A

PROJECT REPORT
On
“ ADAPTATION OF WARLI ART FOR THE DEVELOPMENT
OF STENCIL FOR PRINTING OF APPARELS ”
For

Submitted To
MULTANI MAL MODI COLLEGE , PATIALA
In partial fulfilment of two years full time Master degree in fashion
design and technology (M.sc. fashion design and technology )

Submitted by
Navdeep kaur
( batch – 2020 -2021)

MULTANI MAL MODI COLLEGE , PATIALA

Near sunami gate , lower mall Patiala – 147001(Punjab)
Adaptation of Warli art for the development of
stencil for printing of apparels
ABSTRACT : India had always been the circle representing the sun and the moon,
known as the land that portrayed cultural and the triangle come from mountains and pointed
traditional vibrancy through its conventional trees only the square seems to obey a different
arts and crafts. Every region in India has its own logic and seems to be a human invention,
style and pattern of art, which is generally indicating a sacred enclosure or a piece of land.
known as folk art. Perhaps the best-known A study was undertaken to document the
genre of Indian folk paintings is the Warli traditional art of painting, from Maharashtra
painting from Maharashtra state. Traditionally (India). The data was collected with the help of
Warli paintings were done by hand which is personal interviews of Warli artisans. The study
tedious, time consuming and laborious process. deals with the history, use of raw materials,
But due course of time with easy availability of technique and themes used in Warli Paintings
different styles of printing, these paintings can in the context of the role of local artisans of
be brought down on cloth by using various Jawhar and Dahanu town of Maharashtra. This
printing techniques. Hence, in the present study study focuses on the paintings of warli with
an attempt was made to develop stencil of Warli special emphasis to the present scenario of
paintings of Maharashtra for printing of Warli painting and to study its evolution from
apparels. . Most people, especially those living the past to present & adaptation of these
in the rural sector of India, practically make a traditional paintings on Home textiles and
livelihood by practicing various forms of arts Apparels which is creating future for artisans
and crafts. Warli art is an ancient Indian folk art and happiness to the customers. Adaptation of
tradition of painting of a Maharashtrian tribe this traditional art on Home textiles and
called Warli. Warli is the name of the biggest Apparels is creating happiness and hope for
tribe found on the northern outskirts of betterment of artisans and creating future for
Mumbai. The village painters express their skill them too. Total five designs were developed
through natural colours and geometrical hand with the help of computer software “Adobe
painting with wooden stick. The warli painting Photoshop” and “Corel Draw”, ten each for
essentially depicts the basic principle of life apparels including western dresses . All the
which are used to depict human figures, developed designs were subjected to visual
animal’s figures, houses etc. Warli art is known evaluation for selection of two best designs
for its monochromatic depictions that express from each category . The selected designs were
the folk life of socio-religious customs, applied on apparels using stencil printing
imaginations & believes. ‘White colour’ is used technique. The cost of each article was
on a red earthen background. Through their calculated on the basis of expenditure on raw
artistic living culture and movements of human materials, labour charges, finishing charges and
figures clarifies the theme and it’s meaning. profit margin. Among the apparel items, (D3)
The warli painting essentially depict the basic white shirt style frock on sky blue printing with
principle of life which are used to depict human stencil and tie dye full circular skirt were
figures, animal’s figures, houses etc. ‘White highly appreciated and accepted. However, all
colour’ is used on a red earthen background the other products were also appreciated.
Warli paintings use a very basic graphic Selling price of apparel items was ranged
vocabulary; a circle, a triangle & a square and between Rs. 2000/- to 4000/- . The adaptation
paintings are monosyllabic. The circle and of Warli motifs on apparels using stencil
triangle come from their observation of nature, printing has paved the way for the plethora of
product diversification that could lead to a and processing etc. The rural folk paintings of
flourishing market. India bear distinctive colourful designs which
are associated with religious and mystical
motifs. Some of the most famous folk paintings
KEYWORDS: Warli art, Printing apparels of India are: Patachitra paintings of Orissa,
Nirmal paintings of Andhra Pradesh,
Madhubani paintings of Bihar and Warli
paintings of Maharashtra.
INTRODUCTION The word “Warli” is derived fromwarla,
Art is an expression of one’s soul. It is not one meaning ‘piece of land’ or ‘field’. Warli
thing in particular but includes both concrete paintings are the paintings from Maharashtra. It
and abstract environment. It is perceived is an ancient form of Indian painting which
through eyes but appreciated by the spirit. It’s dates back to the Neolithic period. Warli
sole purpose is to stimulate the feelings of joy painting are a very popular form of tribal
and peace. Art in any form communicates the painting. Warli strongly reveals the skilled
feelings of the artists. It encompasses a diverse abilities of its local artisans and the prosperous
range of human activities, creations and modes cultural of heritage of the state. It represents the
of expression including music, literatures, film, religious sentiments and social-cultural
sculpture and paintings. It originates with an traditions of the region as well as the collective
instant urge to create, flourishes as a pains experience of the artists inherited through many
taking creative activity and ends with a strong generations and the expression of the historic
influence. Indian art is one of the richest arts in events, with which the places are marked. Warli
the world and it is difficult to throw off its spell is a restricted art tediously made on walls by
if one has once succumbed to it. There are artisans using painting techniques. The designs
several arts in this country and each one is are very interesting and can be used on textile
famous for its uniqueness designing, textiles products with modification
These rudimentary wall paintings use a set of triangles joined at their tips: the upper triangle
basic geometric shapes: a circle, a triangle, and depicts the torso and the lower triangle the
a square. These shapes are symbolic of different pelvis. Their precarious equilibrium symbolizes
elements of nature. The circle and the triangle the balance of the universe. The representation
come from their observation of nature. The also has the practical and amusing advantage of
circle represents the sun and the moon, while animating the bodies. Another main theme of
the triangle depicts mountains and conical trees. Warli art is the denotation of a triangle that is
In contrast, the square renders to be a human larger at the top, representing a man; and a
invention, indicating a sacred enclosure or a triangle which is wider at the bottom,
piece of land. The central motif in each ritual representing a woman. better source needed
painting is the square, known as the "chauk" or Apart from ritualistic paintings, other Warli
"chaukat", mostly of two types known as paintings covered day-to-day activities of the
Devchauk and Lagnachauk. Inside a Devchauk village people.
is usually a depiction of Palaghata, the mother
One of the central aspects depicted in many
goddess, symbolizing fertility.
Warli paintings is the tarpa dance. The tarpa, a
Male gods are unusual among the Warli and are trumpet-like instrument, is played in turns by
frequently related to spirits which have taken different village men. Men and women entwine
human shape. The central motif in the ritual their hands and move in a circle around the
painting is surrounded by scenes portraying tarpa player. The dancers then follow him,
