THE BUTTERFLY......

WIREWORK done in RPT!!

As we know that while working in RPT, there are various constraints, specialy about the thickness of the piece. But I took a try and made my wire work piece in RPT, and i must say the result came was pretty nice.

my design project

design theme: FLIRTING

In a layman language, flirting is a form of human interaction between two people, expressing a sexual or romantic interest. It can consist of conversation, body language, or brief phyisical . It is often used as a mean of expressing interest.


But it is just not limited to romance..or just human beings. Flirting is all around nature, in animals, in plants, in geomettry, in every aspect. At times it is considered as fun/entertainment or at times it is a basic need. so, evryone has a different way with a different purpose to flirt..

Connectivity.........

Starting up with a direction given by Internet and Water, Connectivity and Continuous flow of channel were my derived analysis terms.I took the literal form of earth - The Sphere; and showed the global view of the water connection and internet connection being constant with strong linkage. The basic colors derived are the green and the blue of the earth. As the civilization exists and progressed in the primitive times where there was water so does in the today’s world, the people have progressed with the internet. The Net has connected everyone around the world. Opportunity and advancements happens with the connection with the world.  

“I am present everywhere where life and growth is; I nourish an individual and connect the world through a small window ;through my connectivity and organized chain I make life easy and prosperous”

Design + craft = bright future

How do I relate design and craft???
“Design is passion practiced with great discipline. Craft is discipline practiced with great passion.” And for sure combination of both will lead to a bright future in both the fields.
Design is in everything we make. It's a mix of craft, science, storytelling, aesthetic beauty and philosophy.
Crafts make us feel rooted to our country. It also connect us with our history. Our ancestors used to create these crafts out of necessity and today we mostly use it as a luxury item.
Craft silently talks about our history, tradition and culture. Being a designer it’s our duty to preserve them and not let them become extinct due to various factors such as lack of resources, lack of awareness, low demand, high price, design faults in case of functionality etc.

In today’s scenario the making of handcrafted products has become very tedious and time taking in relation to products that are mass produced. And this has become one of the major reasons why the younger generations of the craftspersons are opting for better jobs to earn fast money.

Craft provides opportunities for individual expression while design offers functionality and economies of scale.
The crafts persons are very skilled and they pay a lot of attention to very minute details. They also seek for perfection and precision in their respective crafts.
But where they are lacking behind is exposure to the outer world of new techniques and technologies, ideas and concepts, different materials etc. which can help them work better and faster. And I think this is where designers would help them get a better exposure to the outer world.

Almost all quality improvement comes via simplification of design, manufacturing... layout, processes, and procedures. Therefore design will help a craft to look into a new improvised dimension or vision.

There is a natural partnership between the two fields. And in future this partnership would definitely help in the growth of creativity, innovation, popularity, awareness etc. It would also help in exploring other materials, adoption of new methods and techniques as design would help in showing the practical world to the craftsperson.
Good design in future would definitely keep the user happy, the craftspersons earn a good name and last but not least the aesthetic part not getting offended.

Design will definitely help to bridge the gap between the crafts and identification of its importance. Design will also help in the process of socialisation of a particular craft.
Design combined with craft will give rise to new innovative products that would attract interests of many and resulting to rise in its popularity and demand that will lead to a bright future.

