APR - JUNE 2018 l Vol 12 l Issue 4

Lost Art
of India

Design sheets
included

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 1

Feviart – Lost Art of India
Dear readers, welcome back to yet another edition of Feviart. This time the theme chosen 03 Ajrakh Top 33 Paithani Motifs - Table Runner
is both fascinating and nostalgic. It reminds us of the core roots of our culture through Art
and Craft. Therefore it's called Feviart - “Lost Art of India”. In this edition one would see
05 Blue Pottery Vase 35 Pichhwai Scroll
how history too is interwoven in the weaves of myriad arts forms, that were developed or 07 Baluchari Clutches 37 Pithora Pot
were typical of a particular age / time and place geographically.
11 Bidri Trunk 39 Pipli Table Cover
Feviart - “Lost Art of India”, I would say is a treasure trove, that one would cherish and 13 Chamba Fans 41 Resist Batik with Aari Embroidery
refer to for years to come. The Art that prevailed in the yesteryears were concrete
fundamentals and we see the reflections till today.
15 Chennai Ikat Kurti 43 Rogan Art Frame
17 Chauu Mask Nameplate 47 Royal Meenakari Boxes
For instance, the famous Ajrakh print, a kind of block printing on fabric where resist dyes
were used to create numerous patterns and colours, was pioneered amongst the Khatri
19 Ganjifa Wall Art 49 Sanjhi Paper Stencil Art
community of Rajasthan. Today Ajrakh prints are known in a more modernistic fashion 21 Gulkari Cushions 51 Sikki Art Lampshade
retaining the main essence of tradition but probably done differently in a less labour
intensive manner.
23 Kalamkari - Tree of Life Saree 53 Sujani Kantha Stole

25 Kashidakari Pants 55 Tarakasi - Jewellery

In Feviart – ‘Lost Art of India’ we have covered a vast variety of arts, giving each art form
a brief introduction. One can find Baluchari work, Pithora Art, Rogan art form and more
27 Kinari Work - Gota Work on Stole 57 Tibetan Brocade Blouse
that have been made using Fevicryl range of products. These products have rendered their 31 Necklace with Bead Work 59 Thangka Painting
versatility in colour and shades, to do justice to these ancient art forms. For us it was a
huge learning curve as we ourselves delved into history and created articles that just spelt
magic. So here's to Indian history and it's enriching arts that define us today.
Happy creating!
51
pg.
47
pg.
05
pg.

With Warm Regards,

Kavita Jagtiani
Head Marketing
Consumer Products (ASF)

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 1

1
Ajrakh Top

What is Ajrakh print ?

It is a kind of block printing, where the fabric is resist dyed using natural dyes like indigo (blue pigment) and
madder (red dye or pigment obtained from madder root).It has it's origins in Kutch amongst the community of
the Khatris in Rajasthan, where it is still practised in the traditional manner. With passage of time the colours
of the natural dyes have changed but the style and patterns still remain traditional. It can be distinguished by
it's typical intricate and complex geometrical and floral patterns. A lot of garments like kurtis, dupattas, stoles,
quilts, bedspreads and curtains have taken inspiration from the Ajrakh style motif and imbibed the traditional
patterns onto them.

Material: Fevicryl Fabric Colours - Maroon 214, Sap Green 221, Fine Art Brushes, A4 White Paper, White Carbon
Paper, Pencil, Plain Yellow Top, Colour Palette, Water Container

METHOD
1. Take an A4 white paper; draw a floral Ajarakh motif
on it.
2. Trace the same motif all over on the yellow top using
white carbon paper. Similarly, draw and trace the
leaves on the collar line of the top using white carbon
paper.
VarH$m
1. EH$ A4 gmBµO H$m ìhmBQ> nona b|& Bg na µâbmoab AOaI _mo{Q>µ\$
~Zm b|&
2. ìhmBQ> H$m~©Z nona boH$a, Bg _mo{Q>µ\$ H$mo nyao `obmo Q>m°n na Q´>og H$a
b|& Bgr Vah ìhmBQ> H$m~©Z nona go Q>m°n H$s H$m°ba bmBZ na n{Îm`m§
~ZmH$a Q´>og H$a b|&

3. Paint the motifs using Fevicryl Fabric Colours - Maroon 3. µ\o${d{H«$b µ\¡${~«H$ H$bg©-_ê$Z 214 Am¡a g¡n J«rZ 221 go
214 and Sap Green 221. Leave it to dry. _mo{Q>µâg H$mo n|Q> H$a b|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 3

Blue Pottery Vase

Blue Pottery, Jaipur is widely known for it's traditional Blue pottery, though it's also known to have it's origins
in the Turko-Persian region. The name comes from the brilliant colour cobalt with which the pottery is dyed.
Blue pottery can have numerous variants and hues of blue that are rare. Planters, vases, plates, curios and a
lot many things are made using Blue Pottery

Material: Fevicryl Acrylic Colours - Prussian Blue 19, Ultramarine Blue 23, White 27, Fevicryl Acrylic Colours
Pearl - White 301, Lemon Yellow 302, Fine Art Brushes, Pencil, A3 White Paper, Yellow Carbon Paper, Colour
Palette, Water Container, Big Terracotta Pot

METHOD
1. Take an A3 white paper; draw few motifs from the
traditional blue pottery on it; a different motif in a
different box.
2. Take a big size terracotta pot; paint the pot with the
base coat of Acrylic Colour - White 27. Paint a second
coat which is a mixture of Acrylic Colour Pearl - White
301 and Lemon Yellow 302. Let it dry.
3. Trace the motifs aesthetically on the painted pot using
yellow carbon paper.
4. Paint the blue pottery motifs in a shading effect using
Acrylic Colours - Prussian Blue 19, Ultramarine Blue 23
and White 27. Similarly, paint the edge of the pot with
Acrylic Colours - Prussian Blue 19 and Ultramarine
Blue 23.
5. Leave it to dry.
VarH$m
1. EH$ A3 ìhmBQ> nona b|& Bg na nma§n[aH$ ãby nm°Q²>ar e¡br _| Hw$N>
_mo{Q>µâg ~Zm b|& AbJ ~m°Šg _| AbJ-AbJ _mo{Q>µâg ~ZmE§&
2. A~ EH$ ~‹S>r gmBµO H$m Q>oamH$moQ>m nm°Q> b|& nm°Q> na EH«o${bH$ H$ba-
ìhmBQ> 27 go EH$ ~og H$moQ> bJm X|& EH«o${bH$ H$ba nb© ìhmBQ>
301 Am¡a bo_Z `obmo 302 H$mo {_bmH$a, Bg H$ba go nm°Q> na
Xÿgam H$moQ> bJm X|& Bgo gyIZo X|&
3. `obmo H$m~©Z nona go _mo{Q>µâg H$mo n|Q> {H$E hþE nm°Q> na H$bmË_H$ ê$n
go Q´>og H$a b|&
4. ãby nm°Q²>ar _mo{Q>µâg H$mo EH«o${bH$ H$bg©-àw{e`Z ãby 19,
AëQ´>m_arZ ãby 23 Am¡a ìhmBQ> 27 go eoqS>J à^md OJmVo hþE n|Q>
H$a b|& Bgr Vah nm°Q> Ho$ {H$Zmam| H$mo EH«o${bH$ H$bg©-àw{e`Z ãby
19 Am¡a AëQ´>m_arZ ãby 23 go n|Q> H$a b|&
5. Bgo gyIZo X§o&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 5

Baluchari Clutches

Baluchari is a type of sari that is traditionally worn by women in West Bengal. Baluchari design originated
in Bengal, and today the towns that practise this form and style are Bishnupur and Murshidabad. It can be
recognised very easily, as it is typified by mythological scenes depicted on saree pallus. The design being so
beautiful, it has now being adopted on numerous surfaces due to it's elegance.

Material: Fevicryl Colour Pearl - Turquoise Blue 520, Fevicryl Colour Pearl Metallic - Gold 552, Fevicryl Fabric
Glue, Fine Art Brushes, Half a Meter Black Silk Fabric, White Carbon Paper, A4 White Paper, Pencil, Readymade
Fabric Clutches, Colour Palatte, Water Container

METHOD
1. Take an A4 paper; draw a mythological scene and
paisleys inspired from traditional Baluchari art form
in the size of the clutch on it.
2. Take the black silk fabric, mark and cut the fabric in
the size of the clutch by leaving a 1” border from all
the sides. Trace the Baluchari design on both the
fabric pieces using white carbon paper.
3. Paint the design using Fevicryl Colours Pearl -
Turquoise Blue 520 and Pearl Metallic - Gold 552.
Let it dry.
4. Stick the painted fabric patch on the fabric clutch using
Fevicryl Fabric Glue. Let it dry.
VarH$m
1. g~go nhbo EH$ A4 gmBµO H$m nona b|& Bg na ŠbM H$s gmBµO Ho$
AZwgma H$moB© ^r nm¡am{UH$ {MÌ Am¡a nma§n[aH$ ~bwMmar e¡br go ào[aV
nogbrµO ~Zm b|&
2. A~ ãb¡H$ {gëH$ µ\¡${~«H$ b|& BgHo$ Mmam| Va\$ 1” H$s ~m°S>©a
N>mo‹S>H$a, ŠbM H$s gmBµO _| hr {ZemZ bJmH$a µ\¡${~«H$ H$mo H$mQ
b|& ìhmBQ> H$m~©Z nona go µ\¡${~«H$ Ho$ XmoZm| Qw>H$‹S>m| na ~bwMmar
Bidri
{S>µOmBZ Q´>og H$a b|&
Trunk
3. {S>µOmBZ H$mo µ\o${d{H«$b H$bg© nb©-Q>aH$m°BµO ãby 520 Am¡a nb©
_oQ>m{bH$-JmoëS> 552 go noQ> H$a b|& Bgo gyIZo X|&
4. n|Q> {H$E hþE µ\¡${~«H$ H$mo µ\o${d{H«$b µ\¡${~«H$ ½by go µ\¡${~«H$ ŠbM na
{MnH$m X|& Bgo gyIZo X§o&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 7 FeviArt | Vol 12 | Issue 4 | Apr - June 2018 8
Bidri Trunk

Bidri Work is a work of precision and dexterity. It requires some skill to do Bidri work. It is carving of alloy
metal to create a kind of jali design with tools especially made for the art form. As part of the original
technique, copper and steel are used as the base with either silver or gold as inlays. The name Bidri comes
from a place called Bidar near Hyderabad. There are different stages to Bidri work – casting, engraving,
inlaying and oxidising.

