,,batik ,,and ,,other ,,pattern ,,dyeing ,,by ,,walter ,,davis ,,baker ,,and ,,ida ,,strawn ,,baker ,,of ,,the ,,waldcraft ,,studios ,,indianapolis1 ,,indiana ,decoration #aibj ,,atkinson1 ,,mentzer ,,company ,,chicago ,,copyright #aibj ,,by ,,atkinson1 ,,mentzer ,,company ,,all ,,rights ,,reserved ,,the ,,contents ,i ,history and ,character of ,batiks #aa ,,ii ,the ,principles of ,dyeing ,fabrics #ce ,,iii ,wax ,resist ,processes #ed ,,iv ,batiks and ,other ,illuminated ,textiles #ge ,v ,dyeing for ,plays and ,pageants #ig ,,vi ,tie-,dyed ,work #aji ,,vii ,stick ,printing1 ,block ,printing and ,stencil ,dyeing #abc ,,the ,,preface ,one of the hopeful observations during the few years of applied art education in our schools has been the readiness with which educators have taken up and kept problems in which the mediums of expression were practical and efficient1 suitable for the purpose intended1 and the equal readiness with which they have dropped other problems4 ,the burning of wood as a means of decoration did not stand this test1 therefore it had to go4 ,oil paint is not a suitable medium to decorate textiles1 therefore it too has nearly fallen from use4 ,the value of applied art to home and community rests upon the test1 whether the pupil who works out the problems becomes by virtue thereof a more useful and cultured individual in the home and in the social and industrial life of the community4 ,a problem which satisfies this test becomes a basic problem4 ,to a pupil who has once bound a book with its cover design1 end papers1 etc41 a book is a different thing ever after4 ,he becomes a more intelligent and cultured member of the consuming public so far as books are concerned4 ,to the demands of many such members the book binders respond with better things4 ,therefore book binding is a basic problem4 ,similar reasoning applies when a student weaves a fabric1 plans and makes an article of dress1 a toy1 a silver ring1 or a poster4 ,no one will dispute that the all-over dyeing of a fabric1 and the decoration of a textile with a dyed pattern1 are basic problems4 ,the recent war brought home the vital place that dyes hold in the life of the people4 ,as suitable materials have become available teachers have been eager to learn and use these problems4 ,it is seldom that an applied problem comes to the art teacher that offers in so full a measure the essential features of a basic problem as does batik work1 which involves both all-over and pattern dyeing4 ,the mechanical process is rather simple and offers no especial difficulty1 requiring only the painstaking care that good teachers exact from pupils4 ,the design element involved may be simple or elaborate1 fitted to the capacity of the pupil4 ,it is a real problem in design1 however1 allowing great freedom yet carrying with it the discipline of a later test1 viz41 applied expression within the limitations of definite mediums4 ,as the process controls the entire surface1 the pupil is directed to plan his design and ground areas both in space and color relations4 ,the mediums used are fabrics and dyes1 both inseparably involved in education as they are in life4 ,the pupil must plan for the use intended and also for the particular type of individual or scheme of decoration4 ,the work carries with it all along the anticipation of results2 and the beautiful finished piece is the reward of effort4 ,what more could be desired in an applied school problem8 ,the endeavor and the hope in presenting this little book on ,batik and ,other ,pattern ,dyeing is to help those who are learning to undertake these problems with breadth of thought and efficiency of method4 ,,the ,,authors4 ,indianapolis1 ,indiana4 ,illustration3 ,,batik ,,design p4 #f ,,the ,,acknowledgments ,the authors are pleased to express grateful indebtedness to a number of friends in ,indianapolis4 ,to ,miss ,roda ,e4 ,selleck1 ,shortridge ,high ,school1 for her advanced high school projects in the development and application of batik designs2 also in the application of tie-dyeing and blown stenciling4 ,to ,miss ,carolyn ,s4 ,ashbrook1 ,shortridge ,high ,school1 for her projects with an elementary high school class4 ,to ,miss ,olive ,rush1 who designed and executed ,the ,capture for the frontispiece4 ,to ,miss ,blanche ,stillson for assistance in illustrating the wax resist processes2 also for her designs1 the blouse1 page #hj1 and the pattern1 page #hg4 ,to ,mr4 ,charles ,e4 ,rush1 ,librarian of the ,public ,library1 for securing valuable publications of the ,dutch ,government4 ,to ,mr4 ,george ,somnes1 ,director of ,the ,little ,theater1 and ,mrs4 ,eugene ,fife1 ,little ,theater1 for their work revealed in ,chapter ,v4 ,for the loan of old textiles1 ,miss ,eliza ,niblack1 ,curator of ,textiles1 ,john ,herron ,art ,institute1 the sarong1 page #gf1 and the chundri1 page #aaj2 ,mrs4 ,clifton ,a4 ,wheeler1 the ,javanese patterns1 page #ie2 ,mrs4 ,william ,o4 ,bates1 the sarong design used for the end papers2 ,miss ,florence ,fitch1 ,director of ,art1 ,public ,schools1 the ,indian block printing1 page #abf4 ,for permission to photograph their own handicraft1 ,miss ,mary ,overbeck 7,cambridge ,city1 ,ind47 the tie-dyed patterns1 pages #aac and #aae2 ,mrs4 ,james ,thompson1 the costume jewelry1 page #gh1 and the tie-dyed scarf1 page #aae2 ,mrs4 ,j4 ,r4 ,brant1 the blouse1 page #hb2 ,miss ,mary ,janet ,o',reilly1 the camisole1 page #gh4 ,illustration3 ,,batik ,,design p4 #h ,now what ,i want to do is to put definitely before you a cause for which to strive4 ,that cause is the ,democracy of ,art1 the ennobling of daily and common work1 which will one day put hope and pleasure in the place of fear and pain as the forces which move men to labor and keep the world a-going4 ,william ,morris ,illustration3 ,,the ,,capture1 ,,by ,,olive ,,rush p4 #aj ,,chapter ,i ,,history ,,and ,,character ,,of ,,batiks ,textile art is one of the oldest arts known to man4 ,personal adornment was perhaps the first attempt at expressing beauty4 ,costume designing and textile industries are still most vital movements in the artistic development of the people4 ,illustration3 ,,buddha ,,statue p4 #aa ,asia is the great mother of beauty in textile decoration4 ,we do not talk or write about textiles without using the words of her ancient peoples4 ,batik--this ancient ,asiatic word--is one of the oldest crafts of the ,orient4 ,in ,india1 ,java and ,japan the highest technique is reached4 ,these people have made a great art of costuming4 ,each caste1 religion and festival requires its special garment4 ,from the historic days when ,columbus searched vainly for a shorter way to the fabled riches of the ,east ,indies until the way was found1 these treasure islands held the possessions most coveted by the ,western ,world4 ,more than a thousand years before this time1 the neighboring ,hindus came to these rich islands bringing with them religious teachers1 road makers and skilled craftsmen4 ,many expeditions fastened upon the native tribes the religion and culture of the older and more civilized country4 ,while the ,spanish1 ,portuguese and ,english adventurers were discovering new lands and claiming them for their kings1 the ,dutch sailors carried to and fro the produce of the world4 ,the ,netherland warehouses were filled with treasures of the ,orient4 ,keeping pace with its industry were the universities and the common schools4 ,the records and drawings of ,dutch scholars disclose so much detailed information upon the handicraft industries of the day that the recent revival of batik is traced to their genius4 ,books issued by the ,dutch ,government to promote the batik craft1 picture ,javanese women and girls seated upon fiber mats before a vertical frame upon which the material is hung for the execution of their art4 ,men too are at work printing and dyeing these fabrics4 ,housewives in staid processionals display the occupation4 ,princes and fine ladies disport their gorgeous costumes4 ,priests climbing the steps of their temples past the long rows of their sacred gods are resplendent in batik array4 ,their oldest gods are clothed in sculptured batik4 ,designs of great beauty and skilled execution enrich the pages of these rare volumes4 ,among the ,dutch people