My contibution to Indian traditional art – Patta Chitra

India is rich in culture and heritage. And I love being a part of all its tradition. Long back before joining NIFT, I learnt the traditional painting of Orissa for 3 months. And since then I developed a keen interest for this art. The painting known as Patta Chitra or the Palm Leaf Painting became my favorite pass time. The above painting is one of my contributions to this great form of art. It took me 7 days to complete the painting.
Patta Chitra or the Palm Leaf Painting is an ancient art form that depicts tales and stories of Indian mythology, epics, gods and goddesses. This art form was an offshoot of written communication on palm leaves. In the ancient times when paper was not into existence messages and letters were etched out on palm leaves and dispatched. Slowly the text began to be embellished with illustrations. These illustrations became an art Form itself.
Process of palm leaf painting or etching involves a few intricate steps:
· Rows of same sized palm leaves are first arranged together and sewn.
· These neatly sewn palm leaves are then folded in such a manner so as to make a pile.
· These paintings are first etched out, which means that the designs and images are neatly etched on the surface of the palm leaf using a sharp pen like object.
· Ink (mixture of charcoal of burnt coconut shells, turmeric and oil) is then poured along the lines. The lines get defined after this application.
· Vegetable dyes are also added to give these paintings some color, but these paintings are mostly, dichromatic (black and white).
· The panels of the paintings are unfolded like a fan to reveal a beautiful Patta Chitra. And kept and stored in folded form.
Very few people know about this art and I feel lucky to be a part of this rich traditional art. And also fear about its existence in coming years. It’s high time for us to save our rich culture and I think being a designer we can help preserving these kinds of crafts. And last but not least I would like to thank my teacher Mr. Bichi who taught me this art patiently as it has really helped me grow as a designer.

Starting up with a direction given by Internet and Water, Connectivity and Continuous flow of channel were my derived analysis terms. I took the literal form of earth - The Sphere; and showed the global view of the water connection and internet connection being constant with strong linkage. The basic colors derived are the green and the blue of the earth. As the civilization exists and progressed in the primitive times where there was water so does in the today’s world, the people have progressed with the internet. The Net has connected everyone around the world. Opportunity and advancements happens with the connection with the world.

“I am present everywhere where life and growth is; I nourish an individual and connect the world through a small window ;through my connectivity and organized chain I make life easy and prosperous”

SPIRITUAL HYPOCRISY - My Design concept for IIJS

Spiritual hypocrisy is faking commitment to God in order to gain power or money or people's adulation. It can also be stated as spiritual play acting for selfish gain. A spiritual hypocrite may be one who pretends to be religious, smart, honest, loyal, noteworthy, sympathetic, kind, etc. without actually being so.
The theme spiritual hypocrisy gave rise to my design concept – “unworldly word for thee” which meant non materialistic commitment to almighty or god.
The sentence includes pun the way it is stated. Not every person is true to his religious norms but there are few who religiously follow the spiritual path just to be socially popular for their selfish interest.
The materialistic world and yet you get to see people helping others…..is this fake??? Or is it real???
In the world of hypocrites, fake is what one gets in the name of spirituality…

The Jewellery –
The form of the jewellery piece depicts spiritual hypocrisy. The three smooth flowing lines depict 3 phases of life i.e. arth, dharma and kama. While the extended curved lines depict mokshya or salvation and the dark colored stones depict hypocrisy.
It is a neckpiece cum brooch that holds the fabric from one side as shown above in the illustrations.
Technique used – handcrafted jewellery
Metal - copper
Finish - white rhodium plating
Stones - rhodolite

Design Studio

CHLOROPHYLL
The colours Play Act in nature
Color is a microconsciousness. Like our senses of taste and smell, color helps us to understand the world around us. It helps us survive as a species, and appreciate works of art. For my design collection I took the natural colourant that is chlorophyll as my inspiration. The design depicts the play of chlorophyll and cartenoid in the chloroplast of a leaf. As the chlorophyll in leaves decays in the autumn, the green colour fades and is replaced by the oranges and reds of carotenoids.
The jewellery has a graphical appeal as it is designed for men. The range include a handcuff, a tiepin, cufflinks and a keychain.
Cufflinks
Tie pin
Hand cuff
Prototypes

IIJS 2008

This piece has been made on the lines of a modern day 'halsi', the theme being "moment of reflection. In a moment of reflection, the situation or experience at hand is judged against recalled ones as well as one’s intuitions ; intuitions playing a very important role.

Fire : A necessary evil

Looking at the fierce as well the holy aspect of fire.

I exist in many forms, I am FIRE.
I am always associated with danger,
The HOLY aspect of me,
Is given a new name altogether.

