Dabu Block Printing: Crafting With Mud and Water

Posted on 28 February 202528 February 2025 by Lizane Louw

In the quiet, dimly print studio, the printmaker’s hands move with precision, pressing the woodblock onto the fabric. Her expert knowledge of the craft is evident in the rhythm of her printing. The earthy scent of mud and dye fills the air as she creates one-of-a-kind prints in the Dabu print tradition—a craft passed down through generations in this Rajasthani village. Each movement of her hands with the block is a connection to the craft’s storied past. Photo Lizane Louw

Bagru, India – On the edge of the Thar desert in Rajasthan, where time moves slowly and to a rhythm of tradition, lies the town of Bagru. This isn’t just any Rajasthani village; it’s a living craft museum and a sprawling textile bazaar where the ancient craft of Dabu block printing has thrived in the Chhippa community for centuries.

In the narrow, dusty streets lined with shops, workshops, and block print studios, artisans transform meters of fabric into works of printed art. Skilled hands have passed down the knowledge of heritage crafts, surface design secrets, printing methods, and secret mud paste recipes through many generations.

My journeys to Bagru are always more than just a trip—they are life lessons learned with every taxi ride back to Jaipur. Each journey allows for reflection, and the vistas through the car windows inspire ideas and countless more textile journeys.

Every ride into this village, passing camels, cows, jeep taxis, loaded buses, and multicoloured trucks with tassels and loud tooters, takes me deep into a world of textiles. The early morning road trips on Sundays are the best; the streets are quieter than usual, allowing for a more serene experience.

I always look forward to each taxi ride, feeling blessed to learn from the masters and to speak the language of patterns, pigments, and prints—a language they learned by practicing and following family traditions.

Meters and meters of freshly dyed indigo fabric dry under the open sky in Bagru, each piece carrying the story of the Dabu print tradition. Against the earth-toned landscape, a woman moves among the printed sarees, tending to these textiles that tell a story of the elements, nature, craft and time. Photo Lizane Louw

The Rhythm of Time

Setting foot in Bagru introduces you to a rhythm of time unlike any other. The town’s rustic charm lies in its busy streets, lanes, shops, and workshops that snake through the village. The roads get crowded, and the air is filled with dust and the earthy scent of clay and natural dyes, a sensory reminder that in Bagru, nature and craft are one.

Bagru is much larger than it initially appears, stretching far and wide. With each visit, I discover new streets and corners, making it feel even larger. I still find it hard to orient myself and am not sure if I will ever have the confidence to drive from Jaipur to Bagru by myself. However, I have faith in the skills of the drivers who take me on these journeys.

The road between Jaipur and Bagru is a world of its own—a kind of madness that becomes a symphony of chaos. Many of the buildings and shops toward the center of town double as printing workshops and studios of artisans. Some of these buildings are centuries old, carrying the weight of history within their walls.

I was fortunate to have Avinash, one of my Dabu block print teachers, take me to one of the oldest print shops in town. We accessed this sacred space through a heavy wooden door with a rusted lock. The building still stands, but the inside is covered in dust, with relics of the craft scattered in the tiny rooms, each carrying a piece of history.

The entrance to Bagru’s oldest block print studio, now abandoned and locked, its history fading with time. Photo by Lizane Louw.

hand-carved Dabu printing block, left behind in an abandoned Bagru workshop—a silent relic of a once-thriving craft. Photo by Lizane Louw.

The abandoned printers workshop is in the image on the left. From the outside, this building appears abandoned, easily overlooked by passersby. Avinash, my teacher, took me on an electric scooter ride through the village, weaving through time and history. This is the entrance to the oldest block print studio in Bagru—a place once alive with craftsmanship, now standing deserted. Considered unsafe to enter, the building remains locked and inaccessible to the public. Photo Lizane Louw

An old block used for Dabu mud printing on the right—a relic from a bygone era. I found this hand-carved woodblock in a deserted building, the block a silent reminder of a time when this print shop thrived. The artisans who once worked here printed textiles for the patrons of the craft, including the Rajputs, local merchants, and the surrounding community. Today, the building stands empty, its history traced into every pattern and used block. Photo Lizane Louw

Dabu Block Printing: Earth and Traditional Artistry

The Dabu block printing process begins with fabric preparation, like most hand-print traditions. Most workshops I attended in Bagru followed the same traditions: cotton is washed to remove impurities and starch from the fabric. After scouring, the fabric is laid out to dry under the desert sun. I always spend a few days with a studio for workshops, and I have had some great “village tours” around Bagru. Watching the textiles being placed in the sun is always striking, highlighting how much the elements of nature are used in the production cycle of these printed cloths.

A woman in Bagru lays out scoured fabric under the sun, preparing it for the Dabu printing process. This important step ensures the cloth absorbs natural dyes evenly. Photo by Lizane Louw.

A woman in Bagru carefully lays out scoured fabric under the sun, a crucial step in the Dabu printing process. Before any patterns are printed or dyes are applied, the fabric must be thoroughly cleaned and sun-dried to absorb the natural dyes evenly. Her work is an essential foundation of this centuries-old craft, connecting tradition, skill, and sustainability in every piece of cloth. Photos Lizane Louw

When the fabric is dry, it is ready for printing. The cloth is laid out on unique print tables prepared with layers of jute and cotton. Once the fabric is placed and pinned to the table, it is ready to be printed.

The mud paste is a resist made from clay, gum, and lime, known as ‘Dabu.’ This is where the real magic begins for me. It’s incredible how each family or small craft business has its own recipes and experiments, making the best print pastes I have ever printed with.

Dry clay and mud collected for the Dabu print process. Photo Lizane Louw

A mud tray prepared for the Dabu printing for sample prints at Jait Textart. Photo Lizane Louw

Some of the tools I used for the sample prints I printed for my first collection with Mud and Water in Bagru. Photo Lizane Louw

On the left is a mud tray prepared for the Dabu printing for sample prints at Jait Textart. On the right are some of the tools I used for the sample prints I printed for my first collection with Mud and Water in Bagru. Photos Lizane Louw

I attended many Bagru and Dabu block print workshops and learned inspiring techniques from master artisans. Besides getting my hands dirty with mud and creating textile art, I enjoy observing them practising their craft. I have come to learn that a master printer’s skill is evident in the rhythm with which they print and how they handle the blocks. I have seen incredible work and learned so much with each visit.

The mud paste has a distinct smell, and the workshops and print studios have a particular scent. This is one of the reasons I am so drawn to the craft; it is so earthy and raw.

I love how this process of Dabu printing challenges me to think in the negative when I print a design. You have to see the design you are printing “inverse,” as the paste blocks out the patterns that would not be dyed.

