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Textile Studies & Surface Techniques II

B.Voc Fashion Design Semester- IV

Vishvakarma Skills University, Jaipur
Textile Studies & Surface Techniques II
Units Course Contents No.
of
hours
Unit I Yarn to Fabric constructions process 15
• Woven Fabric Different weaves and their characteristics
• Knitted Fabrics Single jersey, double jersey, interlock, and rib.
• Identify non-woven fabrics Felt and other nonwoven fabrics.
• Introduction to various decorative fabrics like Lace, netting, braiding and
embroidery Fabrics.

Unit II Material Identity and fabric finishes 10

• Fabric Identity- Burn test (various fiber-based fabrics)
• Fabric Construction- GSM and EPI-PPI of standard fabrics Voile, Cambric,
Poplin, Sheeting, Drill.
• Finishes for consumer - Aesthetic and Functional Finishing

Unit III Yarn Craft and Fabric Manipulation 25

• Macramé– overview of macramé Tools and materials Basic knots.
Estimation of the material, 2D and 3D.
• knitting - Cast on and cast off, Knit and Purl, Making swatches of basic
knitting.
• Creative Weaving – Making samples (frame weaving) using various
materials and weaves for creative weaving.
• Overview of fabric manipulation- Basic sample of Applique’, patch work,
quilting and sewing techniques. 2D and 3D exploration according to the
theme of Design project

Unit IV Introduction to Traditional Textiles Craft of India 40

• Weaving Crafts-Overview of the craft
Brocade Banaras, Baluchar, Paithan, Jamdani, Patola, Ikat, Pochampalli,
Sambalpuri, Chanderi Traditional
(Select anyone weaving craft and make small presentation)

• Embroideries Crafts- Kutch and Rajasthan embroidery, Phulkari, Kasuti,

Kashmiri Embroidery, Chikankari, Kantha, ChambaRumal
(Select any one embroidery craft and explore stitches of the same and
make a sample)

• Traditional Dyeing and printing and Painting Crafts–Block printing of

various state (Gujrat & Rajasthan block printing is mendatory), Bandhani
(Rajasthan & Gujrat) Other textile craft Madhubani, Kalamkari, Warli,
Patchitra Painting
(Select anyone dyeing and painting craft and explore the same and make
sample of each craft)
UNIT: I
Textile Studies and Surface Techniques II
Yarn to Fabric Construction Process

WOVEN FABRICS

Woven fabrics are created by interlacing two sets of yarns — the warp (vertical) and the
weft (horizontal) — at right angles on a loom.

Types of Weaves and Their Characteristics

Type of
Structure Key Features Common Uses
Weave
Plain Over-under alternation of Strong, simple, least Poplin, voile, muslin,
Weave warp and weft elasticity, reversible chiffon, cambric
Twill Diagonal pattern (e.g., 2/1, Durable, good drape, Denim, drill, serge,
Weave 3/1) hides stains well tweed
Long floats of yarn over
Satin Shiny surface, smooth Satin, charmeuse,
several yarns before
Weave texture, poor strength duchess
interlacing
Variation of plain weave
Basket Flexible, decorative,
using two or more yarns in a Monk’s cloth, oxford
Weave lower strength
group
Leno Warp yarns twisted around Open structure, firm, Netting, sheer
Weave weft yarns good for netting curtains

KNITTED FABRICS

Knitted fabrics are made by interlooping yarns using needles. These fabrics have
better elasticity, stretch, and comfort compared to woven fabrics.

Types of Knitted Fabrics

Type Structure Characteristics Common Uses

Single Knit formed on one side Stretchy in one direction, curls T-shirts, casual
Jersey only at edges, lightweight wear
Type Structure Characteristics Common Uses
Double Interlocking front and Stable, thicker than single Sportswear,
Jersey back loops jersey, no curling dresses
Smooth surface, soft,
Interlock Two rib knits joined Baby clothes,
stretchable, good dimensional
Knit together activewear
stability
Alternating knit and purl
Excellent elasticity, close- Cuffs, collars,
Rib Knit stitches in vertical
fitting, retains shape waistbands
columns

Introduction: From Yarn to Fabric

Fibers → Yarn Formation (Spinning) → Fabric Construction (Weaving / Knitting /

Nonwoven) → Finishing → Final Product

The journey from yarn to fabric is one of the most critical processes in the textile industry.
Fabric construction impacts the texture, strength, drape, breathability, elasticity,
durability, and aesthetic appeal of a textile product.Fabric construction is the process by
which yarns are transformed into fabric. It is a crucial step in textile production that
determines the appearance, performance, and application of the final material. There are
three main methods:

• Weaving (yarns interlaced)

• Knitting (yarns interlooped)
• Nonwoven techniques (fibers bonded without weaving or knitting)

Additionally, decorative fabrics are created with specialized techniques enhance the
beauty, richness, and functionality of garments and interiors. Decorative fabrics s to add
beauty and texture.

2. Woven Fabrics

How Woven Fabrics Are Made:

• Woven fabrics are produced on a loom by interlacing two distinct sets of yarns:
o Warp yarns (lengthwise)
o Weft yarns (crosswise)

The way these yarns interlace creates different weaves, each with unique texture,
appearance, strength, and application.
Basic Types of Weaves and Their Characteristics:

Weave
Construction Characteristics Examples
Type
Plain Each weft yarn passes over one Simple, strong, Muslin, Chiffon,
Weave warp yarn and under the next durable, balanced Poplin
Weft yarn passes over one or more Denim,
Twill Durable, drapes well,
warp yarns and under two or more, Gabardine,
Weave shows less dirt
creating a diagonal pattern Tweed
Yarns float over several yarns
Satin Smooth, lustrous Satin,
before interlacing, with fewer
Weave surface, less durable Charmeuse
intersections
Basket Variation of plain weave with two or Flexible, textured Oxford cloth,
Weave more yarns woven together as one surface, loose weave Monk’s cloth
Leno Warp yarns twisted around weft Open, strong, Mosquito net,
Weave yarns lightweight Gauze
Brocade,
Jacquard Complex patterns woven directly Intricate, decorative,
Damask,
Weave into fabric using special looms often heavy
Tapestry
Key Points for Students:

• Plain weave: most basic.

Plain Weave Structure:

The simplest and most basic weave.
Each weft yarn passes over one warp and under the next, alternately in each row.
Examples: Muslin, cambric, voile, lawn, organza.
Visual Representation:
Plain Weave (over 1, under 1)
Warp: | | | | |
Weft: – – – – –Plain

Characteristics:

Feature Description
Surface Flat, smooth, even appearance
Strength Durable and firm
Drape Low – tends to be stiffer
Reversible Yes, both sides look the same
Weaving Cost Low – easy and economical to produce
Uses Shirts, bedsheets, summer dresses, curtains

Twill weave: strong, shows diagonal lines.