Colloquium Paper topics

Hi frens....
The probable topics on which I would like to write are:

- NIFT, it makes us multifaceted.
At NIFT, we are given inputs regarding jewellery designing as well as various arenas around designing. At the end of the course we are fit for various other industries such as graphics, photography, marketing and many more.

- Can designing as a specialization compete with specialization like medical or engineering?
Even today, in the time when fashion is in the air, parents think before admitting a child in the trade of fashion. So is fashion a reliable field.

- Strengths and weaknesses of a jewellery designer from NIFT.
If we are good then why isn’t there a demand for us in the industry? Lets evaluate ourselves with the demands of the industry.

OXYMORON

After a long reasearch on the WORLD ECONOMY, I observed that anything that happens in the world economy, be it Globalization or be it Global Warming, someone loses and someone gains. And the person who loses is already on the track of failure and the one who gains is already ahead. This creates Imbalance and Inequality in the world. Both, Loss and Gain existing together is termed as Oxymoron by me.
This piece tries to depict the loss and gain, both aspects of global warming. Global warming is a loss for humans as it creates an unfavorable climate for human beings to survive whereas it is a gain for plants and trees at an initial stage as it increases the carbon dioxide content in the atmosphere which is needed by them for making their food.

This neckpiece was designed by me in 6th semester under the module 'design studio'. The theme was 'organicity'.

Defining organic forms is a bit difficult but we can give them a meaning by relating it to some other forms or by themselves only.

In this piece I have done the same by repeating a single form which resulted in a neckpiece.

During my summer break I got an opportunity to design a brochure for a NGO called Sehyog International. I would love to share the design of the brochure with you. It has been printed and this is how it looks. Each page is the size of a visiting card and is tied together in a chain. I hope you like it. By the way thanks to Rashida Mam for teaching us PCDT. It really is helping us isn't it.

help them sustain their spirit - Vershali Jain

Art and craft has always been the backbone of Indian economy. Craftsmen and artisans has not only brought us pride but also lot of money and foreign interest. I personally feel Crafts and craftspeople have a vital role to play in contemporary India – not just as part of its cultural and aesthetic past, but as part of its economic future.

These days Craft Sector is facing some problems such as, Low Productivity, low standard of living, Inadequate Working Capital, and Weak Marketing Links etc. from which the sector has to overcome in order to sustain itself.

Here design as well as designer plays a crucial role of helping them through innovating their products as well as making them aware of the new market and marketing techniques. Craftsmen are the major skilled manpower India has and it is our responsibility to help them sustain their spirit of craftsmanship.

With little variation in products, and adding some functional aspect to it a lot of change to the market of craft sector could be made.

Design Can...... - Sanghamitra Bhushan

Design would surely play a very important role in the future of craft. Nowadays there are many crafts which have lost and are losing their identity due to different factors.

CRAFT is more than 5,000 years old. The craft traditions are whirled around religious values

Earlier these handicrafts were made for day to day usage, nowadays we see a development of designs and different motifs being flooded into the crafts.

Crafts are losing their value because of many reasons, some of them are:

1. lack of availability of raw materials,
2. lack of design,
3. lack of demand,
4. crafts have no value for their new owners and
5. also because the younger generations are opting for a secure job.
   

A DESIGN by a designer can be such that some other material is used to make the product so that the non availability of the raw material used earlier does not become a hindrance.

The design, which is adding of new, stylized motifs and even making different products, can make the demand go higher. Like for example in our craft documentation in Banaras people started the craft of lacquer with objects like Sindoora (a container to keep sindoor in, usually given to the newly wed brides), the kitchen set for small girls to play with. Nowadays a lot many products are being decorated by this craft, such as bangles, dolls, games for small kids, pen holders etc. Increasing the demands of these products which indirectly boost the sales of the craft.

Design can make the craft more aesthetically appealing, can make it more user friendly and can play a very important role in reviving the crafts who are on the edge of loosing their identity.

The identity of crafts - Sudeepta Kumar

The scenario of ‘crafts’ today is on the verge of fading away with time. Most of the crafts of our nation have by now stayed away from technology, and for me that is the reason that accounts fro the very essence of ‘crafts’. Even the definition of the term says “an activity involving skill in making things by hand”. That’s what a craft is about. To help and re facilitate these crafts, they should first be detached from technology, wherever they are.