hunting, fishing, and farming, and trees and turning and moving as he turns, never turning
animals. Festivals and dances are common their backs to the tarpa. The musician plays two
scenes depicted in the ritual paintings. People different notes, which direct the head dancer to
and animals are represented by two inverse either move clockwise or counterclockwise.
The tarpa player assumes a role similar to that Objectives
of a snake charmer, and the dancers become the
figurative snake. The dancers take a long turn The major objectives of this study:
in the audience and try to encircle them for
To study the history, raw materials, technique
entertainment. The circle formation of the
and themes used and significance of the themes
dancers is also said to resemble the circle of life.
in Warli Paintings in the context of the role of
The simple pictorial language of Warli painting local artisans.
is matched by a rudimentary technique. The
To study its evolution from past to present and
ritual paintings are usually created on the inside
diversification of this art.
walls of village huts. The walls are made of a
mixture of branches, earth and red brick that History of Warli Art
make a red ochre background for the paintings.
The Warli only paint with a white pigment Historians believe that the warli tradition can
made from a mixture of rice flour and water, be traced back to as far as the Neolithic
with gum as a binder. A bamboo stick is chewed speriod between 2,500, BC to 3,000 BC. It has
at the end to give it the texture of a paintbrush. since; travelled across borders & territories &
Walls are painted only to mark special home décor products with warli painting have
occasions such as weddings, festivals or an international appeal & demand too. The
harvests. warli painting was discovered by the world as
late as the seventh decade of the last century.
The lack of regular artistic activity explains the This art form is simple in comparison to the
traditional tribal sense of style for their vibrant paintings from Madhubani. Warli
paintings. In the 1970s, this ritual art took a painting is an indigenous art of Maharashtra.
radical turn when Jivya Soma Mashe and his The word ‘’Warli’’ come from the word
son Balu Mashe started to paint. They painted ‘Warla’ which means the piece of land. Warli
not for ritual purposes, but because of their art is an ancient Indian folk art, tradition of
artistic pursuits. Jivya is known as the modern painting of a Maharashtrian tribe called warli.
father of Warli painting. Since the 1970s, Warli This art has been received popularity at
painting has moved onto paper and canvas. national and international level too because of
its simplicity in shapes, use of single white
colour, requirement of minimum tools and
Coca-Cola India launched a campaign featuring creation of beautiful motifs by using simply
Warli painting in order to highlight the ancient lines, triangles, squares, circles and dots. Warli
culture and represent a sense of togetherness. tribe resides near base of ranges of sahyadri
The campaign was called "Come Home on mouintains spreaded at northern side of
Deepawali" and specifically targeted the Mumbai viz. Javhar, Dahanu, Talasari,
modern youth. The campaign included Mokhada, Wada, Palghar village. They build
advertising on traditional mass media, their square bamboo huts coated with mud and
combined with radio, the Internet, and out-of- cowdung and these mud walls are painted at
home media.Warli Painting is traditional the time of ritual functions and marriage
knowledge and cultural intellectual property ceremony. Warli tribe is fond of folk art and
preserved across generations. Understanding they worship god, goddess and ritual culture
the urgent need for intellectual property rights, too. They depict their traditional lifestyle and
the tribal non-governmental organization their customs and traditions through this art of
Adivasi Yuva Seva Sangh helped to register painting. Women are mainly engaged in the
Warli painting with a geographical indication creation of these paintings. Warli art is known
under the intellectual property rights act. for its monochromatic depictions that express
Various efforts are in progress for strengthening the folk life of socio-religious customs,
sustainable economy of the Warli with social imaginations & believes. Warli Tribe has still
entrepreneurship preserved their independent existence through
Warli art and folk dance “Tarpa Nrutya”. is given with geru powder. White paste is
Earlier Warli painting used to be etched out on made from rice flour and paste is prepared
walls of Warli’s houses, but nowadays they are with water which was used for painting.
being painted on papers, vases, mugs, bed
sheets, textiles and apparels too. The wall Painting Technique Used
paintings done only for special occasions such
Design is selected.
as weddings or harvests. These painting do not
depict social life. Images of human beings & Without tracing design, it is directly drawn on
animals, along with scenes from daily life are paper or cloth.
created in a loose rhythmic pattern. Nested at
the foot of the western ghat range in Bamboo stick is chewed at the end to make it
Maharashtra, India is the settlement of an as supple as a paint brush, is a simple tool used
ancient tribe known as the warli’s. These tribal for painting.
people, who survive on forest produce & Motifs are painted with white paste on the
worship nature, have carved an international walls or earthen pots, on wooden articles or on
niche for themselves by virtue of their artistry. paper or on cloth.
The name of the clan has given the name to the
art form & today we know it as the warli
painting. Artist & scholars believe the painting First the body of human figure is drawn by
style. connecting two triangles and hands and legs
are depicted in dancing position and then
Methodology
remaining design is accomplished by painting
The locale selected for the study was Jawhar minute details.
District, near Nashik, in Maharashtra state
Cloth is ironed from the reversed side of the
(India). A descriptive research design was
cloth.
planned. To get complete and authentic
information, interview schedule and
participatory observation technique was
undertaken. The data was collected with The attributes characterizing almost
interview method coupled with Observation in Warli paintings are
Method. This method was consisted open end
and closed ended questions. The questions 1. Use of natural and artificial white colour.
dealt with demographic details, history of 2. A border with simple triangle, squares
craft, process of producing craft, colors used
geometric figures.
for background andpainting and motifs used.
A multi visit, interview method was 3. Symbols like Sun, Moon, Birds, Trees
implemented along with photographic supporting the main theme.
documentation for the collection of authentic
4. Abstract-like Human figures, figures of
data. The sample size comprised of ten
deities and BrideBridegroom.
families, from Dahanu, Mokhada and Jawhar.
5. The faces of the human figures are circle,
Raw materials body with two triangles and females are
it used Earlier warla’s they used to do the identified with protruding curve line
paintings on mud walls of their own houses. In symbolising ponytail.
this folk art of painting, design is never traced
or drawn. It is a visualisation or creativity of
artisan. Design is directly painted on walls Warli painting is an emblematic expression of
with wooden stick. Background of design is day-to-day experiences and beliefs. As such,
earthen colour or reddish colour. House walls symbolism, simplicity and beauty hold them
are painted with cowdung powder and coating together in a single school of traditional art.
 a circle, a triangle & a square and paintings are
monosyllabic. The circle and triangle come
from their observation of nature, the circle
representing the sun and the moon, the triangle
come from mountains and pointed trees only
the square seems to obey a different logic and
seems to be a human invention, indicating a
sacred enclosure or a piece of land.