Twill Weave Structure:

The weft passes over one or more warp threads and then under two or more.
Each row shifts one warp yarn to the side, forming a diagonal line or wale.
Examples: Denim, gabardine, drill, serge.

Visual Representation:
Twill Weave (e.g., 2/1 twill = over 2, under 1)
↘↘↘↘↘ Diagonal line pattern

➤ Characteristics:

Feature Description
Surface Diagonal ridges, textured
Strength Very strong and resistant to wear
Drape Moderate to high – more flexible than plain weave
Reversible No – front and back look different
Weaving Cost Medium – more complex than plain weave
Uses Jeans, jackets, trousers, uniforms
Satin weave: glossy and smooth, but prone to snagging.
Satin Weave
➤ Structure:
The weft yarn floats over four or more warp yarns before going under one.
The pattern creates long floats on the surface.
Satin weave creates a shiny, smooth surface.
If warp yarns float – called satin weave.
If weft yarns float – called sateen weave.
Examples: Satin, charmeuse, duchess satin.

Visual Representation:
Satin Weave (e.g., 5-end satin = over 4, under 1)
OOOO U OOOO U...
(Floats visible)

➤ Characteristics:
Feature Description
Surface Smooth, glossy on one side
Strength Moderate – floats can snag easily
Drape Excellent – fluid and luxurious
Reversible No – back is dull

Weaving Cost High – complex weaving method

Uses Evening gowns, lingerie, upholstery

Feature Plain Weave Twill Weave Satin Weave

Appearance Flat, smooth Diagonal pattern Shiny, smooth

Drape Low Medium to high High

Reversibility Yes No No

Durability Strong Strongest Moderate (snags easily)

Common Uses Everyday wear Workwear, denim Luxury, evening wear

 Sample Exercises

Activity 1: Weave Sample Board

• Provide small swatches of plain, twill, satin, basket, and leno weaves.
• Students will create a labeled chart showing:
o Yarn direction
o Texture and feel
o Fabric use example

Activity 2: Knit Structure Identification

• Show students 4 knit samples.

• They must identify the knit type using texture, thickness, and stretch.
• Group discussion: Compare uses and stretch recovery.

A. Identify the Weave Type

Match the following fabrics with their likely weave type:

1. Denim – _____
2. Organza – _____
3. Satin gown – _____

B. Short Questions

1. Explain the structure of twill weave.

2. What makes satin weave more lustrous than others?

Probable Exam Questions

Short Answer:

• Define plain weave and list two uses.

 • What is the difference between satin and sateen?

Long Answer:

• Compare plain, twill, and satin weaves with diagrams.

• Explain how the structure of satin weave affects fabric properties.

1. Knitted Fabrics

Knitted Fabrics

Introduction to Knitted Fabrics

Knitted fabrics are made by interlooping yarns together with needles, unlike weaving
which involves interlacing.

There are two major types:

• Weft knitting (yarn runs horizontally)

• Warp knitting (yarn runs vertically)
Characteristics of Knitted Fabrics

Feature Description
Stretchability Very stretchable (especially weft knit)
Comfort Soft, flexible, comfortable to wear
Appearance Loopy structure, visible rows of stitches
Drape Good drape, flows well
Wrinkle Resistance High – doesn’t crease easily
Warmth Holds heat well due to air pockets
Uses T-shirts, socks, sweaters, lingerie

Types of Knitted Fabrics

Fabric Description Common Products

Jersey Knit Smooth on one side, loops on the other T-shirts

Rib Knit Vertical ribs on both sides Sweaters, cuffs

Interlock Knit Double-knit, thicker and reversible Dresses, tops

Scarves
Purl Knit Loops look the same on both sides

How Knitted Fabrics Are Made:

• Created by interlooping yarns with needles.

• Two basic categories:
o Weft knitting (yarn runs horizontally)
o Warp knitting (yarn runs vertically)

Types of Basic Weft Knits:

Fabric
Structure Characteristics Common Uses
Type
Single One set of needles Lightweight, stretchy, curls at T-shirts,
Jersey forms loops on one side edges, soft dresses
Two sets of needles
Double Thicker, more stable, reversible, Sportswear,
form loops on both
Jersey less stretch dresses
sides
Fabric
Structure Characteristics Common Uses
Type
Alternating knit and purl Cuffs,
Very elastic, doesn’t curl, good
Rib Knit stitches across the waistbands,
for edges
width collars
Two rows of needles Smooth surface on both sides,
Interlock Polo shirts,
produce tightly thicker, firm, good dimensional
Knit leggings
interlocked loops stability

Important for Students:

• Single jersey curls at the edges, while rib knits and interlock resist curling.
• Double jersey is used for garments that require structure.

Non-Woven Fabrics
Introduction to Non-Woven Fabrics

Non-woven fabrics are made directly from fibers bonded together by mechanical,
heat, or chemical methods — no weaving or knitting is involved!

Characteristics of Non-Woven Fabrics

Feature Description
Texture Can be soft or stiff
Strength Varies – disposable or durable
Breathability Often breathable
Eco-Friendliness Many non-wovens are recyclable
Uses Surgical masks, shopping bags, interfacing in garments

Types of Non-Woven Fabrics

Fabric Type Bonding Method Example Products

Spun bond Heat bonding Shopping bags
Needle-punched Mechanical bonding (needles) Carpets
Fabric Type Bonding Method Example Products
Chemical-bonded Chemical adhesives Disposable wipes

Nonwoven Fabrics

What Are Nonwoven Fabrics

• Made directly from fibers, not yarns.

• Fibers are bonded together through heat, chemicals, or mechanical processes
(e.g., needle-punching).

Types of Nonwoven Fabrics:

Fabric Description Examples/Uses

Flat, durable nonwoven fabric, used for
Nonwoven felt Conveyor belts, filter cloths
filtration, conveyance systems
Other Fibers bonded together for specific Surgical gowns, wet wipes,
Nonwovens performance geotextiles, felt

Important Note:

• Nonwovens are lightweight, often disposable, but can also be made durable for
industrial uses.

Key takeaway for students:

The way a fabric is constructed—from simple plain weaves to intricate jacquards, from
light single jerseys to sturdy interlocks—directly influences the beauty, drape, durability,
and comfort of your designs.

Decorative Fabrics

Decorative fabrics are textiles that are specially designed and treated to enhance the
visual appeal and aesthetic value of garments, accessories, and home décor. They
often have ornamental designs, textures, or embellishments created using specific
techniques such as weaving, embroidery, knotting, or looping. Decorative fabrics are
specifically designed to enhance the aesthetic appeal. They are often used in home
décor, accessories, and luxury garments.