Design for me is in a way analogous to Crafts, or rather crafts are the purest and oldest forms of design. They can also be taken as lessons in design. Considering the example of ‘Copper Bells’ made by craftsmen of Zura village in Kutch, the shepherds felt a need of some kind of a system that could keep the livestock together and also the shepherds informed about the location of their cattle. This was possible only with the help of some kind of a sound system at that time, around 400years back. These bells provided the livestock with an involuntary language that made communication possible within themselves,even if they did not make their respective deliberate sounds. This they say effectively made their livestock to stay together when they were left in the fields for grazing. All the more, the shepherd would also be informed about the location of livestock in the fields and during transits by these ringing copper bells.

As designers if we can promote these crafts in their very state, it would be a start towards a better future for these crafts. We should first understand that the identity of crafts stands tall in the way they are, away from ‘speed of machines and mass production’. That’s the element that adds value to an artifact, the time spent on it by the craftsman, a separate story behind each one of them. The idea once understood shall be promoted to the common people by word of mouth or brochures. Because an activity like craft can only be appreciated if it is taken in the very essence where it holds to its identity. These crafts can even be promoted through medias like skilful presentations in different ways like, websites, T.V. shows or even other cheap medias like newspapers or even radios. More people come to know about these crafts brighter would be their future.

I believe most of the crafts are finest and oldest of designs that solved major problems in history, though they might have become emblems of ‘hard work and purity’ today. Just the way copper bells are now used as mere ‘gifts’ and ‘decorative’ in present times.

Major markets for the crafts today are countries in the West, for example U.S.A. for copper bells. If as designers we can promote these crafts in these countries where they are gaining appreciation along with doing it in our own country, we can do some good to these crafts. I think these are the practical ways in which these crafts can be helped and seen in future.

The crafts ought to be promoted in the very form they are in, any addition, subtraction and manipulation will only hurt the respect and identity of these crafts. A craft is like a religion; the craftsperson a devout and craftsmanship would be how deep could he go in his cataleptic state of mind.

Our Cultural Treasure - Nitika Gupta

Craft sector is a very promising and futuristic sector provided it is appreciated and exploited in right manner. In the Indian subcontinent to be precise, the lives of people are embedded with the colours of religion, celebrations, customs and crafts related to these. These crafts have been taken for granted by the latest generations, Of late the realisation of decline of these crafts is being considered.

Younger generations are coming back to the traditional and cultural ways of Indian living. Designers, be it in the field of textile, garments, products or accessories, are trying to revive some of the renowned/ neglected arts and crafts.

We as students of design are accustomed to see each situation as an opportunity to learn. Design process in itself is a problem solving cycle where we discover various approaches towards the desired condition. Crafts of India are based on the earlier sciences of healing, aesthetics, literature and music and dance and other arts. They have had their own reasons of existence and evolution, which need to be understood and taken care of, For example kaantha work of Bengal, or phulkari embroidery of Punjab, had their social, and emotional aspects, once these are apprehended in the right direction, we'll never lose our cultural treasure.

Design can actually make a difference - Anika Rastogi

Craft is a skill that involves art in it. The product could be the utility product or the decorative product.
Every place has its own unique craft (depending on the material availability, geographical reason etc.) with the help of which craftsmen (one who practices craft) earn their living from. Craftsmen do not do any course or take any classes to educate themselves; it’s like their family business which they adopt from their father. Craftsmen generally use the raw material which is available near their area and generally use hand skills not machines.

But as the craft is getting older so it is fading out, unlike other products which are getting advance as they get old. There are many reason to it, like lack of demand, raw-material, skilled workers, finished goods, machines and most important lack of knowledge of current trends.

There are many problems which could be solved just by designers. The lack of demand is the main problem due to which many of the craftsmen are committing suicide. The demand is going down because the products lack freshness and trends. These craftsmen are making those tradition products since ages which don’t find there space in modern world.