much effort has been made to promote this art4 ,native designs have been fostered and the modifications have been in demand for ,european trade4 ,illustration3 ,,costume ,,of ,,an ,,upper ,,class ,,javanese ,,woman p4 #ac ,the ,american adaptation of batik has followed closely upon the ,european revival4 ,the ,chinese1 however1 have control of the industry in ,java4 ,they employ natives at low wage to make batiks4 ,the home occupation that took no account of time or pains is dying out4 ,in a few years the products of this infinitely better craft will be found only in museums and in the possession of collectors4 ,under ,chinese management batik making has become the leading occupation4 ,batik is a method of drawing or painting with wax upon a fabric1 after which the material is dyed and the wax removed4 ,the result of this process is a decoration in silhouette upon the dyed background of the goods4 ,the wax generally used in ,java is hot beeswax or a vegetable wax imported from ,japan4 ,the wax is removed by scraping and melting4 ,the waxing is repeated as many times as there are colors in the design4 ,the process is long and tedious and often requires months4 ,formerly the colors were native vegetable dyes4 ,the most common were indigo1 mango tree bark and madder4 ,these colors have fallen into disuse1 artificial dyes having replaced them4 ,the wax resists the action of the dye-bath except where it cracks4 ,here the dye creeps in1 producing the characteristic crackle of batik work4 ,the ,oriental craftsman never forces crackle4 ,with him it is always an incident1 the subtle accident of his handicraft4 ,illustration3 ,,javanese ,,woman ,,engaged ,,in ,,batik ,,decoration p4 #ae ,the nature of the process forces simple execution in waxing the shapes and outlines1 and also limits the number of times the piece may be dyed4 ,applying the wax becomes increasingly difficult after each dipping4 ,spotting of color over the entire piece makes thinking in color as important as the painting in of the wax4 ,the ,oriental process of dyeing is the reverse of the ,american1 in that it applies the darkest colors first4 ,this necessitates previous waxing over parts to be kept light and also the removal of the wax and an entire new waxing after each dyeing4 ,the ,american method is to dye the lightest colors first and build up the deeper colors4 ,between dyeings the old waxing is repaired and additional areas waxed4 ,the sarong1 worn by ,javanese natives1 is a skirt-like piece of goods about the size and proportion of a window curtain4 ,this garment falls from the waist1 or above it1 to the feet4 ,the fabric is cheap cotton manufactured in ,holland or ,england4 ,the color and decoration of the sarong is influenced by caste and religion4 ,the feudal framework of ,javanese society has given much significance to rank4 ,the women add to the sarong a kemban4 ,this garment is not unlike a blouse without shoulder supports or sleeves4 ,the kemban is wound tightly about the body under the arms4 ,the drapery covers the upper part of the sarong4 ,the slendang completes the wearing apparel of the women4 ,it is a scarf worn for adornment or useful for carrying the youngest child1 or other burdens4 ,the ,javanese man wears the sarong in the same manner as the women1 which leads the foreigner to awkward misunderstandings4 ,his long hair is done on the top of his head and bound around with a sarong kapala4 ,this head dress is tied at the nape of the neck4 ,the sarong kapala is square1 and when fitted is starched and shaped to the head4 ,illustration3 ,,javanese ,,natives ,,dyeing ,,batiks p4 #ag ,among the poorer classes these garments are plain1 usually dark blue1 for daily wear1 but on occasions they are vivid with color decorations4 ,the native worker prepares his cotton goods by soaking in oil1 afterwards in lye4 ,this process is repeated until the material is softened and a pleasing yellow gray4 ,hand decoration is done by women4 ,the material is hung over an upright frame4 ,the hand supports the goods1 and the molten wax is applied to the design4 ,they use a funnel-like cup with a bamboo handle4 ,the wax trickles slowly through the slender tube1 and with this the outline is made4 ,this instrument is called a tjanting4 ,there is no right or wrong side of this fabric1 as the waxing is done on both sides4 ,to cover large surfaces with wax1 they use a brush4 ,these women have acquired a high degree of skill through repetition of the same design on the same kind of garment4 ,the wooden frame over which the goods are fastened is moveable4 ,the wax is melted over an earthen heater with an open side1 into which the ends of long sticks are thrust for burning4 ,illustration3 ,,javanese ,,man ,,decorating ,a ,,sarong ,,with ,a ,,tjap p4 #ai ,although the tjanting is the more desired and versatile device for applying wax1 the men wax batiks with tjaps4 ,the tjap is a wooden block with designs of metal insert4 ,the craftsman sits on a low stool in front of an inclined table over which the goods are smoothly spread4 ,the bottom of a shallow pan is covered with wax1 heated in the same manner as for the tjanting4 ,an absorbent pad is placed in the pan1 the tjap is pressed on the pad and imprinted on the fabric4 ,the fabric is then turned and1 with another tjap made like the first except with its symmetry reversed1 wax imprints are made in exactly the same places4 ,this insures good waxing on both sides of the fabric4 ,the piece is then ready for the dye4 ,illustration3 ,,javanese ,,batik ,,tools p4 #bj ,sometimes a set of many tjaps is used to work out a pattern for a sarong or other garment4 ,the making of these tjaps is the laborious and expensive work of experts4 ,of course we may expect to find many repetitions of such patterns1 differing from one another only in the accidents of dyeing4 ,frequently different methods of applying wax are used in the same decoration4 ,freehand work with the tjanting and brush on fine pieces serve to take away from the mechanical reproduction of tjap designs4 ,the decoration of the end papers of this book1 taken from a fine old sarong1 affords an interesting study4 ,the most artistic and highly regarded effects in batiks among the ,japanese workers are executed as they are in ,america today1 i4e41 the wax is applied with a brush and is as free from mechanical aids as painting4 ,pieter ,mijer1 in ,batiks and ,how to ,make ,them1 published by ,dodd ,mead ,company1 ,new ,york1 writes of the modern development of batiks in ,holland4 ,the artists who have stimulated the present interest are ,cris ,lebeau1 ,dijesselhof and ,lion ,cachet4 ,the illustrations of their work have a charm and individuality worthy of the highest respect4 ,the author's own piece shown in the same group does not lose by comparison4 ,this book is also rich in valuable instruction and other illustrations of batiks1 showing high ,american standards of the craft4 ,batik adaptation in ,america is without tradition1 and is an outgrowth of youth and enthusiasm caught up and carried on the high tide of progress and opportunity4 ,the real significance of its popularity reaches backward into the necessity that confronted workers in textile designing after ,europe was caught in the maelstrom of war4 ,the textile manufacturer has quickly adapted batik designs1 indeed the artist working in batiks feels a close kinship to textile industry4 ,batik decoration is free from limitations that restrict mechanical printing4 ,in designing fabrics for the ordinary methods of mechanical reproduction1 where great yardage is produced1 the designer consults an average taste2 whereas in batiks each piece is definitely designed with a particular setting or individual in view4 ,there is no necessity for much repetition of any design1 nor indeed can exact copy ever be made4 ,the first enthusiasm of the worker in batiks is apt to find expression in a burst of color run riot1 of crackle craze1 with too little attention paid to design4 ,but this soon gives way1 as it should1 to more conservative expression in which design is the controlling element1 and the art comes to its own as a method of subtle and beautiful illumination of textiles4 ,illustration3 ,,batik ,,design p4 #bb ,illustration3 ,,old ,,batik ,,design p4 #bc ,illustration3 ,,old ,,batik ,,design p4 #bd ,illustration3 ,,old ,,batik ,,design p4 #be ,illustration3 ,,old ,,batik ,,design p4 #bf ,illustration3 ,,old ,,batik ,,designs p4 #bg ,illustration3 ,,old ,,batik ,,designs p4 #bh ,illustration3 ,,old ,,batik ,,designs p4 #bi ,illustration3 ,,old ,,batik ,,designs p4 #cj ,illustration3 ,,old ,,batik ,,designs p4 #ca ,illustration3 ,,old ,,batik ,,designs p4 #cb ,illustration3 ,,old ,,batik ,,designs p4 #cc ,illustration3 ,,old ,,batik ,,designs p4 #cd ,,chapter ,,ii ,,principles ,,of ,,dyeing ,,fabrics ,,all-,,over ,,dyeing ,the simplest process of dyeing a fabric consists in submerging it in a solution of dye1 known as a dye-bath1 and allowing it to extract or exhaust the color from the bath4 ,it is necessary that there be an attraction or affinity between the fiber of the fabric and the dye in solution4 ,all parts of the fabric must be given equal opportunity to extract the dye in order that a uniform color or level dyeing be obtained4 ,illustration3 ,,using ,a ,,dye-,,bath p4 #ce ,to accomplish this end experience has found that a few simple things must be observed4 ,these have to do with1 7#a7 the preparation of the fabric for dyeing1 7#b7 the making of the dye-bath1 7#c7 the handling of the fabric while in the dye-bath1 and 7#d7 the handling of the fabric after the dyeing4 #a4 ,the ,preparation of the ,fabric4 ,the fabric must be clean4 ,a spot of grease or other soil allows that part of the fabric less opportunity to extract color from the dye-bath1 with the result that the dyeing is not level4 ,thorough washing with soap and warm water followed by a good rinsing will remove most spots4 ,the methods of the dry cleaner will be necessary for others4 ,all sizing must be removed4 ,sizing consists of substances such as clay1 flour1 starch1 gum1 oil1 tallow1 soap1 etc41 put into the fiber1 either before or after weaving1 for the purpose of giving weight1 body1 strength1 stiffness1 softness1 finish1 or other desired quality4 ,some sizing prevents the extraction of color from the dye-bath4 ,in other cases the sizing itself absorbs a large share of the color1 and later when the sizing is removed by washing this color goes with it4 ,vigorous washing with soap and hot water1 followed by rinsing1 will remove most sizing4 ,a fabric which suffers injury by the removal of its sizing is not suitable for dyeing4 ,previously dyed fabrics are often uneven in color due to spotting and fading4 ,level dyeing cannot be done over such color4 ,the practice of the professional dyer is to remove or level this color before attempting further dyeing4 ,this often calls for skill beyond that of the inexperienced worker4 ,sometimes prolonged boiling in strong soap suds will accomplish this4 ,many colors will also yield to hot hydrosulphite solution followed by a good rinsing4 ,of course where goods have been previously colored there are limitations as to the colors that may be obtained by additional dyeing4 ,for example1 blue goods cannot1 without the removal of the blue color1 be dyed yellow but may be dyed green or purple or a deeper blue4 ,yellow goods cannot be dyed pink1 but may be dyed orange1 green1 brown or black4 ,this will be discussed more fully later4 ,some fibers are hard and harsh and resistant1 like crash and most new cotton cloth4 ,this is due to the presence of gums1 resins1 waxes and other impurities1 substances which either attract dyes or else prevent their taking the fiber4 ,it is not possible to dye such goods successfully without first rendering the fibers soft and absorbent4 ,this may be accomplished by prolonged boiling in washing soda4 ,repeated washing and exposure to air will also do it1 hence old cotton usually dyes well4 ,technically there are elaborate and carefully carried out chemical processes of preparing cotton cloth for dyeing1 and entire mills are busy doing this one thing4 ,the ,javanese and other ,oriental peoples purchase cotton cloth from ,europe and treat it for many days1 alternately soaking in oil and boiling in lye from ashes1 then exposing to the hot sun4 ,this process is repeated until the cloth is soft and absorbent and suitable to receive color decoration4 ,the cloth should always be thoroughly wet before putting it into the dye-bath4 ,this should be done in water of the same temperature as the dye-bath4 ,it may be briefly mentioned here that a fabric must sometimes be given a treatment with some chemical1 called a mordant1 before it will exhaust certain dyes from the bath and be properly dyed4 #b4 ,the ,making of the ,dye-,bath4 ,for simple dyeing1 as mentioned at the beginning of this chapter1 we must observe the following things3 ,the dye-bath must be sufficient in quantity to cover the goods well and to permit of their being worked thoroughly during the process of dyeing4 ,for the dye-vat1 or container for the dye-bath1 use preferably a large graniteware pan or stone jar4 ,metal dishes1 especially iron1 are sometimes injurious4 ,professional dyers often use vats of copper1 brass or wood4 ,soft water is preferable1 and it should be free of sediment4 ,the presence of iron in water is most injurious as it dulls1 or saddens1 the shade of most colors4 ,a hard water containing lime should be purified or softened4 ,lime sometimes causes uneven dyeing4 ,the dye must be completely dissolved in the water4 ,if specks of undissolved dye are present there will be a spotted uneven dyeing4 ,it is best to dissolve the dye in a small amount of water in a separate dish and then strain it4 ,this should be added to the dye-bath a portion at a time during the dyeing4 ,the reason for this will appear later4 ,the temperature of the dye-bath has much to do with the dyeing4 ,there is no general rule applicable to all dyes4 ,each dye is usually accompanied by directions as to the temperature to be used4 ,in general it may be said that all dyes work better in warm or hot solution4 ,some dyes require prolonged boiling2 in other cases boiling is positively injurious to the dye4 ,sometimes a definite temperature below the boiling point must be maintained4 ,sometimes the temperature is raised or lowered during the dyeing4 ,in all cases the temperature should be kept the same in the different parts of the bath1 otherwise the dyeing will be uneven4 ,many dyes1 while most successful at high temperature1 work very well in moderately warm1 or even cold solution4 ,this is of very great advantage in pattern dyeing1 as in batik work1 where the wax forbids a high temperature4 ,the composition of the dye-bath is not often as simple as we have indicated4 ,usually the dyer adds one or more other chemicals to assist in dissolving the dye1 to control the rate of absorption of the dye by the fabric1 or for some other purpose4 ,some of the finest dyeing is done in baths so complex and with operations so exacting in care that only the trained professional with his elaborate equipment is able to undertake it4 #c4 ,the ,handling of the ,fabric in the ,dye-,bath4 ,since all parts of the fabric must have equal opportunity to be dyed1 in order that a level dyeing be obtained1 it is absolutely necessary that the goods be worked as long as they remain in the dye-bath4 ,this working must be thorough and continuous without interruption4 ,this cannot be emphasized too much4 ,let us think what happens if this rule is not heeded and the goods stand a few minutes in the bath4 ,some parts of the fabric will lie inside the folds of other parts and1 having access to only a small part of the dye-bath1 will soon exhaust all of the dye available1 a condition known as local exhaustion4 ,meanwhile other parts of the fabric more favorably situated will continue to absorb dye4 ,more uneven dyeing in schools and homes is due perhaps to this cause than to any other4 ,constant working of the goods keeps the dye that yet remains in solution uniformly distributed in the bath so that all parts of the fabric are absorbing dye alike4 ,it also maintains what is equally essential to level dyeing1 a uniform temperature in all parts of the bath4 ,it is to minimize the danger of uneven dyeing due to this local exhaustion that the dye-bath must be made of sufficient volume to cover the goods well4 ,the goods must be moved