Devchauk Motif
The central motif in each ritual painting is the
square, known as the “chauk”. Mostly Chauks
are of 2 types:-DEVCHAUK &
LAGNCHAUK. This motif is a square motif,
drawn during marriage ceremony on walls,
which is known as “Devchauk” (God’s square).
Inside a devchauk, palaghat, the mother
Colours Used goddess symbolizing fertility is found. This
process of drawing square with god is called as
The walls are made of a mixture of branches, “Chauk Lihine”. In the beginning, they just
earth and cow dung, making a red ochre draw a simple line for name of god which is
background for the wall paintings. The warli known as “Devregh” (line for god).
use only white for their paintings. Their white
pigment is a mixture of rice paste & water with Lagnchauk Motif
gum as a binding. To create variations geru,
Turmeric, Kumkum, leaves, coloured flowers The lines are drawn on name of bride and
are used to extract natural dyes and gum from bridegroom. In this motif, bride and bridegroom
trees are extracted. Black colour is extracted riding horse is depicted in the center of square.
from charcoal and used to depict cruel soul, Red This motif is painted mainly by married women
colour from Butea Monosperma (Palas) flowers by performing rituals. Remaining part of it is
used to show existence of god Naradmuni and painted with various motifs by women from
symbol of departed souls. Kumkum colour is their families and boys and girls with cheerful
used as symbol of prosperity. Yellow colour is gestures, a sort of group painting.
extracted from pineapple.

Themes Used and their significance

During marriages, Diwali festival, holi festival,
during the season of crop harvesting and during
other rituals, painting is done on warli’s pada
with full of enthusiasm and freedom. Their folk
dance, daily life routine, Nature, gods and
goddess, animals, birds, these themes are
mainly use in painting. Through their artistic
living culture and movements of human figures
clarifies the theme and it’s meaning. The warli
painting essentially depict the basic principle of
life which are used to depict human figures,
animal’s figures, houses etc. ‘White colour’ is
used on a red earthen background. Warli
paintings use a very basic graphic vocabulary; Lagnchauk motif
Tarpa Dance Motif
Tarpa dance is a folk dance of warli tribe. Tarpa
is a musical instrument of these tribe. “Tarpa”
is made of dry bottlegourd, bamboo tubes and
bamboo sticks, cord and wax. This instrument
is beautiful looking and 2 feet to 6 feet in length.
This dance is performed in circle by male and
females by holding hands of each other’s and
clasping. Main Dance performer standing in
center plays instrument Tarpa and Females get
involved in this performance with free mind.
This dance is started at the time of sunset and
performed till sunrise of next day. So sun and
moon motifs are seen in this painting.
Sometimes boys and girls, they select their
dance partner as life partner too through tarpa.

Human figures in day to day activities

Gods and Goddess

Circle is considered as symbol of lifecycle. Sun,
Moon, Trees, Creepers, birds, things used in
day to day life, Nature and Gods like vaghya
god, Naran god and Panchshirya god motif is
used to save family and Himai goddess and
Hirwai goddess are mainly symbol of nature,
depicted in this painting.
Tarpa dance motifs
Birds and Animals Motifs
Human figures
As warlis are farmers, animal motifs like Cows,
The central motif in these ritual paintings is Bulls, Cocks, Hens, Sheep’s, dogs are used in
surrounded by scenes portraying, hunting, painting as these are domestic animals. Bird
fishing, & farming, festivals & dance, Human motifs like Peacock, sparrow are seen
figures are represented by two triangles joined sometimes snake, frog is also seen. Peacock is
at the tip: the upper traingle depicts the trunk & a national beautiful bird depicted every where
the lower triangle the pelvis. Circle depicts the in traditional textiles, embroideries and
face without features like nose, eyes and ears. paintings in India. Frogs are depicted for heavy
Males are identified from bunch of hair is rainfall, Scene of harvesting or farming is
shown and females with special hairstyle in shown to grow grains in ample amount and
circle called “Ambada”. prosperity.
 Festival Nagpanchami
Motif Snake motif is painted during special
festival of snakes on which day real snakes are
worshipped called “Nagpanchami”.

Birds and animals motifs

Snake motif

Festival Holi Motif

Holi festival is the New year celebration of
Maharashtrian people mainly celebrated in the
month of March

Peacock motif

Hunting scene with birds flying in the sky

Hence butterfly Holi festival
Marriage Ceremony Motif Reaping Season Motif
Marriage is one of the most important themes in While the reaping season scene is shown by
warli art. A warli painting on marriage on the laborers cutting the crops in the field. On
clearly show their marriage god, palghat, birds, the other hand modern adaptations in warli art
trees, men & women dancing in circles, various include bicycles & transistors as well apart
celebration, bride and Bridegroom. from flora and fauna. Musicians and
agriculture being the traditional one.

