Hand Block Printing Research Articles

REVIEW OF TEXTILE PRINTING: DIFFERENTIATION OF BLOCK, SCREEN & DIGITAL PRINTING

In India is well known for its traditional culture and art features. Hand block printing techniques are practiced in Rajasthan. Hence, the block printing is a slow process. Printing process of desired pattern is defined and repeated. The various styles for block printing are significant of the country in rich culture and heritage. It is a unique of each region will have a different variations of traditional craft. That was crafted for propagating Hindus mythology of depicted folk style story transform of imagination forms of God and goddess in literature. In this article, we will discuss about block printing, the development digital printing and manual of screen printing. The comparison of these three styles of textiles printing. It is a oldest method of art craft. The economics of ink jet printing are the main driver of digital printing technique. The costs of ink jet printing are lower for short run lengths than in traditional screen printing. This switches for longer runs production. Short-run textile printing commissions are the main source of jobs for small to medium scale textile producers in Ghana. And manual screen printing is the main process employed by these small-scale textile printers. These layers of limitations negatively affect the overall outcome of the prints. This is because, the large-scale textile factories in Ghana can print a minimum of 2400 yards due to their machine settings, calibration and running cost to make the least returns. KEYWORDS: Hand block printing, natural dyes, screen printing, techniques, digital printing.

A REVIEW ON HAND BLOCK PRINTING IN INDIA

India is well known for its art and culture which makes the country unique. There are several forms of art which have been nurtured and groomed under skilled guidance and has been inherited through generations of family traditions. Hand Block Printing is one such an art, which can be used to make every design and every piece of fabric exclusive from the other. Hence block printing is considered to be the most interesting method of designing textiles. Printing is the process of applying colour to fabric or yarn in a definite and repeated pattern. Every design created using hand block printing is very exclusive and different from each other. However, this cannot be achieved by automated printing machines where several meters of fabric can be printed with the same design and colour in a short time.India’s block-printed fabric holds a place of pride in the world market. India is one of the major producers and exporters of block printed fabrics. It is amazing that each region of the country has developed variations in this traditional craft, to name a few, Dabu print of Rajasthan which uses the mud printing technique, Ajrakh print of Gujarat known for geometric motifs and Kalamkari of Andra Pradesh. The various styles of block printing are symbolic of the country’s rich heritage and culture. This article explains the process of block printing and the various styles of block printing methods practiced in India.

EcoFab: A Case on Hand-block Printing Art

EcoFab was a start-up by Dr Pushyamitra Joshi in the handloom and handicraft industry in India. It was started in the year 2015 with the tagline ‘Eco clothing for healthy living’. It was an initiative to create awareness about hand-block printing art produced by artisans living in rural areas. It was also an effort to uplift the living conditions and improve the financial conditions of artisans involved in hand-block printing art. The case examines the various strategies adopted by EcoFab in creating space for itself in the niche, luxurious and competitive handloom and handicraft market. The case delineates the various challenges confronted by the company and examines the strategies adopted by it to overcome these challenges. The case study emphasizes the significance of industry analysis, product differentiation, pricing, distribution strategies, promotion strategies, product innovation, social media marketing and diversification for an entrepreneurial venture aiming to promote hand-block printing art and produce social and economic value.

Tracing the journey of a craft from ‘Embeddedness’ to ‘Commercialisation’: A case of hand block printing from the Jaipur Region

ABSTRACT Karl Polanyi’s theories on embeddedness and disembeddedness help unpack the transformation of exchange systems and emergence of markets in societies. This paper analyses a process of such transformation observed in the context of the hand block printing industry of Jaipur and its nearby areas. Through an ethnographic study of the craft, we observe the extent to which hand block printing has undergone heavy commodification and commercialisation while disembedding from the society. Over the years, aspects of hand block printing, such as design, labour and authenticity, have changed for the worse, which has further impacted the socio-cultural identity of this craft and crafts(wo)men engaging in it. Some underlying forces behind this are the commodification of labour and the commercialisation of the craft. While expanding on these, the paper also provides policy recommendations on the aspects of recognising artists and standardising labels in the industry.

