2. Contents
1. Introduction 1
2. Innaguration 2
3. About IDPMS 3
4. Sisal Fibre 5
5. Approach and Design intrevention 7
6. Learning in the workshop 8
7. Design Workshop 10
8. Products Developed 13
9. Participants 23
10. Conclusion 25
11. Recomendations 26
12. About Designer 27
13. Acknowledgements. 29

3. The people of Tenkal mole and Badagala mole
Near Kuderu, Chamarajanagar Dist, are mainly in
to agricultural labor and in rope making craft.
Sisal is abundantly available in the area and the
people are involved in makig ropes to sell in the
local weekly markets.
These ropes are sold in bundles and are used for
tieing cattle , bullock cart etc. The demand for
sisal rope is limited and therefore the people have
started making ropes from the plastic Cement
bags.
The Bags are ripped apart in strands and then
the strands are spun into ropes that are
approximately 8mm in diameter. Four of these
ropes are twisted together to form a thick rope.
In the villages, children and ladies are involved in
the stripping of strands and the spinning of rope
is done by the men folk. This way it is a good
team work and at the end of the day the women
are able to earn Rs.15 to 25, and that is how the
life goes on.
The market now recognises the plastic rope and
sisal is less and less to be seen in the markets.
INTRODUCTION1:
Tenkal mole Village
Ropemaking in Tenkal mole
Ready plastic ropes
1

4. Mr. S.C.Devaramani, A.D. MNSEC, Mysore,
Mr. S.Sadananda, Director IDPMS,
Mr. Seshaprasad, Cluster manager IDPMS,
Mr. Chandrasekhar, ADS, Kuderu,
Mr. Honappa, ADS, Kuderu,
Mr. M.N.Mangalore SI and
Designer Mr. Karthikeyan Balaraman, Mr.
Rajshekhar Narayan
Were present at the inaugural function at
Kuderu, Chamarajnagar Dist, on 14 March 2005,
at 11:30 am.
Mr. Devarmani spoke about the new opportunity
that is in front of the artisans. He suggested
that the participants should learn come forward
to learn the new Designs. He mentioned about
the support provided by AHVY: a scheme to the
SHG’s to generate income and contribute to
the economic growth.
Mr. S.Sadananda addressed the participants
about the purpose of the design development
workshop and the seriusness that was expected
from each artisan. He said that this is a
opportunity to learn new techniques and that
the emphasis should be on learning. He spoke
about the various programmes taken up by
IDPMS , and the continual support of the
artisans in the entire development programme .
Mr. Sadananda thanked the DC (H) for providing
such an effective Programme for the rural
artisans.
INNAGURATION :
Innaguration of the workshop
Participnts of workshop
2

5. IDPMS started functioning in 1988, and it as
jointly established by the Govt. Of Karnataka
and the Govt. of Netherlands. At the time it
was known as Indo Dutch Project Management
Society. IDPMS worked with various
development projects situated in Karnataka, and
working through these projects, the
organization gained experience and considerable
knowledge and helped into its transformation
into a resource organization. The array of
knowledge includes issues for sustainable
livelihood, Women empowerment, Information
systems, Environment and conservation.
IDPMS which truly means Initiatives for
Development through Participation of
Marginalized Sections, is committed to the
economic growth of the rural poor.
IDPMS has been instrumental in formation of
Self help groups for the past 15 years. Mysore,
Chamarajnagar, Bellary and Bidar, Havery and
Gadag districts have been covered under the
operations.
5300 women involved in over 335 Self Help
Groups has been formed in the guidance of
IDPMS and presently more than 200 artisans in
the sisal fiber craft , in and around Kuderumole
in Chamarajanagar Dist, have been covered
under this umbrella.
About IDPMS:
Existing products
3

6. The current activities of IDPMS are:
· Skill trainings and Design development
activities in the field of Handicrafts
· Training programme on Micro enterprise
development, PRA, Personality
Development etc,
· Guidance to Micro Enterprise,
· Formation of SHG’s and their successful
operations,
· Strengthening of the local support
agencies ;Gram panchayat, ngo’s etc.
· Networking of SHG’s,
· Establishing access to formal credit
organizations,
· Training and orientation of banking
Personnel.
· Market related services; linkages, up
scaling of enterprises operations,
· Gender sensitization programme,
· Technology Development and Data Bank
Services,
· Income generation activities in craft areas,
and other activities.
· Monitoring, Evaluation and Documentation,
· Counciling for enterprise activities.
Existing products
4