I admire the artisans applying the paste using carved wooden blocks every time I observe them. The precision and artistry required to create these beautiful mud cloths come from years of practice. It is not an easy job and is very time-consuming. I also love how most of the prints made with Dabu are more earthy, raw, and geometrical; it is not as fine as work from the Bagru print tradition.

In the heart of Bagru, a block printer rhythmically stamps patterns onto meters of dyed fabric, each imprint of the block a testament to the centuries-old craft of Dabu printing. Layer by layer, block by block, the design emerges—precision, repetition, and tradition, all stamped with care. Photo Lizane Louw

Each block, carved with designs used for generations, is pressed onto the fabric, leaving behind a pattern that will resist the dye in the next step. There is a distinct sound when you remove the block from the cloth after you make an imprint; it is almost like a “thleeeup” sound, resembling the noise of tape slowly peeling off a surface or squeezing wet mud through your fingers. It can get messy.

With precision, patience and an eye for detail, a Dabu artisan in Bagru prints mud resist onto fabric, preparing it for dyeing. Photo Lizane Louw

A master printer carefully stamps the Dabu resist, ensuring each imprint forms part of the intricate design. Photos Lizane Louw

On the left, with precision, patience and an eye for detail, a Dabu block print artisan in Bagru prints mud resist onto fabric, preparing it for dyeing. On the right, a master printer carefully stamps the Dabu resist, ensuring each imprint forms part of the intricate design. Photos Lizane Louw

After the fabric is printed, sawdust is dusted over the fabric to set and secure the print in place and to help with the drying process. This allows the print to set and not run. The printed work is then laid outside the studios and workshops to dry in the hot desert sun. Once the mud has dried, the fabric is dyed using natural colors derived from plants and minerals.

Sawdust is sprinkled over freshly printed Dabu mud resist, helping the mud print to dry and set before the fabric is dyed. This delicate step preserves the intricate patterns that define the craft of Dabu printing. Photo Lizane Louw

I have seen and experienced the vats in Bagru and learned about the traditions of creating these beautiful natural palettes that work with Dabu. Indigo for blues, turmeric for yellows, turmeric and indigo for green, or indigo pomegranate for deeper forest greens, and as the locals call it, Kashish (natural iron deposit) for grey or brown. Pomegranate and alum are also historically used to make red prints—each color is solid, vibrant, and very earthy, reflecting the natural elements from which they are sourced.

A dyer working with the mud printed fabric, dips the printed cloth into an indigo vat, transforming it from green to deep blue as it oxidises. Each dip builds layers of colour, revealing the magic of natural indigo dyeing. Photo Lizane Louw

Once dyed, the resist paste forms the pattern, and the design is revealed when the fabric is removed from the dye bath. After washing in water baths, the resist paste creates the final intricate patterns. The result is a piece of mud cloth that is not just beautiful but carries the soul of Bagru. Each printed piece is one of a kind; no two designs or prints are ever the same. The elements of nature play a part in creating these stunning pieces. The quality of the water also affects the color of the prints.

Dabu Print: Red Moon, by Designer Lizane Louw — My first Dabu mudprint: The Red Moon Story Scarf, 2016.

Dabu Print: Red Moon II, by Designer Lizane Louw — My first Dabu mudprint: The Red Moon Story Scarf, 2016.

What I found most interesting is how the seasons and the sun also play a part in the final print of the Dabu block print design. In the winter, the prints are more defined and crisp; in the summer, when the sun bakes down on the earth, the mud dries faster and cracks, creating a new look of marbling and a new feeling to the printed cloth. I find this fascinating; nature truly creates art.

The hand motions when printing with mud in the Dabu tradition and Bagru tradition with natural inks are different. You handle the blocks differently. Those gentle movements, with each tradition, help you create the prints. With Dabu printing, it is more of a slide motion when you remove the block from the mud print. I like the rhythm and the sound of mud printing; it stuck with me.

My efforts with my first mud prints were clumsy and uneven; I can see it now. I know what I am looking at and where I made mistakes. To to master this craft, skill and patience are required. I fell deeply in love with the Dabu print tradition, and I will continue to research and write about this craft that has taught me so much.

A block printer applies Dabu mud paste onto dyed fabric, creating intricate patterns that will resist the next layer of colour in the design. Each step in the process of printing and dyeing adds depth, texture, and a story to the cloth. Photo Lizane Louw

Sustainability and Dabu Block Printing

In a world dominated by fast fashion and trends, Dabu printing is probably one of the best examples of sustainability in textile printing that I have come across. The process is eco-friendly, from using mud and natural dyes to carefully managing water resources. I think this is slow textile crafts and a form of slow fashion in its purest form. Every step is taken with care and consideration for the environment.

As I continue to learn from the master artisans and observe more artisans at work, I can’t help but reflect on the value of handmade goods. Yes, these products are often more expensive than mass-produced textiles, but witnessing the time, skill, and dedication that goes into each piece made me realize the value. Buying a hand-printed textile involves preserving a craft that is as much about cultural heritage as fashion and tradition.

Two artisans place freshly dyed indigo fabric in an open field to dry. With them handling the printed cloth, the intricate patterns on the sarees are revealed. If you look closely, you can see the result of the mud resist process. Photo Lizane Louw

Deep blue indigo and intricate geometrical and botanical patterns, each printed piece a testament to the craft of resist-dyeing with Mud. Layer upon layer, the fabric carries the marks of nature, the natural elements, time, skill, and the enduring artistry of dyeing with indigo. Photo Lizane Louw

Cultural and Economic Impact

Dabu printing is not just an art form; it’s a way of life for the people of Bagru. The designs are often drawn from the surroundings, tools, household objects, and the natural world. You can find floral motifs, geometric patterns, and symbolic representations of animals and plants. These motifs have been used for centuries, yet they remain timeless, connecting each piece of fabric to the region’s long history and people.

However, there is another side to print crafts: communities with countless challenges. On the upside, the global demand for sustainable fashion has brought new opportunities to the artisans and print communities in Rajasthan. The crafts are known, appreciated, and sold, but there are numerous and serious obstacles faced by these craft communities.

There’s a constant struggle in the region to maintain authenticity in the face of growing competition and the pressure to produce faster. There are movements away from traditional print crafts, more practice for profit, and the creation of questionable quality.

The question about the treatment of the craftspeople and the community’s well-being also comes into question; it is hard work and long hours behind print tables. One thing that is important for me when I set out on my textile print adventures is to research and note the material used to print and dye in studios. I think it is very important to research and to educate yourself on inks and dyes that are good for the workers to work with and also in the end, good for the environment.

What I discovered in Bagru is a community that is still dedicated to the old traditions of block printing and Bagru’s artisans remain committed to their craft, and their resilience is a testament to the strength of tradition in a rapidly changing world.