1. Lace
Introduction:
Lace is a delicate decorative fabric made by looping, twisting, or knotting threads to
create intricate openwork designs. It is often made from cotton, silk, or synthetic fibers.

Types of Lace:

• Needle Lace: Made using a needle and thread; very intricate (e.g., Alençon
lace).
• Bobbin Lace: Made using bobbins and a pillow; traditional and complex.
• Machine-Made Lace: Mass-produced lace used in modern garments.
• Crochet Lace: Handmade with crochet hooks, used in home décor and
accessories.
• Chemical Lace (Guipure): Created by embroidering on a base that is later
dissolved.

Uses:

• Bridal wear
• Evening gowns
• Lingerie
• Curtains and doilies

Characteristics:

• Lightweight
• Transparent
• Delicate and ornamental

2. Netting

Introduction:
Netting is a type of open mesh fabric made by knotting or looping yarns at intersections.
It may be soft or stiff and is used both functionally and decoratively.

Types of Netting:

• Tulle: A fine net used in veils and gowns.

• Fishnet: Large open-weave net used in fashion and costumes.
• Hex Net: A six-sided mesh commonly used in petticoats.
• Power Net: Stretchable netting used in shapewear and innerwear.
Uses:

• Undergarments (petticoats, crinolines)

• Bridal veils
• Sportswear
• Embellishments in designer garments

Characteristics:

• Lightweight and breathable

• Can be soft or stiff
• Allows for layering without adding bulk

3. Braiding

Introduction:
Braiding is the process of interlacing three or more strands of yarn or fabric to form a
narrow, flexible band. Braided fabrics are used as trims, cords, or structural design
elements.

Types of Braids:

• Flat Braid: Used as trims on garments.

• Round Braid: Used as cords, shoe laces.
• Elastic Braid: Used in waistbands and cuffs.
• Decorative Metallic Braids: Used in uniforms, ceremonial costumes.

Uses:

• Garment embellishments
• Drawstrings
• Waistbands
• Tassels and curtain ties

Characteristics:

• Strong and durable

• Decorative and textural
 • Can be made with cotton, silk, wool, synthetic, or metallic yarns

4. Embroidery Fabrics

Introduction:
Embroidery is the art of decorating fabric with needle and thread or yarn. Embroidery
fabrics are either embroidered manually or by machine and feature decorative motifs,
textures, and symbols.

Types of Embroidery Techniques:

• Hand Embroidery: Includes stitches like chain, satin, and French knots.
• Machine Embroidery: Digitally created motifs for mass production.
• Regional Embroidery Styles in India:
o Phulkari (Punjab)
o Chikankari (Lucknow)
o Kantha (Bengal)
o Kashmiri (Kashmir)
o Mirror Work (Gujarat, Rajasthan)

Uses:

• Ethnic and contemporary garments

• Wall hangings
• Cushions and home décor
• Accessories (bags, stoles)

Characteristics:

• Rich in cultural significance

• Offers tactile texture and surface interest
• Can range from subtle to highly ornate

Introduction to Decorative Fabrics

Types of Decorative Fabrics

 Type Description Examples
Brocade Rich fabric with raised designs, often metallic Wedding outfits
Velvet Soft, plush surface Jackets, evening gowns
Lace Openwork fabric made by looping, twisting Dresses, tablecloths
Jacquard Complex patterns woven into fabric Upholstery, curtains

Characteristics of Decorative Fabrics

Feature Description
Appearance Rich, intricate, and eye-catching
Maintenance Often delicate – requires careful handling
Weight Can be heavy (like brocade) or light (like lace)
Cost Generally more expensive due to detailed work
Uses Luxury garments, drapes, upholstery, bridal wear

Decorative Fabrics

Decorative fabrics enhance visual appeal and add ornamental value.

Fabric Type How Made Characteristics Examples

Openwork fabric made by
Delicate, decorative,
Lace looping, twisting, or knotting Bridal wear, trims
lightweight
threads
Fabric with open spaces Lightweight, airy, used
Netting Veils, tutus
between yarns for structure
Interlacing three or more Strong, decorative, Shoelaces,
Braiding
yarns diagonally used for trims decorative trims
Embroidery Base fabrics with stitched Rich surface Kurtis, designer
Fabrics designs decoration, textured saris, upholstery

Special Note:

• Lace can be machine or handmade.

 • Embroidery adds three-dimensional beauty and is both hand and machine made
today.

Understanding the construction methods from yarn to fabric is fundamental for a

fashion designer. It enables better selection of fabrics according to garment design,
function, aesthetics, and performance.

Decorative fabrics play a vital role in elevating the appeal of fashion and interiors.
Whether used as trims, surface embellishments, or structural components, they allow
designers to infuse creativity, texture, and identity into their creations. Understanding
their types, applications, and unique properties helps fashion design students make
informed and innovative design choices.
Sample Student Exercise:

1. Identify the decorative fabric used in the following garments (use sample
photos or swatches):

• Wedding veil
• Kurta with Chikankari
• Evening gown with lace sleeve
• Saree with mirror work border

2. Practical Activity:

• Create a mood board using cuttings or digital images showcasing use of lace,
netting, embroidery, and braiding in fashion.

Probable Questions for University Exam:

1. What are decorative fabrics? Explain the characteristics and uses of lace.
2. Differentiate between netting and lace fabrics with suitable examples.
3. Write short notes on:
o Braiding
o Tulle Net
o Embroidery fabrics
4. Discuss the importance of decorative fabrics in fashion design.
5. Explain the traditional Indian embroidery styles and their regional significance.

Student Activity Class

Lace and Netting

1. Fabric Swatch Analysis (Group Activity)

Objective: Understand the differences in structure, texture, and application between
lace and netting.
Materials Needed: Swatches of needle lace, crochet lace, machine-made lace, tulle
net, power net, and fishnet.

Instructions:

• Divide students into small groups.

• Each group receives labeled and unlabeled fabric swatches.
• Tasks:
o Identify and label the swatches.
o Describe the texture, transparency, and stretch.
o Suggest appropriate fashion uses for each type.
• Groups present their observations to the class.

Learning Outcome: Students will recognize and differentiate lace and netting types
based on texture, structure, and use.

2. Lace & Net Fashion Collage

Objective: Explore fashion applications of lace and netting across history and
contemporary design.
Materials: Magazines, scissors, glue, A3 sheets, internet access (if digital), mood board
templates.

Instructions:

• Each student or pair creates a collage featuring garments or accessories made

with lace and/or netting.
• Include labels: type of fabric, probable category (bridal, lingerie, streetwear, etc.),
and year/designer if known.
• Present the board and explain the use of fabric in terms of aesthetics and
function.