Material: Fevicryl Acrylic Colour - Black 02, Fevicryl Acrylic Colour Pearl Metallic - Silver 351, Fine Art Brushes,
White Paper, Pencil, White Carbon Paper, Metal Trunk Box, Colour Palette, Water Container

METHOD
1. Take a plain white paper in the size of the lid of
the trunk.
2. Draw a traditional Bidri design on it; similarly, draw
a border design on another paper.
VarH$m
1. Q´>§H$ Ho$ T>ŠH$Z H$s gmBµO H$m EH$ ßboZ ìhmBQ> nona b|&
2. Bg na nma§n[aH$ {~Xar {S>µOmBZ ~ZmE§& Bgr Vah EH$ Am¡a nona na
~m°S>©a {S>µOmBZ ~ZmE§&

3. Take the trunk and paint it with Acrylic Colour - Black

3. A~ EH$ ßboZ Q´>§H$ b| Am¡a Bgo EH«o${bH$ H$ba-ãb¡H$ 02 go n|Q>
02. Leave it to dry. H$a b|& Bgo gyIZo X|&

4. Trace the design on the trunk using white 4. ìhmBQ> H$m~©Z nona go {~Xar {S>µOmBZ H$mo Q´>§H$ na Q´>og H$a b|&
carbon paper.
5. {S>µOmBZ H$mo µ\o${d{H«$b EH«o${bH$ H$ba nb© _oQ>m{bH$ - {gëda 351
5. Paint the design with Fevicryl Acrylic Colour Pearl go n|Q> H$a b|& n|Q> H$aVo g_` hëH$m Eå~m°g à^md n¡Xm H$a|& BgHo$
Metallic - Silver 351. Give it a slight embossed effect {bE n|Q> H$mo Wmo‹S>m Jm‹T>m BñVo_mb H$a|& Bgo gyIZo X|&
while painting. This is achieved by a thicker application
of the colour. Leave it to dry.

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 11

Chamba Fans

Chamba – Chamba work or art style is pictorial in nature and was pre dominantly practised in Himachal Pradesh
and Jammu. These places were prominent centres of Pahari paintings.
Chamba art work is unique and elegant embroidery that's done on hand spun cloth using untwisted silk
threads. The outlines are made with a fine brush, the patterns, floral motifs and figures are distinct in their
painting depictions.

Material: Fevicryl Fabric Colours - Black 202, Crimson 204, Dark Brown 205, Golden Yellow 209, Indian Red 210,
Light Green 212, Orange, 217, Sap Green 221, White 227, Flesh Tint 230, Cerulean Blue 232, Fevicryl Fabric
Glue, Fine Art Brushes, Half a Meter Light Yellow and Light Pink Fabric, Half Imperial Sheet of White Card Paper,
Thick Paper Canvas, Flat and Round Shaped Cane Sticks, A4 White Paper, Red and White Carbon Paper, Pencil,
Scissors, Ruler, Colour Palette, Water Container, Embroidery Ring.

METHOD
1. Take half imperial sheet of white card paper; draw two
different shapes of fans on it.
2. Take light pink and light yellow coloured fabric; mark
the shape of the fan on it. Take an A4 white paper,
draw traditional motifs and figures from Chamba art
form on it for the two fans.
3. Trace the same design on the respective fabric pieces
in the centre of the marked fan shape using white
and red carbon paper.
4. Paint the figures and the border design with Fevicryl
Fabric Colours - Black 202, Crimson 204, Dark Brown
205, Golden Yellow 209, Indian Red 210, Light Green
212, Orange 217, Sap Green 221, White 227, Flesh Tint
230 and Cerulean Blue 232. Leave it to dry.
5. After drying cut along the outlines of the fan shape by
leaving 1” border from all the sides. Similarly, cut one
more fan shape from the same fabric.
6. Take the paper canvas; mark and cut the fan shape out
of it. Cut 2 such fan shapes out of it.
7. Sandwich the paper canvas in between the pieces
of the two similar painted design fabrics using Fabric
Glue. Leave it to dry.
8. Attach the flat and round shaped cane stick to the fan
shapes using Fabric Glue. Let it dry.
VarH$m
1. g~go nhbo ìhmBQ> H$mS>© nona H$s hmµ\$ Bånr[a`b erQ> b|& Bg na
µ\¡$Z H$s Xmo AbJ-AbJ AmH$ma _| AmH¥${V ~Zm b|&
2. A~ bmBQ> qnH$ Am¡a bmBQ> `obmo H$ba H$m µ\¡${~«H$ b|; Bg na µ\¡$Z
H$m AmH$ma {MpÝhV H$a|& EH$ A4 ìhmBQ> nona b|& Bg na Xmo µ\¡$Z Ho$
{bE M§~m H$bm e¡br _| nma§n[aH$ _mo{Q>µâg Am¡a AmH¥${V`m§ ~Zm b|&
3. Bgr {S>µOmBZ H$mo ìhmBQ> Am¡a aoS> H$m~©Z nona go {MpÝhV µ\¡$Z AmH$ma
Ho$ ~rM _| g§~§{YV µ\¡${~«H$ na Q>´og H$a b|&
4. AmH¥${V`m| Am¡a ~m°S>©a {S>µOmBZ H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg© - ãb¡H$
202, {H«$_gZ 204, S>mH©$ ~«mCZ 205, JmoëS>Z `obmo 209,
B§{S>`Z aoS> 210, bmBQ> J«rZ 212, Am°a|O 217, g¡n J«rZ 221,
ìhmBQ> 227, µâboe qQ>Q> 230 Am¡a goa`wbrZ ãby 232 go n|Q> H$a
b|& Bgo gyIZo X§o&
5. gyIZo Ho$ ~mX, Mmam| Va\$ go 1""H$s ~m°S>©a N>mo‹S>Vo hþE µ\¡$Z AmH$ma
H$mo AmCQ>bmBZ go H$mQ> b|& Bgr Vah Bgr µ\¡${~«H$ go EH$ Am¡a µ\¡$Z
AmH$ma H$mQ> b|&
6. A~ EH$ nona H¡$Zdmg b|& Bg na µ\¡$Z H$s AmH¥${V ~ZmH$a H$mQ> b|&
Bg Vah go H¡$Zdmg go Xmo µ\¡$Z AmH$ma H$mQ> b|&
7. nona H¡$Zdmg H$mo EH$ O¡go n|Q> {H$E µ\¡${~«H$ Ho$ Qw>H$‹S>m| Ho$ ~rM
g¡ÊS>{dM H$aHo$, µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&
8. µ\¡$Z AmH$ma na µ\¡${~«H$ ½by go EH$ µâb¡Q> Am¡a Jmob AmH$ma H$s Ho$Z
pñQ>H$ {MnH$m X|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 13

Chennai Ikat kurti

Pochampally (Chennai) Ikat are sarees woven in Bhoodan Pochampally, Telegana. It is distinguished by
geometric designs which makes them unique in itself. These are decorative techniques in which warp or weft
threads, or both, are tied-dyed before weaving. The term “Ikat” refers to the dyeing technique used to create
the designs on the fabric. It is a resist dyeing process, where bundles of yarn are tightly wrapped together and
then dyed as many times as is required to create the desired pattern.

Material: Fevicryl Fabric Colours - Dark Green 206, Maroon 214, Prussian Blue 219, White 227, Leaf Green 262,
Fine Art Brushes, A3 White Paper, Black Carbon Paper, Pencil, Colour Palette, Water Container, Plain Yellow
Tussar Silk Kurti

METHOD
1. Take A3 white papers. Mark the neckline of the
kurti to make the yoke design and draw Ikat motifs
aesthetically on it.
2. Similarly, draw the Ikat border design for the bottom
side of the kurti.
VarH$m
1. g~go nhbo A3 ìhmBQ> nong© b|& `moH$ {S>µOmBZ ~ZmZo Ho$ {bE Hw$Vu
H$s ZoH$bmBZ {MpÝhV H$a| Am¡a Bg na H$bmË_H$ VarHo$ go BH$V
_mo{Q>µâg ~ZmE§&
2. Bgr Vah Hw$Vu Ho$ {ZMbo {hñgo _| BH$V ~m°S>©a {S>µOmBZ ~Zm b|&

3. Trace the same design on the yoke line and the
bottom side of the kurti with black carbon paper.
Trace few Ikat buttas all over on the kurti.
4. Paint the Ikat design yoke, border and the buttas using
Fevicryl Fabric Colours - Dark Green 206, Maroon 214,
Prussian Blue 219, White 227 and Leaf Green 262.
Make fine vertical strokes to replicate the weave.
5. Leave it to dry.
3. Bgr {S>µOmBZ H$mo ãb¡H$ H$m~©Z nona go `moH$ bmBZ Am¡a Hw$Vu Ho$
{ZMbo {hñgo na Q´>og H$a b|& nyar Hw$Vu na Hw$N> BH$V ~wQ²>Q>m Q´>og
H$a b|&
4. BH$V {S>µOmBZ `moH$, ~m°S>©a Am¡a ~wQ²>Q>m| H$mo µ µ\o${d{H«$b \$¡{~«H$ H$bg©
- S>mH©$ J«rZ 206, _oê$Z 214, àw{e`Z ãby 219, ìhmBQ> 227
Am¡a brµ\$ J«rZ 262 go n|Q> H$a b|& ~wZmdQ> H$s à{VH¥${V ~ZmZo Ho$
{bE Bg na I‹S>o ñQ´>moŠg go BH$V {S>µOmBZ ~ZmE§&
5. Bgo gyIZo X§o&

FeviArt | Vol 12 | Issue 4

2 | Apr
Oct -- Dec
June2017
2018 15
Chauu Mask Nameplate

Chauu dance is a semi Indian classical dance form prevalent in the eastern states of India, like Jharkhand, West
Bengal and Odisha. One of the major accessories used during this dance are the Chauu masks which celebrates
martial arts, acrobatics and in festive themes of a folk dance, to a structured dance with religious themes
found in Shaivism, Shaktism and Vaishnavism.

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05,
Dark Green 06, Light Green 12, Turquoise Blue 22, White 27, Flesh Tint 30, Fevicryl Mouldit, Fevicryl Fabric
Glue, Fine Art Brushes, Rolling Pin, Paper Cutter, Clay Carving Tools, Wooden Plank - 4” x 18”, Colourful
Feathers, Red Satin Ribbon, Scissors, Pencil, Colour Palette, Water Container

