The talented hands behind a brick and cladding facade—a skill integral to the profession of architecture—usually belong to self-taught artists, such as Venkatesh.

After failing his 10th-grade examinations, Venkatesh was in search of a job when he came across the opportunity to work with a renowned architect in the city, 20 years ago. Having imbibed the required skills and knowledge from the city’s small community of brick cladding artists, Venkatesh joined their ranks and has been working as a brick artist ever since.

Without receiving any formal training, he has developed the expertise to read technical drawings provided by the architects, solely by learning on the job. “I get technical drawings of the brick layouts. These have details like the marking and stone cladding. I always do a trial on the field as there are different variables in the materials. But the structure has to be very accurate, to the measurement. I have to see if it fits in the given space and if the design is practical. I try the first layer and then show it to the engineer. Once I get the approval, I start the work. The time depends on the nature of the design.”

Venkatesh collaborates with a close-knit group of three-four peers, refusing to expand his team as he believes it would ruin the quality of his work. “One cannot achieve the quality of work by employing more artists at the task. More artists require more supervision, and quality gets compromised,” Venkatesh said.

Having been in the industry for many years, Venkatesh has also noticed a gradual shift in materials and technique. He made an interesting observation: “Few techniques like stone cladding were manual, but now are available as ready-made. You also get tiles now. The use of natural stones has reduced which impacts the building strength. The previous buildings lasted for at least 100 years. The newer methods wear out sooner, and you see this building coming down in a few decades.”

With all the rapid changes taking place in the industry, Venkatesh is keen on keeping brick art alive. He not only collaborates with distinguished architects but also takes on individual contracts. Recently, he completed a big residential project in Bengaluru which, despite the complexity of the design, turned out well and received an enthusiastic response from the clients. The project was even featured in the local newspaper, a cutting of which now hangs on Venkatesh’s wall, in celebration of his achievement.

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Cobblers that once lined busy streets, can now only be found in specific nooks and corners of the city. To mend and repair a broken item was a customary practice in the olden days. However, with the emergence of the ‘use and throw’ culture, the art of preservation has been forgotten. This shift can be observed to a greater extent in urban areas of India, where we no longer mend but throw.

Gopal, a cobbler in Bengaluru, said his business has undergone several changes in a bid to survive. From shoes, he first expanded his practice to include repair work for bags. After a few years in the business, Gopal began manufacturing shoes and flip flops too. “I make shoes if the customer demands or orders with the repair works. I have a standard catalogue of shoes that customers can choose from. Usually, the customer will spend Rs. 2000-3000 on one shoe, and I will make the same shoe for Rs. 500-700. Materials and the quality of shoes will also be very similar to the shop.”

Gopal learnt the skill of repairing from his neighbour and made it his profession, 16 years ago. Initially, he and his family were working at a clay brick factory on the outskirts of Bengaluru. However, an unfortunate incident forced him to not only change his occupation but also take on the responsibility of his young nephew, training him in repair work to ensure that he can earn his living. Gopal narrated his story:

“My brother’s wife had a baby when she was working at the clay brick factory. One day, a snake bit my sister-in-law, and the owners of the company did not even bother to take her to the hospital for treatment. We took her to the hospital ourselves, and after five hours, she died there. Seeing my community and background, the owner did not support us financially. Instead, he said we killed my sister-in-law and not a snake bite. After her death, I have adopted the kid, and he now runs a cobbler shop around the corner.”

From that incident, I decided that I will not work for someone and do my own business instead.”

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“Mixing colours to make dye is like cooking a dish in the kitchen,” said Bhanu. Her intriguing words made me listen more attentively to what she had to say about the craft of making natural dyes. Bhanu works for a block printing studio in Bengaluru, where her duties involve extracting rich colours and preparing dyes from natural herbs, fruits and vegetable peels—a process that can take up to three days at times. She has been working in this profession for 35 years, and is a “well-qualified PhD holder, if there is a degree like this for natural dyeing,” said her manager.

During the conversation, Bhanu highlighted various benefits of natural dyes, including their non-toxic and anti-microbial properties. Synthetic dyes, on the other hand, can be harmful to the skin but are still regularly used in the textile industry. Once studios and manufacturing units began slowly inching back to normalcy post the COVID-19 lockdown, Bhanu and her team collaborated with a nearby Ayurvedic hospital, working with a medicinal plant expert to make masks using natural dyes.

“I still wear the masks I made with the medical expert,” she said. “In ancient times, dyes were not only judged by the colour but also for their medicinal and healing properties.”