7. Agriculture is the main source of livelihood in and
around Kuderu.Sisal fibre is a large genius of short
stemmed, woody plants bearing a rosette of long,
erect, pointed, fleshy leaves. About 275 pieces
are distributed in tropical regions.
The Portuguese introduced agave in India in the
15th
century. They are completely naturalized
throughout the country.
Sisal is grown in widely in India. It is small greenish
gray hedge plant.
The leaves have a thorn at the tip and grows up
to a height of4-5 feet. These leaves yield valuable
fibre.
Sisal is locally called as katthale & Bhoothale its
Botanical name is Agave sisalana and it is locally
available in Chamarajnagar dist.
The propagation happens by removing and re-
rooting the suckers.
Sisal fibre is a very strong, Lustrous natural fibre
and can take wear and tear very well. Sisal is
commonly used for marine ropes.
Sisal is the favorite world wide for floor
coverings it is the most preferred natural fibre
due to its clean smooth& shiny surface texture.
The most known application of sisal is ropes for
local use.
SISAL FIBRE:
5
Sisal Growth

8. India exports sisal floor covering products
from Kerala and all fibre is Imported from
Tanzania and china. Indian sisal is yet to gain
its entry Into the export market.
Sisal is being extracted in Ananthpur (AP),
Utharanchal, seoni (MP), Gokak (Karnataka)
&Kanyakumari (TN). Sisal is used for making rops,
cordage and twines.It’s also used for making hub
cleaning fancy brushes used in bicycle.
Sisal fibre is available locally for Rs 10-15 per
kg. and is generally sold in unwashed state. The
local people buy it for making ropes and it is used
generally in the same condition.
More and more extraction machines are being put
in the district and that is facilitating the sourcing
of the fibre by the village folk.
Sisal Fibre
flowers in the Sisal Plant
6

9. Since the number of artisans is more and the
skill levels are average, the initial efforts
were to introduce the concept of fineness,
use of spinning skills to produce finer yarns
with sisal fiber. .
The products should mainly be for the local
markets and exhibitions countrywide.
Using new techniques for the products, using
techniques that requires low skills and using
the colour combinations that appeal to the
masses, would be the most appropriate
approach for this workshop.
The blend of Sisal with other materials like
Banana bark,which is abundant in the
neighborhood, bamboo, Plastic rope which is
common packing material, and cotton yarns,
would give interesting results.
The use of the available technology for spinning
of sisal, and different method of producing
yarns would add more value to the end
products.
Traditional braids when made using good
colours and tight structure, can be very
interesting and durable.
APPROACH FOR DESIGN INTERVENTION:
7

10. Multiple Strand Braiding:
The usual braiding technique involves three plies
and the resultant braid is usually a rounder and
heavier braid. The four, five and six strand braids
were tried out for better stiffness, appeal and
light weight.
The traditional way of hand spinning brought
back, to make the fine Sisal twines, suitable for
weaving and fine coiling.
Tie and Dye :
Sisal fibre is usually dyed with plain shades, this
is made more interesting with the traditional Tie
and Dye technique using rubber tubes to tie the
fibre bunch and dyeing to achieve amazing tie –
dyed effects.
Fibre Stitching:
Using the fibre waste, opening them up and
spreading on the newspaper, stitching across it,
and then soaking the stitched layer in water to
dissolve paper.
This technique gave excellent results and opened
up a possibility of a new range of products that
can be developed from the fibre waste.
NEW TECHNIQUES INTRODUCED IN THE WORKSHOP:
8

11. Embroidery:
Embroidery with sisal fibre on Cotton fabric for
fashion and fashion accessories. This produces
interesting results.
Frame weaving:
On a 17” wooden frame, weaving was tried with
sisal, banana bark, using he braids and sisal twines
were tried out.
9
Working with banana bark

12. The braids were made blending two or three
colour fibres and that gave a very interesting
surface effect.
The natural palette is followed and therefore
the Products have a vey natural look, the colours
are more of minaral shades.
Five and four strand braids have been prepared
using plastic and sisal blends and also only sisal.
The mix of material was also tried out and the
available materials like Plastic packing cord and
banna bark were used.
Embroidery is a skill that is found every where
and Kuderu is no exception. Using the Sisal Fibre,
Khadi fabric was embellished and used to make
items like bags, coasters. The feel and look of
this style is very new and is equally promising.
Design Development:
10

13. Some frame weaving was also done and a concept
where a long braid is used to make up a single
product was tried. The result is a very
interesting bag, and the simple frame used gives
ease of working and the shape of the final
product.
Continuing on the same lines the same concept
was tried on a wire frame , where in the wire
mesh is removed after weaving of the bag and
result is a one piece , sturdy bag.
11

