are done by only hand, no machine
work.
Speciality of the craft- Mirrors they use
They work more on products rather than
colors and contemporary designs.
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ABOUT THE ARTIST-
VIJAYA
She is from Aurangabad
She is working on this craft from
past 20-30 years
She got awarded for National
Award in 2018 and she is Padma
shree nominee
She has account in Jan dhan
Yojana.
Workers get payments from
government
She started a brand on Banjara
craft, name is Peno
They are currently studying on
Banjara craft, their unique styles
and colors etc.
She is connected with Khadi
Bhavan, Fab India, Reliance,
Trends and also with some
designers.
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Raw Materials-
Fabric- Cotton Mostly
NeedlesYarns- 3 Ply yarns
Colors- Natural Dyed
Mirrors
Resources- Vardhman
thread, mangal dad
market, local Materials in
bulk etc
Time taken in making a garment-
6-7 months for large designs, heavy garment
8-10 days for a Anarkali suit
Target Market-
High Profile Customers ( they not get worth
amount from local customers)
Price Range-
Lowest- Rs 350
Highest- Rs 25000- Rs 30000
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Stitches-
International stitches- Chain stitch,
Button hole stitch, Back stitch
Banjara stitches- Garder stitch( called
as buckyavado stitch in Banjara),
Maki stitch( looks like makkhi/ Fly),
Nakhra stitch, Pote stitch
Popular Motifs-
8 Ghar (known as gharmado in Banjara)
katara
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Process of Banjara
Embroidery
At first one has to wash the cloth well before
making any design or embroidery.
Cloth needs to get dry then ironed.
Sketch your design on the cloth.
If the fabric is very thin use lining .
Start embroidery from the wrong side of the cloth.
Make the whole design, make sure you lock the
thread in every end.
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Practice Swatch
REPRESENTING NIFT THROUGH BANJARA EMBROIDERY
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THEir Products
More Accessories
Garments
Home finishes
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Contemporization
Outfits-
They also work in modern dresses,
skirts, tops, jeans, jackets etc.
Current Trends (Most Selling
Products)--
Waist Band
Chanchi (pocket bag for jeans)
Kasotiya, Barandi (Hair accessories)
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problems They face
They don't have enough source
for marketing
No showroom to showcase their
design
Due to covid pandemic, loss in
their business
High Competition
Lack of Advertisement
Money problem for investment
They need to update everything
to follow the trends
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Analysis
The uniqueness of Banjara Embroidery is
their unique stitches and motifs with
banjara names, they work more on products
rather than colors and designs, but they had
worked with designers so they have little bit
idea about trends and customers need.
So for this craft, main problem is marketing
and advertising, if they will be directed to
manage everything from design, color to
advertisment, then their brand become
better and popular.
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Conclusion
Based on the whole craft study and analysis,
Banjara Community needs branding and
marketing techniques which can be either
fullfill by their own continuous efforts of
spreading knowledge and publishing
methodology or a manager who has
knowledge about everything, so it can help
them to set the problems.
And for the color and designs they can try to
follow the trends or connect with designers.
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Reference
Appendix 1
Questionnaire
1. Do you use any natural raw materials/tools
(sustainability)?
2. Is your market national as well as international?
OR do you have any international clients?
3. Is your next generation introducing any new tools,
techniques, and designs?
4. Have you tried making the craft in a
contemporary/modern style?
5. Are your designs internationally viable?
6. How long have you been involved with this craft?
7. Is this your only source of income?
8. How many people from your family are involved
with this craft?
9. What kind of government aid is provided to
enrich the craft?
10. Is the earnings from this source enough for you?
11. Do you get to use your creativity often while
making a product or are you restricted by the needs
of your customers?
12. Do you sell your products on online platforms, if
so , which platforms?
13. How did the pandemic affect your work and the
flow of your income?
14. Would you encourage your children to continue
working for this craft?
15. Do you feel that the youth have lost interest in
Indian handicrafts and textiles?
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Thank you