about in the bath with the greatest freedom4 ,it is for the same reason1 especially when the affinity between fiber and color is very great1 that the dye is added a small portion at a time4 ,the goods after being treated with part of the dye are lifted out of the bath1 a new portion of dye quickly added and stirred1 and the dyeing operation renewed4 ,this is repeated until the desired shade is obtained4 ,the beginner is apt to think that to get a full color requires a concentrated dye-bath4 ,experience will teach him that1 when the dyes are properly chosen for his fabric1 a full color is obtained better by a longer treatment in a dilute bath1 with additions of dye as mentioned above4 ,in this way nearly if not all of the color put into the bath is absorbed by the cloth4 ,this serves for economy of color1 makes observation and control of the process easier1 simplifies the problem of rinsing1 and improves the quality of the dyeing4 ,it is the only way dyeing to shade can be accomplished4 ,a slow dyeing is generally more level and successful in every way4 ,in cases where the fiber absorbs the color greedily the dyer sometimes puts other ingredients called assistants into the bath to retard this absorption4 ,frequently the craftsman does shaded dyeing1 such as a scarf with deep blue ends grading to a light blue center4 ,the following directions will accomplish this3 ,hold the scarf in the middle with one hand1 dip the ends into the dye-bath and work them thoroughly with the other hand4 ,then lower the scarf into the bath very gradually without interrupting the working4 ,if a half hour is taken to lower the scarf the ends will be in the bath perhaps thirty-five minutes1 the center five minutes1 and besides1 before the center is dyed most of the color will have been exhausted from the bath4 #d4 ,the ,handling of the ,fabric ,after the ,dyeing4 ,the usual procedure after dyeing is a thorough rinsing to remove all surplus dye and chemicals4 ,the importance of this will be appreciated from the following considerations3 ,if not removed many chemicals which have been used as assistants1 becoming more concentrated as the goods dry1 act injuriously on the dye or the fiber4 ,likewise any unused color will continue to dye the goods and of course unevenly4 ,it is clearly essential that the rinsing be done immediately upon removal of the goods from the bath4 ,the directions sometimes call for washing in soap and water after dyeing4 ,the excess of rinse water should be removed and the goods dried as rapidly as possible4 ,usually there is no objection to wringing4 ,a fabric should never be allowed to hang and drain dry1 as the dyeing is liable to become uneven in streaks1 especially when the dye used is one given to run or bleed1 or in any case where the rinsing has not been absolutely thorough4 ,the craftsman in dyeing a small piece frequently puts it between towels or newspapers to absorb the excess water and then shakes it until dry4 ,this is to be commended4 ,the technical dyer has suitable machinery to accomplish this work4 ,to dry a batik piece1 where the wax forbids wringing or rough handling in any way1 spread the piece carefully on towels or newspapers1 cover with more towels or papers to remove the excess water1 then shake very gently until dry1 or hang on a waxed line4 ,at no time during the process of dyeing should the goods be allowed to remain in contact with other absorbent surfaces1 such as boards1 paper1 cloth1 clothes-line1 grass1 etc4 ,these are apt to absorb color away from the goods and leave faded streaks or spots4 ,a clothes-line used for this purpose should be waxed to make it non-absorbent4 ,,pattern ,,dyeing ,the preceding general principles have been outlined with all-over dyeing especially in mind4 ,we now come to the consideration of pattern dyeing1 where in order to produce a design it is necessary to dye chosen parts of the fabric and keep the dye away from other parts4 ,all that has been said with reference to making all-over dyeing efficient applies equally well to pattern dyeing4 ,if possible1 everything that is done to make all-over dyeing successful should be done in pattern dyeing to obtain a corresponding success4 ,practically1 however1 we find it impossible to carry out some of the steps4 ,for example1 in the usual block printing1 we do not have the problem of handling the fabric in a dye-bath1 but rather that of handling dye on the fabric4 ,here we must take special steps to get the dye well into the fiber and secure the results obtained from the large dye-bath in all-over dyeing4 ,the fabric must be prepared for pattern dyeing in the same manner as for all-over dyeing4 ,it is just as essential that it be clean1 free of sizing1 with its fibers soft and absorbent4 ,attention has been called to the pains taken by the ,orientals in the preparation of their fabrics for decoration4 ,we must not jeopardize our success by omitting to boil out new raw material and to clean old material4 ,this washing before dyeing also brings about any shrinkage that is to occur1 and of course this must be done before the design is traced on the cloth1 otherwise one could not intelligently work to dimensions4 ,a dyed pattern may be produced in several ways3 #a4 ,the dye is applied to the desired parts of the fabric and means taken to set it there without it spreading to other parts4 ,this is known as direct coloring4 ,block printing and stenciling1 as ordinarily done1 are examples4 ,calico printing is an industrial application of the method4 #b4 ,a resist of some kind is applied to parts of the fabric to prevent their taking the dye1 after which the fabric is treated in a dye-bath4 ,batik decoration and tie-dyed work both fall in this class4 ,stencils and print blocks may also be used in the application of the resist4 #c4 ,a discharge is put on parts of previously dyed goods1 which either removes the color where it touches1 or else alters the shade4 ,different discharges are used according to the nature of the dye and the goods4 ,some chemicals used as discharges are liable1 unless skillfully handled1 to attack and tender the cloth4 ,the method belongs rather to the industrial world where abundant apparatus and trained dyeing chemists are available4 ,it is not1 however1 beyond the skill of a good craftsman who has acquired some experience with dyes4 ,the dye for direct coloring is applied in liquid form1 sometimes thickened into a paste by use of gums1 starch1 etc4 ,often mordants or other assisting chemicals are incorporated into the mixture4 ,in block printing this color mixture is brushed on the block1 which is then imprinted on the fabric in the desired place1 and the color driven into the fiber with pressure or a sharp blow4 ,stenciling is done by brushing the color mixture through the open parts of the stencil1 or by blown stenciling in which a volatile color mixture is sprayed with an atomizer4 ,the best method of setting the dyes in this direct coloring is that pursued commercially in calico printing1 treatment with dry steam1 i4e41 steam applied at a temperature sufficiently high to prevent its condensation into drops of hot water on the fabric1 which would be quite ruinous to the design4 ,this is done successfully by ,oriental craftsmen1 and it would be very desirable to have suitable apparatus in ,american schools and studios4 ,next best1 though considerably less efficient1 is the commonly practiced method of laying the fabric between dampened cloths and pressing with a hot iron until dry4 ,the resist method has an advantage in that it allows the use of a dye-bath4 ,the limitation of temperatures that may be used places some restriction on the choice of dyes4 ,batik dyeing must be done without melting the wax resist4 ,but after eliminating those dyes which require high temperatures and also those not suitable for pattern dyeing1 there still remains a good range of colors4 ,batik is without doubt the most versatile of all methods of pattern dyeing4 ,tie-dyed work depends upon tightly wound string or yarn to resist the dye4 ,it also has the advantage of the dye-bath4 ,though less versatile than batik1 it has a time-honored place as a method of beautiful and charming results4 ,the introduction of sticks over which the tying