36 Days of Type is an annual project that is open to all designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet.
This was my first outing at the event. I've created the numbers with my developing set of skills.
Challenges like these are an opportunity to learn a lot, try new ideas and push yourself to the limits.
My inspiration for the numbers was 'Embroideries of India'.
The first one (or zeroth) embroidery form - Phulkari.
It is the most famous rural embroidery tradition of Punjab. It finds mention in the Punjabi folklore of ‘Heer Ranjha’ by Waris Shah. It uses a darn stitch done from the wrong side of the fabric using darning needles, one thread at a time, leaving a long stitch below to form the basic pattern. Beautiful, isn't it? ;)
The second embroidery form - Kantha.
Kantha is perhaps the oldest form of Indian embroidery as it can be traced back to the 1st Century A.D. This needlework reuses old clothes such as sarees and dhotis and turns them into something new with a simple stitch. It is a form of embroidery often practised by rural women in the states of West Bengal, Tripura and Odisha.
Kantha is perhaps the oldest form of Indian embroidery as it can be traced back to the 1st Century A.D. This needlework reuses old clothes such as sarees and dhotis and turns them into something new with a simple stitch. It is a form of embroidery often practised by rural women in the states of West Bengal, Tripura and Odisha.
Third embroidery form - Chikankari.
The present form of Chikankari work is associated with the city of Lucknow. According to the most popular origin story, Chikan embroidery is believed to have been introduced by Noor Jahan, the wife of Mughal Emperor Jahangir. It started with the use of white thread on white muslin, fine cotton, or voile to showcase shadow work. Today, a variety of color variations are available, mainly in pastel shades.
The present form of Chikankari work is associated with the city of Lucknow. According to the most popular origin story, Chikan embroidery is believed to have been introduced by Noor Jahan, the wife of Mughal Emperor Jahangir. It started with the use of white thread on white muslin, fine cotton, or voile to showcase shadow work. Today, a variety of color variations are available, mainly in pastel shades.
Fourth embroidery form - Kasuti.
Kasuti is a traditional form of folk embroidery practised in the state of Karnataka. Its history dates back to the Chalukya period. The patterns are stitched without using knots to ensure that both sides of the cloth look alike. One of the dwindling art forms but still manages to stay afloat today.
Kasuti is a traditional form of folk embroidery practised in the state of Karnataka. Its history dates back to the Chalukya period. The patterns are stitched without using knots to ensure that both sides of the cloth look alike. One of the dwindling art forms but still manages to stay afloat today.
Fifth embroidery form - Appliqué.
Appliqué is a type of embroidery that employs a smaller patch or fabric to be applied or sewed onto a larger fabric or surface to create different designs and abstract patterns. The biggest variety of appliqué craftsmen are focused in Pipli near Puri, Odisha. It has evolved over the years to stay relevant in the contemporary times. Seen here is a blend of traditional and modern motifs of the art.
Appliqué is a type of embroidery that employs a smaller patch or fabric to be applied or sewed onto a larger fabric or surface to create different designs and abstract patterns. The biggest variety of appliqué craftsmen are focused in Pipli near Puri, Odisha. It has evolved over the years to stay relevant in the contemporary times. Seen here is a blend of traditional and modern motifs of the art.
Sixth embroidery form - Kashidakari from Kashmir.
Kashmiri embroidery (also called Kashida) is used for phirans (woolen kurtas) and namdahs (woolen rugs) as well as stoles. It mostly draws inspiration from nature.
Kashmiri embroidery is known for the skilled execution of a single stitch, often called the Kashmiri stitch. Seen here are the 'Aari' and 'Sozni' forms of the Kashmiri embroidery.
Kashmiri embroidery (also called Kashida) is used for phirans (woolen kurtas) and namdahs (woolen rugs) as well as stoles. It mostly draws inspiration from nature.
Kashmiri embroidery is known for the skilled execution of a single stitch, often called the Kashmiri stitch. Seen here are the 'Aari' and 'Sozni' forms of the Kashmiri embroidery.
Seventh embroidery form - Toda.
Toda embroidery has its origins in Tamil Nadu. Locally known as “Pukhoor” meaning flower, this embroidery is an art work among the Toda pastoral people of the Nilgiri hills in TN.
Toda embroidery has its origins in Tamil Nadu. Locally known as “Pukhoor” meaning flower, this embroidery is an art work among the Toda pastoral people of the Nilgiri hills in TN.
This embroidery adorns shawls. The shawl, called poothkuli, has red and black bands between which this embroidery is done.
Eighth form of embroidery - from Kutch.
Kutch Embroidery is the textile signature art tradition of multiple tribal communities of Kutch district of Gujarat. The embroidery is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. Also embellished with decorative elements such as mirrors and beads. The art form has now become a vocation for women of Kutch who have made a living out of this craft.
Kutch Embroidery is the textile signature art tradition of multiple tribal communities of Kutch district of Gujarat. The embroidery is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. Also embellished with decorative elements such as mirrors and beads. The art form has now become a vocation for women of Kutch who have made a living out of this craft.
Ninth embroidery form - Chamba Rumal.
Chamba Rumal is an embroidered handicraft that was promoted under the patronage of the rulers of Chamba Kingdom in Himachal Pradesh. Due to its close relationship with the Pahari painting tradition, the Chamba rumals are also called as ‘paintings in embroidery’.
Traditionally, the Chamba rumals were silk embroidered square pieces of handspun and handwoven unbleached mulmul. In recent years, artisans have been encouraged to reproduce earlier masterpieces in order to sustain the craft.
Chamba Rumal is an embroidered handicraft that was promoted under the patronage of the rulers of Chamba Kingdom in Himachal Pradesh. Due to its close relationship with the Pahari painting tradition, the Chamba rumals are also called as ‘paintings in embroidery’.
Traditionally, the Chamba rumals were silk embroidered square pieces of handspun and handwoven unbleached mulmul. In recent years, artisans have been encouraged to reproduce earlier masterpieces in order to sustain the craft.
Tenth (and last) embroidery form - Zari Zardozi.
Zari Zardozi work is marked by its use of metallic threads along with sequins and beads on velvets, brocades and silks. This style of embroidery came to India from Central Asia in the 12th century. An ornate and sumptuous craft, it was mainly patronized by the Mughals.
Today, it has witnessed a popular revival and admired by the masses. This craft has major centres in Lucknow, Agra, Varanasi, Bhopal and Delhi. The zardozi craftsmen in Varanasi and Bareilly specialise in embroidering badges and ceremonial robes. These badges are commissioned by the Army, Navy and institutes including the European Catholic clergy who commission work on ceremonial robes.
Zari Zardozi work is marked by its use of metallic threads along with sequins and beads on velvets, brocades and silks. This style of embroidery came to India from Central Asia in the 12th century. An ornate and sumptuous craft, it was mainly patronized by the Mughals.
Today, it has witnessed a popular revival and admired by the masses. This craft has major centres in Lucknow, Agra, Varanasi, Bhopal and Delhi. The zardozi craftsmen in Varanasi and Bareilly specialise in embroidering badges and ceremonial robes. These badges are commissioned by the Army, Navy and institutes including the European Catholic clergy who commission work on ceremonial robes.