14. 12
One interesting Product was developed from
Fibre waste lying around , All the waste was
gathered , opened up properly, spread in between
two layers of News papers and stitched up from
the top , forming checkered layers.
The stitched newspaper was then soaked in water
to remove the paper and the resultant as a non
woven, stitched fibre layer. The interesting
colours makes an excellent surface for use in
bags, screens etc.
The bags were stitched with foam leather and
cloth lining. The light weight and the dramatic
texture of the non woven fibre layer works very
well for a fancy bag.
Some Banana bark was braided with sisal and
used for making a traditional braid bag. The light
weight of the Banana bark keeps the bag light
and the unique texture of surface makes the
product very interesting.
The artisans also made products on formed
surfaces like pots. One bag was also made on a
earthen pot and the round shape is retained very
well by the braid giving a fancy look and structure
to the bag.
Sisal and plastic blended braid when woven on a
wire frame , gave a very light weight and sturdy
bag. Round and sqare frames were used for these
bags. In all the stitching thread has been replaced
with fibre and that makes the end product neat
and strong.
Stitched up fibre

15. Products of the workshop
01 Beach bag
02 Holi Bag
13

16. Products of the workshop
04 Madke Bag
03 Lambani Bag
14

17. Products of the workshop
05 Melange Plate Bag
06 Peach Bag
15

18. Products of the workshop
07 Forest Bag
08 Frame Bag
16

19. Products of the workshop
09 Embroidered Costers
10 Coin Purse
17

20. Products of the workshop
11 Fruit Bowl
12 Floor Mat
18

21. Products of the workshop
13 Peach Long Bag
14 Pot
19

22. Products of the workshop
20
15 Rag Bag
16 Round Mat

23. Products of the workshop
17 Cusion Cover
18 Key Chain
21

24. Products of the workshop
22
20 Maize Bag
19 Granit

25. Putamma,Madamma ,Mahadevamma,Siddamma,Mahadevi,Mahesi,Puttamma
Basamma,Mahadevamma&Shivangamma.
Rojamma, Puttabasamma,Chikkamahadevamma,Neelamma,Siddamma,
Dundamma.Ratnamma,Puttananjamma, Anakamma & Rajamma.
Shivamma,Siddamma, Chowadamma, Mahadevamma, Manjula,Lakshamma, Gowarmma,
Rangamma, Dodamma & Chikka theyyamma.
PARTICIPANTS OF THE WORKSHOP:
23

26. s.no. Name of the artisan Village Caste
1 Shivamma w/o Mahadevsetty Badagalamole OBC
2 Siddamma w/o Basaasetty Badagalamole OBC
3 Chowadamma w/o Morisiddasetty Badagalamole OBC
4 Manjula w/o Basavanna Badagalamole OBC
5 Lakshamma w/o Madhsetty Badagalamole OBC
6 Mahadevamma w/o Kempasety Badagalamole OBC
7 Gowarmma w/o Mahadevsetty Badagalamole OBC
8 Rangamma w/o Chowdasetty Badagalamole OBC
9 Dodamma w/o Siddasety Badagalamole OBC
10 Chikka theyyamma
w/o Mahadevsetty Badagalamole OBC
11 Putamma w/o Puttasetty Badagalamole OBC
12 Madamma w/o Puttannasetty Badagalamole OBC
13 Mahadevamma w/o Ranagasetty Badagalamole OBC
14 Siddamma w/o Ramesh Badagalamole OBC
15 Mahadevi w/o Rachasetty Badagalamole OBC
16 Mahesi w/o Sommana Tenkalmole OBC
17 Puttamma w/o Hanumantanaik Tenkalmole OBC
18 Basamma w/o Govindasetty Tenkalmole OBC
19 Mahadevamma w/o Nanjasetty Tenkalmole OBC
20 Shivangamma
w/o Shivananjasetty Tenkalmole OBC
21 Rojamma w/o chikkasiddsetty Tenkalmole OBC
22 Puttabasamma
w/o Doddamahadevsetty Tenkalmole OBC
23 Chikkamahadevamma
w/o Nanjasetty Tenkalmole OBC
24 Neelamma w/o Puttaswamy Tenkalmole OBC
25 Siddamma w/o Nagasetty Tenkalmole OBC
26 Dundamma w/o Madhsetty Tenkalmole OBC
27. Ratnamma w/o Basasetty Tenkalmole OBC
28. Puttananjamma w/o Madasetty Tenkalmole OBC
29 Anakamma w/o Nanjasetty Tenkalmole OBC
30 Rajamma w/o Mahadevasetty Tenkalmole OBC
24