METHOD
1. Take a wooden plank with a self-texture, paint
it with a thin coat of Fevicryl Acrylic Colours - Burnt
Sienna 01 and Dark Brown 05. Keep it aside for drying.
2. Take Fevicryl Mouldit resin base and hardener; mix it
thoroughly to make even dough. You will need 2
packs of Mouldit to make the tribal faces of the man
and the woman. Take the dough; roll it to make the
medium thin slabs, draw and cut two oval shapes
out of it to make the faces, using paper cutter.
3. Place the oval slabs on any pet bottle. Let it semi
dry. Take some clay to make the features of the man
and the woman like nose, eyes, hair, lips and ears
aesthetically. Use clay carving tools for the texture of
the hair. Let it dry.
4. Paint the faces using Fevicryl Acrylic Colours - Burnt
Sienna 01, Black 02, Chrome Yellow 03, Crimson 04,
Dark Brown 05, White 27 and Flesh Tint 30. Let it dry.
Take some dough, roll it to make a thick coil; leave it
till semi dry. Stick the painted faces on the wooden
plank using Fabric Glue and a little amount of clay.
Similarly, make your own surname using a thick coil
just like we have used the surname “Thakurs”.
5. Stick the coiled surname beside the faces with Fabric
Glue. Let it dry. Paint the coiled surname in shading
effect using Acrylic Colours - Chrome Yellow 03, Dark
Green 06, Light Green 12 and Turquoise Blue 22.
Enhance the faces by sticking the head gear using red
satin ribbon and colourful feathers using Fabric Glue .
VarH$m
1. g~go nhbo EH$ goëµ\$-Q>¡ŠgMS>© bH$‹S>r H$m ßb¢H$> b|& Bg na
µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01 Am¡a S>mH©$ ~«mCZ 05
H$m EH$ nVbm H$moQ> bJm X|& Bgo gyIZo Ho$ {bE AbJ aI X|&
2. A~ µ\o${d{H«$b _moëS>BQ> ao{µOZ ~og Am¡a hmS>©Za b|& Bgo AÀN>r
Vah {_bmH$a EH$ g_mZ {_lU V¡`ma H$a b|& nwê$f Am¡a ór
Ho$ Am{Xdmgr Mohao ~ZmZo Ho$ {bE AmnH$mo _moëS>BQ> Ho$ 2 n¡H$ H$s
µOê$aV n‹S>oJr& Bg {_lU H$mo b|& Bgo ~obH$a, _Ü`_ nVbo ñb¡~
~Zm b|& nwê$f Am¡a ór H$m Moham ~ZmZo Ho$ {bE nona H$Q>a go Xmo
AmH$ma ~ZmH$a, Bgo H$mQ> b|&
3. A§S>mH$ma Qw>H$‹S>m| H$mo {H$gr ^r n°Q> ~m°Q>b na aI|& Bgo Wmo‹S>m gm
gyIZo X|& A~ Wmo‹S>m gm {_lU boH$a, BZ nwê$f Am¡a ñÌr H$s ZmH$,
Am§I, ~mb, hm|R> Am¡a H$mZ Iy~gyaVr go ~Zm b|& ~mbm| H$m Q>oŠgMa
V¡`ma H$aZo Ho$ {bE Šbo H$m{dªJ Qy>b H$m BñVo_mb H$a|& Bgo
gyIZo X|&
4. BZHo$ Moham| H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01, ãb¡H$
02, H«$mo_ `obmo 03, {H«$_gZ 04, S>mH©$ ~«mCZ 05, ìhmBQ> 27
Am¡a µâboe qQ>Q> 30 go n|Q> H$a b|& Bgo gyIZo X|& A~ Wmo‹S>m gm
{_lU Am¡a boH$a, Bgo ~ob| Am¡a _moQ>r H$m°Bb V¡`ma H$a b|& Bgo
Wmo‹S>m gm gyIZo X|& BZ n|Q> {H$E Moham| H$mo µ\¡${~«H$ ½by Am¡a Wmo‹S>m gm
Šbo boH$a Bgo bH$‹S>r Ho$ ßb¢H$ na {MnH$m X|& Bgr Vah, A~ _moQ>r
H$m°Bb go AnZm gaZo_ ~Zm b|, O¡gm {H$ h_Zo ""R>mHw$a'' gaZo_
~Zm`m h¡&
5. gyIZo X|& gaZo_ dmbr H$m°Bb H$mo EH«o${bH$ H$bg© - H«$mo_ `obmo 03,
S>mH©$ J«rZ 06, bmBQ> J«rZ 12 Am¡a Q>aH$m°BµO ãby 22 go eoqS>J
VH$ZrH$ go n|Q> H$a b|& Moham| H$mo Am¡a µÁ`mXm C^maZo Ho$ {bE aoS>
gm{Q>Z [a~Z Am¡a a§J{~a§Jo n§Im| Ho$ gmW, µ\¡${~«H$ ½by go h¡S>{J`a
({eamodó) ^r {MnH$m X|&
FeviArt | Vol 12 | Issue 4 | Apr - June 2018 17
Ganjifa Wall Art

Ganjifa is a card game or a kind of playing cards that were prevalent in Persia and India. They were either
circular or rectangular in shape and hand painted by artisans. They would be made of light wood, palm leaf,
stiffened cloth or pasteboard. Ganjifa designs always had a painted / coloured background and then motifs
were drawn on them; each suit having a different colour.

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Crimson 04, Dark Brown 05,
Dark Green 06, Ultramarine Blue 23, White 27, Flesh Tint 30, Fevicryl Acrylic Colours - Neon Yellow 011,
Green 012, Orange 017, Pink 018, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl Fabric Glue,
Fine Art Brushes, Pencil, White Card Papers, A4 - White Papers, Yellow Carbon Paper, 4” x 4” - MDF Wooden
Coasters, Wooden Plank, Colour Palette, Water Container, Scissors

METHOD
1. Take a white paper of an A4 size, draw traditional
Ganjifa Dashavatar motifs in circles on it. Take the
white card paper, and draw 10 circles of 2�” radius
on it. Trace the Dashavatar motifs in the circle using
yellow carbon paper.
VarH$m
1. g~go nhbo A4 gmBµO H$m ìhmBQ> nona b|& Bg na EH$ gH©$b _|
nma§n[aH$ J§Orµ\$m XemdVma _mo{Q>µâg ~Zm b|& A~ ìhmBQ> H$mS>© nona
b| Am¡a Bg 2�” ì`mg Ho$ 10 gH©$ëg ~Zm b|& `obmo H$m~©Z nona
go gH©$ëg _| XemdVma _mo{Q>µâg Q´>og H$a b|&

2. Paint the motifs using Fevicryl Acrylic Colours - Burnt
Sienna 01, Black 02, Chrome Yellow 03, Crimson 04,
Dark Brown 05, Dark Green 06, Ultramarine Blue 23,
White 27, Flesh Tint 30, Fevicryl Acrylic Colours - Neon
Yellow 011, Green 012, Orange 017 and Pink 018.
Let it dry.
2. BZ _mo{Q>µâg H$mo µ\o${d{H«$b EH«o${bH$ H$bg© - ~ÝQ>© {gEZm 01,
ãb¡H$ 02, H«$mo_ `obmo 03, {H«$_gZ 04, S>mH©$ ~«mCZ 05, S>mH©$
J«rZ 06, AëQ´>m_arZ ãby 23, ìhmBQ> 27, âboe {Q>ÝQ> 30,
µ\¡${d{H«$b EH«o${bH$ H$bg©-{ZAm°Z `obmo 011, J«rZ 012, Am°a|O
017 Am¡a qnH$ 018 go n|Q> H$a b|& Bgo gyIZo X|&

3. Cut along the outlines of the circles neatly. Take the

3. gH©$ëg H$mo AmCQ>bmBÝg na go gµ\$mB© go H$mQ> b|& A~ E_ S>r
MDF wooden coasters, paint it with a base coat of Eµ\$ dwS>oZ H$moñQ>g© b| Am¡a Bg na EH«o${bH$ H$ba-ìhmBQ> 27 go
Acrylic Colour - White 27. Let it dry. Stick the cutouts EH$ ~og H$moQ> bJm X|& Bgo gyIZo X§o& XemdVma Ho$ H$Q>AmCQ²>g H$mo
of Dashavatara in the centre of the coasters using H$moñQ>g© Ho$ ~rM _| µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X§o& Bgo gyIZo X|&
Fevicryl Fabric Glue. Let it dry.
4. XemdVma H$s n¥ð>^y{_ H$mo \o${d{H«$b EH«o${bH$ H$ba-{H«$_gZ 04,
4. Paint the background of the Dashavatara using Acrylic \o${d{H«$b EH«o${bH$ H$bg© - {ZAm°Z `obmo 011,J«rZ 012, Am°a|O
Colour - Crimson 04, Fevicryl Acrylic Colours - Neon
Yellow 011, Green 012, Orange 017, Pink 018 and
017, qnH$ 018 Am¡a nb© _¡Q>m{bH$ JmoëS> 352 go n|Q> H$a b|&
Pearl Metallic - Gold 352. Let it dry. Bgo gyIZo X|&

5. Take the 3 wooden planks; paint the planks with
Acrylic Colours - Burnt Sienna 01 and Dark Brown 05.
Let it dry. Stick the painted coasters aesthetically on
the planks using Fabric Glue. Leave it to dry. Attach
the metal screw from the rear side of the planks for it
to dangle on the wall.
5. 3 dwS>oZ ßb¢H$ b|; BZ ßb¢H$ H$mo EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01
Am¡a S>mH©$ ~«mCZ 05 go n|Q> H$a b|& Bgo A~ gyIZo X|& n|Q> {H$E
hþE H$moñQ>g© H$mo µ\¡${~«H$ ½by go H$bmË_H$ VarHo$ go ßb¢Šg na {MnH$m
X|& Bgo gyIZo X|& Xrdma na Q>m§JZo Ho$ {bE ßb¢H$ Ho$ {nN>bo {hñgo na
EH$ _¡Q>b ñH«y$ bJm X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 19

Gulkari Cushions

This is a typical embroidery technique done commonly in Punjab (the region between India and Pakistan) and
Haryana. The work literally translates to flower work and has it's origins in Persia. It is predominently done on
head scarves, dupattas, shawls and garments. It is denoted mostly by geometrical patterns. Gulkari was a true
folk art wherein it was never for sale but was done within the family and remained a kind of an exclusivity
within the families that practiced it.

Material: Fevicryl Fabric Colours - Chrome Yellow 203, White 227, Greenery 267, Fevicryl Liquid Embroidery -
Yellow 703, Light Green 704, Fevicryl Fabric Glue , Fine Art Brushes, Readymade Dark Pink Cushion Covers,
A3 White Paper, White Carbon Paper, Pencil, Foil Mirrors (Small, Medium), Colour Palette, Water Container

METHOD VarH$m
1. Take A3 white paper; draw a Gulkari pattern in the size 1. g~go nhbo A3 ìhmBQ> nona b|& Bg na Hw$eZ H$da H$s gmBµO _|
of the cushion cover on it. ½mwbH$mar {S>µOmBZ ~Zm b|&
2. Trace the same design on the cushion covers using 2. ìhmBQ> H$m~©Z nona go Hw$eZ H$dg© na Bg {S>µOmBZ H$mo Q´>og H$a b|&
white carbon paper.

3. Paint the design by replicating the traditional

3. A~ µ\o${d{H«$b µ\¡${~«H$ H$bg©-H«$mo_ `obmo 203, ìhmBQ> 227 Am¡a
embroidery stitches of Gulkari using Fevicryl Fabric J«rZar 267 go ½mwbH$mar H$s nma§nm[aH$ Eå~«m°`S²>ar pñQ>Mog H$s
Colours - Chrome Yellow 203, White 227 and Greenery à{VH¥${V ~ZmVo hþE {S>µOmBZ H$mo n|Q> H$a b|& {H$Zmam| go ewê$ H$aVo
267. Start from the edges and move towards the hþE ~rM H$s Va\$ n|Q> H$a|& _mo{Q>µ\$ Ho$ ~rM Ho$ {hñgo H$mo ìhmBQ>
centre; enhance the central part of the motif with 227 Ho$ ñQ´>moŠg bJmH$a Am¡a C^ma b|& Bgo gyIZo X|&
strokes of White 227. Let it dry.
4. àË`oH$ ~wQ²>Q>o H$s Iy~gyaVr ~‹T>mZo Ho$ {bE Bg na µ\¡${~«H$ ½by go N>moQ>o
4. Each butta will be enhanced by sticking small and
medium foil mirrors using Fabric Glue. Leave it to dry.
Am¡a _Ü`_ gmBµO Ho$ µ\$m°Bb {_ag© {MnH$m X|& BÝh| gyIZo X|&

5. Outline each foil mirror using Liquid Embroidery - 5. {bpŠdS> Eå~«m°`S²>ar-`obmo 703 Am¡a bmBQ> J«rZ 704 go àË`oH$
Yellow 703 and Light Green 704. Let it dry. µ\$m°Bb {_aa H$s AmCQ>bmBZ ~Zm b|& BÝh| gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 21

Kalamkari - Tree of Life Saree

Kalamkari is a kind of cotton textile on which one would find hand painted work or block printed work done.
A very vital and unique feature in Kalamkari is that only natural dyes are used and it is believed that there
are as many as seventeen stages involved. Kalamkari art was produced in Iran and India. The depictions one
would categorically see in Kalamkari are – free hand drawing of the subject and then filling in the colours.
There are styled floral patterns around temples, lending a kind of religious connotation, with scrolls, temple
hangings, chariot banners, depiction of dieties and scenes from the Ramayna, Mahabharata, Puranas and other
mythological classics in Kalamkari art form.