Each time Bhanu mixes natural dyes, she has to check the colour by dipping in a piece of fabric and testing it with the block to be used for final printing. The only other tool she uses is a D65 light box which is utilised as a daylight source to help match colours, paints and inks. “When you put both the samples (old and new) in the lightbox, and if it matches, then your job is a success. This lightbox is the global standard for colour matching in block printing works,” Bhanu explained.

The employees’ work at the studio is segmented—each being responsible for a specific part of the process and for ensuring the overall quality meets set standards. Customers usually do not pay much heed to the entire procedure but are only invested in the final product. With the lack of automation in the process, Bhanu’s goal has been to standardise the result to the maximum extent possible, by streamlining the methods and through regular quality checks. “Most people come for quality,” she said. “Not only the quality of blocks and prints are important, but the quality of the colour we use is equally important.”

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Floral jewellery has become a new trend. From the haldi to the mehendi ceremony, brides are moving away from gold and silver, instead preferring to don jewellery made of flowers to enhance their wedding look. This concept may seem unique today, but it has always existed in South India where women wear gajras as hair accessories and other forms of floral jewellery as part of their daily getup. Curious to learn more about this niche yet growing industry, I met with a passionate floral jewellery maker in Bengaluru, Pallavi Pramod.

Pallavi started her career as a makeup artist in Pune and moved to Bengaluru after marriage, where she began making floral jewellery as an experiment to keep her engaged. The experiment soon grew into a personal project and then a full-time occupation. Today, Pallavi is devoted to her business, attempting to create adornments that are original and innovative.

Like many others, Pallavi also seeks inspiration for designs on Pinterest and other forms of social media, always adding her personal touch and signature style to the final piece. “My main motivation was after seeing Pakistani brides on Pinterest. From then on, I started to pursue this floral jewellery full time and have gotten a good response from my clients in the city and beyond.” Pallavi uses both real and artificial flowers to make her pieces. Materials such as beads and paper flowers are sourced from a local store in Bengaluru, whereas for real flowers, she heads to the phool mandi in the city to make her purchases based on the client’s requirements.

How did her relationship with floral jewellery begin? Since her childhood days, Pallavi has been fascinated with flowers and would always attempt to make something out of the blossoms she would collect. However, over time, this connection with nature was lost as the rigmarole of daily life took her on different paths. Her move to Bengaluru gave her the time to think about her old friends from the garden again. “When I create floral jewellery, it is a happy moment for me. But when my clients appreciate it, that is my real achievement.”

In case you are looking to purchase floral jewellery, you can reach out to Pallavi. She ships her designs across India and is soon planning to open a store in Bengaluru as well.

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What if thieves were able to procure spare keys to your home? Can they simply walk up to a keysmith and have them duplicate a set of keys, to leave no trace of their presence?

In the tricky profession of a keysmith, the maker always keeps a full record of paperwork for the keys he has made. “I will always verify the documentation from my clients, and only then make keys for them,” said Sashi Kumar, a keysmith in Bengaluru. Having learnt this skill from his father, Sashi has been making keys for the last 18 years. He currently has a small shop in the city with three assistants working for him. The walls of the shop are lined with his wares, each of a different make and shape. From large, old and rusted ones to smaller, newly-made keys that shine when they catch the light—the shop decor serves as a catalogue that a client can choose from, if they desire a simple design.

The job of a keysmith requires a lot of hard work and dedication to achieve excellence, said Sashi. A single wrong dent in the key can lay hours of work to waste, forcing the smiths to begin from scratch. “This profession is really made for someone who is very focused and interested in this kind of work. Some people master the skill in one year and for some, it takes more time,” he explained.

Sashi said that he usually makes keys based on two situations—when a client requires a spare copy or when they have lost their key altogether.

In the first case, he begins by making a detailed study of the key that his client brings to him. He then duplicates the key using his machine. Sashi added that with the introduction of machines in the market, the accuracy of key-making has improved drastically—which is also a promising way to attract new customers.

In case a client has lost their key, they must take their lock to Sashi, who will find or make a key that fits it. The process is similar to the first situation, except, in this case, a detailed study of the lock is required.

Having been in the key-making business for some time now, there have been many instances when Sashi has been approached by the police during their investigation of a new robbery in the area. In that case, Sashi usually shows his paperwork to the police officials, maintaining complete transparency in his work. “This is the most I can do, to be honest. Till now, there has not been a formal way to authenticate the paperwork given by the clients. But there is only so much I can do from my side.”