27. Participants in the workshop, felt that the workshop
opened up their minds and the new possibility is now
seen in the Sisal craft.
It was a good time to work out different alternatives
with braiding and multiple colour braids. The dying
also added flavors to the designs.
Mr. Devarmani, A.D. felt that this is a very good
beginning and it should be taken ahead very seriously
by the artisans.
Mr. K.S. Raghupathi, AGM, NABARD Chamarajanagar
, was happy to see such good work done by the
participants and he encouraged the artisans to put in
their sincere efforts.
Mr. S.C. Devaramani , Mr. Rajshekhar Narayan
(Consultant Designer), and Mr. K.S. Raghupathi, Mr.
Seshaprasad, cluster manager, IDPMS, were present
in the concluding session that ended with an interactive
session with the artisans.
Overall it was a good interaction and it was felt
that there should be serious follow-ups.
Conclusion:
25

28. 1. The artisans should be exposed to the other groups
doing work with fibres and that would open up new
ideas for working with similar materials.
2. The marketing support needs to be built up for the
groups so that they have regular work and they
produce articles that sell well.
3. The Design workshop should be given to the artisans
at least once in a year and the same artisans should
be trained further, and then these artisans should
continue the work shop for another 15 days training
the new artisans in the newly developed products.
4. There needs to be basic machinery for cleaning and
opening up of the fibres for better utilization of the
raw material and better finish of the Products.
5. The basic skill training must be made more intense
and the different techniques that are used in other
natural fibres such as spinning, knotting, multi braids,
crochet and macramé etc.
6. The groups should be encouraged to prepare a stock
of the good designs that are developed in the design
workshop, and these should be taken to the market as
early as possible.
7. Simple Dyeing machines should be made available for
cost effective and good quality of dyeing of the fibre.
8. The mixed material approach for the products should
be encouraged and more and more developments should
be taken up with mix of natural fibres.
Recommendations:
26

29. Resume
Karthik 31 Hartington Road Brighton BN2 3LJ 01273 604540
PROFESSIONAL QUALIFICATIONS
• 1997-2000………. National Institute of Design, Ahmedabad, India
AEPEP Textile design
• 1994- 1997……. Govt College of Arts and Crafts, Chennai, India.
B.Sc. Industrial Design in Textiles
• 1992 -1994…….. Govt College of Arts and Crafts, Chennai, India.
Integrated preparatory course
PROFESSIONAL EXPERIENCES
• Consultant designer for Parry Murray, London
• Free lance designer for Sylvie Martel Designs, London
• 2 years with Bharat Tissus, India as a designer in jacquard and dobby
for furnishings from 2001- 2003.
• 3 months as a contract designer with Chamundi silks, India and
developed a range of fabrics using indigenous silk yarns in jacquards and
dobby -2003
• 2 months as a consultant for Pathi silks, India -2003
• 6 months working in the craft sector with Industree Craft and Craft
Council of India as a contract designer for their Natural fibre project in
South India.
• 6 months as a designer for XYLEM, India for their project using textile
sensibilities on handmade paper.
27

30. DESIGN PROJECTS
WOVEN APPAREL
Spring/Summer 2000 men’s casual wear collection
Client: Marks and Spencer’s, UK
INDUSTRIAL TRAINING
Developed a range of nightwear for Autumn/Winter 2000/01
for Mafatlal Industries Limited, Ahmedabad, India.
Client: Marks and Spencer’s, UK
INTERIORS
Developed concepts for space layout, furniture and textile elements for the
Mill-Owners Association, Ahmedabad.
Designed and produced all interior textile elements for Vedic Village Holiday
Resort, Calcutta, India
Resume
COMPUTER PROFICIENCY
● Ned Graphics (Dobby / Jacquard / carpets) ● Wilcom ● Soph
● Adobe Photoshop, Adobe Page Maker ● Windows, MS Of
Excel, Power Point, etc) ● Corel Draw

31. Acknowledgement and credits:
Designer : Karthikeyan Balaraman
Design associates: Mr. Devaraj
Mr. Rajshekhar Narayan
MNSEC, Mysore: Mr. S.C Devarmani, A.D.
NABARD,
Chamarajnagar: Mr. K.S. Raghupathi, AGM
IDPMS :
Mr. S. Sadanand
Ms. Geetha
Mr. Sesha prasad
Ms. Parvati
Mr. Ramesh
Mr. Nagaraj
Mr. Siddhappa
And all the others at IDPMS .
29