Material: Fevicryl Colours Pearl Metallic - Gold 552, Fine Art Brushes, Plain Aqua Green Saree, Full Imperial
Sheet of White Paper, White Carbon Paper, Pencil, Colour Palette, Water Container.

METHOD
1. Take a full imperial sheet of white paper, draw the
tree of life from traditional art form Kalamkari on it.
2. Take plain aqua green saree; trace the same design
on the pallu of the saree using white carbon paper.
3. Paint the Kalamkari design using Pearl Metallic - Gold
552. Leave it to dry completely.
4. Paint small Kalamkari leaf motifs all over the saree.
VarH$m
1. g~go nhbo ìhmBQ> nona H$s \w$b Bånrar`b erQ> b|& Bg na H$b_
H$mar H$bm e¡br _| EH$ Q´>r Am°µ\$ bmBµ\$ ~ZmE§&
2. A~ ßboZ AŠdm J«rZ gm‹S>r b|& Bg gm‹S>r Ho$ nëby na ìhmBQ> H$m~©Z
nona go Bgr {S>µOmBZ H$mo Q´>og H$a b|&
3. H$b_H$mar {S>µOmBZ H$mo nb© _oQ>m{bH$ - JmoëS> 552 go n|Q> H$a b|&
Bgo nyar Vah gyIZo X|&
4. nyar gm‹S>r na N>moQ>r H$b_H$mar brµ\$ _mo{Q>µâg n|Q> H$a b|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 23

Kashidakari Pants

It is known to be one of the most ancient and traditional type of embroidery art form from Persia. It is defined
by thread work that gained a lot of popularity in Jammu and Kashmir. One can find motifs in the work inspired
from nature like birds, leaves, trees, fruits, flowers etc. Shawls and sarees are mostly made in the Kashidakari
style. It is, prominently recognised and characterized by it's single stitch style. Threads used are multi-coloured
and metallic that render the rich and exotic look to the work of art. One can see stitches like satin stitch,
herringbone, stem stitch, chain stitch, knot stitch among others.

Material: Fevicryl Fabric Colours - Black 202, Lemon Yellow 211, Orange 217, Sap Green 221, Ultramarine Blue
223, White 227, Deep Brilliant Purple 264, Ultra Violet 269, Fine Art Brushes, Plain White Pants, A4 White
Paper, Yellow and White Carbon Paper, Pencil, Colour Palette, Water Container

METHOD
1. Take an A4 white paper; draw a traditional embroidery
pattern design of Kashidakari on it.
2. First, trace the outline of the design using yellow
carbon paper towards the cuff of the pants
3. Then, paint the design with a base coat of Fabric
Colour - Black 202. Let it dry.
4. Trace the Kashidakari embroidery pattern design on it
using white carbon paper.
5. Paint the embroidery pattern by replicating chain stitch
using Fabric Colours - Lemon Yellow 211, Orange 217,
Sap Green 221, Ultramarine Blue 223, White 227, Deep
Brilliant Purple 264 and Ultra Violet 269. If required,
paint a second coat onto the first. Leave it to dry.
VarH$m
1. EH$ A4 ìhmBQ> nona b|; Bg na EH$ H$erXmH$mar H$s EH$ nma§n[aH$
Eå~«m°`S>ar n¡Q>Z© {S>µOmBZ ~Zm`|&
2. g~go nhbo, nrbo H$m~©Z nona H$s _XX go n¢Q> H$s _mohar na {S>µOmBZ
Ho$ AmCQ>bmBZ H$mo Q´>og H$a b|&
3. BgHo$ ~mX, {S>µOmBZ H$mo \¡${~«H$ H$ba - ãb¡H$ 202 Ho$ ~og H$moQ> go
n|Q> H$a b|& Bgo gyIZo X|&
4. g\o$X H$m~©Z nona H$s _XX go Bg na H$erXmH$mar Eå~«m°`S>ar n¡Q>Z©
Q´>og H$a b|&
5. MoZ pñQ>M H$s ZH$b H$aVo hþE Eå~«m°`S>ar n¡Q>Z© H$mo \¡${~«H$ H$bg©
- bo_Z `bmo 211, Am°a|O 217, g¡n J«rZ 221, AëQ´>m_arZ ãby
223, ìhmBQ> 227, S>rn {~«{b`§Q> nn©b 264 Am¡a AëQ´>m dm°`boQ>
269 go n|Q> H$a|& µOê$aV hmo, Vmo nhbr H$moQ> na n|Q> H$s Xÿgar H$moQ>
M‹T>m`|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 25

Kinari Work - Gota Work on Stole

Kinara Work is what we commonly know as Gota Patti work; usually done on the edges and borders of sarees
and chunaris. Originally it is a kind of metal work embroidery that found it's roots in Rajasthan. Places like
Jaipur, Bikaner, Ajmer, Udaipur and Kota too began the styled Gota work. It looks rich and elaborate and gives
that heavy look to a garment. Elaborate patterns and designs are created using the applique technique with
gold, silver, copper etc.

Material: Fevicryl Fabric Colour - Orange 217, Fevicryl Liquid Embroidery Pearl Metallic - Gold 352, Fevicryl
Fabric Glue, Fine Art Brushes, Gotta Patti Packet (Small Size - Tear Drop Shaped), A3 White Paper, Pencil,
1 meter White Georgette Fabric, Colour Palette, Water Container

METHOD
1. Take an A3 white paper; draw a border design of
creeper on it.
2. Take the white georgette fabric stole, dampen the
stole with a little amount of water.
VarH$m
1. g~go nhbo EH$ A3 gmBµO ìhmBQ> noona b|& Bg na H«$sna H$s EH$
~m°S>©a {S>µOmBZ ~ZmE§&
2. A~ EH$ ìhmBQ> Om°O}Q> µ\¡${~«H$ ñQ>mob b|& ñQ>mob H$mo Wmo‹S>o nmZr go

3. Give it a wash effect using Fevicry Fabric

Colour - Orange 217. Let it dry completely.
4. After drying, place the border design of the creeper
below the fabric of the stole and trace the design with
a pencil.
5. Enhance the design by sticking the gotta patti leaves
using Fevicryl Fabric Glue. Let it dry.
6. Outline the leaves and the stems of the creeper using
Liquid Embroidery Pearl Metallic - Gold 352. Leave it
to dry.
Jrbm H$a b|& Bead Work
3. µ\o${d{H«$b µ\¡${~«H$ H$ba-Am°a|O 217 go dm°e à^md OJmVo hþE Bgo
n|Q> H$a b|& Bgo nyar Vah gyIZo X|& Jewellery
4. gyIZo Ho$ ~mX, H«$sna H$s ~m°S>©a {S>µOmBZ H$mo ñQ>mob Ho$ µ\¡${~«H$ Ho$
ZrMo aIH$a, n|{gb go {S>µOmBZ H$mo Q´>og H$a b|&
5. {S>µOmBZ H$mo µÁ`mXm C^maZo Ho$ {bE Bg na JmoQ>m nQ²>Q>r n{Îm`m| H$mo
µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&
6. {bpŠdS> Eå~«m°`S²>ar _oQ>m{bH$ - JmoëS> 352 go n{Îm`m| Am¡a H«$sna
H$s ñQ>oåg H$s AmCQ>bmBZ ~Zm b|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 27 FeviArt | Vol 12 | Issue 4 | Apr - June 2018 28
Necklace with bead work

Bead work art is an age old art where beads of either same sizes or different sizes and colours are sewn
together to make adornments, like jewellery, wall hangings, coasters, garments where the neckline or
the cuffs of sleeves have bead work on it. These beads can be strung in with a needle or merely stuck in
a pattern depending on the requirement. Bead work is an amazing way to enhance simple artefacts,
jewellery or clothing.

Material: Fevicryl 3D Cone Outliner Non Sticky - Black 708, Fevicryl Fabric Glue, Half meter Polycot Fabric, A4
White Paper, Yellow Carbon Paper, Pencil, Toothpick, Incense Stick, Black Thick Cord, Scissors, Glass Beads
(Blue & Pink)

METHOD
1. Take an A4 white paper.
2. Draw and mark your neckline starting from one
shoulder to the other shoulder, in a semi-circle, to
make a neckpiece. Make diamonds along the
semi-circle in progression. Refer to the main image.
3. Take polycot fabric piece to make the neckpiece.
4. Trace the design on the fabric using yellow
carbon paper.
5. Outline the design with 3D Cone Outliner Non
Sticky - Black 708. Let it dry.
6. Using the burn out technique, burn the extra fabric
with an incense stick to make a jali design. Refer to
the image.
VarH$m
1. g~go nhbo A4 ìhmBQ> nona b|&
2. ZoH$nrg ~ZmZo Ho$ {bE EH$ AY©-JmobmH$ma _| EH$ H§$Yo go Xÿgao
H§$Yo VH$ ZoH$bmBZ H$m {ZemZ ~Zm X|& AY©-JmobmH$ma ZoH$bmBZ Ho$
gmW-gmW, N>moQ>o go ~‹S>o AmH$ma _| S>m`_§S²>g AmH$ma ~Zm b|& g§X^©
Ho$ {bE _w»` {MÌ XoI|&
3. A~ ZoH$nrg ~ZmZo Ho$ {bE nm°brH$m°Q> µ\¡${~«H$ b|&
4. `obmo H$m~©Z nona go µ\¡${~«H$ na {S>µOmBZ H$mo Q´>og H$a b|&
5. 3D H$moZ AmCQ>bmBZa Zm°Z-pñQ>H$s-ãb¡H$ 708 go {S>µOmBZ H$s
AmCQ>bmBZ ~Zm b|& Bgo gyIZo X|&
6. ~Z©-AmCQ> VH$ZrH$ go Ombr {S>µOmBZ V¡`ma H$aZo Ho$ {bE AJa~Îmr
Ûmam A{V[aŠV µ\¡${~«H$ H$mo Obm X|& g§X^© Ho$ {bE {MÌ XoI|&

7. Enhance the design by sticking the small blue and pink 7. {S>µOmBZ H$mo Am¡a C^maZo Ho$ {bE Bg na µ\o${d{H«$b µ\¡${~«H$ ½by go
glass beads using Fevicryl Fabric Glue. Let it dry. N>moQ>o-N>moQ>o ãby Am¡a qnH$ ½bmg ~rS²>g {MnH$m X|& Bgo gyIZo X|&
8. Fold the fabric near the neck along with a black cord 8. ãb¡H$ H$m°S>© (S>moar) Ho$ gmW Z¡H$bmBZ Ho$ nmg µ\¡${~«H$ H$mo _mo‹S>H$a
and stick it with Fabric Glue. Leave it to dry. µ\¡${~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 31

Paithani Motifs - Table Runner

Paithani is a town in Aurangabad, Maharashtra, where Paithani sarees are hand woven and are made in pure
silk. It is considered to be one of the richest sarees in India. It is very distinctly characterised by borders that
have an oblique square design and the pallu of the sarees have exotically coloured peacocks on them.