Learning Outcome: Students analyze design choices and understand contemporary

applications of decorative fabrics.

3. Hands-on Fabric Drape & Layering Exercise

Objective: Experiment with how lace and netting interact with other fabrics in fashion.
Instructions:

• Students take basic fabric pieces like cotton, silk, and velvet and overlay lace/net
samples.
• Observe and record how the look and feel change.
• Sketch a garment idea using layered combinations.

Learning Outcome: Understand layering principles and the visual effects of

transparency and texture.

4. Creative Embellishment Design Challenge

Objective: Design an original garment or accessory using lace and netting.

Instructions:

• Students select one base fabric and two types of decorative fabrics (at least one
must be lace or net).
• Draw a fashion sketch of a product (e.g., dress, blouse, stole, or handbag).
• Annotate with placement, purpose (aesthetic or functional), and fabric choice.

Optional: Add real swatches or create a small stitched sample.

Learning Outcome: Application of knowledge to real-world design with a focus on

material selection.

5. Mini Presentation: History & Cultural Use

Objective: Learn about the evolution and cultural relevance of lace or netting.

Instructions:

• Assign each student/pair a lace or netting style (e.g., Alençon, Chantilly, crochet
lace, Tulle, etc.).
• Research history, regional significance, and current applications.
• Prepare a short presentation with visuals or physical samples.

Learning Outcome: Develop research and presentation skills while understanding

heritage crafts.

6. Sensory Chart Exercise

Objective: Build a sensory vocabulary to describe lace and netting fabrics.

Instructions:
 • Students handle a variety of samples and complete a table:

Fabric Type Feel Look Stretch Weight Suggested Use

Tulle Soft Sheer Low Light Bridal veil

Guipure Lace Rough Dense None Medium Borders

Learning Outcome: Develop a textile vocabulary and fabric evaluation skills.

 Sample Exercises

Match the following:

Fabric Type Product

Jersey Knit ________

Spunbond Nonwoven ________

Brocade ________

B. Fill in the Blanks:

1. Non-woven fabrics are made without __________ or __________.

2. Velvet fabric has a __________ surface.

Probable Exam Questions

Short Answer:

• Define knitted fabric and list two properties.

• What is a non-woven fabric? Give one example.
• What are decorative fabrics? Give two examples.

Long Answer:

• Explain the differences between knitted, woven, and non-woven fabrics with
examples.
• Describe three types of decorative fabrics with their uses.
 UNIT II – NATURAL AND SYNTHETIC FIBRES

Introduction to Textile Fibres

A fibre is a fine, hair-like strand that can be spun into yarn and woven or knitted to
make fabrics.

Fibres are broadly classified into:

• Natural Fibres – obtained from plants or animals

• Synthetic Fibres – made by chemical processes in factories

Natural Fibres
A. Plant-Based (Cellulose) Fibres

Fibre Source Properties Common Uses

Cotton plant (seed Soft, breathable, absorbent, wrinkles
Cotton Shirts, bedsheets
hair) easily
Trousers,
Linen Flax plant (stem) Strong, crisp texture, smooth, cool
tablecloths
Coir Coconut husk Coarse, stiff, durable Mats, brushes
Jute Jute plant stem Rough, shiny, biodegradable Gunny bags, rugs

B. Animal-Based (Protein) Fibres

Fibre Source Properties Common Uses

Wool Sheep fleece Warm, elastic, insulating Sweaters, coats
Silk Silkworm cocoon Shiny, smooth, strong, expensive Sarees, scarves
Synthetic Fibres
These are man-made fibres created by chemicals, usually from petroleum-based
products.

Fibre Made From Properties Common Uses

Strong, stretchy, resistant to Sportswear,
Nylon Petrochemicals
wear ropes
Durable, wrinkle-resistant,
Polyester Petrochemicals Dresses, shirts
quick-drying
Lightweight, wool-like, fades Blankets,
Acrylic Petrochemicals
easily sweaters
Rayon (Semi- Wood pulp +
Soft, absorbent, silky feel Dresses, linings
synthetic) chemicals

Note: Rayon is a semi-synthetic fibre – it’s made from natural cellulose but processed
with chemicals.

Comparison of Natural vs Synthetic Fibres

Feature Natural Fibres Synthetic Fibres
Source Plants/Animals Chemical-based
Feel Soft, breathable Smooth, sometimes less breathable
Absorbency High Low
Cost Generally higher Generally cheaper
Environmental Non-biodegradable (except newer eco-
Biodegradable
Impact polyesters)
Cotton, wool,
Examples Nylon, polyester, acrylic
silk

Identification of Fibres (Burn Test Overview)

Fibre Flame Reaction Smell Ash/Residue
Cotton Burns quickly Paper-like smell Fine grey ash
Wool Burns slowly Burning hair Crispy, black bead
Silk Shrinks from flame Burning hair Black ash
Polyester Melts & burns Sweet chemical smell Hard bead
Nylon Melts before burning Celery/plastic smell Hard, round bead

Fabric Construction Parameters: GSM, EPI, PPI

GSM (Grams per Square Meter)

GSM indicates the weight of fabric per square meter and is used to assess fabric
thickness and durability.

EPI (Ends per Inch)

This refers to the number of warp threads per inch in woven fabric. Higher EPI = finer
fabric.

PPI (Picks per Inch)

This refers to the number of weft threads per inch. Like EPI, higher PPI = denser weave.

Standard Fabric Construction Details:

EPI PPI
Fabric GSM Range Characteristics
(approx) (approx)
Voile 60–90 GSM 80–100 70–90 Lightweight, sheer, soft
Cambric 80–100 GSM 100–120 80–100 Fine, closely woven, crisp
100–130
Poplin 110–130 80–100 Smooth, strong ribbed surface
GSM
120–180 Medium to heavy, soft, used for
Sheeting 60–100 50–90
GSM bedding
200–300 Durable, strong diagonal weave
Drill 70–100 50–80
GSM (twill)

2. Fabric Finishes
Aesthetic Finishes (Improve appearance or texture)

1. Calendaring – Pressing fabric between rollers to create a smooth, glossy

surface (used in cottons and synthetics).
2. Mercerization – Treatment with caustic soda (NaOH) to increase luster,
strength, and dye affinity in cotton.
3. Singeing – Burning off surface fuzz to give the fabric a clean, smooth
appearance.
4. Napping – Raising fiber ends to produce a soft, fuzzy surface (used in flannel).
5. Embossing – Pressing patterns or textures into the fabric using engraved rollers.
6. Schreinering – A high-pressure calendaring process for silk-like luster on
cottons.