Occupational ergonomic assessment of MSDs among the artisans working in the Bagh hand block printing industry in Madhya Pradesh, India

Objectives. The hand block printing technique practiced in Dhar District of Madhya Pradesh involves highly repetitive tasks with awkward posture, which contribute to the development of musculoskeletal disorders (MSDs) among the artisans, The aim of this study was to determine the prevalence of MSDs and the risks factors involved. Methods. An observational study and a self-reported questionnaire study were conducted with a sample of 70 artisans. The working postures of the artisans were analyzed using rapid upper limb assessment (RULA) and the occupational repetitive actions (OCRA) method. p ≤ 0.05 was considered significant throughout the study. Results. MSDs in the neck, shoulders, elbows, wrist/forearm, lower back and hips/thighs were found to be highly prevalent among artisans of age greater than 31 years and experience greater than 11 years. Most complaints were reported in the wrist, neck and lower back region. Conclusion. From the findings, it was evident that artisans working in Bagh printing are at high risk of the development of MSDs; thus, an immediate intervention is needed to eliminate the ergonomic risks among the artisans.

Hand Block Printing: The Ancient Craft of South Asia

Hand Block Printing: The Ancient Craft of South Asia

SOME ICONIC TEXTILE CRAFT OF HAND BLOCK PRINTS IN INDIA

In India the practice of block- printing goes back to the ancient period. Near about 4000 years ago from the period of Indus valley civilization the Ajrakh of Kutch and Sindh uncovered the history.
 Ajrakh, Sanganer, Bagru, Kalamkari, and Bagh all have some specific specialities. Other places like Umedhpur, Tarapur are special for traditional prints using indigo.The other styles of hand-block printing are mostly in movement within the local area. The products made using this printing technique include saris, shawls, dress materials, dupattas, turban etc and furnishing material, usually bed sheets, curtains, table cloths, and pillow covers are used to print.Today for catching up with the youngsters, Shirts are also used to print in a new ethenic look.

The New Normal: Textile Crafts in Kutch Amidst the COVID-19 Pandemic

This paper explores how the artisan communities of Kutch district in India navigate through the impact of the 2001 earthquake and the COVID-19 pandemic, to preserve their skills as well as initiate self innovative designs. The intention is to look into the negative impact on their lives that also offers a ray of hope for innovations to have taken place. The pressure of the pandemic has pushed artisans to preserve craft culture in various ways. An example of the master artisans of Dhamadka, custodians of natural dyeing and traditional Ajrakh hand block printing for 10 generations is shared. The pandemic situation has thus inspired them to create narrative masterpieces. A reference to a weaving community in Bhujodi village, who experienced a steep monetary downfall due to the curb on trade, that accounted for a major portion of their income, has also been made. This paper brings forth an experience of the balance of life where a downfall followed by a rise becomes the way of life, the “New Normal” today. The pandemic has certainly affected the artisan communities a great deal, but each has resonated a different impact toward their livelihood.

Occupational ergonomic assessment of hand pain symptoms among Bagh hand block print artisans of the handicraft textile industry in Madhya Pradesh, India

Objectives. Hand block printing is a highly repetitive and precision job involving tasks such as hitting the wooden hand block with the hands as a hammer, causing chronic mechanical trauma to the ulnar side of the palm. This study aimed to determine the prevalence of work-related hand symptoms, to identify ergonomic risks and musculoskeletal disorders (MSDs) and evidence of mechanical trauma among artisans working in Bagh print of Madhya Pradesh. Methods. Occupational risk involved in the artisan’s wrist area was identified using the modified Dutch musculoskeletal questionnaire (MDMQ) and modified Boston hand evaluation questionnaire. The Boston hand evaluation questionnaire helps in the measurement of the severity of the symptoms. A direct observation study was performed to identify the chronic effects of mechanical trauma (CEMT) on artisan’s hands. Results. Symptoms like pain, weakness, numbness and tingling were highly prevalent among the artisans, those with experience <3 years were more likely to report pain during working hours (p < 0.001) and those with experience >13 years were more likely to report numbness (p < 0.001) and tingling (p < 0.001). Conclusion. This study supports the evidence that the new artisans are at higher risks of reporting pain and CEMT, including fever and body pain, ultimately causing job loss.