Material: Fevicryl Fabric Colours - Leaf Green 262, Indian Red 210, Salmon Pink 265, Fevicryl Colours Sparkling
Pearl - Poppy Red 701, Orange 703, Turquoise Blue 705, Violet 706, Golden Yellow 707, Silver 710, Light Pink
713, Fine Art Brushes, 1� Meter of Golden Tissue Fabric, Ruler, Pencil, Scissors, A3 White Paper, White Carbon
Paper, Pencil, Colour Palette, Water Container

METHOD
1. Take 1�meter of golden tissue fabric.
2. Mark and cut the fabric into half, length wise to make
the Paithani motifs on the table runner.
3. On the white paper, draw few traditional Paithani
motifs like a lotus creeper for the border design and
the peacocks with pots on it.
VarH$m
1. g~go nhbo 1� _rQ>a JmoëS>Z {Q>í`y µ\¡${~«H$ b|&
2. A~ Q>o~b aZa na n¡R>Ur _mo{Q>µâg ~ZmZo Ho$ {bE µ\¡${~«H$ H$mo b§~mB© _|
AmYm H$mQ> b|&
3. ìhmBQ> nona na ~m°S>©a {S>µOmBZ Ho$ {bE bmoQ>g H«$sna H$s Vah Hw$N>
nma§n[aH$ n¡R>Ur _mo{Q>µâg Am¡a nm°Q²>g Ho$ gmW nrH$m°H$ ~Zm b|&

4. Take the golden tissue fabric and trace the same
design on it using white carbon paper.
5. Paint the motifs with Fevicryl Fabric Colours - Leaf
Green 262, Indian Red 210, Salmon Pink 265, Fevicryl
Colours Sparkling Pearl - Poppy Red 701, Orange 703,
Turquoise Blue 705, Violet 706, Golden Yellow 707,
Silver 710 and Light Pink 713. Leave it to dry.
6. Your table runner with Paithani motifs is ready. Refer
to the main image.
4. A~ JmoëS>Z {Q>í`y µ\¡${~«H$ b| Am¡a Bg na ìhmBQ> H$m~©Z nona go Bg
{S>µOmBZ H$mo Q´>og H$a b|&
5. BZ _mo{Q>µâg H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-brµ\$ J«rZ 262, B§{S>`Z
a¡S> 210, gmb_Z qnH$ 265, µ\o${d{H«$b H$bg© ñnmH©$qbJ
nb©-nm°nr a¡S> 701, Am°a|O 703, Q>aH$m°BµO ãby 705, dm`boQ>
706, JmoëS>Z `obmo 707, {gëda 710 Am¡a bmBQ> qnH$ 713 go
n|Q> H$a b|& Bgo gyIZo X|&
6. br[OE n¡R>Ur _mo{Q>µâg Ho$ gmW AmnH$m Q>o~b aZa V¡`ma h¡& g§X^©
Ho$ {bE _w»` {MÌ XoI|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 33

Pichhwai Scroll

Pichhwai Work – These are devotional and religious images that are painted on cloth or paper that specifically
portray Lord Krishna. Pichhwai style of painting started in the Deccan, Aurangabad and certain small towns in
Rajasthan. The main intent of Pichhwai was to convey folklore and tales of Lord Krishna pictorically through
this art form, to the less or non educated population. Artists mainly use natural dyes for this form of painting.
These paintings are often a kind of group painting, where individuals together finally make one huge
Pichhwai painting that is usually hung on the backdrop of the idol of Lord Srinathji.

Material: Fevicryl Fabric Colours - Black 202, Dark Brown 205, Orange 217, Yellow Ochre 226, Ultramarine
Blue 223, White 227, Flesh Tint 230, Fevicryl Colours Pearl Metallic - Silver 551, Gold 552, Bronze 555, Fevicryl
Colours Sparkling Pearl - Dark Blue 704, Turquoise Blue 705, Violet 706, Golden Yellow 707, Light Green 709,
Golden Green 711, Light Pink 713, Cherry Red 716, Fine Art Brushes, Full imperial sheet of White Paper, White
Carbon Paper, Pencil, Colour Palette, Water Container, Half a Meter Black Mul Fabric, Ruler, Scissors.

METHOD
1. Take the white sheet of paper; draw a rectangle
measuring 24” x 16” in size on it.
2. Draw a traditional Pichhwai design in the rectangle.
Take the black mul fabric and trace the same design on
it using white carbon paper.
3. Paint the design using Fevicryl Fabric Colours - Black
202, Dark Brown 205, Orange 217, Yellow Ochre 226,
Ultramarine Blue 223, White 227, Flesh Tint 230,
Fevicryl Colours Pearl Metallic - Silver 551, Gold 552,
Bronze 555, Fevicryl Colours Sparkling Pearl - Dark Blue
704, Turquoise Blue 705, Violet 706, Golden Yellow
707, Light Green 709, Golden Green 711, Light Pink
713 and Cherry Red 716. Leave it to dry completely.
Similarly paint the border. Refer to the image.
4. After drying make a beautiful frame for the painting.
VarH$m
1. g~go nhbo nona H$s EH$ ìhmBQ> erQ> b|& Bg na 24”x16” H$s
EH$ Am`VmH$ma AmH¥${V ~ZmE§&
2. Bg Am`VmH$ma _| EH$ nma§n[aH$ {nN>dmB© {S>µOmBZ ~ZmE§& A~ ãb¡H$
_b µ\¡${~«H$ b| Am¡a ìhmBQ> H$m~©Z nona go Bg na `hr {S>µOmBZ Q´>og
H$a b|&
3. {S>µOmBZ H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-ãb¡H$ 202, S>mH©$ ~«mCZ
205, Am°a|O 217, `obmo AmoMa 226, AëQ´m_arZ ãby 223,
ìhmBQ> 227, âboe [QÝQ 230, µ\o${d{H«$b H$bg© nb© _oQ>m{bH$-
{gëda 551, JmoëS> 552, ~«m°ÝµO 555, µ\o${d{H«$b H$bg©
ñnmH©$qbJ nb©-S>mH©$ ãby 704, Q>aH$m°BµO, ãby 705, dm`boQ>
706, JmoëS>Z `obmo 707, bmBQ> J«rZ 709, JmoëS>Z J«rZ 711,
bmBQ> qnH$ 713 Am¡a M¡ar a¡S> 716 go n|Q> H$a b|& Bgo nyar Vah
gyIZo X|& Bgr Vah ~m°S>©a H$mo ^r n|Q> H$a b|& g§X^© Ho$ {bE _w»`
{MÌ XoI|&
4. gyIZo Ho$ ~mX n|qQ>J Ho$ {bE EH$ Iy~gyaV \«o$_ ~Zm b|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 35

Pithora Pot

Pithora art is a more ritualistic kind of an art form. It's done on the walls of the homes and verandahs of
certain tribes who inhabit the central part of Gujarat. Often found on the threshold of homes. It is of great
prominence and importance to the people who do this art, as they revere it with the belief that it brings in
happiness, prosperity and peace. There is a conscious effort on their part not to imitate nature in their
paintings. The depictions are bulls and horses that they feel impress God and so these are the inspirations
translated into Pithora paintings.

Material: Fevicryl Acrylic Colours - Black 02, White 27, Fine Art Brushes, Colour Palette, Water Container,
A4 White Paper, Yellow Carbon Paper, Pencil, Terracotta Pot

METHOD
1. Take white paper of an A4 size; draw a traditional
design from the Pithora of art form.
2. Take a terracotta pot, paint it with a base coat of
Fevicryl Acrylic Colour - White 27. Let it dry.
3. Trace the Pithora design on the pot using yellow
carbon paper, keeping in mind the curvatures on
the pot.
4. Paint the design with Fevicryl Acrylic Colour - Black 02.
Leave it to dry.
VarH$m
1. g~go nhbo A4 gmBµO H$m ìhmBQ> nona b|& Bg na {nWmoam H$bme¡br
_| EH$ nma§n[aH$ {S>µOmBZ ~ZmE§&
2. A~ EH$ Q>oamH$moQ>m nm°Q> b|& Bg na µ\o${d{H«$b EH«o${bH$ H$ba-ìhmBQ>
27 go EH$ ~og H$moQ> bJm X|& Bgo gyIZo X|&
3. `obmo H$m~©Z nona go nm°Q> Ho Mmam| Va\ {nWmoam {S>µOmBZ Q´>og H$a b|&
4. µ\o${d{H«$b EH«o${bH$ H$ba-ãb¡H$ 02 go {S>µOmBZ H$mo n|Q> H$a b|&
Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 37

Pipli Table Cover

There is a small village called Pipli in Odisha, from where Pipli work originates. It is famous for it's applique
work. Applique is a technique where fabric shapes are cut out and sewn on the base layer of the original
fabric. The motifs that are very commonly used in Pipli art are peacocks, ducks, parrots, trees, elephants,
creepers, flowers like jasmine, lotus, Sun, half-moon etc. The art has both embroidery and stitching.
Sometimes you could also have mirror work and decorative stitches in Pipli art.

Material: Fevicryl Liquid Embroidery - White 707, Fevicryl Fabric Glue, Colourful Polycot Fabric Pieces (Half a
Meter), Pencil, A4 White Paper, White Carbon Paper, Foil Mirrors (Small, Medium Sizes), Scissors

METHOD
1. Take a white paper of an A4 size; draw a few motifs
like a peacock, lotus and flowers from the traditional
Pipli appliqué art form on it. (The Pipli Applique work
owes it's origin to Lord Jagannath)
2. Trace these motifs on different coloured fabric pieces
using white carbon paper. Cut along the outlines of the
motifs neatly with a pair of scissors.
3. Take a navy blue fabric, mark and cut the fabric in
square shape measuring 24” x 24” in size.
4. Place the fabric appliqué patches on the navy blue
fabric, aesthetically and stick it using Fevicryl Fabric
Glue. Let it dry.
5. Make patterns on the patches using Liquid
Embriodery - White 707.
6. Enhance the appliqué design patches by sticking the
foil mirrors using Fevicryl Fabric Glue. Let it dry.
7. Outline the appliqué patches with Liquid
Embroidery - White 707. Leave it to dry completely.
8. Complete the finishing touches on the table cloth by
stitching the borders neatly.
VarH$m
1. g~go nhbo EH$ A4 gmBµO H$m ìhmBQ> nona b|& Bg na nma§n[aH$
{nnbr EßbrH$ H$bme¡br Ho$ Hw$N> _mo{Q>µâg O¡go nrH$m°H$, bmoQ>g Am¡a
µâbmdg© ~Zm b|& ({nnbr EßbrH$ H$bm H$m _yb ^JdmZ OJÝZmW go
CX²^{dV h¡)&
2. BZ _mo{Q>µâg H$mo AbJ-AbJ a§J Ho$ µ\¡${~«H$ Qw>H$‹S>m| na ìhmBQ> H$m~©Z
nona go Q´>og H$a b|& A~ H¢$Mr boH$a _mo{Q>µâg H$mo AmCQ>bmBZ go
gµ\$mB© Ho$ gmW H$mQ> b|&
3. EH$ Zodr ãby H$ba H$m µ\¡${~«H$ b|& Bg na 24”x 24” gmBµO H$m
Mm¡H$moa {ZemZ bJmE§ Am¡a Bgo H$mQ> b|&
4. A~ µ\¡${~«H$ EpßbH$ n¡Mog H$mo Zodr ãby µ\¡${~«H$ na H$bmË_H$ T>§J go
aIH$a, µ\¡${d{H«$b µ\¡$[~«H$ ½by go {MnH$m X|& Bgo gyIZo X|&
5. {bpŠdS> Eå~«m°`S²>ar-ìhmBQ> 707 go n¡Mog na n¡Q>Z© ~Zm b|&
6. EßbrH$ {S>µOmBZ n¡Mog na µ\¡$[d{H«$b µ\¡${~«H$ ½by go µ\$m°Bb {_ag©
{MnH$mH$a Bgo Am¡a Iy~gyaV ~Zm b|& Bgo gyIZo X|&
7. [bpŠdS> Eå~«m°`S²>ar-ìhmBQ> 707 go EßbrH$ n¡Mog H$s AmCQ>bmBZ
~Zm b|& Bgo nyar Vah gyIZo X|&
8. ~m°S>©g© H$mo gµ\$mB© go {gbH$a Q>o~b Šbm°W H$mo Am{Iar {µ\${Ze Xo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 39