The rhythm of the print traditions continuing, uninterrupted at this open-air dyeing workshop in Bagru. Here, the fabric is not just dyed—it is transformed with patterns, pigments and prints, carrying the history of its makers. Photo Lizane Louw

The indigo vat showcase the real "alchemy" of natural colour. The artisans work with quiet focus, their clothes permanently stained by the deep blues of indigofera tinctoria, true indigo. Photo Lizane Louw

In the first picture you can view the rhythm of the print traditions continuing, uninterrupted at this open-air dyeing workshop in Bagru. Here, the fabric is not just dyed—it is transformed with patterns, pigments and prints, carrying the history of its makers. The indigo vat on the right showcase the real “alchemy” of natural colour. The artisans work with quiet focus, their clothes permanently stained by the deep blues of indigofera tinctoria, true indigo. Photo Lizane Louw

Embracing the Art of Slow Living

Every time I leave Bagru, I carry more than just the memory of my time there. I have a renewed appreciation for the value of slow living, of taking the time to create something meaningful, and, of course, bags and bags of printed textiles I printed myself. My growing collection of textiles, that I printed myself, makes me proud. I even launched my sustainable textile line, Mäya, in collaboration with Mud and Water, a small family-run print operation in Bagru. I have so many stories to share…

In our modern, fast-paced world that often values speed and convenience over quality and sustainability, my experience in Bagru reminded me of the beauty of handmade crafts and the deliberate and thoughtful process of creation. I learn so much from taking time out when I print; the process is like meditation. For me it is all about finding flow every time I print, even more so when I craft and paint with mud.

I am a Dabu printer, I love the resit printing crafts and I respect all the artisans I have met who practice this craft. As I continue to do my field research and to develop my practice, it is also important for me to understand the challenges and complications of the crafts. Most importantly, I want to share the stories of the craft and help everyone understand and appreciate the hard work of creating these beautiful mud cloths. I plan to continue to develop my skills in this craft and that I will find more inspiration to write more mud stories.

This textile journey with Bagru has changed how I think about my clothes and the items I bring into my home. I am learning with textiles and hand-printed crafts that each piece of printed fabric is not just a product; it’s a story of the land, the people, and the age-old techniques that bring it to life.

As consumers, we have the choice to choose these textiles, these stories, and the crafts. With this choice, we can support the artisans who keep these traditions alive and embrace a slower, more sustainable, earth-friendly way of living.

Supporting Sustainability

For those inspired to explore sustainability in textiles, I encourage you to consider the art of handmade textiles, the traditions of Dabu printing, Bagru printing, and all handweave traditions. Whether you visit Bagru and witness the process firsthand or seek out Dabu-printed textiles, you’ll support a craft embodying sustainability and cultural preservation. Look for pieces that carry the mark of authenticity—natural dyes and beautiful bold patterns created by nature. Dabu prints are raw, imperfect, rustic, and one of a kind. You can rest knowing that each Dabu print was made with care and respect for the environment. It is a way of life in the region.

The printmaker sprinkles sawdust over the printed fabric, fixing the resist paste before it meets the next dye step in the process of creating this one-of-a-kind design. In the dimly lit print studio, the air is thick with dust and the history of Dabu printing. This is more than a craft—it is a way of life passed down, preserved, and printed into the history of Rajasthan. Photo Lizane Louw.

The Future of Dabu Block Printing in Bagru

As I reflect on my time in Bagru and my love for Dabu printing, I can’t help but wonder what the future holds for this ancient mud craft. The world is changing rapidly; we live in a fast-paced world in high-tech societies. We seem to be moving faster; our world is becoming increasingly digital and mechanical. We are consuming and discarding more than ever before. With all this, traditional artisans face more and more challenges.

It is hard to adapt and adjust ways of working in the hand print crafts. But if there’s one thing I’ve learned on each taxi ride to Bagru and back, it is that the people of that village on the outskirts of the Thar desert are as resilient as the craft they practice. These skilled craftsmen have weathered centuries of change until now, and I believe they’ll continue to do so, adapting their practices in eco-friendly ways to meet the needs of the modern world while staying true to their roots.

Ultimately, my journies to Bagru was about more than just discovering new crafts—it was about finding a new way of seeing the world. I am excited to learn more about this mud craft that uses no chemical, industrial machine, or mechanical process, a craft practised with the elements and nature.

As Mr. Joshi, a textile merchant in Rishikesh whom I met one evening, told me with a big smile: “Indian textiles go deep. How deep will you go?”

I can’t wait to pack my bags and head to Bhuj and Kutch to learn more about the heritage textile crafts of this country, which I call my second home.

Additional resources: This section will be updated as my research continue.

Recommended print experiences:

Mud and Water and Bagru Printing workshop.

This is 4th generation award winning hand block printing workshop in the Chhipo ka Mohalia in Bagru. I did a four day printing exploration with Avinash, Akash and Mr. Digamber Medatwal. I was fortunate to experience a Bagru that very few people do. Avinash took me on electric scooter rides around the print workshops and went out of his way to share the operations of the studio and the work they produce. I also worked with this studio to produce the first print run of my first textiles designs I created with found blocks from their archive.

The family does not have a website, it is best to book with them directly, get in touch on Instagram. I highly recommend having a cup of chai with and also printing with Mr. Digamber Medatwal. What I learned from this master printer inspired a lifetime of research.

Studio Bagru

A very professional operation run by Anup Chhipa and his family – Anup is the Production Director at Studio Bagru

Anup is a fifth-generation block printer. He began printing at the age of 16 alongside his father and formally joined Studio Bagru in 2016. Anup is a master printer and also master of color. I witnessed this first hand. Anup oversees production management, retail operations, and printing workshops. I spend four days learning from Anup and the quality of the prints I created under the guidance of him and the team makes me very proud. I printed my first carpet with the guidance of Anup, I also got introcuded to pigment printing and shibori at this studio. I am also very lucky to have had the opportunity to also learn from his mom and dad. They make an incredible team, and I am very impressed with the quality of the print products I not only created, but also bought.

Recommended reading:

Gillow, J., & Barnard, N. (1991). Indian textiles. Thames & Hudson.

“Indian Textiles” by John Gillow and Nicholas Barnard explores the diverse textile traditions of India, covering the history, techniques, and cultural significance of weaving, dyeing, printing, and embroidery. Richly illustrated with good visual examples, the book highlights regional styles and the artistry of Indian textiles. This is a good starting point if you want to learn more about heritage textiles, textile arts and the Indian culture.

What not to miss in the area:

Block Printing Workshops: Participate in hands-on block printing workshops offered by studios in Bagru or Jaipur; contact me for more information, I worked with a couple of family run operations and would love to share my experiences and suggestions with you. There are many.