Hand Block Printing: Experimenting with Assorted Surfaces and Inks

Block printing has gained attention in academic discourse over the years due to its primacy in the art of printing. This oldest method of printing which is believed to have originated from Asia is currently practiced globally. In Ghana, the art is locally known as Adinkra printing, which essentially rely on a natural dye called Adinkra Aduro and calabash as the chief block surface for printing. Despite the popularity gained by this traditional art, little has been explored with respect to block surfaces, fabrics and printing inks. The Adinkra Aduro which lacks a colour fastness property is printed only on woven cotton fabrics. With the art studio-based research method, this study sought to explore varied block surfaces on assorted fabrics with both water-soluble and water-insoluble printing inks to open the horizon of block printing in the Ghanaian context. The study revealed marvelous effects which could be achieved with other block surfaces apart from the calabash surface used by Ghanaian textiles artists for block printing. It is recommended that, the block printing sector of the Ghanaian textiles industry would extend their resources to varied block surfaces and printing inks if not the fabric, to broaden the scope of the art.

Communication and Challenges of Capacity Development: A Case Study of Bagru Hand Block Printing

Bagru printing is a traditional hand block printing method that is more than 300 years old. The printing is done using natural dyes. The colors are achieved through mixtures of flowers, tree barks, roots and clay. Though the industry has flourished over the years there is a great imbalance between the popularity of industry and the state of artisans. The introduction of synthetic dyes has also created more problems for the artisans creating a disparity among the craftsmen leading to more commodification and disengagement among the artisans. Further, the COVID-19 pandemic has put the industry on standstill aggravating their conditions. Based on the conceptual framework of communication for development prepared by OneWorld Network for SDC, the paper explores possible reasons for the imbalance and suggest means to maximize the artisans' networking between people around the world including access tools and knowledge and best practice for capacity development. The study also looked into possible support mechanisms for intermediary facilitation by Manipal University Jaipur through training, workshop, redistribution and others.

Textile EF shaped antenna based on reinforced epoxy for breast cancer detection by composite materials

The EF shaped microstrip patch antenna has been fabricated by reinforced epoxy materials and printed on textile woven for breast cancer detection application is proposed in this research. The proposed wearable antennas have been examined with composite materials for coverage of cancer in cancerous organ, which results have been implemented for Microwave Imaging System. These proposed microstrip slots have been printed on the cotton and polyester woven materials by hand block printing technology. They have been offered the resonant at 3.32 GHz and 3.33 GHz respectively, which measured by Agilent (N99917A) Microwave Analyzer. These proposed results have been achieved 99.9% accuracy with fabricated prototypes. Since, these wearable modules have not reflected any kind of losses, which mounted on woven materials. Therefore, the proposed module has a low profile, wideband structure and also provide the wideband of coverage in terms of 27.7% and 26.13% respectively. Therefore, these proposed woven antennas have been examined with their measurement analysis.

The art produced by substitute surfaces in hand block printing

Purpose The purpose of this study is to identify the print effects produced on selected fabrics due to the adaptation of styrofoam, plastic net and wood as stamp blocks for printing. Design/methodology/approach The art-based experimental research approach was used to produce and identify the art (prints) produced by stamp blocks on different fabrics using water-soluble print paste. Findings They stamp block surfaces used in the block printing process produced interesting effects or prints that are uniquely associated with each other. Fabrics such as silver and satin produced shinny print effects coupled with a tough hand or feel as compared to a paperish hand produced on the surfaces of cotton-polyester blend and linen fabrics. The addition of white glue to the paste produced a smooth and embossed-like print effect on fabrics like mercerised cotton and linen. Further results were captured to indicate the hand of these fabrics after printing due to the change in viscosity of the print paste. Originality/value The use of calabash and wood surfaces as stamp blocks used in Ghana and the rest of the world is common for printing patterns on fabrics. This study essentially reveals the possibility of using different surfaces for stamp blocks which produce aesthetically pleasing print effects. This when adopted by craftsmen and students would widen the teaching and creative scope in block printing and further produce viable prints for the market using available materials in the environment. These activities would promote and maintain the philosophy of block printing even in the era of advance printing technologies.