Resist Batik with Aari Embroidery

Batik work is a wax resist type of dyeing on cloth. Dots or lines are drawn in wax resist with the help of a
convenient tool, or by merely printing the resist with a stamp or cap. The applied wax resists dyes and
therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with
boiling water, and repeating if multiple colours are desired. Aari Embroidery is popular for it's delicate and fine
threadwork which heightens hand embroidery. It was patronised during the Mughal rule where it was
propogated due to the grandeur it could create. This popularised Aari work and spread far and wide. Places like
Kutch, Lucknow, Uttar Pradesh, Rajasthan and Delhi began recognising Aari work and it's finer nuances and took
it forward. There are a lot of floral motifs in Aari work

MATERIAL: Fevicryl Fabric Colours - Dark Green 206, Light Green 212, Prussian Blue 219, Ultramarine Blue 223,
Cerulean Blue 232, Fevicryl Colours Pearl Metallic - Bronze 555, Fevicryl Liquid Embroidery Pearl Metallic - Gold
352, Fevicryl Fabric Glue, Fevicol MR, Fine Art Brushes, Pencil, Plain White Cotton Bag, Ornamental Stones,
Colour Palette, Water Container

METHOD
1. Take a plain white cotton bag; draw a big peacock
feather on it.
2. Outline the feather with Fevicol MR. Make sure to
make a thick outline. Leave it to dry.
VarH$m
1. g~go nhbo EH$ ßboZ H$m°Q>Z ~¡J b|& Bg na EH$ ~‹S>m _moan§I ~ZmE§&
2. µ\o${dH$m°b MR go _moan§I H$s AmCQ>bmBZ ~Zm b|& Ü`mZ aI| `h
AmCQ>bmBZ ~hþV _moQ>r hmo& Bgo gyIZo X|&

3. Paint the feather with the water shading effect using

3. Bg _moan§I H$mo µ\o${d{H«$b µ\¡${~«H$ H$bg©-S>mH©$ J«rZ 206, bmBQ>
Fevcryl Fabric Colours - Dark Green 206, Light Green J«rZ 212, àw{e`Z ãby 219, AëQ´>m_arZ ãby 223, goébrZ ãby
212, Prussian Blue 219, Ultramarine Blue 223, Cerulean 232 Am¡a nb© _oQ>m{bH$ ~«m°ÝµO 555 go dm°Q>a eoqS>J à^md n¡Xm
Blue 232 and Pearl Metallic Bronze 555. Leave it H$aVo hþE n|Q> H$a b|& Bgo gyIZo X|&
to dry.
4. gyIZo Ho$ ~mX ~¡J go µ\o${dH$m°b MR H$s gyIr AmCQ>bmBZ AbJ
4. After drying remove the dried Fevicol MR from the H$a X|& Bggo ao{OñQ> VH$ZrH$ H$m à^md n¡Xm hmo OmEJm, Omo h_|
bag. You will get the effect of the resist technique
which we can see in the traditional Batik art form.
nma§n[aH$ ~m{Q>H$ H$bm e¡br _| {XImB© XoVm h¡&

5. Paint the spaces in between the lines of the feather
using Liquid Embroidery Pearl Metallic - Gold 352
which would give a delicate Aari work effect. Let it dry.
6. Enhance the feather by sticking light and dark blue
ornamental stones using Fabric Glue. Let it dry.
5. _moan§I Ho$ ~rM _§o _m¡OyX OJh H$mo {bpŠdS> Eå~«m°`S>ar nb©
_oQ>m{bH$ - JmoëS> 352 go n|Q> H$a b|, {Oggo EH$ ~hþV hr
H$bmË_H$ Amar e¡br H$m à^md n¡Xm hmo OmEJm& Bgo gyIZo X|&
6. µ\¡${~«H$ ½by go bmBQ> Am¡a S>mH©$ ãby Am°aZm_|Q>b ñQ>moÝg {MnH$mH$a
_moan§I H$mo Am¡a ^r Iy~gyaV ~Zm b|& Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 41

ROGAN ART FRAME

The word 'Rogan' is a Persian word for varnish or oil. This art form has a unique technique of making the paint
thick and shiny. Usually it is castor oil that is boiled for nearly two days and then vegetable pigments along
with a binder are put into it, thereby achieving a paint consistency that is thick and shiny. The cloth on which
this art is translated onto is usually dark so that the colours are more pronounced. Either done with metal
blocks that have a print on the rear end or a stylus for finer workmanship. The inspirational motifs are animals,
floral or local folk art depictions.

Material: Fevicryl Fabric Colours - Chrome Yellow 203, White 227, Sky Blue 263, Salmon Pink 265, Coral Red
266, Teal Blue 268, Fevicryl Fabric Glue, Fine Art Brushes, Half a Meter Black Coloured Mul Fabric, Ornamental
Stones (Small and Medium - White), Full Imperial Sheet of White Paper, White Carbon Paper, Pencil, Colour
Palette, Water Container, Scissors, Ruler

METHOD VarH$m
1. Take a full imperial sheet of white paper, draw a 1. ìhmBQ> nona H$s EH$ \w$b Bånr[a`b erQ> b|& Bg na 32”x 42”
rectangle measuring 32” x 42” in size on it. H$m EH$ Am`VmH$ma ~ZmE§&
2. Take a traditional design inspired from Rogan art form 2. A~ amoJZ H$bm e¡br go ào[aV EH$ nma§n[aH$ {S>µOmBZ b| Am¡a Bgo
Meenakari
and trace it neatly in the rectangle.

3. Take black mul fabric; trace the same design on it

using white carbon paper.
4. Paint the design by replicating Rogan art using Fabric
Colours - Chrome Yellow 203, White 227, Sky Blue 263,
Salmon Pink 265, Coral Red 266 and Teal Blue 268.
Leave it to dry. Refer to the image.
5. Enhance the design by sticking ornamental stones
using Fevicryl Fabric Glue. Leave it to dry.
6. Frame the painting aesthetically.
Bg Am`VmH$ma _| gµ\$mB© go Q´>og H$a b|&
Boxes
3. ãb¡H$ _b µ\¡${~«H$ b|& Bg na ìhmBQ> H$m~©Z nona go Bg {S>µOmBZ
H$mo Q´>og H$a b|&
4. µ\¡${~«H$ H$bg©-H«$mo_ `obmo 203, ìhmBQ> 227, ñH$m` ãby, 263,
gmb_Z qnH$ 265, H$moab a¡S> 266 Am¡a Q>rb ãby 268 go
à{VH¥${V à^md OJmVo hþE n|Q> H$a b|& Bgo gyIZo X|& g§X^© Ho$ {bE
{MÌ XoI|&
5. µ\o${d{H«$b µ\¡${~«H$ ½by go Am°aZm_|Q>b ñQ>moÝg {MnH$mH$a {S>µOmBZ H$mo
Am¡a C^ma b|& Bgo gyIZo X|&
6. n|qQ>J H$mo Iy~gyaVr go \«o$_ H$a b|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 43 FeviArt | Vol 12 | Issue 4 | Apr - June 2018 44
Royal Meenakari Boxes

Meenakari Work is a kind of work where the surface of metals are ornamented, coloured brilliantly and
intricate designs are done on it. It is an interesting procedure that goes from one expert to the next, the
designer who designs the pattern, the goldsmith who gives form, the engraver who makes the intricate
design, the enamalist who renders colour, the polisher who gives the piece a sheen and glaze, the stone
setter and finally, putting it altogether which is done by the stringer. You then get your Meenakari jewellery
set ! It's labourious and is a luxury to have something made of Meenakari as the beauty lies in the work
and craftsmanship.

Material: Fevicryl Acrylic Colour - White 27, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl 3D Cone
Outliner Non Sticky Pearl Metallic - Gold 352, Fevicryl - Water Based - Glass Colours Kit, Fevicryl Mouldit,
Fevicryl Fabric Glue, Fine Art Brushes, MDF Wooden Hexagonal Boxes (2 Small, 1 Big), A4 White Paper,
Yellow Carbon Paper, Pencil, Ornamental Stones (Small White, Red & Green), Colour Palette, Water Container