is done1 such sticks as are used by the children in stick printing1 has opened new problems with added variety and much interest4 ,,dyes ,the colors available for craft work are commonly grouped into the following classes1 which will be briefly described3 ,direct ,colors4 ,these are so called because they are applied to all fibers directly without the use of mordants4 ,they are principally used for dyeing cotton4 ,some dyes of this class have affinity for both cotton and wool4 ,most of the package dyes sold at the local stores are of this class4 ,they are applied to cotton in a boiling bath and to wool at high temperature near the boiling point4 ,different assistants are used varying with the dye and the nature of the fabric4 ,the direct colors1 being very soluble1 are prone to bleed when the goods are washed1 but owing to this same fact it is easy to produce level dyeing on the goods4 ,on this same account1 however1 and also on account of the high temperature required1 they are not well suited for pattern dyeing4 ,acid ,colors4 ,these have great commercial value for dyeing wool and sometimes silk4 ,the best of them are quite fast to light but not to washing4 ,they are not suitable for cotton or linen4 ,basic ,colors4 ,these will dye wool and silk directly and also raffia1 straw1 basketry material1 leather and wood4 ,they dye cotton when mordanted with tannic acid1 and this constitutes a very large commercial use4 ,basic dyes are especially strong in coloring power4 ,many of them are fugitive to light4 ,a few of the best of them1 however1 when properly applied1 are fast to washing and fairly fast to light4 ,sulphur ,colors4 ,these are used extensively on cotton1 giving colors fast to washing and to light4 ,the dyeing is done at high temperature in a strongly alkaline bath of sodium sulphide along with other assistants4 ,the colors are all dull and the range of colors is not complete1 there being a lack of reds4 ,these dyes are not suitable for silks4 ,vat ,colors are so called because the method of dyeing is that of the indigo vat4 ,indigo has been known for a long time1 but only in recent years have other dyes of this class been produced1 until now the series includes the entire range of colors4 ,as a class they are the fastest colors ever known4 ,the best of them are so fast that the cloth will wear out without the color changing4 ,they are used chiefly on cotton and linen1 sometimes on silk4 ,vat dyes have been very expensive and scarcely obtainable during the war4 ,their future is of great interest and importance both in the industries and to craft workers4 ,in addition to the dyes above mentioned there are many others the use of which is quite complicated and technical and therefore confined to the industries4 ,for a fuller discussion of dyes and their uses the reader is referred to ,pellew's ,dyes and ,dyeing 7,robert ,mc,bride ,co41 ,new ,york74 ,this is a most excellent book written for craftsmen4 ,like most of our literature1 the treatment of dyes is based upon pre-war conditions1 when nearly all of our colors were imported4 ,the latest edition1 however1 contains an added chapter dealing with the present transitional state1 incident to the transfer of the industry to this side of the water and the development of great ,american color houses4 ,it may be added that the leading firms carrying school art supplies offer dyes in suitable form especially adapted for the problems in pattern dyeing4 ,perhaps a few suggestions to the less experienced of our readers will prove helpful4 ,all of the good dyes manufactured today are in a very pure form4 ,the use of one dye alone often gives results that are crude without any subtle beauty4 ,it is frequently necessary to apply the principle well known to all workers in color1 that colors are softened and beautified by small admixtures of their compliments2 that one color that is cold1 or another that is hot1 becomes warmed or toned by a suitable admixture of other colors4 ,it may be stated that most of the beautiful dyeing is built up from two or more colors4 ,this is accomplished1 according to the nature of the dyes and the fabric1 by mixing the colors in the same dye-bath1 or by dyeing the cloth successively in different colors4 ,of course the previous condition of the fabric must be taken into account4 ,a bleached cotton cloth must be treated differently from a grayed one if an equally soft effect is desired4 ,in the old days dyes contained impurities which often caused beautiful grayed effects4 ,but it is inexcusable today for anyone with knowledge of the above principle and with elementary knowledge of dyes and dye-baths not to get equally good results4 ,the inartistic work that we see so prevalent today in the realm of dyed fabrics is due in part to ignorance and lack of appreciation of good color and in part to the commercial race for profit4 ,as the taste of the people makes demand for better things the response of industry will not be wanting4 ,nor need the craftsman of today spend idle time mourning the disappearance of vegetable colors and his necessity for using coal tar dyes4 ,we must remember that only the best of the vegetable dyeing has come down to us4 ,the proportion of poor work with vegetable dyes has always been as large or even larger than with the present-day colors4 ,we are too prone to compare the ordinary home dyeing of today or the cheaper commercial dyeing with the good pieces that have been preserved from the past4 ,when in justice the comparison is made of the best with the best1 the coal tar dyes not only do not suffer but they really gain4 ,the coal tar dyes are like the vegetable dyes in the sense of being organic4 ,in many instances they are identical chemically with corresponding dyes formerly obtained from vegetables4 ,the one difference1 as we have indicated1 is their purity4 ,just as our granules of sugar have displaced the sweetening of former days2 just as our modern medicines have succeeded the herb-teas of our grandparents1 so also have come our dyes4 ,all are achievements of science4 ,coal tar dyes have come to stay1 vegetable dyes for the most part have gone and will not return1 and there is no sadness in the word4 ,it is rather for us to rise to the challenge that has come1 to recognize our greater heritage1 and by pains1 patience and intelligence in our work to ply the art worthily4 ,,color ,,mixing ,the following general principles of color mixing apply to dyeing1 both when colors are mixed in a dye-bath and when they are dyed one color over another3 ,red is grayed by small amounts of yellow and blue or by any color containing both of these1 as green1 brown or gray4 ,yellow is grayed by small amounts of red and blue or by any color containing both of these1 as purple1 brown or gray4 ,blue is grayed by small amounts of red and yellow1 or by any color containing both of these1 as orange1 brown or gray4 ,red plus yellow gives orange or yellowish red or reddish yellow4 ,these are grayed by a small amount of blue or any color containing blue1 as green1 purple1 brown or gray4 ,red plus blue gives purple or reddish blue or bluish red4 ,these are grayed by a small amount of yellow or any color containing yellow1 as orange1 green1 brown or gray4 ,blue plus yellow gives green or bluish yellow 7usually called greenish yellow7 or yellowish blue 7usually called greenish blue74 ,these are grayed by a small amount of red or any color containing red1 as orange1 purple1 brown or gray4 ,red plus yellow plus blue give-- 7#a7 ,one of the above if any one or two of the three is present in the small proportion necessary for graying purposes4 7#b7 ,gray if all three are present in such proportion as to neutralize each other4 ,if this is perfectly accomplished we have a neutral gray1 otherwise a red gray1 yellow gray1 blue gray1 purple gray1 etc4 ,gray intensified becomes black1 and there are modified blacks1 as blue black1 green black1 etc4 ,in making up a gray or black1 beginners usually err in taking too large a proportion of yellow1 and perhaps also of red4 7#c7 ,brown if the three are present within certain other ranges of proportion4 ,browns may be classified as yellow browns1 red browns1 blue browns1 green browns1 purple browns1 etc4 ,there are all