Functional Finishes (Improve performance or utility)

1. Water Repellent/Waterproof Finish

o Applied using waxes, silicones, or fluorochemicals.
o E.g., raincoats, umbrellas.
2. Flame Retardant Finish
o Chemical treatments that resist combustion.
o Used in curtains, children's nightwear.
3. Anti-Microbial Finish
o Prevents bacterial growth, used in hospital linens and sportswear.
4. Anti-Static Finish
o Reduces static build-up, especially in synthetic fibers.
5. Wrinkle-Resistant (Easy-Care)
o Prevents creasing. Often used in office wear, school uniforms.
6. Soil Release Finish
o Helps remove stains during washing. Applied to uniforms and casual
wear.
7. UV Protection Finish
o Blocks harmful ultraviolet rays. Used in outdoor clothing.
8. Moth-Proofing
o Applied to woolen fabrics to protect from insect damage.
 Sample Exercises
A. Fill in the Blanks:

1. ________ is a natural fibre obtained from the flax plant.

2. ________ is a synthetic fibre known for its wrinkle resistance.
3. Silk is made by ________.

B. Match the following:

Fibre Source
Wool ________
Rayon ________
Coir ________

C. True or False:

1. Polyester absorbs moisture easily.

2. Linen is stronger than cotton.
3. Acrylic is made from natural fibres.

Probable Exam Questions

Short Answer:

• Define natural and synthetic fibres with examples.

• What are the properties of silk and its uses?
• Differentiate between cotton and polyester.
• Mention any two plant-based fibres and their uses.

Long Answer:

• Compare natural and synthetic fibres in detail.

• Explain any four types of natural fibres and their characteristics.
• Write a detailed note on synthetic fibres and their advantages.
UNIT III

Yarn Making, Types of Yarns And Finishing Techniques

This unit explains how fibres are converted into yarns, what types of yarns exist, and
how finishing improves fabric quality.

Yarn Making (Spinning)

Yarn is a continuous length of interlocked fibres used for knitting, weaving, or sewing.

Steps in Yarn Making (Spinning Process)

1. Opening & Cleaning – Raw fibres (cotton/wool) are cleaned of dust and seeds.
2. Carding – Fibres are brushed and aligned into a thin web, then formed into a
sliver (a loose rope).
3. Combing (optional) – Removes short fibres for finer yarn.
4. Drawing – Slivers are stretched and blended for uniformity.
5. Roving – Sliver is twisted slightly into roving (soft strand).
6. Spinning – Final twist and stretch to form yarn of required thickness.

Types of Yarns
A. Based on Structure

Type Description Uses

Simple Yarn Even texture, single fibre (e.g., cotton yarn) General fabric
Ply Yarn Two or more yarns twisted together Durable fabrics
Cabled Yarn Ply yarns twisted together again Heavy fabrics (e.g., denim)

B. Based on Appearance

Type Description Uses

Textured Yarn Crimped or looped (synthetic) Stretchy clothing
Fancy/Novelty Yarn Irregular twist (bouclé, slub) Decorative fabric
C. Based on Fibre Composition

• Blended Yarn: Two fibres spun together (e.g., polyester-cotton)

• Mixture Yarn: Different fibres used in warp and weft

Fabric Finishing Techniques

After weaving/knitting, fabrics go through finishing to improve texture, performance, or
appearance.

A. Mechanical Finishes

Type Description
Calendaring Fabric passed between heated rollers – makes it smooth and glossy
Brushing Surface is brushed for softness
Sanforizing Pre-shrinks fabric to avoid shrinkage during use
Raising Produces fuzzy texture (like flannel)

B. Chemical Finishes

Type Description
Cotton is treated with caustic soda – improves luster,
Mercerization
dye uptake
Water Repellent Finish Makes fabric resist water
Flame Retardant Prevents fabric from catching fire easily
Anti-wrinkle/Crease
Helps fabric retain shape without ironing
Resistant
Sample Exercises
A. Fill in the Blanks:

1. __________ is the process of drawing and twisting fibres into yarn.

2. Ply yarn is made by twisting __________ together.
3. Mercerization makes cotton more __________.

B. Match the Following:

Finish Type Effect

Calendaring ________
Flame retardant ________
Raising ________

C. State True or False:

1. Simple yarns are used only for decoration.

2. Blended yarns combine two or more fibres.
3. Anti-wrinkle finishes help reduce ironing.

Probable Exam Questions

Short Answer:

• What is the difference between ply yarn and cabled yarn?

• Explain any two mechanical finishes.
• What is a fancy yarn? Give an example.

Long Answer:

• Explain the process of yarn making with a neat diagram.

• Compare mechanical and chemical finishing processes.
• Define blended yarn and mixture yarn with examples.
Fabric Construction Parameters: GSM, EPI, PPI
GSM (Grams per Square Meter)

GSM indicates the weight of fabric per square meter and is used to assess fabric
thickness and durability.

EPI (Ends per Inch)

This refers to the number of warp threads per inch in woven fabric. Higher EPI = finer
fabric.

PPI (Picks per Inch)

This refers to the number of weft threads per inch. Like EPI, higher PPI = denser weave.

Standard Fabric Construction Details:

EPI PPI
Fabric GSM Range Characteristics
(approx) (approx)
Voile 60–90 GSM 80–100 70–90 Lightweight, sheer, soft
Cambric 80–100 GSM 100–120 80–100 Fine, closely woven, crisp
100–130
Poplin 110–130 80–100 Smooth, strong ribbed surface
GSM
120–180 Medium to heavy, soft, used for
Sheeting 60–100 50–90
GSM bedding
200–300 Durable, strong diagonal weave
Drill 70–100 50–80
GSM (twill)

Fabric Finishes
Aesthetic Finishes (Improve appearance or texture)

1. Calendaring – Pressing fabric between rollers to create a smooth, glossy

surface (used in cottons and synthetics).
 2. Mercerization – Treatment with caustic soda (NaOH) to increase luster,
strength, and dye affinity in cotton.
3. Singeing – Burning off surface fuzz to give the fabric a clean, smooth
appearance.

4. Napping – Raising fiber ends to produce a soft, fuzzy surface (used in flannel).
5. Embossing – Pressing patterns or textures into the fabric using engraved rollers.
6. Schreinering – A high-pressure calendaring process for silk-like luster on
cottons.

Functional Finishes (Improve performance or utility)

1. Water Repellent/Waterproof Finish

o Applied using waxes, silicones, or fluorochemicals.
o E.g., raincoats, umbrellas.
2. Flame Retardant Finish
o Chemical treatments that resist combustion.
o Used in curtains, children's nightwear.
3. Anti-Microbial Finish
o Prevents bacterial growth, used in hospital linens and sportswear.
4. Anti-Static Finish
o Reduces static build-up, especially in synthetic fibers.
5. Wrinkle-Resistant (Easy-Care)
o Prevents creasing. Often used in office wear, school uniforms.
6. Soil Release Finish
o Helps remove stains during washing. Applied to uniforms and casual
wear.
7. UV Protection Finish
o Blocks harmful ultraviolet rays. Used in outdoor clothing.
8. Moth-Proofing
o Applied to woolen fabrics to protect from insect damage.
 MACRAMÉ WORK
Macramé is a textile art form that involves knotting cords or strings into decorative
patterns. Unlike weaving or knitting, no tools are used other than hands and sometimes
pins and boards.