METHOD
1. Take an A4 white paper. Draw a floral design inspired
from the traditional Meenakari work in the size of
the lid and the walls of the MDF boxes. Take the MDF
wooden boxes; paint the boxes with a base coat of
Acrylic Colour - White 27. Trace the same Meenakari
design on the respective boxes as per the size using
yellow carbon paper.
2. Outline the design with Fevicryl 3D Cone Outliner Pearl
Metallic - Gold 352. Paint the design on the lid as well
as on the walls of the boxes with Fevicryl - Water
Based - Glass Colours - Tomato Red 851, Golden Yellow
852 and Crystal Green 854. Let it dry.
3. Take Fevicryl Mouldit - resin base and hardener; mix it
thoroughly to make even dough. Take the dough ball
and make 21 to 25 medium size simple flowers and 48
tiny flowers out of it. Leave it to dry.
4. Paint the flowers with Fevicryl Acrylic Colour Pearl
Metallic - Gold 352. Let it dry.
5. Stick the Mouldit flowers aesthetically on the painted
boxes using Fevicryl Fabric Glue. Let it dry.
6. Enhance each clay flower by sticking red, white and
green ornamental stones in the centre of each flower,
aesthetically using Fabric Glue. Your Meenakari boxes
are ready.
VarH$m
1. g~go nhbo EH$ A4 ìhmBQ> nona b|& Bg na E_ S>r Eµ\$ ~m°Šg Ho$
T>ŠH$Z Am¡a Mmam| Xrdmam| H$s gmBµO _| nma§n[aH$ _rZmH$mar e¡br go
ào[aV µâbmoab {S>µOmBZ ~Zm b|& A~ E_ S>r Eµ\$ dwS>oZ ~m°Šg b|&
BZ ~m°Šgm| na EH«o${bH$ H$ba-ìhmBQ> 27 H$m EH$ ~og H$moQ> bJm X|&
A~ ~m°Šg H$s gmBµO Ho$ AZwgma `obmo H$m~©Z nona go g§~§{YV ~m°Šg
na `hr _rZmH$mar {S>µOmBZ Q´>og H$a b|&
2. µ\o${d{H«$b 3D H$moZ AmCQ>bmBZa nb© _oQ>m{bH$-JmoëS> 352 go
{S>µOmBZ H$s AmCQ>bmBZ ~Zm b|& µ\o${d{H«$b-dm°Q>a ~oñS>-½bmg
H$bg©-Q>°_oQ>mo a¡S> 851, JmoëS>Z `obmo 852 Am¡a {H«$ñQ>b J«rZ
854 go ~m°Šg Ho$ T>ŠH$Z Am¡a Xrdmam| H$s {S>µOmBZ H$mo n|Q> H$a b|&
Bgo gyIZo X|&
3. A~ µ\o${d{H«$b _moëS>BQ>-ao{µOZ ~og Am¡a hmS>©Za boH$a, AÀN>r Vah
_gbH$a EH$ g_mZ {_lU V¡`ma H$a b|& Bg {_lU go EH$ Jmobm
~ZmE§ Am¡a Bggo 21 go 25 _Ü`_ gmBµO Ho$ gmXo µâbmdg© Am¡a
48 N>moQ>o-N>moQ>o µâbmdg© ~Zm b|& BÝh| gyIZo X|&
4. µâbmdg© H$mo µ\o${d{H«$b EHo«${bH$ H$ba nb© _oQ>m{bH$-JmoëS> 352 go
n|Q> H$a b|& BÝh| gyIZo X|&
5. BZ _moëS>BQ> µâbmdg© H$mo µ\o${d{H«$b µ\¡${~«H$ ½by go n|Q> {H$E ~m°Šg na
H$bmË_H$ VarHo$ go {MnH$m X|& BÝh| gyIZo X|&
6. àË`oH$ Šbo µâbmda H$mo Am¡a Iy~gyaV ~ZmZo Ho$ {bE àË`oH$ µâbmda
Ho$ ~rM _| µ\¡${~«H$ ½by go a¡S>, ìhmBQ> Am¡a J«rZ Am°aZm_|Q>b ñQ>moÝg
{MnH$m X|& br{OE AmnHo$ _rZmH$mar ~m°Šg V¡`ma h¢&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 47

Sanjhi Paper Stencil Art

Sanjhi art is an age old renowned art of paper stencilling that was predominantly practised in Mathura, Uttar
Pradesh. It was used to decorate temples with ritualistic and ceremonial rangolis that were dedicated to Lord
Krishna. It's beauty lies in it's delicate and intricate motifs done with precision. The craftsmen use custom made
scissors to cut the stencils neatly. In the olden times, the stencils were made using rough paper, or banana
leaves, however more contemporary artisans use handmade or recycled paper.

Material: Fevicryl 3D Outliner Pearl Metallic - Gold 325, Fine Paper Cutters, White Card Papers, A3 Paper, Yellow
Carbon Paper, Pencil, Pointed Scissors, Ruler

METHOD
1. Take an A3 paper, draw 2 rectangles 11” x 14” in size.
2. Draw two different designs one is with a lotus motif
and second, a jharokha from the traditional paper
cutting art Sanjhi, in a rectangle measuring 9” x 12”
in size.
3. Take the white card paper, mark and cut three
rectangles measuring 11” x 14” in size.
4. Trace the same design of Sanjhi art in the rectangle
by leaving a 2” border from all the sides using yellow
carbon paper. We have taken two papers for the lotus
motif and one for the jharokha.
VarH$m
1. EH$ A3 nona b|, Cgna 11” x 14” AmH$ma Ho$ Xmo Am`V ~Zm`|&
2. 9” x 12” AmH$ma Ho$ EH$ Am`V na Xmo {S>µOmBZ ~Zm`|, EH$ H$_b
H$m Z_yZm Am¡a nma§n[aH$ nona H$qQ>J AmQ>© gm§Pr go ~Zm EH$ PamoIm&
3. g\o$X H$mS>© nona b|, Bgna {ZemZ bJm H$a 11” x 14” AmH$ma Ho$
VrZ Am`V H$mQ> b|&
4. gm§Pr AmQ>© H$s Bgr {S>µOmBZ H$mo nrbo H$m~©Z nona H$s _XX go Mmam|
Amoa go 2” H$m ~m°S>©a N>mo‹S>Vo hþE Am`V Ho$ ^rVa Q´>og H$a b|& h_Zo
Xmo nong© {b`o h¢, EH$ H$_b Ho$ Z_yZo Ho$ {b`o Am¡a Xÿgam PamoIo
Ho$ {b`o&

5. Cut out the design neatly and carefully by using fine

5. VoµO Yma dmbo nona H$Q>g© go {S>µOmBZ H$mo AÀN>r Vah Am¡a gmdYmZr
paper cutters. Refer to the image. go H$mQ> b|& CXmhaU Ho$ {b`o Vgdra XoI|&

6. Outline the design with Fevicryl 3D Outliner Pearl
Metallic - Gold 352 intermittently. Leave it to dry.
7. Mount the paper on to a frame which has 3 sections
for the 3 papers.
8. Using 3D Outliner Pearl Metallic – Gold 352, make a
motif design on the border. Refer to the image.
9. Leave it to dry,
6. {S>µOmBZ H$mo OJh N>mo‹S>-N>mo‹S> H$a \o${d{H«$b 3D AmCQ>bmBZa nb©
_oQ>m{bH$ - JmoëS> 352 go aoIm§{H$V H$a|& Bgo gyIZo X|&
7. nona H$mo EH$ \«o$_ na _mC§Q> H$a|, {Og_| 3 nong© Ho$ {b`o 3
ImZo hm|&
8. 3D AmCQ>bmBZa nb© _oQ>m{bH$ - JmoëS> 352 H$s _XX go ~m°S>©a
na EH$ _mo{Q>µ\$ {S>µOmBZ ~Zm`|& CXmhaU Ho$ {b`o Vgdra XoI|&
9. Bgo gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 49

Sikki Art Lampshade

Sikki Art – A lot of handicrafts are made using Sikki Art form. It is made by a special kind of grass called Sikki
that is found in Bihar and Uttar Pradesh. It is virtually like a fusion between art and nature. The art of making
handicrafts with Sikki grass has been prevalent in Bihar for ages. Boxes for sindoor, ornaments and jewellery
are made with this art. It can be woven well and so toys, dolls and baskets too are made with this technique.
At times the articles made are painted, for a more finished look.

Material: Fevicryl Liquid Embroidery Pearl Metallic - Gold 352, Fevicryl Fabric Glue, Metal Skeleton of a
Lampshade, 1 Meter Green Polycot Fabric, A3 White Paper, White Carbon Paper, Pencil, Scissors, Ruler

METHOD
1. Take an A3 white paper; draw a border design inspired
from the traditional Sikki craft form.
2. Take green polycot fabric, mark and cut the fabric in
the size of the skeleton of the lampshade.
3. Trace the Sikki border design in a repetitive manner on
the fabric using white carbon paper.
4. Paint the design using Liquid Embroidery Pearl Metallic
- Gold 352. Leave it to dry completely
5. After drying cover the metal skeleton with the painted
fabric neatly using Fevicryl Fabric Glue. Leave it to dry
completely. Your Sikki Art lampshade is ready to use.
VarH$m
1. g~go nhbo A3 ìhmBQ> nona b|& Bg na nma§n[aH$ {gŠH$s H«$mµâQ> go
ào[aV EH$ ~m°S>©a {L>µOmBZ ~ZmE§&
2. A~ J«rZ nm°brH$m°Q> µ\¡${~«H$ boH$a, Bggo b¡åneoS> Ho$ ñHo$boQ>Z H$s
gmBµO _| µ\¡${~«H$ H$mo H$mQ> b|&
3. ìhmBQ> H$m~©Z nona b|& µ\¡${~«H$ na [anrQ>o{Q>d H«$_ go {gŠH$s ~m°S>©a
{S>µOmBZ H$mo Q´>og H$a b|&
4. {S>µOmBZ H$mo {bpŠdS> Eå~«m°`S´>ar nb© _oQ>m{bH$ - JmoëS> 352 go n|Q>
H$a b|& Bgo nyar Vah gyIZo X|&
5. gyIZo Ho$ ~mX _oQ>b ñHo$boQ>Z H$mo n|Q> {H$E µ\¡${~«H$ go ~hþV gµ\$mB© Ho$
gmW H$da H$aHo$, µ\o${d{H«$b µ\¡${~«H$ ½by go {MnH$m X|& Bgo nyar Vah
gyIZo X|& br{OE AmnH$m {gŠH$s AmQ>© b¡åneoS> BñVo_mb Ho$ {bE
V¡`ma h¡&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 51

Sujani Kantha Stole

Sujani also known as Sujini, is a form of embroidery that originated in Bhusura village in Bihar, in India. Sujani
style of embroidery was more like the quilting method where old sarees and dhotis were used as the base
creative canvas. The cloth was folded twice and thrice, and then a single stitch was done which rendered a
newness to the entire fabric. Today Sujani art is practised in the southern parts of Rajasthan to make sarees,
dupattas, upholsteries and furnishing fabrics.

Material: Fevicryl Fabric Colours - Black 202, Golden Yellow 209, Indian Red 210, Orange 217, Sap Green 221,
Coral Red 266, Fine Art Brushes, Full Imperial Sheet of White Paper, Yellow Carbon Paper, Pencil, Plain White
Mal Fabric Stole, Colour Palette, Water Container.

METHOD VarH$m
1. Take a white paper, mark and cut the paper in the size 1. EH$ g\o$X H$mJµO b|& H$mJµO na {ZemZ bJm H$a Cgo ñQ>mob Ho$
of the stole. AmH$ma _| H$mQ> b|&
2. Draw a traditional Sujani kantha design with a border 2. Bg na EH$ ~m°S>©a Ho$ gmW gwOmZr H§$Wm {S>µOmBZ ~Zm`|&
on it.

3. Trace the same design using yellow carbon on the

stole neatly.
4. Paint the design by replicating the kantha embroidery
stitch using Fabric Colours - Black 202, Golden Yellow
209, Indian Red 210, Orange 217, Sap Green 221 and
Coral Red 266 with a fine tip brush. Leave it to
dry completely.
5. Secure the ends of the stole and your stole is ready to
be worn.
3. ñQ>mob na nrbo H$m~©Z go Bg {S>µOmBZ H$mo Q´>og H$a b|&
4. H§$Wm Eå~«m°`S>ar H$s {gbmB© H$s ZH$b H$aVo hþE {S>µOmBZ H$mo \¡${~«H$
H$bg© - ãb¡H$ 202, JmoëS>Z `bmo 209, B§{S>`Z aoS> 210,
Am°a|O 217, g¡n J«rZ 221 Am¡a H$moab aoS> 266 go EH$ nVbr
ZmoH$ dmbr ~«e go n|Q> H$a|& Bgo nyar Vah gyIZo X|&
5. ñQ>mob Ho$ {H$Zmam| H$mo [nH$mo H$a| Am¡a AmnH$m ñQ>mob nhZo Ho$ {b`o
V¡`ma h¡&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 53

Tarakasi - Jewellery

Tarakasi is a type of silver filigree work from Cuttack, Odisha. Forms of animals, birds, flowers, and even
miniature handbags and other souveniers are made in Tarakasi work. Odisi dancers adorn jewellery made
in the Tarakasi style. The filigree work is exceptionally rich in pattern and form. Adornments like hairpins,
earrings, intricate anklets, necklaces, toe rings, pendants, brooches and more.