Visit the Anokhi Museum of Hand Printing: Explore textile exhibits showcasing the history and techniques of block printing. They also offer books for sale, and the books are very good for referencing sample fabrics and research, a must for every textile designer and researcher.

Textile Shopping: Jaipur is not a village. It is more like a market, mall or giant bazaar; you can shop your heart out. Visit markets like Johari Bazaar, Bapu Bazaar, and Tripolia Bazaar for hand-printed textiles and other local arts and crafts. Shop around, but do some workshops first so that you know what you are buying.

Shop Authentic Textiles in Bagru: Purchase authentic Bagru prints directly from the artisans and small studios in the village, support the local economy and take home unique, handcrafted textiles that can only be found in this village. They are truly one of a kind. I have a big growing collection that I printed myself and that I bought on my visits.

Visit Anokhi in Jaipur: Don’t miss the chocolate and carrot cake at Anokhi Cafe in Jaipur. Have tea and cake after a great shopping experience at the Anokhi shop. Thank me later.

Discovering Bagru: The Timeless Art Of Indian Block Printing

Posted on 20 June 202427 February 2025 by Lizane Louw

Artisans in Bagru engage in the traditional craft of block printing. They take the freshly printed and dyed textiles out of containers in an open field near their workshop. The labour-intensive print and dye process involves meticulous work and testifies to the region’s rich cultural heritage and skilled craftsmanship. The ancient block printing techniques of Bagru thrive. These master craftsmen create beautiful, intricate patterns on fabrics that are loved by people all over the world. Photo Lizane Louw

In the dusty streets of a village in Rajasthan, the narrow alleyways whisper stories of tradition and artistry. Rainbow-coloured block-printed textiles hang from balconies and rooftops, swaying in the breeze. This is Bagru, a village where the art of block printing has been thriving for centuries, and around every corner, you find scenes `reminiscent of a living cultural museum.

I accidentally discovered Bagru, 35 km southwest of Jaipur, in 2016 when I set out on my first textile print adventure in Northern India. Living in South Korea then, I was experimenting with image transfers to canvas and experimental print projects, and I wanted to learn more about screen printing.

Bagru, a local Rajasthani village untouched by time and development, invites textile lovers, designers and history buffs to experience history, eco-conscious textile traditions, and an irresistible local vibe.

Artisans lay freshly dyed fabrics in shades of green, blue, and pink to dry under the Rajasthani sun, next to a traditional block printing workshop in India. The craftsmen hang and spread the vibrant textiles across open spaces and the fields between the buildings. This scene highlights the labour-intensive and meticulous nature of the block printing crafts. This knowledge has been passed down through generations and is a significant part of India’s economy and cultural heritage. Photo Lizane Louw

History of the block printing community

Bagru’s textile traditions date back over 300 years. The village’s unique block printing methods, including Bagru and Dabu prints, have been passed down through generations by the storytelling of ancestors. The rich history of this community is tied to a vibrant history of patterns, pigments and prints.

The Chhippa community of Bagru is renowned for its traditional block printing techniques. The term “Chhippa” originates from the Hindi word “Chhapa,” which means “to print” or “to stamp.” This community of craftworkers are hand-block printing artisans known for various printing techniques on textiles, which are the foundations of their cultural heritage.

The community migrated to Bagru from other regions in the north and west of India towards the region centuries ago, bringing the art and craft of intricate block printing techniques with them. This craft became the livelihood of the small Bagru community, with the number of textile artisans in the industry fluctuating.

There are many families, estimated 200+ in the area, engaged in the block printing craft, with each family having multiple members involved in different stages of the production and textile creation process. These craftsmen and their skills make this area a renowned centre for textile artistry in Rajasthan.

In this Chhippa community, you can experience the best of textile of the block print heritage and craft traditions. This community’s knowledge and skills span generations, and various textile printing workshops and studios are scattered around.

Artisans work in a traditional block printing workshop in India, soaking and dyeing fabrics in large vats and water baths. Block printing and dyeing involve multiple steps, including preparing the cloth, printing and dyeing it with various colours, washing it, and ensuring the dye is set. Each stage requires meticulous attention and skill, highlighting the artisans’ dedication and expertise. This vibrant and labour-intensive craft is integral to India’s rich textile heritage. Photo Lizane Louw

This village is all about sustainability and eco-conscious textile print traditions. What is most astounding is how history and religion intertwine; the presence of the gods worshipped by the community and spirits of an age-old craft, the block printing gods, are visible in every little textile print room.

Inside a traditional block printing workshop in India, shelves lined with intricately carved wooden blocks for printing patterns onto fabric. The room, adorned with images of Hindu deities, reflects the craft’s cultural and spiritual significance. This space highlights the enduring heritage and skilled craftsmanship that define India’s well-known and respected textile industry. Photo Lizane Louw

Bagru: A Journey Through Time

Imagine picking pages from a coffee-stained history book and dropping every page into a modern world. That is Bagru.

The village vibe is chilled and traditional, and the streets are filled with villagers wearing beautiful block printed and other textile creations. From the Bagru printed textiles, Dabu designs and all familiar red Rajasthani shibori headscarves. I found the dress sense of the villagers fascinating, the men in their white kurtas with these incredible headscarves and gamchas. Woman on motorcycles, sitting at the back of the bike, legs swung to one side, comfortable in their beautiful sarees, crisscrossing through the traffic. Sometimes, the glitter of the golden printed detail glimmers in the sun. I am always awestruck by what I see in every overcrowded traffic jam.

Bagru is a visual experience like no other. With its rustic charm, block printing and mud printing studios and centuries-old textile traditions, this village is a very good example of the spirit of Rajasthan.

The more time you spend in the dusty streets of this village, the more you learn about what to look at and what you see around you. Every corner is an inspiration. The architecture, the little shops, the vibe, the chai, and, oh, let’s not forget, the textiles.

Two women carefully print, inspect, and fold freshly printed textiles in a busy Dabu printing studio. Surrounded by stacks of colourful fabrics and shelves lined with wooden printing blocks, the artisans work in a space that displays this ancient craft’s rich tradition and heritage. The intricate patterns on the cloth and the vibrant colours reflect the skill and dedication of the craftsmen that create these beautiful, hand-block printed, handcrafted textiles. Photo Lizane Louw

Bagru is my favourite village in India, and the more time I spend in Rajasthan on my visits, the deeper these community footprints settle in my heart.

Time does feel like it has stopped in this village. The only visual signs and symbols that give away that we are, in fact, still with our feet in the “real” world, would be dusty cars and Honda motorbikes with two or more people (or even a family) winding through the streets. You also see designer jeans and bleach-clean Nikes here and there.