Tools & Materials

• Tools:
o Macramé board or clipboard
o Pins or T-pins (for securing work)
o Scissors
o Measuring tape or ruler
o Comb (for fraying)
• Materials:
o Cotton cord, jute, twine, wool, paracord
o Beads, wooden rings, dowels, metal rings
o Dye (for coloring cords)

Basic Macramé Knots (Illustrated in student book)

1. Lark’s Head Knot

2. Square Knot
3. Half Hitch Knot
4. Double Half Hitch
5. Spiral Knot
6. Clove Hitch

Estimation of Material

• Average 5x cord length to the final length of the macramé piece.

• For detailed 3D pieces (like baskets), 6–8x cord length is required.
• Example: For a 50cm plant hanger, use cords that are 2.5m long each.

2D and 3D Forms

• 2D Forms: Wall hangings, coasters, panels

• 3D Forms: Bags, plant hangers, lampshades, bracelets
Activities

• Create a mini wall hanging using 3 different knots.

• Practice converting a flat piece into a 3D form (e.g., turning a band into a
bracelet).

KNITTING (BASIC TECHNIQUES)

Knitting is the interlocking of yarn loops using needles. Common for garments,
accessories, and textured fabrics.

Tools & Materials

• Knitting needles (metal, bamboo, or plastic)

• Yarn (cotton, acrylic, wool)
• Stitch markers
• Yarn needle
• Scissors

Basic Techniques

1. Cast On – Starting a row

2. Knit Stitch (K) – Basic stitch forming the front
3. Purl Stitch (P) – Stitch forming the back
4. Cast Off (Bind Off) – Finishing the fabric

Types of Knitting Structures

• Single Jersey
• Double Jersey
• Rib
• Interlock

Activities

• Swatch making with 10x10 rows using knit and purl

• Practice cast on and cast off techniques
• Identify textures made from rib and interlock
CREATIVE WEAVING

Creative weaving involves experimental and freeform weaving techniques using diverse
materials to express textures, themes, or concepts.

Tools

• Frame loom or cardboard loom

• Weaving needle or shuttle
• Fork or beater for tightening weft
• Scissors
• Ruler

Materials

• Wool yarn, cotton thread, raffia, ribbon, leather strips, paper yarn
• Recycled fabric strips, metallic thread, natural elements (twigs, leaves)
• Feathers, beads, wire, straw

Basic Process

1. Warp the loom (vertical threads)

2. Insert weft materials (horizontal interlacing)
3. Use various techniques (plain weave, rya knots, soumak)
4. Experiment with texture, color, and direction

Sample Themes for Projects

• Nature-inspired: Use greens, raffia, leaves

• Urban texture: Metallic yarn, wires, denim strips
• Cultural motifs: Indian textiles, tribal patterns

Activities

• Create a 10x10 cm creative weave using 3 types of unconventional materials

• Write a reflection on the theme and tactile outcome
UNIT:IV

Introduction To Traditional Textiles Craft Of India

Weaving Crafts

1. Brocade (Banarasi Brocade) – Uttar Pradesh

Overview:
Brocade is a rich, decorative woven fabric often made in silk, with intricate patterns
created using zari (gold/silver threads). Banaras (Varanasi) is globally renowned for its
brocades, especially wedding saris.

Techniques:

• Extra weft technique

• Jacquard loom often used today
• Gold and silver threads woven into base fabrics

Motifs:

• Mughal-inspired patterns: paisleys, florals, bels, kalgas

• Jangla, Tanchoi, Cutwork, Tissue, and Butidar varieties

Usage: Bridal wear, ceremonial garments

2. Baluchar – West Bengal

Overview:
Woven in Murshidabad and Bishnupur, Baluchar saris are known for pictorial depictions
and court scenes.

Techniques:

• Supplementary weft weave

• Silk yarns dyed in vibrant colors
• Figurative and narrative pallus
Motifs:

• Nawabs, horses, carriages, musicians

Decline and Revival:

Baluchar weaving declined but has been revived through government and artisan
cooperatives.

3. Paithani – Maharashtra

Overview:
Paithani saris from Aurangabad use pure silk and zari with detailed peacock and floral
motifs, known for vibrant colors and luxurious finish.

Techniques:

• Tapestry technique (weft interlock)

• Handloom weaving with painstaking detail

Motifs:

• Peacock, lotus, parrots, vines

Signature Color Combinations:

Magenta with green, yellow with red

4. Jamdani – West Bengal (also practiced in Bangladesh)

Overview:
An ancient handwoven technique of Bengal, known for its sheer fabric and elaborate
motifs woven into muslin.

Techniques:

• Extra weft technique

• Cotton base, sometimes mixed with silk

Motifs:

• Geometric, floral, mango (kalkas), creepers (bel)

UNESCO recognition:
Intangible Cultural Heritage

5. Patola – Gujarat

Overview:
Double ikat woven silk sari from Patan. Extremely labor-intensive and symbol of high
status.

Techniques:

• Double ikat (both warp and weft dyed)

• Requires months of precision dyeing before weaving

Motifs:

• Elephants, flowers, parrots, dancers, geometric forms

Types:

• Rajkot Patola (single ikat)

• Patan Patola (double ikat)

6. Ikat – Odisha, Andhra Pradesh, Gujarat

Overview:
Ikat is a dyeing technique where yarns are resist-dyed before weaving, creating blurred-
edge motifs.

Techniques:

• Single Ikat (warp or weft)

• Double Ikat (both warp and weft)

Regions:

• Odisha: known for subtlety and earthy colors

• Andhra: bold patterns
 • Gujarat: geometric precision in Patola

Motifs:

• Temple, fish, conch, animals, birds

7. Pochampally – Telangana

Overview:
Pochampally is a single-ikat weaving craft using geometric patterns with vibrant contrast
colors.

Techniques:

• Single Ikat
• Cotton and silk blends
• Sizing and resist dyeing are essential processes

Motifs:

• Rhombus, flowers, checks

Usage: Sarees, dupattas, stoles

8. Sambalpuri – Odisha

Overview:
Famous for bandha (ikat) technique using tie-dye on both warp and weft before
weaving.