Design can actually make difference to the existing craft. Designers can provide craftsmen with new designs and product which could be made from that craft and also in trends in present. Designer can provide them with different and new motifs and color scheme which is totally different from which they use to do in earlier days. It could change the perception of craftsmen and give fresh product to the consumer. Design could also help them to mix and match different type of crafts. It will break the monotony of that craft. Designing and changing the purpose of that craft will also change the current perception of the consumer and they demand the product more.

Design plays a major role - Arti Rampuria

Describing the role of design in the field of craft is really a difficult task. Design in itself is so hard to explain. Many people say it's a solution to a problem, many say that it's the aesthetic appeal of the product. I think it is the basic element of each and everything existing in the universe. So is it in the case of the craft.

Craft has a unique entity, a distinctive look and its own exclusive technique. But design is the one which adds to its exclusivity. Two craftsmen doing the same craft can be distinguished by quality of work or design. Quality of work can be attained by practice or by advancement in techniques or tools but without design it would be a failure.

I agree, design provides aesthetic appeal but it also provides functionality. An object of use or function is more desired than an object of decoration or art. A craft will be preferred as an object of art but till an extent, if functionality is added to it will be preferred more.

Design as enhancement is just one aspect, design can even revive an extinct craft. Design not only has the capability to attract consumers but it can also provide an entirely different aspect to a craft. It can apply the craft in a field never thought of or may be make it more desirable than its existing form.

A new design can even bring in simpler techniques to do the same craft and thus, save time. Design always has an upper hold in the future of craft. Therefore, I will like to conclude saying that design plays a major role in the future of craft.

Designers can guide - Richa Agarwal

AS we all know India is a land rich and well known for its crafts. But today we can find people only appreciating the crafts but hardly do we find people shelling out money or rather shelling out large amount of money for a piece of craft. We will go to a Levis store and without hesitation pay the print rate on the tag without even making an effort to bargain but when it comes to buying a piece of craft from a roadside vendor we indulge into bargaining like hell and either buy it for a lesser price or if the seller does not agree we do not buy it at all.

This kind of discrimination and many other factors have made the craftsmen run out of money. Which in turn leads their successors to not follow the craft and leads the craft to a process of extinction. This situation call for a wake up alarm in the society to help the craft. So what can we as designers do in saving and promoting our very own crafts?

I think that today the market not just has consumers but fashion consumers. These people want to remain in tune with the times so they cannot continue to buy a zardozi saree for lifelong they will but it for 1,2,3 say maximum 5 years thereafter they will buy it but in a different form, as a different product or the same product (saree) but a different look.

As a designer we understand the trends, the latest technology and we can use this knowledge for the craft to give it the desired and deserved demand and appreciation.

Lets take an example of the Sindura ( Sindoor container made of lacquered wood in Varanasi) people buy it during marriages due to cultural reasons but how do you make people buy it In the non marriage season. This is where designers come in to rescue, we can make the sindura into a piece of decorative article or a multipurpose product which people would prefer to buy anytime and every time.

Also designers understand the trends so they can guide craftsmen to use specific colors, specific forms and motifs in a particular season. They can also guide people to use alternative materials to make the product better as per the demands of present day consumer and also sometimes help in bringing down the cost of the product. In Some places designers can use their technical know how by suggesting them specific machines that can help in saving time, faster production and reducing cost.

Designers can also sell some craftsperson’s pieces under their own individual brands, showrooms or collaborate with other brands and showrooms to sell their pieces so the craftsmen can generate more money and a larger audience and clientèle for their craft.

So the need of the hour is that if want our crafts to live and stay longer we need to convert each piece into such a wonderful piece of design which has a mass-appeal and as well has a mass-approach so that everyone is aware of its presence, everyone wants it and every one can have it.

So in the end I would like to say that I feel that with the designer’s around our crafts have a very bright future provided the designer’s are ready to take responsibility of their upliftment and recognition and are determined to work towards it with full devotion.

