An Artist & her Block Print

Jungalee, our newest blockprint, was envisioned long ago. It represents a wilderness on fabric: a tangle of leaves, stems, and shadows. This design reinterprets the tradition of Indian block printing, moving away from the ornamental Moghul gardens to embrace the chaotic beauty of the forest floor. Named after the Hindi word for "jungle," this print embodies a sense of rootedness and subtle defiance—old customs that have gone wild, flourishing anew.

Meet the artist behind the print.

Jungalee was a concept we collaborated on with our Textile Design partner, the beloved late Anjali Rungta. During the initial months of Covid-19, we exchanged ideas over WhatsApp; Katherine in Berlin and Anjali in Jaipur, evolving the concept, while Anjali infused her distinctive artistic vision into it.

Tragically, Anjali passed away in 2021, aged just 26. This article serves as our tribute to her work and her artistry.

Anjali pursued her studies in Textiles at the National Institute of Fashion Technology in Himachal Pradesh, spending four pivotal years in the mountains. She launched her career at Charcoal, where she was first introduced to block printing, and later became the Head Designer at Doodlage, focusing on upcycling and sustainable fashion. In more recent years, Anjali had been working independently as a print design freelancer, collaborating closely with a small creative studio named The Tiny Tumbler. In an interview conducted with Anjali in late 2020, she shared insights about her inspiration and journey.

INSPIRATION

“I find inspiration in everything—I know it’s a cliché, but it’s true. The lockdown really drove this home for me. You don’t always need to travel far to be moved. One day I made a pink hummus for myself, and the colour alone sparked an idea! For me, inspiration is about paying attention. It could be a shade of yellow, or a ceramic bowl lying quietly on my table. It all depends on the mood—what your mind is tuned to see at that particular moment.

When something catches my eye, I’ll usually photograph it, sketch it in my journal, or paint it directly on canvas. I often imagine how it might look on different surfaces: cloth, paper, a wall. That’s the beginning of most of my creative processes.”

ON BLOCK PRINTING

“What I love most about block printing is its imperfections—the little irregularities that remind you a human hand was here. The process is so tactile and rich with tradition. There’s a raw beauty in how the ink sits slightly unevenly, the way terms like gadh and rekh describe nuances only artisans really know. It’s a craft that can never be fully replicated by machines—and that’s what makes it special.

Designing for block print is both challenging and deeply satisfying. It requires a lot of planning—especially when it comes to colour. You have to think through outlines, layering, whether the background should be dyed or printed, how each layer will sit and interact. Swatching colours becomes a ritual. Each shade has to be tested and balanced, and still, there’s always a touch of surprise when the final print comes to life.

That unpredictability keeps it exciting.”

THE JUNGALEE PROJECT

“Oh! I absolutely loved working with HOWS. It was one of the most fluid and satisfying collaborations I’ve had. Katherine and I quickly found a rhythm—our design instincts aligned from the start. Her brief was clear: she wanted a print that felt wild, layered, and unlike typical block prints. The theme? A Dangerous Jungle. That really lit something in me.

I remember beginning to sketch almost immediately—four prints emerged in quick succession. It felt intuitive, and to my surprise, she liked them all. What I loved most about the final collection was the flow: one design bleeding into the next, like a walk through dense, enchanted undergrowth.

I imagined acid-yellow leaves, olive green trees, pink grasshoppers, tiny bugs with beautiful patterns hidden beneath oversized leaves—little secrets waiting to be found. It felt like designing a storybook forest, one where nature is untamed, a little dangerous, but endlessly beautiful.”

LOOKING AHEAD

“I’m currently working on a home linen collection that will become a core part of The Tiny Tumbler’s identity. The pieces will be block printed and inspired by objects from a slower, quieter life—things shaped by earth, clay, sand… elements that return to the soil, but leave lasting forms behind. I’m fascinated by shape and texture, and the idea of preserving fleeting beauty.

Long term, I dream of living by the sea, with a makeshift studio where I can paint, design, and send my work out into the world while remaining somewhat invisible to it. Peace and quiet are everything to me—but so are my brushes and my camera.

I’d love to explore earth-based pigments, make my own dyes, and work more sustainably. Even now, I’ve begun using old cardboard boxes as canvas—my way of turning the discarded into art. One day, I hope people see the value in these pieces, just as they would a gallery canvas. That’s the direction I want my work to grow in: thoughtful, rooted, and quietly radical.”

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