Also, a dead giveaway is the electric scooters that zoom past with very little sign of pollution and noise. Cows roam the narrow lanes between the concrete buildings; they are worshipped and honourable members of these communities. Some are dangerous, and I had to walk in circles around these giant beasts with their sharp horns a couple of times for my safety, as I was told to do by everyone I worked with at the printing studios.

The areas I explored around Jaipur and Bagru were somewhat rural and undeveloped, and you could feel what everyday life is like spending time with the locals. Bagru is also notoriously difficult to get to; I had to fork out thousands of Rupees for my taxi transport to and from Jaipur. The local bus journeys are long, and the buses from Jaipur are packed. The local Jeep desert taxis are also very overcrowded and will probably take time and effort to navigate, especially if you don’t speak Hindi.

That said, it is worth every Euro to be transported back in time; you can lose yourself in your imagination and artistic expression, which is a way of life in this Rajasthani village. Even if I tried, I cannot describe my love for this dusty old Rajasthani village in words. The local food is so spicy that my stomach burns, but I know I can eat plates of chappatis; they are delicious, and the chai is good. Local in Bagru is lekker!

Textile printing is not just an art in Bagru but an important economic activity. The craft provides livelihood to hundreds of families working in the village’s textile industry. Tourism driven by these block printing crafts brings much-needed revenue to the community. Tourists visiting support local businesses, craft studios, workshops, and artisans. The economic impact of these heritage crafts extends beyond the village walls and contributes to the broader regional economy.

A master printer and seasoned artisan carefully applies a wooden block to fabric, creating intricate geometric patterns in a traditional block printing workshop in India. She demonstrates the precision and skill required for the ancient craft of Dabu, printing with a steady hand and keen attention to detail. Photo Lizane Louw

Learning block printing from the Masters

My journey into Bagru’s textile traditions began at a Jai Texart Printing Workshop in 2016. I spent a few days working with a master artisan, Laal Chand. I learned about Bagru and Dabu printing traditions from the very knowledgeable Hermant Sethia, the owner of Jai Texart. My interactions and textile experiments with Mr Chand and his creative mastery of mud and mud printing designs got me hooked on mud printing. I am Mr Chand’s biggest fan. I call him Mr Red Moon; he is the inspiration for an ongoing iteration of the first mud print design I made with him. The second one is currently in print in Bagru.

Mr Heman Sethia, Owner of Jai Textart, Jaipur. Photo Lizane Louw (Bagru, 2016) — *Mr Hemant Sethia, Owner of Jai Textart, Jaipur. Photo Lizane Louw (Bagru, 2016)*

A jar of indigo dye from Jai Texart sits beside beautifully printed fabrics on a workshop table in Bagru. Photo Lizane Louw (Bagru, 2016) — *Mr Hemant Sethia, Owner of Jai Textart, Jaipur. Photo Lizane Louw (Bagru, 2016)*

Since then, I have taken more workshops guided and taught by Mr Chand again in 2024; when I am in Bagru, I always stop at the workshop to see him. We communicate in broken Hindi and English; he is always keen to help and guide.

Mr. Laal Chand and Ms. Chand at the workshop of Jai Textart in Baru, 2024. Mr. Chand's ( Mr. Red Moon's) skill, deep love, and knowledge of the craft got me interested in Dabu printing. My interactions with Mr Chand changed my life. I will forever be grateful for all the guidance, skills, and knowledge he quietly and generously transferred to me. I am and forever will be his biggest fan! Photo Lizane Louw. — Mr. Laal Chand and Ms. Chand at the workshop of Jai Textart in Baru, 2024. Mr. Chand’s (Mr. Red Moon’s) skill, deep love, and knowledge of the craft got me interested in Dabu printing. My interactions with Mr Chand changed my life. I will forever be grateful for all the guidance, skills, and knowledge he quietly and generously shared with me. I am and forever will be his biggest fan! Photo Lizane Louw.

A highlight of my time in Bagru in March 2024 was the time I spent with the Medadwal family of printers and dyers. The Mud and Water Workshops are one of a kind; I spent four days with Mr Medatwal, Akash and Avinash.

A cup of masala chai with a block print master. I spent days at Mud and Water’s studios in Bagru with master printer Digamber Medatwal and his three sons. I can write a book about the knowledge these master craftsmen transferred in our workshops. You know when you are in the presence of a master. Photo Lizane Louw

It was a life-changing experience, and what I learned from these master printers opened my eyes and made me appreciate the craft even more. I discovered the “Lila Technique.” Avinash told me that I was the first person he knew who was painting with mud.

Motorbike rides on the back of Avinash’s electric scooter, exploring the streets and diving underneath dusty print tables and old cloths to look for interesting blocks are some of the fondest memories of this experience. Avinash goes above and beyond when he teaches you, and I got to see corners of Bagru that very few people do.

My most patient teacher Avinash. My time spent learning the craft with Avinash was a highlight of my time in Bagru in March 2024. Avinash's guidance and expertise provided me with invaluable insights into the intricate techniques of block printing. His patience and dedication to teaching the craft in a very hands on practical way, enriched my understanding and appreciation of this traditional art form. I am going to walk a long road with this teacher and master printer. I hope that I will get the chance to introduce our Western design and print traditions to him too. Photo Lizane Louw. — My most patient teacher Avinash. My time spent learning the craft with Avinash was a highlight of my time in Bagru in March 2024. Avinash’s guidance and expertise provided me with invaluable insights into the intricate techniques of block printing. His patience and dedication to teaching the craft in a very hands on practical way, enriched my understanding and appreciation of this traditional art form. I am going to walk a long road with this teacher and master printer. I hope that I will get the chance to introduce our Western design and print traditions to him too. Photo Lizane Louw.

Drinking chai with and watching Mr Medatwal, Avinash’s dad, work on my textiles and correcting some print mistakes I made was encouraging. His love and extensive knowledge of the craft, his sharing his practice, and watching him work was the best educational experience I could have ever asked for. This was what I was looking for; it was a very encouraging and inspirational experience to see award-winning Chhippa masters in action. The skill and artistry of this family are next level.

Each of these experiences, with all these craftspeople, was very special and inspired a new creative direction for my work and career.

The textile printing of this region is world-famous, and I can understand why. What draws me most is the secret of the inks and mud pastes they use in the studios. What I love is that these traditions are challenging to replicate. You can only find mud for Dabu on the river banks that flow in the region. Each studio has secret recipes for inks, dyes and mud paste for the mud cloths.

If you want to know more, head to Bagru and find a master printer to spend time with. Even better, stay for some workshops, spicy food and some chai!