gradations between neutral gray and the browns2 between the browns and the secondary colors1 orange1 green and purple2 between the secondary colors and the primary colors1 red1 yellow and blue4 ,in the practical handling of dyes1 in order to get the entire range of colors from the primary colors1 it is necessary that the red1 yellow and blue dyes chosen be pure and luminous in color quality4 ,fortunately1 there are such dyes4 ,there are1 however1 other valuable dyes that do not have this purity of color4 ,for example1 there are yellows containing considerable red or brown1 reds containing yellow or blue1 blues containing red1 etc4 ,then there are dyes that are green1 brown1 purple and black4 ,all of these have limitations when used in compounding colors4 ,neither a yellow inclined to the brown1 nor a red containing blue1 can be used to form a luminous orange4 ,likewise the compounding of a vivid blue green1 or reseda green1 forbids either the yellow or the blue containing any appreciable admixture of red4 ,all of these dyes find great use in the industries1 and all of them1 within their limitations1 are valuable for color mixing4 ,having acquired a working knowledge of red1 yellow and blue dyes1 it will be found of practical benefit to include some of the others4 ,an experienced craftsman works with a small range of colors chosen for his particular purpose4 ,dyes differ in coloring power1 even different specimens of the same dye1 so that it is not possible to give quantitative formulas for certain colors bearing popular names4 ,it will be helpful to discuss a few of them4 ,olive green may be made by adding to blue-green either red or preferably yellow brown4 ,this addition should be made a little at a time with frequent tests1 a suggestion applicable to all color mixing4 ,tan is obtained by mixing yellow and yellow brown4 ,an added tinge of blue or green gives pongee4 ,gold contains much yellow with certain smaller amounts of red and blue4 ,but it might be difficult to control the addition of these colors1 so it is better to start with much yellow and add a little at a time orange and blue green4 ,for burnt orange add yellow brown to orange4 ,for turquoise add to blue a little yellow1 or preferably blue green4 ,for old rose add to dilute red a tinge of blue or preferably purple4 ,taupe is a gray thrown off1 usually with purple1 but sometimes with red or yellow or blue4 ,salmon is formed by adding to yellow some orange and a tinge of brown4 ,any dyeing over old color must be considered as a mixing of the new color with the old1 which manner of thinking will help in choosing the dye necessary for a desired effect4 ,for example1 a green cloth is to be dyed black4 ,there should be two dyeings1 the first a red to neutralize the green1 the second a black to intensify the neutrality4 ,likewise a red cloth becomes black by dyeing first green and then black4 ,over a light yellow purple may be dyed1 the result will be a grayed purple4 ,over a strong yellow much purple will be required and the result will be a very much grayed purple approaching if not becoming a purple black4 ,in batik decoration by successive dyeings the craftsman is constantly mixing the new dye with that already in the fiber4 ,having once introduced an intensity of any primary color1 yellow1 red or blue1 he must thereafter1 unless he removes this color1 complete his pattern by producing secondary and tertiary colors4 ,illustration3 ,,batik ,,design p4 #ec ,,chapter ,,iii ,,wax ,,resist ,,processes ,the most commonly used fabrics for batiks are thin silks1 white or light in color4 ,wax penetrates the sheer materials better4 ,they take the color more evenly1 and retain their brilliant texture4 ,heavy materials must be waxed on both sides to insure perfect stopping out of color4 ,illustration3 ,,painting ,a ,,design p4 #ed ,the design is more easily applied to thin goods1 as the decoration is readily traced4 ,on heavy fabrics the design is either drawn free hand or pounced4 ,when the outline is drawn in wax the drawing does not disappear in the dyeing4 ,when only parts of the design are painted in with wax the outline must be redrawn after each dyeing4 ,for this purpose pouncing is best4 ,velvets should be stopped out on the wrong side4 ,steaming will raise the pile again1 or it may be sent to the dry cleaner4 ,illustration3 ,a ,,batik ,,frame p4 #ee ,illustration3 ,,an ,,outline ,,drawing ,,in ,,wax p4 #ee ,wood is a good medium to take wax resist4 ,the wax is removed by scraping4 ,the surface is cleaned with gasoline and finished in any approved manner4 ,toys1 frames1 trays1 basket bottoms1 boxes1 etc41 are very pleasing when decorated in this manner4 ,illustration3 ,,color ,,painted ,,within ,,wax ,,outlines p4 #ef ,leather and paper are dampened and pasted smoothly on glass4 ,they are then decorated like wood4 ,chiffons and crepes may be waxed double1 or even folded four times4 ,illustration3 ,,the ,,completed ,,pattern p4 #eg ,in applying a design1 care should be taken to keep the fabric straight4 ,drawing a thread from the fabric makes a good guide4 ,when working upon woven materials it is best to use a frame placed horizontally upon a table4 ,a frame suitable for this work should be light to handle and strong4 ,it should be high enough above the table to keep the wax or dye from touching it4 ,when the wax touches an obstacle before it is cold it sticks4 ,the wax is apt to break when pulled away from the object4 ,color penetrates by accident and the result is disappointing4 ,some artists work on a table upon which smooth or glazed paper is spread4 ,here again the wax may also suffer4 ,when dyes are painted on the fabric1 if they touch the table or other objects they spread and mar the definite outline of the design4 ,a frame1 around the inside edge of which are cloth strips for pinning or sewing the fabric securely1 is an excellent aid to good workmanship4 ,adjustable holes with corners secured by screws and wing nuts make it possible to roll long pieces of cloth at the top and bottom of the frame4 ,or by means of these holes the strips may be spliced together to form a still larger frame4 ,paper should be rolled with the cloth to prevent the wax sticking4 ,handled in this manner only a small part of the work needs to be exposed1 and the work can be done on a small table or school desk4 ,another advantage of such a frame is the ease with which the piece is laid aside without injury during the intervals of work4 ,this is especially valuable where class problems are being conducted4 ,it also permits of the work being done in any position--horizontal1 inclined or upright4 ,when dyeing the material more than once the wax must be carefully mended after each dyeing1 or soon the first spaces covered with the resist are lost or badly obscured4 ,the material should always be dry before applying the wax4 ,illustration3 ,,colors ,,painted ,,without ,,wax ,,outlines p4 #ei ,some workers use pure beeswax4 ,it does not break easily when worked in a warm dye-bath4 ,it melts at a high temperature4 ,resin mixed with beeswax melts at a still higher temperature4 ,there are special batik waxes that have all the desired qualities of toughness and resistance4 ,these mixed waxes are similar to those used by industrial works in ,java4 ,paraffin and beeswax are also used4 ,the best container for molten wax is a double boiler1 the common kitchen utensil1 as it is possible to keep the wax hot through a class period without having the heater in the class room4 ,as means of heating1 an electric toaster1 gas plate1 canned heat1 etc41 are suggested4 ,the wax must be applied hot4 ,the brush1 while waxing1 should be kept hot to insure good penetration of the wax4 ,to accomplish this1 each time the brush is dipped into the molten wax it should be held there sufficiently long to remelt any wax that may have congealed in or on the brush4 ,to apply the wax1 some use a tjanting4 ,others prefer the simpler method of a good sable or camel's hair brush4 ,the brush gives a broader and more varied treatment4 ,a broad brush is best for covering large surfaces4 ,brushes used for painting in oils or water colors are used for painting in wax and dyes4 ,those who are interested further in the possibilities of the