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The distinct art form of kolam, which has been practised by countless generations of women, symbolises an “open heart, prosperity and an auspicious welcome,” Radha explained, as she sat tracing loops and lines with white rice powder outside her home. It is the women of the household who have historically been responsible for the ritualistic making of the kolam—a tradition passed down from mother to daughter. Radha, too, has stepped into her mother’s shoes, continuing the age-old custom by creating elaborate patterns on the floor each morning, using colours, flowers or simply rice flour.

Radha begins the process at the crack of dawn, before offering her daily prayers, by consulting the design catalogue which was given to her by her ancestors when she first began learning the art. When Radha creates a new design of her own, she archives it in the same book, updating it for the next generation to come. Certain pages of this unique catalogue are covered with dots, which act as a framework for the pattern. Once you connect the dots, the design begins to emerge—a useful practice for beginners.

“Kolam also provides food for the ants,” exclaimed Radha. “In ancient times, there was an edible kolam powder which was used. It helped in feeding small insects and ants. But now in modern times, the powder is full of chemicals and is inedible,” she explained.

Kolam, once made, is supposed to remain throughout the day. “In the early days, we didn’t have cement roads for kolam, so the surface was made from a paste of cow dung and water. It was believed that the smooth surface from cow dung paste prevented small and harmful bacteria from entering the house. It also acts as a cooling agent in the house and helps to maintain a healthy body,” Radha said.

The practice tends to evoke a sense of communal harmony, imbuing the neighbourhood with a lively spirit. Women have spent hours in conversation, laughter and healthy competition, all facilitated by the act of making kolam in close proximity to their neighbours. Radha, too, has often competed with others for the title of ‘Best Kolam of the Day’.

With time, many variations have been worked into the art form. From simple yet intricate kolam made with white powder, colours have also begun being used. However, Radha prefers the pure, untampered kolam practice of bygone days. “Now, you can find kolam stickers in the market, and some ladies will use them and not make kolam by themselves. I feel that by doing so it is taking away the essence of the ritual and how it brought the community together in the early times.”

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Indian occasions—from festivals to weddings—are large and lively affairs where one can usually find henna artists armed with their mehendi cones, busy catering to customers. “One of the prominent features of any happy occasion is the henna applied on hands,” said Nilofer, a henna artist based in Bengaluru.

Nilofer first learnt the skill in Mumbai and is trained in different styles including Marwari, Gujarati and Arabic. She moved to Bengaluru after her marriage and opened her own parlour, where she also teaches the art to other women.

What is the secret behind Nilofer’s henna practice? Apart from the artist’s skill, it is the quality of henna that is a defining factor. “I don’t like to compromise on the quality of henna because if I am not honest with my work, I cannot make good money,” she said.

Homemade henna powder is mixed with brewed tea, lemon juice, eucalyptus oil and coconut oil. The mixture is made at least a day before it is to be applied and is left to rest overnight in a bowl. The next day, Nilofer starts by first applying eucalyptus oil on the palms of customers, and later begins tracing patterns with henna. The designs are intricate and symbolic, typically including mandalas, floral patterns, animals and geometric shapes—all traditionally originating from a central point.

Having worked as a henna artist for many years, Nilofer has developed a strong relationship with her customers. Beaming, she proclaimed that she has travelled to places like Dubai in a professional capacity, applying henna at weddings and other occasions. For new leads, she does not hesitate to enrol on online portals such as Just Dial and Sulekha. However, relationship building is a long and arduous process. “For me, it takes about 15 days to a month to build a relationship with my clients. Once that is developed, it will only take a few hours to earn money from them,” she explained

There are various challenges that Nilofer has had to face in her business, primarily among them being the proclivity of customers to bargain endlessly for cheaper rates. Customers are never ready to pay the quoted price for all the hard work. Exasperated, Nilofer said, “People enjoy the most in henna but bargain the most for it.”

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The most ubiquitous of all superstitions in India is the Nazar battu, an icon or charm which takes many forms such as the Mahakal face mask or chilly lemon that can be found hanging outside homes and shops across the country. The idea of using Nazar battus to ward off buri nazar (the evil eye) piqued my curiosity and more than belief, it was a growing interest in the person behind the charms that led me to Puttapa—a third-generation Nazar battu maker in Bengaluru.