Techniques:

• Tie and dye Ikat on cotton and silk

• Uses organic dyes traditionally

Motifs:

• Shells, wheels, flowers

• Shankha (conch), chakra (wheel)

Cultural Significance:
Worn during traditional events and official ceremonies in Odisha
9. Chanderi – Madhya Pradesh

Overview:
Known for its lightweight and glossy texture, Chanderi fabrics are ideal for festive wear.

Techniques:

• Warp and weft interlace using cotton, silk or zari

• Fineness due to special cotton yarns

Motifs:

• Coins, peacocks, lotus, geometric patterns

Fabrics:
Chanderi silk, cotton-silk, and pure cotton

10. Traditional Weaving Across India (Overview)

India also boasts many other regional weaving styles, such as:

• Kanjeevaram (Tamil Nadu): Temple-inspired motifs in bold colors

• Mangalagiri (Andhra): Simple stripes and zari borders
• Ilkal (Karnataka): Red body with contrast pallu
• Bhagalpuri (Bihar): Known for raw tussar silk
• Panipat Weaves (Haryana): Durries and cotton textiles

Main Weaving Craft of Indian Tradition?

While each weaving tradition holds its own significance, Banarasi Brocade (Brocade
weaving) is widely considered the most iconic traditional weaving craft of India. It is
associated with royalty, weddings, and temple traditions, and showcases the fusion of
Mughal and Indian motifs through metallic threads and intricate handwork.
Suggested Classroom Activities
1. Craft Map Activity:
Draw a map of India and place small swatches or sketches of the textile
traditions on their respective regions.
2. Weave Identification Challenge:
Use images or samples and ask students to identify the type of weave and
region.
3. Motif Design Exercise:
Students design a new motif inspired by traditional motifs but suited for modern
fashion.
4. Guest Artisan Interaction:
Students To Interact With traditional weaver for live demonstration or recorded
interaction.

Probable Exam Questions

1. Explain the difference between single and double ikat with examples.
2. Describe the process of weaving a Banarasi brocade sari.
3. What are the main motifs used in Paithani saris?
4. Write a note on the significance of Jamdani weaving.
5. Compare Chanderi and Pochampalli weaving traditions.
6. Discuss the cultural and textile importance of Sambalpuri Ikat.
 Introduction to Traditional Embroidery Crafts of India

Embroidery is one of the most expressive and diverse textile crafts in India, showcasing
the country’s cultural richness. It involves decorating fabric using needle and thread,
often incorporating mirrors, beads, sequins, and various stitches. These regional styles
reflect local traditions, stories, and aesthetics, and are now widely used in haute
couture, contemporary fashion, and home décor.

1. Kutch Embroidery – Gujarat

Region: Kutch District, Gujarat

Technique:

• Use of vibrant silk threads on cotton fabric

• Mirror work (abhla bharat) is prominent
• Chain stitch, herringbone, square chain, double buttonhole, etc.

Motifs:
Peacocks, elephants, floral vines, geometric patterns

Special Features:

• Use of small mirrors and vivid colors

• Typically done by women of Rabari, Ahir, and Meghwal communities

Modern Use:
Used in jackets, bags, accessories, and fusion garments

2. Rajasthan Embroidery – Rajasthan

Types & Techniques:

• Mukaish Work (Lucknow): Metal wires hand-twisted into fabric

• Zari and Gota Patti Work: Gold or silver lace appliqué
• Appliqué and Patchwork: Bright cut-outs sewn on base fabric
• Mirror Work (Shisha): Mirrors sewn with decorative stitches
Motifs:
Sun, flowers, elephants, parrots, camels

Key Regions: Jaipur, Barmer, Jaisalmer

Use in Fashion:
Used in lehengas, dupattas, cholis, festive attire

3. Phulkari – Punjab

Meaning: “Flower work”

Fabric Base: Handspun cotton khaddar
Thread: Silk floss called pat

Technique:

• Darning stitch from the reverse side of the fabric

• Dense embroidery forms floral patterns

Types:

• Bagh: Entire surface covered

• Chope: Wedding shawl
• Sainchi: Narrative motifs (animals, scenes)

Colors: Bright oranges, reds, greens, magenta

Modern Adaptation:
Embellishment on denim, jackets, accessories, saree borders

5. Kashmiri Embroidery – Jammu & Kashmir

Types:

• Sozni: Needle embroidery using fine wool or silk

• Chain Stitch: Done with a hook (aari)
• Crewel Work: Thicker woolen threads on drapery and furnishings

Motifs:
Paisley (badam), chinar leaves, birds, floral bootis

Fabric Base: Wool, pashmina, silk

Significance:
Decorates shawls, pherans, tunics

6. Chikankari – Uttar Pradesh (Lucknow)

Origin: Mughal era, influenced by Persian craft

Technique:

• White thread embroidery on light fabrics

• Often uses shadow work and fine stitches

Stitches Used:
Backstitch, chain stitch, hemstitch, jaali (net), phanda (knots)

Fabric Base: Muslin, cotton, georgette, chiffon

Motifs:
Flowers, creepers, jaali, paisleys

Popular Uses:
Kurtas, sarees, dresses, home décor, bridal trousseaux

7. Kantha – West Bengal & Odisha

Technique:

• Running stitch embroidery on old sarees or dhotis

• Fabric is quilted into layers while stitching

Motifs:
Floral, animals, birds, geometric, village scenes

Special Feature:
Upcycling of old cloth—sustainable craft

Modern Application:
Used in quilts, jackets, bags, stoles, sarees

8. Chamba Rumal – Himachal Pradesh

Overview:
Embroidery done on square muslin or cotton handkerchiefs (rumal), once part of
wedding gifts
Technique:

• Double satin stitch

• Both sides of fabric show identical pattern (do-rukha work)

Motifs:
Mythological scenes, Krishna-Radha, deer, flora-fauna

Colors:
Soft tones; outline in black, fill in reds, greens, blues

Cultural Relevance:
Historically used in royal households and rituals

9.Kasuti Embroidery: A Traditional Craft of Karnataka

Introduction:
Kasuti (also spelled Kasuthi) is a traditional form of folk embroidery practiced in the
state of Karnataka, especially in regions like Dharwad, Hubli, and Bijapur. The name
“Kasuti” comes from the Kannada words Kai (hand) and Suti (cotton thread), indicating
handwork done with thread. This embroidery is highly intricate, geometrical, and is
traditionally done by counting the threads of the fabric.