An artisan carves an intricate floral pattern into a wooden block, an essential tool in India’s traditional block printing process. The craftsmanship and precision required to create these blocks are evident as he carefully chisels each design to ensure perfect prints. This is where artistry meets the skill needed to produce the beautiful, detailed patterns that adorn the block-printed fabrics of the region. Photo Lizane Louw

The Artistry of Wooden Blocks

Artisans carve intricated designs and patterns into wooden blocks to achieve these masterpieces of textile craft this region is known for. Each block is a work of art. I spend hours with master block makers, observing the detailed work that comes to life as they carve intricate floral and geometric patterns and designs that are the symbols of this community.

*An artisan carves a wooden block with focused concentration, creating the intricate designs used in traditional block printing in India. Photo Lizane Louw*

An antique block used for mud printing, discovered in the oldest print shop in Bagru, stands as a silent testament to the rich history of block printing in India. Photo Lizane Louw — *An artisan carves a wooden block with focused concentration, creating the intricate designs used in traditional block printing in India. Photo Lizane Louw*

I was amazed by the work of Mr Naseem Khan and his team of block carvers. I visited his shop several times while printing in Bagru.

The walls of Mr Khans’ shop are lined from top to bottom with carved wood block treasures. Each block narrates the stories of Bagru’s rich history. With every visit, I learn more about the design of blocks, and I can see and appreciate the modern, more Western design influence. I can spend days hanging out in these tiny block shops; it is incredible what the human hand can create with such primitive carving tools and a piece of wood.

History is lived daily in this desert village and not confined to text or history books. History is etched into Bagru’s identity. History in this print village and living textile museum is alive all around you each day.

What I find most inspirational is that most craftsmen are taught by their parents, and the stories and practises are from their ancestors. This is the magic of this craft; this craft can’t be studied in flashy universities and expensive colleges; you need to go to Bagru and get your hands dirty with ink and mud and stain your fingers with the tradition of the locals.

The textiles produced in Bagru hold great cultural significance in Rajasthan. They are not just fabrics and printed cloths but symbols of heritage and tradition. In most communities in the area, they are also symbols of status and identity. These prints are still used as traditional attire for weddings and other significant cultural events in the community. The patterns and colours carry meanings and stories passed down through generations. Wearing Bagru prints allows the local Rajasthanis to connect with their roots and celebrate history.

Rolls of intricately patterned and vibrantly coloured block-printed fabrics are stacked in a workshop in India. These textiles, featuring traditional designs and rich hues, represent the artistry and heritage of block printing. Each piece represents the culmination of meticulous craftsmanship, from carving the blocks to applying the inks and dye to the finished product. Photo Lizane Louw

Colours created by Nature and used in block printing

Bagru’s Chhippas have developed some of the most unique and eco-friendly textile print traditions — their world and textile crafts are printed and coloured in natural, eco-friendly colours.

The more time you spend in the community and learn about the craft, the more you will start to recognise the colour palettes of Bagru printing madder, harda, turmeric, horseshoe iron, kashish and indigo. I am always amazed by the brews I learn about in the natural dye process. The dyes and liquids that set the textiles are like big pots of tea made from mixtures of flowers and seeds, brewed and steeped on open-air fires in some studios’ back streets and corners.

An artisan's hands skillfully stir a vat of indigo dye, one of the essential steps in India's Dabu print printing process. Photo Lizane Louw — *An artisan’s hands skillfully stir a vat of indigo dye, one of the essential steps in India’s Dabu print printing process. Photo Lizane Louw*

The vibrant textiles, featuring intricate patterns, sway in the breeze, showcasing the beauty and craftsmanship of this traditional craft form. Photo Lizane Louw — *An artisan’s hands skillfully stir a vat of indigo dye, one of the essential steps in India’s Dabu print printing process. Photo Lizane Louw*

I am drawn to this “alchemy” of organic inks, natural dyes and mud. Most of the pigments used are colours from Nature. Inks and dyes made of plants and minerals. Most of the processes followed by the block printing communities are simple but so profound. The inks are also long-lasting and durable. I still drape myself in the scarves I created eight years ago; they look like the day I printed them. In short, they are stunning. I still can’t believe that I made these textile pieces myself. My collection grows as my research and print experiments continue.

What I like most is that the experimentation with colours, pigments and prints continues today. More experiments are being done with tea, herbs, spices, gum, and other minerals. I was told that these experiments take time and are sometimes a hit or a miss. I was shown some samples of textiles that Avinash is experimenting with, all-natural dyes.

The organic dye palettes I saw and experimented with are any artist’s dream. Even though the natural palette of Bagru printing is based on only a few colours, the combinations of the colours and the dyes give variety. I can drape my whole house in indigo and prints made from kashish.

These colours I love so much result from years of experimentation, trial and error and research done by the artisans. This timeless textile art tradition and its use of natural resources in the environment and natural world is truly inspiring.

An artisan applies a wooden block to fabric, creating a precise geometric pattern in a traditional block printing workshop in India. The methodical Dabu printing process involves pressing the block, coated with mud, onto the fabric to transfer the intricate design. This close-up image highlights the detailed craftsmanship and skill required in mud block printing. Photo Lizane Louw

Mud Printing: Block printing, earth and art

The most exciting print technique I ever encountered in my research into printing and textile experiments was Dabu mud printing. This block printing tradition, where artisans create mud cloth, is an art form as old as time itself. I know of some variations of this print tradition in Africa, Europe and Japan. In Nothern Germany and Austria, blueprinting, a resist print method, is a well-known and respected craft.

The Dabu process of Bagru is very earthy. Local river mud is used as a resist paste to print designs on cloths, and the fabric is then dyed with natural dyes to create intricate patterns and designs. I was honoured to work with many skilled artisans from this community, experimenting and learning about Dabu printing. The skills of masters that I observed and worked with led me through this fascinating journey of creating mud cloths. I learned some tricks from a few printers and was told how to make the mud paste and how to experiment.

An artisan diligently works on a piece of fabric using a wooden block to apply intricate mud patterns in a traditional block printing workshop in India. Surrounded by stacks of dried textiles and shelves filled with printing blocks, she carefully aligns each block to ensure precision. The detailed process and the rich cultural heritage it represents are evident in her focused efforts and the beautiful designs that emerge. Photo Lizane Louw

Artisans in a traditional block printing workshop in India meticulously apply patterns to fabric using wooden blocks and mud. Working side by side, they create intricate designs on meters of cloth. Around them, shelves are filled with various blocks that line the walls. Photo Lizane Louw

But for me, Dabu can only be done in Bagru and the surrounding villages. The secret ingredients are mud from the river banks, the indigo and kashish from the region, and the hot Rajasthani sun that bakes the mud on the cloth, which dries very quickly.

The mud paste dries and, as a resistance, preserves the hidden designs beneath; Bagru’s earth-inspired artistry is nothing short of magic. I am hooked.