Craftsmen. (by designer) - Robin Makwana

Craft in India is existing long back, we just have a clue how it started and flourished. But the reason it is linked with the history, it is a part of us. Now the relation of the craft with the real world is very technical.

Now if we observe the process used by them is related to the one which we use now. Because it the parental process which has lead us to this stage. But the case is the some process has changed according to the situation. The process which we use now is very machine oriented, and investment in machine is different from that in human and craftsmen. People now a days prefer things which are easily available and they have an opportunity to make a choice from. So the level of satisfaction is higher then that of the product which is single and only available in the market.

I think that is the reason which makes this crafts rare. Now if in case we start replicating the product of the craft with the help of the modern process then the feel and the content of the craft will be lost, so it has to be excepted the way it. Now another case is making the craftsperson to use the latest technology will also disturb them, but this comes in consideration when there is a level of acceptances which is not their. I think that they are little rigid in what they do.

And another thing which I have observed in these crafts is that, there are very little things that you can do with it maintaining the level of work and its content, the moment you try something different from the process then it is very difficult to relate it with the craft, it is something else.

It is because of some people, community or government that this crafts are still existing or else I think they would have vanished.

Designer. (to craftsmen)
As a designer what I can do is make their place of working more favourable so that they can work for longer time and with more energy.

Another thing which I do, use some pictures to show them which are mounted at some places in their environment were they can see them easily and also which they like. This pictures will be having the content of the thing which I want to reflect in their work, then we can definitely get some effective result.

As a designer I would like to do minor changes in their tools which does not make them feel that it is new to them, but their regular one. The changes can be the ergonomics of the tools and some material.

Design is the bridge - Disha Bansal

A craft is a specialization of a particular area where the people of that area excel in that craft. The craft most of the times is the only source of income for the craftpersons as this is the only thing which they have learnt from childhood. So it is the only knowledge they have.

Design plays a very important role in the future of craft. With the help of design, many problems of the craft and the craftpersons can be solved. Although the craft persons know their craft very well but their exposure to the outer world is quite less. So they are not equipped with the latest trends and demands. As designers, we can introduce new designs in the existing craft so that there is an amalgamation of the existing tradition with new innovation.

Each new design brings a new concept with itself which is again drawn from a new inspiration. Most of the times the craft dies out because there is no newness in the craft left. The craftpersons keep on repeating the same thing again and again. Therefore design becomes crucial as it gives a new direction to the craft.

Design not only mean in a literal sense. It may be some kind of a design which solves a particular kind of problem and thus help the craft in the future. It may be using a new technique to create better products of that particular craft. The betterment of the craft would lead to betterment of the craftpersons and ultimately help in the upliftment of the country as through new designs and techniques, the craft would reach to more number of people.

Design is the bridge between the craft people and the designers. Both can work together to make the craft more popular so that the tradition is carried forward.

The role of Design in the Future of Craft - Vidhu Goyal

With the process of industrialization sweeping through the country, craft is struggling to find a place for itself. Craft products are being undermined by the mass produced goods. Moreover, to add to this trouble, genuine craft products are being replaced by cheaper and more attractive mass produced substitutes.

Today, the biggest threat to craft is the loss of livelihood for the craftsmen. Crafts which have been running in families since times immemorial are no more seen as a lucrative career by the younger generations. Craft persons are not given the right price for their products and we, designers are partly responsible for that. There are instances when we use their services in our work and don't give them their due, be it money or recognition and acknowledgement. It is extremely important that we credit them whenever we make use of their skills or craft directly or as inspirations.

Another important role lies in promoting and marketing the craft. Beyond doubt, a designer has a wider reach which can be used to promote craft and generate awareness and desirability.

The future of craft in India needs the teaching of craft and sensitization of craft issues at the school level. There needs to be more awareness not just about the craft but also about the larger issue of our country's heritage and cultural identity. This is because when a craft dies, it is not only the artisans and their business that dies but also an entire history, a legacy, a tradition, a knowledge that dies with it.