tjanting are referred to ,pieter ,mijer's excellent treatment of this subject4 ,dyes suitable for pattern dyeing should not run or bleed4 ,some use only primary colors4 ,others desire a more extended range4 ,a good selection may include red1 yellow1 blue1 orange1 green1 purple1 brown and black4 ,illustration3 ,,part ,,of ,a ,,design ,,stopped ,,out ,,with ,,wax1 ,,ready ,,for ,,the ,,first ,,dyeing p4 #fa ,the temperature of the dyes should be below the melting point of the wax4 ,care must also be used in dissolving dye4 ,granules in the dye-bath work havoc with an otherwise beautiful piece of dyeing4 ,the dye should be filtered through a closely woven cloth4 ,prepared dyes insure safety1 as the compounding and dissolving is done by formula4 ,after the last dyeing the fabric should be rinsed first in warm1 then in cold water4 ,much of the wax is removed in the rinsing4 ,the remainder of the wax is easily removed by ironing between layers of newspaper1 followed if necessary by a bath of gasoline4 ,if the piece is very large it should be finished by a professional cleaner4 ,there are different approved methods of pattern dyeing with wax resist1 in the choice of which the craftsman must consider the conditions under which the work is to be done4 ,we give in outline the steps of three methods3 ,i4 ,painting the decoration within waxed outlines1 followed by one or more baths for the ground color4 ,this is illustrated on pages #ee1 #ef and #eg1 where the following steps were taken3 #a4 ,a square of white china silk1 clean and free of sizing1 was stretched on a frame4 #b4 ,the main lines were sketched in with charcoal4 ,the design was outlined in wax4 ,the shapes were made small1 as dye is liable to streak when painted over large areas4 #c4 ,the colors were mixed and used like water colors4 #d4 ,the small bell-shaped flowers were painted red1 the pods yellow1 the leaves green4 ,these painted surfaces were then stopped out with wax4 #e4 ,two gallons of warm water were softened and made into a soap suds4 ,this solution was divided into two equal parts4 ,the first part was used for wetting the fabric1 and soaping off after dyeing4 ,the second part was made into a brown dye-bath for the dipping4 ,illustration3 ,,the ,,completed ,,pattern p4 #fc ,,ii4 ,painting directly on the fabric without waxed outlines1 and building up the ground color in one or more baths4 ,the piece illustrated on page #ei was done as follows3 #a4 ,the design was drawn free hand upon the fabric1 stretched in a frame4 #b4 ,the colors were painted directly4 ,the tree was green1 the bell-like flowers orange1 the dogs golden yellow4 ,the brush strokes were very small4 #c4 ,the colored shapes were carefully covered with wax4 #d4 ,the background was dyed a deep purple4 ,,iii4 ,building up the pattern by dyeing in successive baths1 beginning with the lighter and passing to darker values1 and before each dipping stopping out with wax the parts to be retained in the completed work4 ,the piece illustrated on pages #fa and #fc was executed as follows3 #a4 ,the design was drawn on strong paper4 ,this was then perforated1 and the design pounced on the silk with powdered charcoal1 using a stiff bristle brush and scrubbing the charcoal well through the holes4 #b4 ,the parts to remain white were stopped out by painting with wax4 #c4 ,the piece was dyed yellow1 after which the design was again pounced4 ,illustration3 ,,selected ,,work ,,of ,,elementary ,,high ,,school ,,class p4 #fe #d4 ,the parts to remain yellow were stopped out with wax4 #e4 ,the piece was dyed black4 ,in all these processes a small piece of the goods was carried completely through the dye-bath to test the color4 ,some modifications of these processes are valuable4 ,these follow1 or are suggested by1 practices of the ,orient4 #a4 ,the design may be applied with blown stenciling4 #b4 ,block printing and stick printing may be used and the color impressions covered with wax4 ,as concrete illustrations of textile decoration in schools we present some of the results of two class problems in high school1 the one by a first and second year class1 the other by third and fourth year pupils with a few who were posting4 ,first and ,second ,year ,class4 ,the pupils used the method of paper cutting to secure motives for their designs4 ,each pupil was supplied with enough white silk to make a collar1 or a tie1 also with color1 wax and a frame upon which to stretch the silk4 ,the method was that of outlining in wax1 painting in color1 and dipping for the ground color4 ,the pupils were allowed to keep their work after paying for the materials4 ,the illustrations on page #fe were chosen from the finished pieces4 ,the crepe-de-chene collar is #ab x #ab inches4 ,the outside border and the largest shape at the point of the collar were old rose1 the fan-like shape turquoise blue1 the band and spottings at the side yellow4 ,the inside border1 buds and stem were blue and the alternating shapes yellow4 ,illustration3 ,,all-,,over ,,pattern1 ,,advanced ,,high ,,school p4 #fg ,these colors were covered with wax and the collar dyed gray4 ,it was then dipped in hot wax1 carefully crackled and dipped in a dark gray bath4 ,the wax was removed by ironing between layers of newspaper4 ,fine embroidery silk was dyed yellow and old rose for the stitchery that finished the edge of the collar4 ,the sailor collar was made of white china silk4 ,the leaves of the design were painted green1 the flowers rose color and the ground dyed a dark gray blue4 ,the dye-bath was made of blue1 black and purple4 ,the collar was finished with yellow and old rose stitchery4 ,the pongee silk vest was designed for a tailored coat4 ,the leaves and flowers were painted realistically4 ,the ground was dyed blue and crackled in a darker blue bath4 ,the edge was finished with dark red stitchery4 ,third and ,fourth ,year ,class4 ,this work was conducted at a later time4 ,in addition to more training1 these pupils had for study many specimens of good batiks and standard illustrations of the same4 ,the designs were made with reference to their fitness as batik designs4 ,the design units illustrated on page #gc were selected with reference to their adaptability to some form of all-over application4 ,the design for the book cover1 also shown as an all-over pattern1 page #gj1 the all-over pattern1 page #fg1 and the scarf1 page #fi1 were selected as the best work of this class4 ,illustration3 ,,all-,,over ,,pattern1 ,,advanced ,,high ,,school p4 #fi ,illustration3 ,,all-,,over ,,pattern1 ,,advanced ,,high ,,school p4 #gj ,illustration3 ,,all-,,over ,,patterns1 ,,advanced ,,high ,,school p4 #ga ,a tracing of the all-over design1 page #fg1 was first made and painted in water colors4 ,the design was transferred to the silk by tracing4 ,the colors of the decoration1 following the copy in water color1 were painted in without the use of wax outlines4 ,the top units from left to right were blue1 violet1 yellow2 second row1 violet1 blue1 green1 violet2 third row1 yellow1 violet1 blue2 fourth row1 violet1 blue1 green1 violet4 ,the stems were violet1 the leaves yellow green4 ,the background was dyed a rich brown4 ,the all-over design1 page #fi1 was used for the end of a scarf4 ,the silk was dyed yellow1 parts of the decoration stopped out with wax1 the flowers and body of the insect painted in red1 the red stopped out with wax1 and the background dyed brown4 ,the scarf was finished with a fringe of orange silk4 ,the all-over design1 page #gj1 was pounced on the silk after each dipping4 ,the material was dyed yellow and the small spottings stopped out4 ,the piece was dipped in a gray purple dye-bath4 ,the resultant color was a grayed lavender4 ,the larger shapes in the design were stopped out and the ground color dyed a deeper purple4 ,two other examples of batiks from this class are illustrated3 #a4 ,the china silk blouse1 page #ga1 with a yellow background and all-over pattern of white1 blue and green shows a design that is suitable for yardage4 #b4 ,an all-over design1 page #ga1 also suitable for yardage4 ,the lavender flowers and leaves were painted inside waxed outlines4 ,the spots were connected by flowing waxed outlines4 ,the decoration was covered with wax and the ground color dyed a pale