The Long Dark Shadow of Mass Production and Machines

Yet, amidst the charm of Bagru, lies threats, dark and unknown shadows—the development of the textile industry and the art form’s uncertain future. Ageing artisans today struggle to pass down their wisdom and experience to a generation drawn to the allure of urban life, the big developing cities and high-paying international jobs.

Youngsters in the communities are encouraged to become software engineers or fashion designers. Who would want to work in these warm conditions in the desert with their hands?

Guardians of the block print tradition

Amidst the challenges the community and the block printing crafts face, there is hope. A few organisations and individuals are working to safeguard Bagru’s block printing tradition. I also hope that sharing my personal experience and the work I created will inspire more people to think about these incredible artistic heritage crafts and the benefits of slow fashion.

Most importantly, I want to encourage everyone to start thinking about the dyes and inks used on their clothes; it is also important to consider where your clothes come from and the communities creating them.

My experiences in Bagru deepened my understanding of block print heritage craft’s fragile yet resilient nature. The Chhippas, their history, the organic inks, natural dyes, and mud printing are genuine treasures deserving recognition and protection.

A master printer carefully applies a wooden block to a length of fabric in a traditional block printing workshop in India. The serene, blue-walled workspace reflects the beautiful and visual nature of the craft. The artisans align each print with precision. He is skilled in creating the intricate patterns that characterise this ancient textile art form. Knowledge is passed down through generations and is a craft that is still thriving today. Photo Lizane Louw

Bagru, with its timeless magic, is an invitation to explore, appreciate, and be inspired not only by village life in Rajasthan but by the resilience of a community that loves its craft. This village also reminds us that sustainable cultural practices are everywhere, just like Bagru. We should head out, explore and experience the remarkable stories of artisans and then share our experiences with others. In this way, we become advocates for protecting these heritage crafts.

Artisans showcase their expertise in traditional Bagru and Dabu block printing in India; designs are meticulously applied with mud and inks onto fabric. Each artisan demonstrates a unique process phase, from aligning patterns to ensuring precision in every print. Their dedication and skill preserve this ancient art form, creating beautiful textiles celebrating India's rich cultural heritage. Photo Lizane Louw

Artisans showcase their expertise in traditional Bagru and Dabu block printing in India; designs are meticulously applied with mud and inks onto fabric. Each artisan demonstrates a unique phase in each printing process, from aligning patterns to ensuring precision in every print. Their dedication and skill preserve this ancient art form, creating beautiful textiles celebrating India’s rich cultural heritage. Photo Lizane Louw

I want to express my gratitude and deep respect to all the artisans, block carvers, and block printers who contributed to my learning and this journey. I extend an even warmer appreciation to you, dear reader.

With your curiosity and interest in reading this story about my personal experience, I hope I made the magic of Bagru’s block printing tradition come alive for you. May you one day carry the spirit of Bagru with you by investing in a Bagru or Dabu print and following through on this invitation to explore, preserve, and be inspired. If you love textiles and printing, you know where to go.

Bagru taught me so much; one thing I learned from my explorations of the villages in the Thar desert is that there are some cool places to visit, especially off the map and off the regular tourist cycle. Visiting these places can and will be life-changing.

Most of these places might be very hard to get to and navigate when you are there, but these experiences are worth it. There are places like Bagru waiting to be discovered, stories waiting to be told, and sustainable traditions waiting to be celebrated. May your travels, like mine, lead you to places that fuel your curiosity and inspire you to think and live more sustainably.

I look forward to my next visit to the dusty streets of this printer village in the heart of Rajasthan.

Additional Resources:

This section will be updated as my research continues.

Books:

Gillow, J., & Barnard, N. (1991). Indian textiles. Thames & Hudson.

What not to miss in the area:

Block Printing Workshops: Participate in hands-on block printing workshops offered by studios in Bagru or Jaipur; contact me for more information, I worked with three family run operations and would love to share my experiences and suggestions with you.

Visit the Anokhi Museum of Hand Printing: Explore textile exhibits showcasing the history and techniques of block printing.

Textile Shopping: Jaipur is not a village. It is more like a market, mall or giant bazaar; you can shop your heart out. Visit markets like Johari Bazaar, Bapu Bazaar, and Tripolia Bazaar for hand-printed textiles and other local arts and crafts.

Shop Authentic Textiles in Bagru: Purchase authentic Bagru prints directly from the artisans and small studios in the village, support the local economy and take home unique, handcrafted textiles that can only be found in this village. They are truly one of a kind.

Visit Anokhi in Jaipur: Last but most importantly, don’t miss the chocolate and carrot cake at Anokhi Cafe in Jaipur. Have tea and cake after a great shopping experience at the Anokhi shop. Thank me later.

Spring News ’23. Innovative Framing, Alternative Photo Printing And Design.

Posted on 5 July 20236 July 2023 by Lizane Louw

Finally, our late spring, early summer newsletter. In this edition, I share some thoughts on alternative photography print techniques, my current projects and thoughts on visual design! I am exploring unconventional printing and framing techniques and pushing my creative boundaries as an artist and designer. In this issue of our news/letter, we delve deeper into the art of printing and my creative experiments.

: Our Print Drop Experience: An Journey With Art and Nature

The inaugural print drop of our online fine art photography gallery ended just over a week ago. Reflecting on the experience, I can say that Daniel and I are filled with gratitude and a sense of awe for what we experienced and learned, and in the end, take away from this incredible creative journey we embarked on together in 2019. To summarise the whole experience in a paragraph of this news/letter would not be enough; I will share more on the challenges, mistakes we made, our creative process, and what we learned as I continue to brainstorm a “How to” article, I think sharing the pitfalls and challenges might help someone else setting up an online gallery and print shop. I will share more about this challenging but rewarding experience. More on that soon.

Exploring the elements

The “Elements” collection, inspired by the Japanese and Chinese philosophy of the “Elements of Nature,” took us on an artistic adventure through the remote landscapes of Namibia and Iceland, a journey that we shared with our first experimental print drop.

We face numerous physical and creative challenges during photo expeditions in these remote and awe-inspiring locations. We often face harsh weather conditions and challenging light. Still, each image we create is a testament to our passion for visual storytelling, perseverance, and a deep connection with the natural world.

With each photography expedition and story adventure, we aim to push our creative boundaries and that of our craft. Returning home with a bag full of stories and photographs that inspire us is what it is all about.

Throughout this inaugural print drop, we witnessed the power of art to inspire and connect people. Seeing how our fine art prints have resonated with art enthusiasts and nature lovers alike has been truly humbling. Our work has transported our audience to remote landscapes, igniting a sense of wonder and evoking emotions that words cannot fully express. We appreciate every connection made, every comment and every message of encouragement.