Craft seems to have a lot of learning and applications for design. So it would be mutually beneficial for design and craft to go ahead in the future hand in hand. Design would gain from the richness and simplicity of crafts while crafts would gain economic sustenance and viability from design.

Design has failed its very existence with its inability to unearth the wealth that lies in a craft, in a responsible way and feed it back into the mainstream. So it is high time that people from or related to the field of design wake up and take responsibility.

But here, there is one thing we need to be clear about. Are we trying to sustain the world of craft or of craftsmen? A lot of measures taken by organisations or individuals for saving the craft merely provide craftsmen access to new design and technology, thus endangering the craft even more. So before reaching out to others, designers have to let go off their own attachment and dependency on machines and see the incomparable beauty of hand skills.

It is important that design helps craft by introducing various other possibilities, in terms of techniques or designs so long as the very essence of the craft stays alive.

By maintaining their individualities as well as by learning from one another, I feel Design and Craft can have a great future together.

So lets all strive to keep the fire alive!

innovation in design

In the world of design, we cannot say that the designs we create are truely innovative. We have been learning and experiencing things since our childhood and everything remains in our memory consciously or subconsciously. It depends on us how we use this knowledge to create something new. Every design uses the same basic elements; so as designers, we need to amalgamate these elements to create which has not been done before.

But plagiarism is not what should be done. If as designers, we continue to copy someone else’s design, then there would be no meaning left in the design field and this would slowly kill the creativity from the society. So taking inspiration from someone is acceptable but simply using the existing designs should be avoided.

India back into action, Crafts have a bright future

India is a country rich in crafts; every part of the country has a different culture and a different craft. Some of the crafts here are as old as 500 years. In spite of the fact that these crafts are very rare, special and are practiced only in India, the awareness about them is very less.
We being design students, have an inclination towards knowing them but people from other profession may not even have knowledge about it. If they see a specific piece and like it then they may buy it but they do not have the willingness to learn about the craft or the history of the craft.
Each craft is unique in its own way. Each has a distinct origin, procedure, motifs and products. The craftsmen continue with the same craft year after year as their tradition and are proud of it even if it does not fetch them a good price. They are happy to get appreciation only. When we went to Kutch to study crafts, the crafts men were so humble to us. They told us the whole procedure without hiding any thing also they demonstrated it to us, wasting their precious time. In that time hey could produce products that help them sustain their lives. But they were happy for the fact that we came all the way from the city to their village to learn the craft. It made them proud of themselves.
They are the masters of their craft. No machine or technology can be compared with them. Their experience surpasses any machine or technology. Their selection of motifs, colour sense, material sense and perfection in work is incomparable. Also the tools that they use are made by them, they are even better than the tools available in the market.

I believe that the designers have an important role to play in the future of the Indian crafts. We are the ones who understand them and have seen them working so we know their strengths, weaknesses, problems and the resources. So using this information, we can help them in designing new & contemporary products, which will appeal more to the masses and thus can sell more and become more popular. Even a little alteration in the motifs can help to generate very new and fresh motifs.
Also as designers we can promote the Indian Crafts by using them ourselves. Thereby providing them with a brand to reach to larger masses. This can promote as well as sell their products more.
This is the right time when even the west has realized the potential of India, may it be in culture or in crafts. Thus we must take an initiative to promote the crafts. I believe that the crafts have a bright future since India is realizing its power and going back to its values. If we spread the awareness about the crafts, they still have a long way to go and to make India proud. The problem that might come in its way is that the rare crafts are being practiced only by a very few families and in some cases by only one family. In this situation the government should take initiative to involve more people in the crafts. Most of the crafts have a long and tedious process so the younger generation is not taking interest in it. This is a threat to the crafts so to control the situation, government should give handsome incentives, recognition and rewards to the craftsmen so that this acts as a driving force and enhance their morale and the new generation also takes interest in their traditional craft. The craftsmen are simple people of the villages. They are poor people but are contended, they are not at all ambitious like us. So only moral and values can explain them and not money. But of course money can be lucrative and might attract them.
Thus work has to be done and in hand by the government, designers, NGO's and the craftsmen.

craft exhibition

yesterday i went to craft fab at karnavati club, i got to see various crafts from all over the country. focus is on textile, but i must say its a must watch. they are promoting and selling their stuff really well. The pieces are exclusive, infact i bought several pieces of kantha work and pachmina.so if anyone wants to know more about it, one must go there.