Puttapa learnt the skill of making clay Nazar battus from his father and has since been involved in his 100-year-old family business. However, Nazar battus alone are not enough to run his household. He has also begun making murtis and diyas to earn a living. Using standard designs that have been in his family for generations, Puttapa first creates the moulds out of clay before making the final products. He only uses pure clay sourced from nearby areas to make both the moulds and subsequent products and is very keen on preserving the design moulds that have been passed down by his ancestors. Apart from his regular clients, he also sells his Nazar battus and murtis to small shops in the city.

Recently, Puttappa has noticed a stagnancy in his business as the people willing to buy Nazar battus today, are few and far between. Even if a few clients are willing to use these products to ward off the evil eye, they are more inclined towards metal Nazar battus as opposed to the original clay versions.

Puttapa believes the craft has no future. “In the early days, making Nazar battu was a big thing in the city and with time, this craft is moving more towards the outskirts. Even my children will not continue my job after their studies. I am the only one doing this job, and this craft will die with me.”

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Screen printing is the process of transferring ink onto paper or fabric using stencils, a skill that Laxmi has mastered during her years working with a printing unit in Bengaluru. Beginning her career as a trainee, she now heads the unit’s screen printing vertical, using the technique to make a variety of products including wedding cards, business cards, personalised T-shirts and bags.

The unit’s managers taught Laxmi everything there is to know about screen printing. “My training at the printing unit has been very satisfactory and my managers are always supportive if I get stuck,” she said.

Laxmi outlined her process:

• Clients usually bring designs as reference images on phones or printed on paper. I also have an in-house team that makes designs as per their requirements. Based on the reference, we make the CAD drawing on a computer and prepare it for exposure.
• A chemical (emulsion) is applied to the screen (a wooden frame with a cloth/mesh stretched over it) before exposing it to light. The CAD drawing is placed on the screen, which in turn, is positioned at the centre of the exposing machine. A sack of sand or glass is placed on top to keep the screen flat.
• Once the screen has been exposed to light, we have to wash it to see if the design has accurately transferred onto it.
• Before starting the print process, the paper needs to be cut to a desired shape and size. The screen needs to be double-checked to ensure it aligns well with the paper.
• Now, we can start printing! First, the paper is placed on the table. The screen is laid on top. Colour is poured on and a squeegee (a rubber blade with a metal handle) is used to drag the ink across the whole length of the screen.
• In case you need to print using different colours, you can repeat the process once the first colour has completely dried on paper.

“The key to perfect printing is to give the table a rough framework for the placement of the stencil and to make sure the paper or screen does not move while printing,” Laxmi added.

She has also explored screen printing on different materials such as wood and recycled paper. While attempting to print on wood, Laxmi noticed that the ink would keep escaping from the sides. By trial and error, she realised that a different type of ink would have to be used for wood. It is through such experiences that Laxmi has developed an in-depth understanding of the various nuances of screen printing. Today, she allows her curiosity to lead her on, exploring different mediums and building a repository of personal knowledge in the process.

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“There are a lot of factors that go behind the ticking of the watch,” Nagaraja stated, as he sat in his small watch repair shop, measuring 5 ft. X 10 ft., in Bengaluru. His job requires a lot more than just changing the batteries or cleaning the watch’s internal mechanism. “Often, I have to work with micro parts to repair the watch, and I do it all with hands and some tools that I work with. There is a small microscope-type instrument that acts as my third eye and lets me look at the smaller details with more precision,” he explained.

Having learnt to repair Quartz and mechanical watches from a neighbouring watch repair centre, Nagaraja began working part-time as a repairer, while continuing his job at a kebab shop in the city. He is the only one in his family who has taken to repairing watches. As a result, he had to face many challenges during the early stages—from difficulties in figuring out the ‘why’ behind a stalled watch to a constant pressure to upgrade skills. Through it all, Nagaraja has relied on his community of watch repairers. “We share a good bond where we learn together and work on challenging repair works and that is how we all have been surviving till now in the repair business,” he said.

“Often, my clients will bring watches like Swiss or TAG, and the biggest factor is trust when it comes to repairing such watches. I will always be honest and keep the process transparent with my clients—one of the reasons why my customers keep coming back to me.”

To not miss a single client, Nagaraja has never taken a holiday apart from the forced closure during the COVID-19 lockdown. He is very particular when it comes to his work: “I cannot relax until I finish the watch repair I have in my hand.”

Despite his dedication and uncompromising focus on building trust, the shift in consumer culture has severely impacted Nagaraja’s business. As he said, “People have become lazier to repair their watches. They will mostly throw the watches away and are less likely to get them repaired today.”

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