STAINED GLASS WORK - AN INSPIRATION TO CONTEMPORIZE AND DEVELOP DECORATIVE DESIGNS ON CLOTHING
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Date
2021-09-01
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Abstract
Stained glass or which is otherwise called “window glass” is a famous art form, used initially in religious constructions in the Middle Ages and still attracts architects and design lovers today. Its popularity rose and fell throughout the history. During the Roman period it was used in churches to educate people and later in public buildings for architectural beauty. Though traditionally used in windows, it’s use is now extended to many objects of household use by many designers. It is an art in which small pieces of glass of different colours are adhered as per the design using lead and dried in kiln for permanency of shape, set within a frame work. The elegance it produces when light passes through it is unexplainable. Inspired with these beautiful pieces, research was framed to adopt some motifs and designs available in stained glass on to textiles using stencil printing technique. Preliminary survey was conducted in Churches of Guntur and Vijayawada to view and collect designs present. Many of them were only painted ones on glass with human figures. Secondary sources were investigated for collection of designs. Research design was framed with various stages for adoption and adaptation. Every step was controlled with relevant questionnaires for the evaluation and opinion of the judges. As per the opinion some changes were carried out for the final products of printed kurti materials and sarees along with appropriate embellishment material. Almost 100 designs were collected from the web sources and magazines. After screening, 50 designs were selected and segregated them into 5 categories i.e Animal motifs, Bird/insect motifs, Floral motifs, Stylized and Geometrical motifs. All 50 motifs were redrawn in CorelDRAW software to make them suitable for stencil printing technique. These 50 developed motifs were designated with an alphabet based on its origin and were numbered consecutively. They were assessed by judges/subject experts and the best 10 motifs with 2 from each category were selected. Selected motifs were A4, A5, B6, B8, F5, F7, S1, S10, G1 and G4 with average score of more than 3. A4 and A5 are elephant and deer motifs from animal category, peacock and honey bee from bird/insect category with B6 and B8, floral category had motifs F5 and F7 with roses and daisies respectively, floral motifs were shown in stylized form with S1 and S10 and finally from the geometrical category were G1 a lotus motif and G4 a diamond motif.
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Judges have also categorized the selected 10 motifs for their suitability on kurti materials and sarees. Motifs A5, B8, F5, S10 and G4 were selected for kurti materials and motifs A4, B6, F7, S1 and G1 for the sarees. All motifs were developed using 3 different colour schemes each with help CAD software. These were evaluated by the 30 judges and the highest scored one colour way was selected. One each in triadic, monochromatic and tetradic colour schemes and two in split complementary colour scheme were selected for kurti materials. Three motifs in tetradic colour scheme and one each in mono and complementary colour harmony were selected for sarees with motifs A4, B6, F7, S1 and G1. Selected motif in selected colourway was shown in three different design placements for both kurti material and sarees. One highly scored design placement was selected from the inference by judges’ panel for printing on products. First design placement in motifs B8 and F5, second for motifs A5 and G4 and the third for S10 were selected. Among saree designs, the first placement in F7, second for motifs A4, B6 and G1 motifs and the last for motif S1 was selected. For choice of fabric colour, 5 different coloured fabric swatches each for kurti materials and sarees were shown to the judges. Kurti material was indicated as K and C1 to C5 for colour choice in it while S was designated for sarees and C1 to C5 for colour choice in sarees. One colour each was selected for each kurti material design and for saree design by the judges. For base fabrics, cotton material in plain weave with 90s X 65s count for kurti material and 60s X 40s count for saree and materials were procured from Mangalagiri. Embellishments were purchased as per the suitability of end products. Printing was done on the selected materials using fabric colours, pearl colours, fabric outliners etc. Background was first stencilled using different textured materials for simulating textured glass. Over the background, design was stenciled with selected colours. After drying and finishing, appropriate embellishment material was used at required places for final look. Final products were assessed for consumer acceptability on 10 different parameters. Kurti material designed with animal and floral motif indicated higher consumer preference over other motifs. The painting technique was found unique for all kurti materials by a majority of consumers. Among sarees, the one designed with animal motif received highest average over all other four motifs. Overall appearance of the product in all sarees was more than 2.2 average. Kurti material-I and -III scored higher averages of 2.71. Saree I and II also scored higher values of 2.59 and 2.52. The opinion of consumers on cost of the products indicated that 86% of the consumers agreed that the kurti material cost as “Average cost” while 90% consumers opined the cost of sarees as “Average cost”. Only 6.6% of consumers agreed the cost of both the products to be ‘high’. The research aimed at developing new styles in designs and creativity in printing along with preservation of stained glass designs. The developed products and concept of printing style was highly appreciated by the consumers. Overall appearance of the products was also highly approved by them.
Description
STAINED GLASS WORK - AN INSPIRATION TO CONTEMPORIZE AND DEVELOP DECORATIVE DESIGNS ON CLOTHING