Trends and Other things

Posted on behalf of Kavita Dutta

In the class we had a long discussion regarding, do we set the trend or a single famous person uses a new thing and it sets the trend. Or may be a group of people forecasts the upcoming trend and the designers help to set those trends by designing things according to the trend.

I pondered over this issue but could not really come to any rigid conclusion. A possible chain of event may be:

Designing for a Famous Personality

It is liked by masses

They use it

Trend is set

So as a designer why should we follow the trend forecast set by agencies and try and make that successful. On the contrary we should try and set own trends. Thus this is the need of the hour. Only then we can set trends and not follow it.

Also if we talk of ethics, this method can help in reducing copying. If we follow a trend, we tend to take references from the ready made material but if we are producing an altogether new product then we would not need to take any reference. The form has to be new.

Regarding open source, we become biased and we tend to do things as per our requirements. We do not think even once if the information should be for free or not. We only care for our own interest but this should not be the case. Strict rules must be imposed against copying and with time we can become more ethical and disciplined in the design profession.

A matter of CHOICE

I feel that no creation is ever completely independent of the surroundings and related designs. Subconsciously, we are influenced by so many things everyday and we tend to incorporate them in our work without even realising it. So, to some extent, similarities and resemblances become unavoidable.

But, as far as copying somebody else’s work is concerned, it might seem like a great ‘success formula’ but I don’t think that’s what design is about. It is important to be true to yourself and your work and not subscribe to these malpractices.

I think we are the future of the industry and the choices we make today can definitely make a difference!

Copyright v/s Open source

Its true that sharing the information and knowledge openly help us grow on a better pace but being a designer, I and infact most of us would never do it because our designs provide us our living. And in todays context where people can stoop to any level for competition it has become all the more important to safeguard our original ideas and to get the credit of our work which we rightly deserve.

Plagiarism - deterioration of innovation or need for survival

We could all the time debate on this issue, at some point of time you tend to incline towards the successful designs to assure your success,and at times you crave to be original and be accepted. I think it's all about your own determination as in what you are looking at/for, after all nothing comes free, and one has to compromise.

Management creeps in as we go higher in designing!

As per the discussion in the previous class, we laid emphasis on being the real designers and not mix it with the management in the industries. Regarding this I wanted to say that, be it in industry or be it one's own brand, at some level of time, you have to go into management. Higher posts or higher populartity brings higher responsibility and therefore managing things become important. This does not mean that you are no more a real designer!!

NIFTg Colloquium 7 - The Class

Team - Adornment as Message
Standing from left: Sudeepta, Tenzin, Anika, Suchira, Richa
Seated from left: Priyanka K, Sanghmitra, Samiksha, Maneet


Team - Adornment as Celebration
Standing from left: Saumya, Kavita, Robin, Vivek, Kratika
Seated from left: Ruchira, Soukata, Swaneet, Mauli

Team - Adornment as Need
Standing from left: Ishita, Arti, Priya, Nidhi, Himani, Vidhu, Apurva
Seated from left: Nitika, Disha, Ashwanthy, Vershali

Images from our course last semester- Independent Studies, where we worked on the theme of Adornment. For the first part of the course each of these teams looked at the theme from these three different windows. Through a process of brainstorming, categorizing, structuring and mapping we built a fairly rich understanding of many facets of adornment - in people, traditions, festivals, in buildings, in homes, on animals, on parts of the body, in plants and nature and so on.
Later each one took up one aspect from this valuable resource of ideas for research and documentation.
This semester we will be working on the Colloquium paper, which is an opportunity for each student to reflect on their experiences and articulate their thoughts on their own discipline of design, the practice of it, the process of education, design thinking, design processes, the business of design or any other concerns or ideas they would like to explore.