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100% ComfortSoft® cotton; double-needle stitching throughout; seamless rib at neck; rib knit cuffs and shoulder-to-shoulder tape; dyed in the USA; no two are exactly alike; wash separately;
Screen Printing at West Oakland Branch of Oakland Public Library on June 8, 2023.
Photo credit: Doug Zimmerman
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Sufiyan Ismail Khatri, 2015
Designed by Sufiyan Ismail Khatri, created by carver Mukesh Prajapati
Wood
Made in Petaphur, Gujarat
Sufiyan Ismail Khatri
Ajrakh is an ancient method of hand block-printing that traditionally comprises motifs based on Islamic geometry. Designer–artisan Sufiyan Ismail Khatri — a ninth-generation block-printer — reinterprets the language of ajrakh through contemporary design. The checked silk sari shown here has been designed using 15 hand-carved wood blocks. It then underwent a complex process of printing and dyeing using natural pigments and natural resists, which prevent colours from penetrating certain sections of the cloth.*
Colour
Colour has always been central to Indian design. Behind this lies process, science, culture and history. The mastery of Indian craftspeople in extracting, producing and transforming colours has long been an art form — allowing endlessly creative uses of colour in textile design, from block-printed patterns to tie-dyeing. The contemporary expressions shown in this exhibition are rendered in an organic colour palette, rooted in an Indian aesthetic.
Producing colour increasingly reflects more sustainable and environmentally conscious ways of working. Indigo — a natural blue dye with a complex colonial history — is now witnessing a slow fashion revival. Atmospheric pollution in the form of carbon emissions has also been used for creating dyes.*
From the exhibition
The Offbeat Sari
(May – September 2023)
A major exhibition celebrating the contemporary sari. Curated by our Head of Curatorial, Priya Khanchandani, this exhibition unravels its numerous forms, demonstrating the sari to be a metaphor for the layered and complex definitions of India today. It brings together dozens of the finest saris of our time from designers, wearers and craftspeople in India.
Worn as an everyday garment by some and considered by others to be formal or uncomfortable, the sari has multiple definitions. Conventionally an unstitched drape wrapped around the body, which can be draped in a variety of ways, its unfixed form has enabled it to morph and absorb changing cultural influences.
In recent years, the sari has been reinvented. Designers are experimenting with hybrid forms such as sari gowns and dresses, pre-draped saris and innovative materials such as steel. Young people in cities who used to associate the sari with dressing up can now be found wearing saris and sneakers on their commutes to work. Individuals are wearing the sari as an expression of resistance to social norms and activists are embodying it as an object of protest.
Today, the sari in urban India manifests as a site for design innovation, an expression of identity, and a crafted object carrying layers of cultural meanings. The exhibition unravels the sari as a metaphor for the complex definitions of India today.
[*Design Musem]
Taken in the Design Musem
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Photography for Kingsdown Colour Print in Bristol. Photography by James Barke, commissioned by Creation Design
My ALDD group at Cinderford Artspace printed onto teabag paper today - we're making whacky hats this term.
Beccy used her card printing block confidently.
Printed on Cranes Lettra Ecru White 220lb
PMS 872
Edge painting in pink
double sided printing
Designed by Invitation Solutions
The big idea is to settle on a standard UK Comic format (28 b&w pages plus colour covers and inner convers, sized 155 mm × 245 mm) that is compatible with US comic-book size, but can be printed at reasonable prices in short print runs (starting at 100 for £1·80 each). If enough people converge on that format, Smallzone can start pitching specialized displays for these comics to bricks-and-mortar shops.