Reaping season motif

Marriage ceremony bridegroom
Evolution from past to present and
diversification of this art
After getting this art popular, it has not
remained restricted to the mud walls coated
with cowdung, it has been crossed various
mediums of painting like canvas, paper and
received a status in house decorations. It is not
only shifted to the walls of flats, Diwankhana
of Bunglows but it is adopted proudly for
beautification of Five star Hotels. It is also seen
on household articles like, Coffee mugs, Files,
Wallhangings, Paperweights. Main
diversification of this art is it’s entry in textile
world. Simple & aesthetic in apparel, warli art
painting is back & gaining much wanted fame.
Recently warli tribal artisans are getting
exposure with urban culture and new generation
of warlis are adopting motifs like city buses,
heighten Buildings, Railway, Ships etc. But still
Procession of bride today, motifs like Warli marriage ceremony,
Tarpa dance in circle, Indian farming style,
Birds and animals lifestyle available in Warli Paintings and Indian Fashion
surrounded nature, these motifs are preserving
tradition of Warli. In this Global era of remix Warli paintings are today a very popular
and fusion culture, even if this art is diversified, fashion motif, with designers frequently using
warli artisans are adopted this change by not them to create fashionable saris, shirts, skirts,
tempting to spoil traditional originality of salwar kameez, shawls, stoles, tunics, kurtas
painting. and kurtis. The paintings can be either directly
painted on the fabric or printed on to it. Usually
Role of Warli Artisans clothes with warli paintings are made of
materials like raw silk and cotton which hold
The big attraction at Warli is that the village
color easily. The stiffness of raw silk is
community of Javhar is involving in making
preferred as it creates the perfect canvas to
this painting on various articles.. According to
showcase Warli designs. They are either
time and people, medium has changed. Now arranged in bold patterns all over the fabrics or
most of the artists use watercolors and
restricted to the border areas.
handmade papers or canvas cloth. But they
maintain the traditional characteristics and style
and themes of paintings although the medium
has changed. In order to create a new source of
nonagricultural income, different organizations
encourage the artists to produce their traditional
paintings on handmade paper for commercial
sale. This way now it also widely spread and
becoming popular and giving hope and
happiness to the society. The craftsmen were
aware of history of the craft. The method has
changed to great extent in order to meet
growing demand of the market. The production
process has not changed in the number of stages
but there is change in the natural ingredients
used in different stages. Traditionally this
Warli on top and household articles
painting was done on mud walls of houses but
today it is used on Fashion Apparels like
Dresses, Tops, Kurtis, Saris, Bedsheets ,
Dupattas , T-shirts on Home textiles like
Curtains, Cushion covers, Pillow covers, Table
cloths, Table napkins, Tablemats, Table
runners, Doilyset, Bedsheets, filecovers etc. etc.
Similarly it is also done on accessories like
Stoles, Scarfs, Purses, Evening Bags, Wall
hangings, Portraits, Trey, Mobile Stand, Fancy
Pots etc. There is no organized market
established for them hence they face difficulty
in marketing their products. The younger
generations have better avenues in learning skill
and technical knowledge. They have mostly
moved out of the village. Only few less skilled
youngsters are pursuing this profession
engaging other labourers.

Warli on bag
Present Day Scenario profit organization called the Warli Art
Foundation devoted to promoting this art form.
Today Warli paintings have gone much beyond
being a simple tribal art. They are considered a However the exact replications of motifs in
sophisticated art form, frequently used to create design are not possible by painting technique.
unique paintings which are sold at very high Further it is time consuming too. On the other
prices. For the same reason, Warli prints are side the integration of the Warli motifs on
ubiquitous in fashion and home décor. From textile materials using stencil can be executed
designer saris, silk cushion covers and linen bed in a very short time with precision, the motifs
sheets to mobile covers, purses and jewelry, this can be arranged, and replicated to produce
art has been adapted for a variety of decorative beautiful decorative designs that would help in
purposes. Warli paintings can also be easily confirming rhythm in designs. Further the
reproduced using printing techniques which has stencil can be utilized for the production of
further increased the customer base for this art. various apparel, home furnishing and handicraft
Printed Warli designs, though less authentic, items and can be stored for longer period of
tend to come in more diverse colors and fabrics. time. Keeping in mind these points, the present
Additionally, it is no longer the sole domain of study was done on development of stencil of
the Warli tribe as artists and designers across Warli art motifs for producing various apparel
the world have utilized this style in their articles.
creations. Indo-western dresses are selected to create
different look on apperal with warli art. Indo-
Innovations western clothing is the fusion of western and
The increasing demand for Warli paintings in Asian fashion. Warli is a traditional art , it is
urban centers has led to the art form evolving seen on traditional items , but to create
newer, more diverse styles and varieties. This is something new select the indowestern dresses.
especially true when it comes to clothes and
fashion, where the classic white on red design RESEARCH METHODS :
is not the only option available. Bright colors
like neon pink, green and red as well as muted
Adaptation of Warli motifs for design
shades of purple, beige, green and yellow are development: Suitable motifs were
increasingly being used in Warli prints. A screened out and adapted for the development
recent innovation adapted by Warli artists is the of new designs for various apparel articles.
depiction of modern, urban motifs like bicycles, Arrangement of the motifs was done manually
auto rickshaws and roads. The basic symbols as well as with the help of “Corel Draw” and
remain the same but the use of modern items “Adobe Photoshop”. Total five designs were
creates a very contemporary vibe which appeals prepared for indowestern apperals
to a wider audience.
Screening of the developed designs
Interesting Facts through visual evaluation : Prepared
designs were subjected to visual evaluation for
1) Warli prints and paintings are generally not
the selection of two most preferred designs
used on any kind of footwear as this is an
from five design for apparels. The evaluation
auspicious art form for the tribes.
was done by evaluator and peers . All the
2) Traditionally this art was exclusively done designs were ranked according to their
by women but with commercialization and preferences obtained. The attributes for the
greater demand, it has become the domain of evaluation of designs were arrangement of
male artists. motifs, appropriateness of designs, colour
combination and overall appearance of the
3) The cultural intellectual property right of designs. Five point scale was used for the
Warli Painting is held by the Warli tribal evaluation of developed designs and marks 1, 2,
community which has also set up a not-for-
3, 4 and 5 corresponding to poor, fair, good, Scores obtained based on visual
very good and excellent, respectively were
evaluation : The scores obtained by each
assigned.
design of western dress are shown in corel draw
. It was observed that among the designs
developed for dress white shirt with frock and
Development of stencil and printing tie and dye full circular skirt D3 got the highest
of products : Selected designs were shown score followed by another. The second highest
score given to D2 design, developed with white
to evaluator and draw on the paper then take
shirt with brown stencil printing and half
the blank stencil sheet trace the motif on it .then
circular printed skirt . the third score given to
cut the stencil with sharp edge knife to gave
D4 design in which brown printed skirt with
finishings . the stencil were prepared and used
with shirt one boarder on it. The fourth score
for printing of various products. Selected
given to the D1 design in which plain white
designs were applied on apparel items using
shirt with full circular tie and dye skirt with
prepared stencil. products of apparel is ready
stencil printing. The fifth score given to the D5
for print . The cost of each product was
design in which randomly stencil printed shirt
calculated on the basis of raw material cost
with full circular skirt. Hence, all these designs
(fabric, blocks, colours etc.), labor charge and
were printed using prepared by stencil.
finishing cost. The sale price was calculated by
adding 25 per cent profit margin in the cost
price. DESIGN NO RANK