Key Characteristics:

• Geometric Patterns: Designs are created without using tracing or stencil;

artisans count the threads on the fabric.
• Double Running Stitch Technique: The same design appears on both sides of
the fabric.
• Symmetry: Great emphasis on maintaining symmetry and alignment.
• Motifs Used:
o Gopuram (temple tower)
o Chariots
o Palanquins
o Lamps
o Elephants
o Lotus, Peacocks, and other birds
• Color Palette: Traditionally, colors like red, green, yellow, purple, and orange
are used.
• Thread: Cotton or silk threads used on cotton fabric; today sometimes synthetic
or metallic threads are used.
Types of Stitches Used in Kasuti:

1. Gavanthi (Double Running Stitch): For outlines and geometric motifs.

2. Murgi (Zig-Zag Stitch): Looks like stepped patterns.
3. Negi (Running Stitch): Simpler lines and border designs.
4. Menthi (Cross Stitch): Used to fill motifs or create small repetitive patterns.

Application in Fashion Design:

• Sarees (Ilkal, Khana)

• Blouses, Kurtis, and Dupattas
• Men’s wear like jackets
• Home décor: cushion covers, runners, curtains

Fashion designers have revived this craft for modern fashion sensibilities while
maintaining its ethnic roots.

Kasuti in Contemporary Design:

• Fusion Designs: Mixed with modern silhouettes.

• Digital Adaptation: Patterns adapted for print and machine embroidery.
• Sustainable Craftsmanship: Hand-embroidered Kasuti is promoted under slow
fashion.

Preservation Efforts:

• GI tag granted to Kasuti in Karnataka.

• Government and NGOs support training programs.
• Inclusion in fashion and design curriculums.

Classroom Activity:

• Activity: Trace a traditional Kasuti motif and replicate it using menthi stitch on a
6x6 inch cotton square.
• Learning Outcome: Understand thread-counting technique and traditional
symmetry.

Possible Exam Questions:

 1. Explain the historical significance of Kasuti embroidery.
2. Describe the major stitches used in Kasuti embroidery.
3. Discuss the motifs and color scheme of traditional Kasuti work.
4. How is Kasuti incorporated in contemporary fashion?

Significance in Fashion Design

• These embroidery traditions serve as endless sources of inspiration for fashion

design.
• Designers such as Sabyasachi, Abu Jani-Sandeep Khosla, and Anita Dongre
often use Chikankari, Phulkari, and Kutch embroidery in luxury wear.
• With sustainability and heritage revival trends, such crafts are gaining global
attention.

Suggested Class Activities

1. Embroidery Sampler Project:
Students create a sampler using 3–4 traditional embroidery techniques.
2. Stitch Exploration Worksheet:
Provide diagrams and threads for students to recreate basic stitches.
3. Cultural Mood Board:
Students research a region and present embroidery through visuals and fashion
references.
4. Craft Mapping:
Map of India showing embroidery forms and photos of garments using those
crafts.

Possible Exam Questions

1. Write a detailed note on Kutch embroidery with illustrations.
2. Compare and contrast Kantha and Chikankari embroidery.
3. Discuss the significance of Phulkari embroidery in Punjabi weddings.
4. Describe the technique and motifs of Chamba Rumal embroidery.
5. How is Kashmiri Sozni embroidery different from Crewel work?
 Traditional Dyeing, Printing & Painting Crafts of India

Understanding Regional Textile Surface Techniques

India is home to a wide variety of traditional textile crafts that reflect the cultural
diversity of its states. These crafts use natural dyes, hand block printing, resist
dyeing, and folk painting techniques. Below is an overview of some important dyeing,
printing, and painting crafts:

1. Block Printing Crafts

a. Gujarat – Ajrakh & Mata ni Pachedi

• Ajrakh (Kutch region):

o A traditional block-printing method using natural indigo and madder
dyes.
o Features geometric and floral motifs with symmetrical repeat patterns.
o Process includes multiple resist-dyeing steps using mud and natural
pastes.
• Mata ni Pachedi:
o A ritual cloth featuring religious stories and goddess motifs.
o Hand-drawn and block-printed using red, black, and white colors.

b. Rajasthan – Sanganeri & Bagru Prints

• Sanganeri (Sanganer near Jaipur):

o Known for delicate floral motifs on white and pastel bases.
o Made with fine wooden blocks and natural dyes.
• Bagru (Bagru village):
o Uses darker backgrounds like indigo or ochre.
o Traditional patterns include bootis, vines, and animal forms.
o Uses a technique called Dabu (mud-resist printing).

2. Tie-Dye Crafts
a. Bandhani (Gujarat & Rajasthan):

• Involves tying small portions of fabric and dyeing them to create patterns.
• Dots, waves, and circular patterns form traditional designs.
• Popular in Leheriya, Mothda, and Ekdali styles.

b. Ikat (Telangana, Odisha, Gujarat):

• Patterns are pre-dyed on yarns before weaving.

• Double Ikat (like Patan Patola) requires precision in both warp and weft dyeing.
• Pochampalli (Telangana) and Sambalpuri (Odisha) are famous for their unique
Ikat styles.

3. Painting-Based Textile Crafts

a. Kalamkari (Andhra Pradesh & Telangana):

• Done using natural dyes and a kalam (bamboo pen).

• Two main types: Srikalahasti (freehand) and Machilipatnam (block-printed).
• Themes revolve around mythology, epics, and nature.

b. Madhubani (Bihar):

• Originally painted on walls, now seen on textiles and sarees.

• Intricate patterns using mythological scenes, flora and fauna, and symbolism.
• Drawn with twigs or fingers, filled with natural colors.

c. Pattachitra (Odisha & Bengal):

• Literally means “cloth painting”.

• Depicts mythological stories, especially Lord Jagannath and Krishna tales.
• Painted with natural dyes and fine detailing on cotton or silk.

d. Warli (Maharashtra):

• Simple, tribal stick figures in white on mud-red or brown background.

• Used on fabric for storytelling in a minimalist style.
• Symbolizes community life, agriculture, and nature.
Key Features Table

Craft Type State Technique Common Motifs Materials Used

Block
Ajrakh Gujarat Stars, florals Indigo, madder dyes
Printing
Block Wooden blocks,
Sanganeri Rajasthan Flowers, vines
Printing natural dyes
Bandhani Gujarat/Rajasthan Tie-Dye Dots, spirals Cotton, silk
Hand Bamboo pen, natural
Kalamkari Andhra/Telangana Mythology, nature
Painting colors
Gods, animals,
Madhubani Bihar Folk Painting Natural colors, cloth
symbols
Cloth Cloth, stone-based
Pattachitra Odisha/Bengal Krishna, Jagannath
Painting colors
Tribal Rice paste, earthy
Warli Maharashtra Daily life, farming
Painting tones

Classroom Activities:

1. Craft Mapping Exercise:

Ask students to locate each craft on an Indian map and prepare a mood board of
motifs and colors.
2. Mini Project:
Each student creates a hand-painted Kalamkari-inspired scarf or block-
printed tote.
3. Debate or Group Discussion:
Discuss: "Can traditional Indian textile crafts compete in global fashion markets?"