Goods Under Registered Geographical Indications (GI) From Rajasthan and the Details Thereon

So far only three categories have been noted from Rajasthan goods under registered GI tags and these are Agricultural, Handicraft and Natural Goods. The Patent Information Centre (PIC), Rajasthan, has been made the nodal agency for GI protection. The Centre will identify GIs in Rajasthan in consultation with concerned organizations. Cost of registration under the GI Act will be borne through the department of science and technology (DST). Some of the registered GI handicraft goods from Rajasthan are Kota Doria, Phulkari (Punjab, Haryana & Rajasthan), Blue Pottery of Jaipur, Molela Clay Work, Kathputlis of Rajasthan, Sanganeri Hand Block Printing, Bagru Hand Block Print, Kota Doria (Logo), Thewa Art Work, Pokaran Pottery, Molela Clay Work (Logo), Blue Pottery of Jaipur (Logo), Kathputlis of Rajasthan (Logo).

Measuring static muscular strength among female operatives: a cross-sectional comparison in different handicraft occupations

Purpose. Loss of static muscular strength is the most common work-related problem among handicraft workers involved in hand-intensive jobs. A cross-sectional comparative assessment was carried out to determine the muscular strength among workers involved in the manufacturing of three different crafts: weaving, hand block printing and imitation jewelry. Methods. 120 female operatives were selected, and digital grip dynamometers were used to measure their maximum hand grip and pinch strength. Results. Static muscular strength varies significantly among the different occupational groups of workers. The difference in grip strength in the right and left hands shows that exposure to hand tools for a prolonged period plays a vital role in muscle strength. These findings indicate that static muscular strength varies significantly due to repetitive use of hand tools. The observed values of muscle strength in the dominant hand were significantly lower in jewelry workers while block printing workers had the highest strength. Conclusion. The decrement in pinch grip strength was evident due to long-cycle repetitive pinching movements of the distal phalanx during hand knotting and pearl drilling. This study proposes the need for ergonomically designed hand tool interventions that may reduce the accumulation of loss in static muscle strength.

Design and the Evolving Tradition of Sanganer Hand Block Printing: Formation and Negotiation of Artisanal Knowledge and Identities Against the Backdrop of Intangible Cultural Heritage

Tradition has been described by heritage studies as a transformative process that is being enforced, reinvented, transformed, denied, or contested, with heritage seen as a construct of the past, present, and imagined futures. The role of craft and design interactions in safeguarding and rejuvenating cultural practices has yet to receive adequate attention against this theoretical backdrop. In order to discuss how design affects craft practices, we studied Sanganer hand block printing’s development amidst increasing design influences in postindependence India. We especially consider the way in which artisanal identities and practice, or intangible cultural heritage, are formed and negotiated when engaged with specific design scenarios and actors; and by studying the varied attitudes and realities of contemporary Sanganer hand block printing from this interdisciplinary point of view, the paper offers new insights into a range of “modern,” “traditional,” and “heritage” craft realities.

Experimenting Backing Material of Hand Block Printing Table by Using Alternate Sources: All over Double Colour

Block stamps were used to print on textiles. The art of block printing is very unique and labour intensive process, as it makes every piece of cloth one of a kind and different from others, which cannot be achieved with modern printing Block printing is an ancient Indian art that dates as far back as 12th century. Traditionally, hand carved wood techniques using automated machinery. Jute hessian cloth is used extensively as backing material for hand block printing table. The present study was taken to replace the hessian with other technical textiles like rubberized coir and 100% polyester non-woven backing following the standard thickness of jute hessian. Jute is kept as standard for comparison of results. All the samples were evaluated through a pre-tested questionnaire by 30 members who had sound knowledge on block printing. The results of the study revealed many facts regarding the depth, sharpness, clarity, overall appearance and fineness of the print, coir backing was rated first, considering fineness of print, nonwoven backing is rated to be the best of all samples.