Design no. 1 3
Design no. 2 5
Acceptability of the prepared
products : Each prepared apparel article was
evaluated to find out the acceptability of the
products. The 14 people was taken for the
evaluation. A ranking performa was given in
Design no. 3 9
order to evaluate the acceptability of the
Design no. 4 2
developed products. The attributes assigned
Design no. 5 1
were colour combination, suitability of the
design for the end products, cost range, Total 20
suitability of surface enrichment techniques
used and overall appearance. Rank 1, 2, 3, 4 and
5 was given to those products which stood for
poor, fair, good, very good and excellent, Cost of prepared articles : The cost of
respectively . prepared products are given in Table .
Acceptability of the products : Each
printed article was subjected to visual
RESEARCH FINDING AND
evaluation for assessment of acceptability and
DISCUSSION the results are reported in Table. It was
The results obtained from the present observed that irrespective of higher cost of D3
investigation as well as relevant discussion (skyblue tie and dye printed skirt and white skirt
have been summarized under following heads type kurti printed in warli art in skyblue color)
was given 1st preference due to its colour
Developed designs : The designs prepared combination and neatness .Among the
for various apparel articles are shown through prepared dress similar results were obtained.
corel .
ITEMS CONS RAT VALU Measurements of dress
U E E
MPTIO
NS Collar frock
Length 32”
Sky 5 mtr. 150/ 750 Across shoulder 7”
fabric mtr.
Bodice length 15”

White 4 mtr. 120/ 480 Round bust 36”

fabric Mtr. Round waist 32”

Stitch- 1 1000 1000 Arm sync 7.5”

ing Yoke mid deapth 7”
Yoke arm sync length 4”
Stencil 1 100 100
cost Neckline width 2.5”
Neckline deapth 2.5”
Colors 4 bottle 20 80
Back neckline 1”
Arm length 20”
Embell 6 - 150 Cuff 2”
-
ishmen Placket 1”
t Pin tucks gap 1”

Printin 1 - 500 Full circular skirt

g
Length 40”
Round Waist 32”

Actual - - 3060 Round Hip 36”

cost

Profit - - 440
Margin

Sale - - 3500
Price
Stencil used in this stage are a stencil, solder paste, and
a printer.
Stencilling produces an image or pattern by
applying pigment to a surface under an The stencil printing function is achieved
intermediate object with designed gaps in it through a single material namely solder paste
which create the pattern or image by only which consists of solder metal and flux. Paste
allowing the pigment to reach some parts of the also acts as an adhesive during component
surface. The stencil is both the resulting image placement and solder reflow. The tackiness of
or pattern and the intermediate object; the the paste enables the components to stay in
context in which stencil is used makes clear place. A good solder joint is one where the
which meaning is intended. In practice, the solder paste has melted well and flowed and
(object) stencil is usually a thin sheet of wetted the lead or termination on the
material, such as paper, plastic, wood or metal, component and the pad on the board.
with letters or a design cut from it, used to In order to achieve this kind of a solder joint,
produce the letters or design on an underlying the component needs to be in the right place, the
surface by applying pigment through the cut- right volume of solder paste needs to be
out holes in the material. applied, the paste needs to wet well on the board
The key advantage of a stencil is that it can be and component, and there needs to be a residue
reused to repeatedly and rapidly produce the that is either safe to leave on the board or one
same letters or design. Although aerosol or that can easily be cleaned.
painting stencils can be made for one-time use, The solder volume is a function of the stencil,
typically they are made with the intention of the printing process and equipment, solder
being reused. To be reusable, they must remain powder, and rheology or the physical properties
intact after a design is produced and the stencil of the paste. Good solder wetting is a function
is removed from the work surface. With some of the flux.Printing process
designs, this is done by connecting stencil
islands (sections of material that are inside cut- The process begins with loading the board into
out "holes" in the stencil) to other parts of the the printer. The internal vision system aligns the
stencil with bridges (narrow sections of stencil to the board, after which the squeegee
material that are not cut out). prints the solder paste. The stencil and board are
then separated and unloaded. The bottom of the
Stencil technique in visual art is also referred to stencil is wiped about every ten prints to
as pochoir. A related technique (which has remove excess solder paste remaining on the
found applicability in some surrealist stencil.
compositions) is aerography, in which spray-
painting is done around a three-dimensional A typical printing operation has a speed of
object to create a negative of the object instead around 15 to 45 seconds per board. Print head
of a positive of a stencil design. This technique speed is typically 1 to 8 inches per second. The
was used in cave paintings dating to 10,000 BC, printing process must be carefully controlled.
where human hands were used in painting Misalignment of motion from the reference
handprint outlines among paintings of animals results in several defects, hence the board must
and other objects. The artist sprayed pigment be secured correctly before the process begins.
around his hand by using a hollow bone, blown A snugger and vacuum holders are used to
by mouth to direct a stream of pigment. secure the X and Y axes of the board. Vacuum
holders must be carefully used, as they may
Stencil printing is the process of depositing affect the pin-in-paste printing process if not
solder paste on the printed wiring boards secured properly.
(PWBs) to establish electrical connections. It is
immediately followed by the component
placement stage. The equipment and materials
 Finishing
The pads on the PWB are made of copper and
are susceptible to oxidization. Surface
oxidization on the copper will inhibit the ability
of the solder to form a reliable joint. To avoid
this unwanted effect, all exposed copper is
protected with a surface finish.
Aperture fill and release
The core of a well printed PWB lies in the fill
and release of solder paste into the aperture.
When the stencil is in contact with the PWB,
Design solder paste is applied over the top surface of
the stencil using a squeegee. This causes the
Vision systems in the stencil printing machines aperture to fill with solder paste. The PWB is
use global fiducial marks for aligning the PWB. then lowered from the stencil. The amount of
Without these fiducials the printer would not solder paste which is released from the stencil
print the solder paste in exact alignment with apertures and transferred to the PWB
the pads. The PWB should have close
dimensional tolerances so that it mates to the
stencil. This is necessary to achieve the required
alignment of solder blocks on the pads.
Masking
The required accuracy in alignment can also be
achieved by controlling the flow of solder on
the PWB during reflow soldering. For this
purpose, the space between the pads is often
coated with a solder mask. The solder mask
materials have no affinity to the molten solder
and hence, no positive bonding is formed
between them as the solder solidifies. This
process is often referred to as Solder masking.
The mask must be centered correctly. The mask
protects the PWB against oxidation, and
prevents unintended solder bridges from pads, determines whether or not the print is
forming between closely spaced solder pads. good. Ideally, all volumes of solder paste
Also the height of the solder mask should be should be equal to the volume of the
lower than the pad height to avoid gasketing corresponding stencil aperture. In reality
problems. If the height of the solder mask is however, this is never the case. Hence, a print
greater than that of the pad, then some of the is considered to be good if a certain fraction of
solder paste would settle in the empty space the paste is released. One way of quantifying
between the mask and the pad. This is what is print performance is to calculate the transfer
referred to as gasketing. It is a seal that fills the efficiency. This is mathematically stated as:
space between two surfaces to prevent
leakages. Gasketing is a problem as the excess
solder paste around the pad may be more than a Transfer efficiency = (Volume of printed
nuisance factor for circuits having very small deposit) / (Theoretical maximum volume)
line spacing.
In the above expression, the theoretical stencil-to-board gasketing and result in more
maximum volume is simply the open volume of consistent solder paste release.
the stencil aperture. Ideally, a transfer
efficiency of 1 is desired. In reality however, Stencil design
greater the transfer efficiency, better is the Due to the need for fine pitch components, as
print. Now in order to get the aperture full of the size of the aperture becomes smaller and
paste requires sufficient flow rate and sufficient smaller, they become “tall-narrow” apertures.
fill time. Apertures which are not completely In such cases, the apertures may be filled with
filled will not release paste onto the board, solder paste but not completely released, or
which results in clogged stencils and defective sometimes not even completely filled and hence
solder joints. Solder paste release is determined get no deposits. In order to counter this
by the separation speed of the board from the problem, aperture walls are made as smooth as
stencil. The adhesion of the paste to the board possible. Also, molecular layer nano coatings
has to provide the shearing force to overcome are put on the stencil walls so that the solder
the adhesion of the paste to the stencil walls. paste does not stick. Consistent fill and release
This hydrodynamic shearing force depends on is the most important output of stencil printing.
the separation speed. When the stencil is down on the board, paste is
filling the aperture and it's in contact with the
Stencils
pad and walls of the stencil. The contact is
Stencils are used to print solder paste on the judged by taking the ratio of these areas i.e. the
PCB. They are often made of stainless steel or ratio of the area of the pad to the area of the
nickel and are manufactured by different walls. This is called area ratio. The information
processes described below. about the standards for stencil design is
available at IPC Specification 7525 and other
Manufacturing processes standards. In general, including stencils with
Laser cutting tall and narrow apertures, an area ratio greater
than 0.66 is recommended.
The use of laser technology allows having
tighter tolerances and greater accuracy. Other considerations