The response to the various formats and motifs we carefully curated for the “Elements” collection has been overwhelming but inspiring. Through creative experimentation, we learn what works and what doesn’t. We learned much and will apply the lessons learned to our next print drop in September.

We experimented a lot and pushed boundaries. From the convenience and versatility of A-sized prints and the elegance of European gallery sizes to experimentation with asymmetrical framing, we aim to cater to diverse tastes and preferences with our fine art photography prints. It makes us happy that our efforts to present photographic art in unique ways have been noticed and appreciated. We are inspired to continue exploring the intersection of art and nature, capturing moments of beauty and wonder that transcend time and physical space.

While this print drop may have ended, our journey as creative storytellers and artists continues. We are planning our next print drop and brainstorming new photo expeditions. We look forward to sharing our future projects with you. Connect with us on social and join us once again on a visual adventure to unique, exotic and remote locations and experience our encounters with the elements of nature.

You can read more about the “Elements of Nature” project on my website. I will update the main website and online gallery with more work as we explore all the possibilities of visual storytelling, photography and epic photo expeditions. We aim to develop our practice as visual and lens-based artists.

If you are curious, the art photography gallery studiolizanelouw.com is online; the only work currently available to collectors and photography enthusiasts is a small selection of open-edition prints. We will update the gallery with the following print drop in September. Many hours go into brainstorming such a project, so check back towards September to see what we will create next.

In the meantime, get in contact if you have any questions, or sign up for the studio newsletter to learn more about our future projects.

: On my creative journey, practice as an artist and new projects

With a continued focus on the elements of nature, I am embarking on an experimental print project this summer. I have been curious about photograms and cyanotypes for a very long time and will experiment with these printing techniques in the coming weeks. I learned a lot from block printing, mud printing, image transfers, and batik in the past few years. What sparked a new project was an exhibition we attended in April 2022 here in Berlin. I was introduced to the work of Marie Clerel, her midi series, 2017–2019, at Songs of the Sky, Photography and the Cloud at C/0 Berlin.

The simplicity of the work by Clerel and the power in the process and thought behind it had a profound impact on me. I have since dreamed about experimenting with cyanotypes and photograms. When the opportunity came up to do a workshop here in Berlin, we dove in, and in a couple of hours, I was hooked.

I created some test prints and have experimented a bit with different papers and also photo paper. I stocked up on all the necessary tools and am now patiently waiting for the sun. I look forward to our experiments and the body of work I will create this summer.

Nature. Human Nature – A Juxtaposition in the Natural World.

The photography project “Nature. Human Nature” aims to explore the relationship between humans and nature through the cyanotype process and photograms. By utilising natural found objects discovered in Berlin, the project seeks to create thought-provoking and visually captivating prints that contrast the effects of coevolution and coadaptation. I am interested in the continuous process of mutual adaptation of us as humans and mother nature. Human actions impact the environment; this leads to ongoing changes and adjustments.

The project intends to communicate the impact of human actions on nature. The work will draw inspiration from minimalist and abstract art, aiming to create works that resonate with people interested in experimentation with alternative printing techniques and who love art, photography and pushing creative boundaries.

I am taking some time off from social media for the summer and will dedicate my time to sun printing. I am excited and inspired not only to create art but to recharge my creativity and to do more experimentation with printing. I look forward to exploring the green spaces here in Berlin and enjoying some sun after this long brutal winter.

Papaver rhoeas, Mörderberg Berlin, July 2023. This print of a poppy was made on Solar-Fotopaper that was exposed to the sun on an overcast day, exposure time, 5 min.

: On Other Projects

I believe in experimentation and pushing creative boundaries with photography, printing and art. Those following my journey for a while know I have various creative projects running in the background, some in various stages of “production”, I will share more in the coming months.

Apart from all the visual, written and design projects I am working on, I have accumulated an extensive body of work over the years, and one of my main projects this summer is to edit my travel photography and travel journalism portfolio and share a collection of work on my website. I have been putting this task for years and have not shared much of my travel photography on my website or on social media. Finally, I will edit and add the work to collections and share it on my website. Who knows, the work might even go into a photobook.

A young boy dressed in a colourful costume for an initiation ceremony in the village of Tenganan, Bali. I got to photograph one of the village boys before the ceremony. The double Ikat Geriseng and traditional village costume caught my eye.

My pursuit of indigenous double Ikat and Songket textiles led me to an extraordinary encounter—a sacred ceremony in Tenganan, Bali. The vibrant patterns woven into these religious fabrics narrate the stories of this secluded community, its culture, and its divine heritage, leaving me inspired and curious, eager to delve deeper into their world of extraordinary textiles. In the photo is a young man celebrating this sacred ritual, Ngusaba Sambah, in Tenganan Bali.

One of the most important phases in my creative process as a photographer and artist is reflection. As summer finally arrived, I could feel the pace of life here in Berlin slowing down.

I decided that I wanted to move slow for the next couple of months. Summer in Berlin is magic, and I want to throw myself head first into this European summer. It is time to take a break and recharge. It is also time to reflect on all my incredible experiences on the road and ten years of epic adventures in Asia before I set off on another epic adventure to the East in the Autumn.

I will share a travel photography portfolio soon. I am excited to dive into my archive and re-edit the work I created on an epic mind-expanding adventurous ten years in Asia.

: On Design

I have two months of studies left in my design certification course. I feel like I want to pick up the pace a bit and commit more time to exploring visual design. There are so many cools books I want to read. (I will share some books I am reading in the next newsletter.)

What I learned so far has changed how I look at content, write content, create content, and present my work online. To say that I am happy with what I have learned so far would be an understatement. I am also delighted to expand my creative repertoire and to be able to call myself a designer. I have always been interested in information architecture, interaction design, visual research and visual design, so I look forward to using all my creative and multimedia skills.

My days for the past year have been packed and challenging, mainly focused on our online art photography gallery and my design studies. I have spent months researching, sketching and iterating designs, and I look forward to sharing my sustainable travel app and design portfolio soon.

Once my studies are complete, I will offer more writing, photography and design workshops. I am building some serious skills and will happily share what I have learned.

: On Connection

Keep your eyes on my social media pages. Behind the scenes, as new projects take shape and the current flow of inspiration continues, I will share more of our studio work after our summer break. I will also share the creative process and the next print drop with the subscribers of the studio newsletter. Do sign up if you want to follow along.

Thank you for being part of this epic creative journey. Stay tuned for more photography adventures, epic photo expeditions and photo stories.

I have big dreams and big plans and will continue to share my love for the arts, design and innovative print experimentations on textiles, paper and other materials with you.

I aim to inspire, one photo/story at a time.

See you in autumn ’23.