Material: Fevicryl Acrylic Colours - Black 02, Fevicryl Acrylic Colour Pearl Metallic - Gold 352, Fevicryl Mouldit,
Fevicryl Fabric Glue, Fine Art Brushes, Clay Carving Tools, OHP Sheet, Jewellery Attachments, Colour Palette,
Water Container

METHOD
1. We are going to make a pair of earrings with a
pendant, in the Tarakasi art form. For that you would
require 2 packs of Fevicryl Mouldit.
2. Take Mouldit - resin base and hardener; mix it
thoroughly to make even dough.
3. Take the dough, roll it to make thin coils out of it.
Leave the coils till it is semi dry.
4. Take each coil and shape it to make the individual
petals of a flower. Let it dry. Then make some more
coils to form the body of the petals.
5. Assemble the individual petals aesthetically, by
attaching them to make the layered flower for the
pendant, using a little amount of clay and Fabric Glue.
Let it dry. Similarly, make the earrings. Refer to
the image.
6. Fix the jewellery attachments appropriately for a
finished look.
VarH$m
1. A~ h_ VmaH$gr H$bm e¡br _| n¡ÊS>oÝQ> Ho$ gmW B`a [a¨J ~ZmZo
Om aho h¢& BgHo$ {bE AmnH$mo µ\o${d{H«$b _moëS>BQ> Ho$ 2 n¡H$ H$s
Amdí`H$Vm hmoJr&
2. A~ _moëS>BQ>-ao{µOZ ~og Am¡a hmS>©Za ~og b|& BÝh| AÀN>r Vah
_gbH$a, Bggo EH$ Jmobm ~Zm b|&
3. Bg Jmobo H$mo ~obH$a, Bggo nVbr H$m°Bëg ~Zm b|& BZ H$m°Bëg H$mo
Wmo‹S>m gm gyIZo X|&
4. BZ H$m°Bëg go àË`oH$ µâbmda H$s n§Iw‹S>r ~ZmZo Ho$ {bE BÝh| AmH$ma
Xo X|& gyIZo X|& BgHo$ ~mX n§Iw{‹S>`m| H$s ~m°S>r ~ZmZo Ho$ {bE Hw$N>
Am¡a H$m°Bëg V¡`ma H$a b|&
5. A~ ha n§Iw‹S>r H$mo EH$ Ho$ D$na EH$ aIVo hþE Bg Vah O_mE§ {H$
n¡ÊS>oÝQ> Ho$ {bE EH$ gw§Xa µâbmda V¡`ma hmo OmE& BZ n§Iw{‹S>`m| H$mo
Šbo Am¡a µ\¡${~«H$ ½by H$s _XX go {MnH$m X|& gyIZo X|& Bgr Vah B`a
[a¨½g ^r V¡`ma H$a b|& g§X^© Ho$ {bE {MÌ XoI|&
6. BÝh| {µ\${ZíS> ê$n XoZo Ho$ {bE ghr VarHo$ go Ádobar AQ>¡M_|Q>
bJm X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 55

Tibetan Brocade Blouse

Brocade is woven on a loom, it is done by supplementary weft technique, which means, the ornamental
brocading is produced by a supplementary, non structural, weft in addition to the standard weft that
holds threads together. This is done so that it gives a look of actual richness and elegance of embroidery.
Tibetan Brocade is characterised by floral patterns in bright colours. It's usually done on silk to bring out
the real essence of the traditional design that looks like rich embroidery with a sheen. They are handloom
fabrics, with brilliant colours with gold and silver threads incorporated in their weave. Tibetan brocade is
revered and is used at shrines, displayed on auspicious and religious ceremonies, on banners, teaching
thrones amongst Buddhist fraternity and frames for Thangka paintings.

Material: Fevicryl Acrylic Colours Pearl - Lemon Yellow 502, Pink 503, Blue 505, Rose Pink 510, Fevicryl Acrylic
Colours Pearl Metallic - Gold 552, Copper 553, Fevicryl Acrylic Colours Sparkling Pearl - Orange 703, Turquoise
Blue 705, Golden Yellow 707, Golden Green 711, Fine Art Brushes, A3 White Paper, White Carbon Paper, Pencil,
Plain Royal Blue Blouse, Colour Palette, Water Container

METHOD
1. Take a white paper of A3 size; draw a traditional floral
design inspired from the Tibetan brocade style on it.
2. Trace the same design on the backline of the blouse
using white carbon paper.
3. Paint the floral brocade design with Fevicryl Acrylic
Colours Pearl - Lemon Yellow 502, Pink 503, Blue 505,
Rose Pink 510, Feviryl Acrylic Colours Sparkling
Pearl - Orange 703, Turquoise Blue 705, Golden Yellow
707 and Golden Green 711. Leave it to dry. Refer to
the image.
4. Outline each flower with Fevicryl Acrylic Colours Pearl
Metallic - Gold 552 and Copper 553. Leave it to
dry completely.
VarH$m
1. g~go nhbo EH$ A3 gmBµO H$m ìhmBQ> nona b|& Bg na {Q>~oQ>Z
~«moHo$S> e¡br go ào[aV EH$ nma§n[aH$ µâbmoab {S>µOmBZ ~Zm b|&
2. ìhmBQ> H$m~©Z nona go ãbmCµO H$s ~¡H$bmBZ na Bg {S>µOmBZ H$mo Q´>og
H$a b|&
3. âbmoab ~«moHo$S> {S>µOmBZ H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-nb©-bo_Z
`obmo 502, qnH$ 503, ãby 505, amoµO qnH$ 510, µ\o${d{H«$b
EH«o${bH$ H$bg© ñnmH©$qbJ nb©-Am°a|O 703, Q>aH$m°BµO ãby 705,
JmoëS>Z `obmo 707 Am¡a JmoëS>Z J«rZ 711 go n|Q> H$a b|& Bgo
gyIZo X|& g§X^© Ho$ {bE {MÌ XoI|&
4. \o${d{H«$b EH«o${bH$ H$bg© nb© _oQ>m{bH$ - JmoëS> 552 Am¡a H$m°na
553 go àË`oH$ µâbmda H$s AmCQ>bmBZ ~Zm b| Bgo nyar Vah
gyIZo X|&

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 57

 Subscribe
Thangka Painting
Now!

Thangka painting has it's roots in Tibet. It is a kind of painting that is done on cotton cloth or fine silk cloth /
material. It is protected with yet another silken cloth so as to preserve the artform due to it's delicate nature
and the work of intricacy. These paintings depict the Buddhist “Wheel Of Life” that are visual representations
of “Art of Enlightenment”. It is a rendition of teachings also very important tool for the teachings of the life of
Buddha. Thangka painting often depicts Buddhist dieties, related scenes and / or mandalas.

Name Mr/Ms .............................................................................................

Material: Fevicryl Acrylic Colours - Burnt Sienna 01, Black 02, Chrome Yellow 03, Orange 17, Pink 18, Prussian
Blue 19, Sap Green 21, Violet 25, White 27, Cerulean Blue 32, Fevicryl Acrylic Colours Pearl Metallic - Gold 352,
Fevicryl 3D Cone Outliner Non Sticky Pearl Metallic - Gold 352, Fine Art Canvas Board 18” x 24”, A3 White
Papers, Yellow Carbon Paper, Pencil, Colour Palette, Water Container
.......................................................................................................................
Age ............ Address ..................................................................................
.......................................................................................................................
.......................................................................................................................

City hh.......................... State ........................... Pin Code ................

STD Code .................... Tel. ...........................Mob .....................................

Email ............................................... Occupation .......................................

METHOD VarH$m Cheque/DD No. .............................. Dated ................................................

1. Take a white paper of an A3 size; draw a female 1. EH$ A3 gmBµO H$m ìhmBQ> nona b|& Bg na nma§n[aH$ ~m¡Õ W§JH$m Drawn on ......................................... Amount ............................................
Goddess from traditional Buddhist Thangka art on it. e¡br go EH$ Xodr H$s AmH¥${V ~Zm b|&
NO. OF
TICK TERM COVER PRICE YOU PAY YOU SAVE
2. Take a canvas board measuring 18” x 24” in size. Trace 2. A~ 18” x 24” H$m H¡$Zdmg ~moS>© b|& `obmo H$m~©Z nona go Bg na ISSUES
the Goddess on it using yellow carbon paper. 3 YEARS 12 ` 1200 ` 1080 ` 120
Xodr H$s AmH¥${V Q´>og H$a b|&
3. Paint the canvas using Fevicryl Acrylic Colours - Burnt 2 YEARS 08 ` 800 ` 720 ` 80
Sienna 01, Black 02, Chrome Yellow 03, Orange 17, 3. H¡$Zdmg H$mo µ\o${d{H«$b EH«o${bH$ H$bg©-~ÝQ>© {gEZm 01, ãb¡H$ 02,
H«$mo_ `obmo 03, Am°a|O 17, qnH$ 18, àw[e`Z ãby 19, g¡n J«rZ 1 YEAR 04 ` 400 ` 360 ` 40
Pink 18, Prussian Blue 19, Sap Green 21, Violet 25,
White 27, Cerulean Blue 32 and Fevicryl Acrylic Colours 21, dm`boQ> 25, ìhmBQ> 27, goa`wbrZ ãby 32 Am¡a µ\o${d{H«$b • Price inclusive of mailing charges
Pearl Metallic - Gold 352. Let it dry. Refer to the image EH«o${bH$ H$bg© nb© _oQ>m{bH$ JmoëS> 352 go n|Q> H$a b|& Bgo gyIZo
for gradient shading. X|& J«o{S>`§Q> eo{S>§J Ho$ {bE g§X^© {MÌ XoI|& PLEASE TICK
4. Enhance the jewellery of the Goddess using Fevicryl 3D Mumbai Cheque Only Outstation DD only
Cone Outliner Pearl Metallic - Gold 352. Let it dry.
4. µ\o${d{H«$b 3D H$moZ AmCQ>bmBZa nb© _oQ>m{bH$-JmoëS> 352 go
Ádobar H$mo Am¡a C^ma b|& Bgo gyIZo X|& PLEASE NOTE
• Cheque/DDs to be drawn in favour of Pidilite Industries Ltd.
• The subscription price is based on cover price of ` 100.
• Do not send cash.
• Allow 3-4 weeks for processing your subscription.
• Include your area pin code for prompt delivery of your copy.
• Mention your name, telephone no. and address on the
reverse of the Cheque/DD.
• This form can be photocopied for multiple subscriptions.

Please fill the coupon in capital letters and mail it

with your cheque/DD to
PIDILITE INDUSTRIES LTD.
FEVIART, Art & Craft Resource Centre, Publication Division,
Ramakrishna Mandir Road, Kondivita, Andheri (E), Mumbai 400059.
For further details, contact our customer care department
T: + 91 22 28357387 | E-MAIL: feviart@pidilite.co.in

I have read the terms and conditions and I would like to avail the offer

FeviArt | Vol 12 | Issue 4 | Apr - June 2018 59

Signature ............................................. Date ....................................
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FeviArt | Vol 12 | Issue 4 | Apr - June 2018 63

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 October 2018
Registration No. MAHBIL/2006/17391

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For further details contact Pidilite Industries Limited, Resource Centre, Ramkrishna Mandir Road,
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