The aperture walls can be smoothed through Step down stencils

electro-polishing and/or nickel plating. The
A PCB may need varying amounts of solder
laser cutting process results in trapezoidal paste to be applied depending upon the design
apertures that can create better solder paste
and size of components. Applying a uniform
release characteristics. maximum level of solder may not be a good
The repeatability of dimensions in laser-cut solution in this case, as these stencils often find
stencils is generally better than that of chemical use when "pin and paste" technology (i.e.,
etching. With laser cutting, there are no photo printing solder paste into through-holes to avoid
films requiring precise alignment or protection wave soldering) and components of
from moisture. significantly different pitch are used in the same
PWB. For this purpose, to achieve a varying
solder amount, step down stencils are used.
E-FAB stencil Solder paste stencil life
This stencil is formed by the process of Ideally, a solder paste should have, at
electroforming nickel, hence the name E-FAB. minimum, a 4-hour stencil life. The stencil life
The nickel has better wear characteristics than is defined as a time period in which there will
steel and electroforming creates smooth tapered be no significant change in the solder paste
aperture walls. The process also creates a ridge material characteristics. A solder paste with a
along the bottom of the stencil that can improve longer stencil life will be more robust in the
printing process. Actual stencil life for a paste
should be determined from the manufacturers' Bow and twist
specifications and on-site verification.
A PCB board not fixed properly during solder
Handling and storage of stencils paste printing gives poor results and increases
soldering related issues. Normally, solder paste
To improve the life and performance of stencils,
printing equipment can handle warpage of 1.0
they must be cleaned after use by removing any
to 3.0 mm but beyond this limit needs some
solder paste on them or within the apertures.
special jigs or fixtures to hold the PCB. It may
The cleaned stencils are stored away in a be difficult to tackle thick and small boards
protective area. Before usage, stencils are
compared to thin and bigger size boards
inspected for wear or damage. Stencils are
typically identified by job numbers to reduce
the risk of mishandling or misplacing.
Squeegee
Squeegees are used to spread solder over the
stencil and to fill all apertures consistently.
Squeegees come in two different types based
either on metal or polyurethane. Metal
squeegees are preferred over
polyurethane.[citation needed] They produce
very consistent solder volumes and are resistant
to scooping the solder paste out of the apertures
when printing. In addition, they have better
wear characteristics, leading to longer life.
Common difficulties
Insufficient solder paste
Insufficient solder paste may cause poor bonds
and contact between components and the board.
The common causes of insufficient solder paste
are poor gasketing, clogged stencil apertures, Fabrics
insufficient solder paste bead size, paste/stencil Cotton is a soft, fluffy staple fiber that grows in
being used beyond recommended life span, a boll, or protective case, around the seeds of
stencil not wiped clean, or low squeegee the cotton plants of the genus Gossypium in the
pressure. mallow family Malvaceae. The fiber is almost
Smudging/bridging The main causes of pure cellulose. Under natural conditions, the
cotton bolls will increase the dispersal of the
smudging/bridging are excessive squeegee seeds.
pressure, inadequate stencil wiping, poor
contact between the board and stencil, high The fiber is most often spun into yarn or thread
temperature or humidity, or low solder paste and used to make a soft, breathable textile.
viscosity. Cotton fabric is one of the most commonly used
types of fabrics in the world. This textile is
Misalignment print chemically organic, which means that it does
not contain any synthetic compounds. Cotton
A typical misalignment print is usually caused
fabric is derived from the fibers surrounding the
by the vision system not spotting fiducials,
seeds of cotton plants, which emerge in a round,
PWB or stencil stretch, poor contact between
fluffy formation once the seeds are mature.The
the board and the stencil, or weak board
earliest evidence for the use of cotton fibers in
support.
textiles is from the Mehrgarh and Rakhigarhi
sites in India, which date to approximately 5000 We are engaged in offering a wide array of
BC. The Indus Valley Civilization, which Georgette Fabric that is highly comfortable to
spanned the Indian Subcontinent from 3300 to wear. These products are highly required by the
1300 BC, was able to flourish due to cotton clients across the market for their beautiful look
cultivation, which provided the people of this and stylist patterns. Our offered range of
culture with readily available sources of product is available in various sizes.Georgette
clothing and other textiles is a type of crêpe fabric that is typically made
from pure silk but can also be made from
Fabric name synthetic fibers like rayon, viscose, and
Cotton polyester. French dressmaker Georgette de la
Plante introduced the eponymous silk fabric in
Fabric also known as the early twentieth century.
Pima cotton, Egyptian cotton, Supima cotton The silk fabric is sheer and lightweight and has
Fabric composition a dull, matte finish.