Craft and Small Scale Production in the Global Economy: Gujarat and Kachchh in the Eighteenth and Twenty-first Centuries

India's production of fine luxury and craft goods for world markets was discovered and exploited by Europeans in the seventeenth and eighteenth centuries. Textile producers in Gujarat, the Coromandel Coast, and Bengal applied fine craft skills to European designs, colour codes, and textile lengths and widths. Through the intervention of the East India Companies and private traders as well as their intermediaries, brokers and local merchants, weavers, and printers produced the goods to satisfy Western markets just as they had done for Eastern and African markets in the centuries before.Today Indian craftspeople are engaging in a new phase of production for global markets. They are using traditional techniques of the kind that attracted Western buyers in the seventeenth and eighteenth centuries: hand weaving, hand block printing, and natural dyes. Accessing the niche national and international markets needed to provide a future for these crafts is a major challenge. This article focuses on the artisans, skills and markets in one area of India—the region of Kachchh in northern Gujarat, even now considered a remote part of the new global India. It sets this within a wider context of Gujarat and the earlier and more recent history of its textile industries. Douglas Haynes's recent book, Small Town Capitalism in Western India (2012) provides a framework for the study of small-scale industry, and the article will address his subject and methods. The new sources used are a collection of oral histories of craftspeople in a range of industries. These oral histories address skills and training across generations, and how these crafts have adapted and continue to adapt to the demands of national and world markets.

Role of Traditional Textile Hand Prints of Barmer in Employment Generation

India has a long tradition of textile especially hand woven and hand spun textiles. Textiles stand next to agriculture as an income generation activity for most of the rural population. India has been renowned for its printed cotton clothes since the 12 Century and creative processes flourished as the fabric received royal patronage. Different styles of design have been evolved in difference part of Country and District Barmer in Rajasthan is famous for its bold and vibrant motifs know by the name of ‘Barmer hand prints’. The colors mainly used in Barmer hand prints are red, blue and maroon and motifs are mainly floral and geometrical. Hand Block Printing is such an art which can be used for making every design, every piece of cloth unique and different from others, which could never be possible by using automated machinery wherein 100s of meters of fabric would come out in the same design and color. The present study was conducted to find out about the financial setup, employment pattern generated by traditional textile hand printing. A sample size of 40 units was selected randomly and study was carried out with the help of survey and observation method. Pre-testing was done with the help of 10% of the sample and then data collection was done after which raw data was coded, tabulated and statically analyzed. Study revealed that profession of printing was hereditary and carried out generation to generation from father to son. The units were Small scale units which did not require heavy investments and provide employment to many people. In Barmer hand printing units, the worker employed did not require higher qualification except skill and efficiency. Thus this traditional textile printing plays a vital role in providing employment at every level and to all age group people. In Barmer, women are also cooperating in maintaining and managing the units. Thus Barmer hand prints provides sustainable livelihood to many local families. It is the essence of India and the crafts that make India stand out in the world, one of the numerous arts and crafts that are slowly dyeing and so have to be renewed and brought back to life. The diversification of design in the handloom sector is the need of the hour.

Commodifying Difference: Selling EASTern Fashion

In this paper we explore the contested spaces of contemporary commodity culture through case-study research with two fashion companies that are involved, in linked but contrasting ways, with the production and marketing of cultural difference. One company, the British-based women's wear firm EAST, is striving to extend its high-street presence via a generalised ‘ethnic’ aesthetic, combined with culturally constructed notions of design individuality. The other firm, the Indian-based company Anokhi, has a more ambivalent relationship with the commercial ‘mainstream’, emphasising its use of traditional hand-block printing methods, combined with a sense of social responsibility and ethical commitment to its workforce. The case studies demonstrate that cultural difference is actively constituted through the process of commodification, justifying an emphasis on the production of difference as well as on its consumption. We draw on in-depth interviews and participant observation with key actors in both firms, examining how the meaning of goods is shaped as they move along the commodity chain from production to consumption. We examine the retail spaces and marketing strategies of the two firms and explore (via focus-group research) the further transformations of meaning and value undertaken by consumers as they purchase and wear these clothes. We conclude that commercial culture is a contested space characterised by competing discourses and practices, the outcome of which can only be determined empirically.