Organic fibers from the seeds of the cotton plant Crêpe Georgette is woven using tightly twisted
yarns, which create a slight crinkle effect on the
Fabric possible thread count variations surface.
100, 200, 300, 600, up to 2,000 Silk Georgette is very similar to silk chiffon,
which is also a type of crêpe fabric, but
Fabric breathability
Georgette not as sheer as chiffon because of the
Very breathable tighter weave.

Moisture-wicking abilities
High Georgette (from crêpe Georgette) is a sheer,
lightweight, dull-finished crêpe fabric named
Heat retention abilities after the early 20th century French dressmaker
Medium Georgette de la Plante.

Stretchability (give) Originally made from silk, Georgette is made

with highly twisted yarns. Its characteristic
Medium crinkly surface is created by alternating S- and
Z-twist yarns in both warp and weft.
Prone to pilling/bubbling
High
Georgette is made in solid colors and prints and
Country where fabric was first produced
is used for blouses, dresses, evening gowns,
Ancient India saris, and trimmings. Georgette has a very light
and drapey hand, rendering it best suited to
Biggest exporting/producing country today loose flowing garments and inappropriate for
India more structured pieces. Silk georgette is
relatively delicate, but varieties made with
Recommended washing temperatures synthetic fibers can be more resilient to
Medium or high damage. The crepe style S- and Z- twist weave
makes the fabric springier and less lustrous than
Commonly used in the closely related chiffon.
Shirts, dresses, blouses, underwear, socks, 6 Characteristics of Georgette
sweaters, sheets, blankets, bags, jeans, skirts
There are a number of characteristics that make
Georgette a unique fabric. These include:
Lightweight and breathable India into Europe for much of the 17th and early
18th-centuries.
. Georgette is a light, flowy fabric that is fairly
breathable. However, georgette made with
synthetic fibers is less breathable than those
ACRYLIC COLORS USED
made with silk.
Acrylic paint is a fast-drying paint made of
Crinkled.
pigment suspended in acrylic polymer emulsion
Georgette is known for its signature puckered and plasticizers, silicon oils, defoamers,
appearance, which is a result of the tightly stabilizers, or metal soaps. Most acrylic paints
twisted yarns used in the weave. are water-based, but become water-resistant
when dry. Depending on how much the paint is
Sheer.
diluted with water, or modified with acrylic
Georgette is a sheer, translucent fabric, though gels, mediums, or pastes, the finished acrylic
it is slightly less sheer than its sister fabric, painting can resemble a watercolor, a gouache,
chiffon, which is more net-like. Learn more or an oil painting, or have its own unique
about chiffon here. characteristics not attainable with other media .

Georgette fabrics are sometimes sold in solid

colors but georgette can be printed and often
boasts colorful floral prints.

Nice drape.
Georgette is a very flowy fabric and has a nice
structure and drape, particularly for dresses and
skirts. Georgette can be layered on top of more
solid fabrics to add dimension and create an
eye-catching effect.
Holds dye well.
Georgette fabric holds dye nicely, and the
natural off-white color of silk can be dyed a Painting with acrylics
variety of hues and patterns.
Acrylic painters can modify the appearance,
Slight stretch. hardness, flexibility, texture, and other
Georgette fabric has some bounce and gives as characteristics of the paint surface by using
a result of the weave and tight yarn twists. acrylic mediums or simply by adding water.
Watercolor and oil painters also use various
Linning fabric mediums, but the range of acrylic mediums is
much greater. Acrylics have the ability to bond
Muslin (/ˈmʌzlɪn/) is a cotton fabric of plain
to many different surfaces, and mediums can be
weave.It is made in a wide range of weights
used to modify their binding characteristics.
from delicate sheers to coarse sheeting.It gets
Acrylics can be used on paper, canvas, and a
its name from the city of Mosul, Iraq, where it
range of other materials; however, their use on
was first manufactured.In the 17th and 18th
engineered woods such as medium-density
centuries Dacca in Bengal was regarded as
fiberboard can be problematic because of the
producing the finest muslins
porous nature of those surfaces. In these cases,
.Early muslin was handwoven of uncommonly it is recommended that the surface first be
delicate handspun yarn. It was imported from sealed with an appropriate sealer. Acrylics can
be applied in thin layers or washes to create paints with gloss or matte finishes are common,
effects that resemble watercolors and other although a satin (semi-matte) sheen is most
water-based mediums. They can also be used to common. Some brands exhibit a range of
build thick layers of paint — gel and molding finishes (e.g. heavy-body paints from Golden,
paste are sometimes used to create paintings Liquitex, Winsor & Newton and Daler-
with relief features. Acrylic paints are also used Rowney); Politec acrylics are fully matte As
in hobbies such as trains, cars, houses, DIY with oils, pigment amounts and particle size or
projects, and human models. People who make shape can affect the paint sheen. Matting agents
such models use acrylic paint to build facial can also be added during manufacture to dull
features on dolls or raised details on other types the finish. If desired, the artist can mix different
of models. Wet acrylic paint is easily removed media with their paints and use topcoats or
from paintbrushes and skin with water, whereas varnishes to alter or unify sheen.
oil paints require the use of a hydrocarbon.
When dry, acrylic paint is generally non-
removable from a solid surface if it adheres to
the surface. Water or mild solvents do not re-
solubilize it, although isopropyl alcohol can lift
some fresh paint films off. Toluene and acetone
can remove paint films, but they do not lift paint
stains very well and are not selective. The use
of a solvent to remove paint may result in
removal of all of the paint layers (acrylic gesso,
et cetera). Oils and warm, soapy water can
remove acrylic paint from skin. Acrylic paint
can be removed from non-porous plastic
surfaces, such as miniatures or models using
certain cleaning products such as Dettol
(containing chloroxylenol 4.8% v/w).
An acrylic sizing should be used to prime
Acrylics are the most common paints used in canvas in preparation for painting with acrylic
grattage, a surrealist technique that began to be paints, to prevent Support Induced
used with the advent of this type of paint. Discoloration (SID). Acrylic paint contains
Acrylics are used for this purpose because they surfactants that can pull up discoloration from a
raw canvas, especially in transparent glazed or
easily scrape or peel from a surface
translucent gelled areas. Gesso alone will not
Painting techniques stop SID; a sizing must be applied before using
a gesso.
Acrylic artists' paints may be thinned with
water or acrylic medium and used as washes in The viscosity of acrylic can be successfully
the manner of watercolor paints, but unlike reduced by using suitable extenders that
watercolor the washes are not rehydratable once maintain the integrity of the paint film. There
dry. For this reason, acrylics do not lend are retarders to slow drying and extend
themselves to the color lifting techniques of workability time, and flow releases to increase
gum arabic-based watercolor paints. Instead, color-blending ability.
the paint is applied in layers, sometimes Grades
diluting with water or acrylic medium to allow
layers underneath to partially show through. Commercial acrylic paints come in two grades
Using an acrylic medium gives the paint more by manufacturers:
of a rich and glossy appearance, whereas using
Artist acrylics (professional acrylics) are
water makes the paint look more like
created and designed to resist chemical
watercolor and have a matte finishAcrylic
reactions from exposure to water, ultraviolet their products. The younger generations have
light, and oxygen.Professional-grade acrylics better avenues in learning skill and technical
have the most pigment, which allows for more knowledge. They have mostly moved out of
medium manipulation and limits the color shift the village. Only few less skilled youngsters
when mixed with other colors or after drying. are pursuing this profession engaging other
labourers.
Student acrylics have working characteristics
similar to artist acrylics, but with lower pigment Due to the need for fine pitch components, as
concentrations, less-expensive formulas, and the size of the aperture becomes smaller and
fewer available colors. More expensive smaller, they become “tall-narrow” apertures.
pigments are generally replicated by hues. In such cases, the apertures may be filled with
Colors are designed to be mixed even though solder paste but not completely released, or
color strength is lower. Hues may not have sometimes not even completely filled and
exactly the same mixing characteristics as full- hence get no deposits. In order to counter this
strength color . problem, aperture walls are made as smooth as
possible. Also, molecular layer nano coatings
are put on the stencil walls so that the solder
Conclusion : paste does not stick. Consistent fill and release
is the most important output of stencil printing.
The Warli motifs were successfully adapted When the stencil is down on the board, paste is
for designing the apparel articles using stencil filling the aperture and it's in contact with the
printing. All the prepared products were highly pad and walls of the stencil. The contact is
appreciated and well accepted with regards to judged by taking the ratio of these areas i.e.
visual evaluation and cost effectiveness. the ratio of the area of the pad to the area of
Skyblue tie and dye printed full circular skirt the walls. This is called area ratio. The
with white shirt type kurti on skyblue stencil information about the standards for stencil
printed were highly appreciated. The cost of design is available at IPC Specification 7525
apparel products ranged between 3200/- to and other standards. In general, including
3500/- . It is concluded that the Warli art stencils with tall and narrow apertures, an area
motifs can be used successfully for the ratio greater than 0.66 is recommended.
development of stencil that will the prepared
Cotton is a soft, fluffy staple fiber that grows
blocks can be preserve for longer period for
in a boll, or protective case, around the seeds
further use. The craftsmen were aware of
of the cotton plants of the genus Gossypium in
history of the craft. The method has changed
the mallow family Malvaceae. The fiber is
to great extent in order to meet growing
almost pure cellulose. Under natural
demand of the market. The production process
conditions, the cotton bolls will increase the
has not changed in the number of stages but
dispersal of the seeds. We are engaged in
there is change in the natural ingredients used
offering a wide array of Georgette Fabric that
in different stages. Traditionally this painting
is highly comfortable to wear. These products
was done on mud walls of houses but today it
are highly required by the clients across the
is used on Fashion Apparels like Dresses,
market for their beautiful look and stylist
Tops, Kurtis, Saris, Bedsheets, Dupattas, T-
patterns. Our offered range of product is
shirts on Home textiles like Curtains, Cushion
available in various sizes.Georgette is a type of
covers, Pillow covers, Table cloths, Table
crêpe fabric that is typically made from pure
napkins, Tablemats, Table runners, Doilyset,
silk but can also be made from synthetic fibers
Bedsheets, filecovers etc. etc. Similarly it is
like rayon, viscose, and polyester. French
also done on accessories like Stoles, Scarfs,
dressmaker Georgette de la Plante introduced
Purses, Evening Bags, Wall hangings,
the eponymous silk fabric in the early
Portraits, Trey, Mobile Stand, Fancy Pots etc.
twentieth century.
There is no organized market established for
them hence they face difficulty in marketing
Indo-western dresses are selected to create ^ Mayor, Hyatt A., Prints and People,
different look on apperal with warli art. Indo- Metropolitan Museum of Art/Princeton, 1971,
western clothing is the fusion of western and no. 51, 65, 80, ISBN 0691003262
Asian fashion. Warli is a traditional art , it is
^ Mayor, Hyatt A., Prints and People,
seen on traditional items , but to create
Metropolitan Museum of Art/Princeton, 1971,
something new select the indowestern dresses.
no. 15, ISBN 0691003262
^ Jan Juffermans (2003). Kees van Dongen:
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Pochoir Book, University of Cincinnati
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