yellow gray4 ,illustration3 ,,design ,,units ,,for ,,all-,,over ,,patterns p4 #gc ,the china silk handkerchief1 page #gd1 is very interesting4 ,the size is #ag x #ag inches with a one-inch hem4 ,the area inside the hem was covered with wax1 placed in a bath of cold water1 and carefully crackled4 ,it was then immersed in a blue dye-bath4 ,after drying the same area was rewaxed1 again crackled1 and immersed in a red dye-bath4 ,the result is very pleasing1 a purple border with blue1 red and purple crackle forming a delicate net work over the white center4 ,illustration3 ,,batiked ,,handkerchief p4 #gd ,,chapter ,,iv ,,batiks ,,and ,,other ,,illuminated ,,textiles ,applied design has been the stabilizing factor in art education4 ,it gives to art education a tangible reason for its place in the schools4 ,it injects into every individual and class project the element of discipline that comes through being required to think in terms of definite mediums of expression4 ,illustration3 ,,batik ,,design p4 #ge ,the greatest emphasis1 and for this reason perhaps the greatest success1 has been its application in the field of costume designing and interior decoration4 ,batiks lay a just claim to having enriched this phase of art expression4 ,a new creative and illuminating touch has been given to draperies1 covers1 cushions1 scarfs1 wall hangings1 and costumes4 ,the following pages illustrate and explain a number of these illuminated objects4 ,illustration3 ,,portion ,,of ,a ,,javanese ,,sarong p4 #gf ,,sarongs ,the sarong decorated with peacocks and vines is characteristic4 ,the colors are red1 blue and light yellow4 ,,end ,,papers ,the decoration of the end papers in this book is taken from the design of a very fine old sarong4 ,the material is cotton4 ,it has the quality and texture of the rarest batiks4 ,the dyeing is vegetable indigo4 ,some of the units were perhaps applied with a tjap1 but much of the waxing was done with single and double spouted tjantings4 ,the ground color is a soft gray yellow4 ,,sarong ,,details ,the batik details shown on page #ie are all taken from old sarongs4 ,the tjanting was used for all these patterns4 ,they are excellent pieces of native craftsmanship4 ,the pattern on the left has a yellow gray background4 ,the all-over dyeing is brown and the spottings dark red4 ,on the right the upper pattern has yellow gray in the background and brown decoration1 the lower pattern has brown background and yellow gray decoration4 ,,costume ,,jewelry ,the band for this ornament1 page #gh1 is made of several layers of georgette crepe picoted4 ,it is inch wide and #a yard long4 ,the ornament1 #a x #b inches1 was modeled from petroplast1 the modeling clay which sets without firing4 ,illustration3 ,,batiked ,,ribbon1 ,,camisole1 ,,and ,,costume ,,jewelry p4 #gh ,the silk was folded to four thicknesses4 ,the wax was painted in a variety of interesting shapes on the white goods4 ,bands in red1 yellow1 green and orange were painted with dyes4 ,the petroplast was modeled smooth and the bird1 flowers and pedestal were incised while the composition was still plastic4 ,when dry it was dipped in black enamel4 ,the outline of the bird was enameled in yellow and orange1 the flowers painted in purple and blue1 the pedestal in brown4 ,this adornment was planned to be worn as a necklace to brighten a dark costume4 ,,costume ,,decoration ,the costume decoration1 page #ec1 was batiked on yellow taffeta silk4 ,the design was painted in with wax4 ,the piece outside the decoration was covered with wax4 ,the material was dipped in a dark brown bath and finished by ironing between layers of newspapers4 ,it is suitable for a vest or for millinery4 ,,blouses #a4 ,the blouse1 page #hd1 with a rose design was made of white crepe-de-chene4 ,the outline of the decoration was waxed1 and the roses and leaves painted conventionally4 ,the borders and spaces were painted in wax4 ,the border of the red was painted between waxed outlines4 ,the fabric was dyed blue1 and finished with petroplast beads enameled in red4 ,illustration3 ,,batiked ,,blouse p4 #hj #b4 ,the detail of a georgette crepe blouse1 page #hg1 with a dark background and all-over decoration in gold1 is a suitable design for yardage4 ,the piece was first dyed gold1 and the pattern stopped out with wax4 ,the dye-bath for the ground color was purple black4 #c4 ,the pongee silk blouse1 page #hj1 is a good standard for service and artistic merit4 ,the leaves1 stems and lower border decoration were painted in wax on the natural color of the cloth4 ,the piece was dyed blue1 then the flowers and upper border were stopped out4 ,a brown bath followed1 giving as the final color a dark bronze4 ,the blouse was belted with a bronze silk cord4 #d4 ,the crepe-de-chene blouse1 page #hb1 has a rich green background with an after crackle in an orange bath4 ,the edges1 sleeves and neck are decorated with a narrow orange and gray band4 ,petroplast beads decorated to harmonize with the color of the silk1 a brown cord girdle weighted with these ornaments1 picoted edges1 and stitchery of silk floss the same color as the cord finish a garment of great beauty and dignity4 ,,silk ,,lining ,the crepe-de-chene lining illustrated on page #he has a grayed yellow-green background4 ,the flower motif has yellow1 black and orange in the center1 red and purple in the outer parts4 ,the bud is red and purple4 ,the stem and leaves are blue4 ,these colors were painted within wax outlines4 ,illustration3 ,,batiked ,,blouse ,,with ,,petroplast ,,ornaments p4 #hb ,there were eight yards of this lining4 ,when rolling the waxed goods on the frame1 a paper was rolled up with the material to prevent the wax from sticking4 ,the lining was used for a full length blue serge cape4 ,after two dry cleanings1 this garment was still fresh and beautiful4 ,,camisole #a4 ,the camisole1 page #gh1 was made from a #ad x #cf-;inch piece of white crepe-de-chene4 ,half-inch purple ribbon1 seven-eighths yard long1 made the shoulder straps2 a narrow purple ribbon gathered the top4 #b4 ,the design in yellow1 brown and green was painted within wax outlines4 ,the dyeing was in purple1 the crackle penetrating the design4 #c4 ,the top was finished with double hemstitching4 ,,batiked ,,ribbon ,the ribbon illustrated1 page #gh1 was turquoise blue satin1 #g x #cf inches4 ,the design was outlined and parts stopped out4 ,the material was dyed in a blue dye-bath4 ,the blue was stopped out in the flower shapes4 ,the material was dyed in a yellow dye-bath4 ,the leaves were stopped out4 ,the material was dyed in a red dye-bath4 ,the decoration of the finished ribbon was turquoise blue1 gray-blue and yellow-green4 ,the background was dark olive green4 ,illustration3 ,,an ,,illuminated ,,blouse ,,with ,,petroplast ,,beads p4 #hd ,illustration3 ,a ,,cape ,,lining p4 #he ,,interior ,,decoration ,,door ,,curtain ,the door curtain illustration1 page #ge1 is a symbolic composition with a mystic wall and gate1 and imaginary birds and a tree4 ,the color scheme is a black background1 blue and purple tree1 yellow and blue birds1 a purple and orange fence and gate1 and a foreground of blue1 yellow and green4 ,the design was painted directly upon a good quality of silk1 without guiding lines or waxed outlines4 ,the painting was done very rapidly1 perhaps in ten minutes4 ,the material was dipped several times1 once in yellow1 twice in red 7more red was added to the dye-bath after the first red was exhausted71 twice in the blue which was developed the same as the red1 and at last back into the yellow4 ,when the dyeing was completed the piece was thoroughly rinsed and the wax was removed4 ,the crackle caused through successive dyeings1 the soft edges of the outlines and the blending of the background with the shapes freed the piece from the criticism often invited where colors are painted in large areas4 ,,table ,,cover ,this design1 page #hi1 7#ba x #be inches7 consists of two conventional dogs adapted from the ,chinese4 ,the well-chosen colors are yellow and orange1 with accents of black4 ,the border decoration was painted in light green4 ,large and small spots suggest the use of the tjanting4 ,the darkest values are reseda green4 ,illustration3 ,,batik ,,detail ,,from ,,blouse p4 #hg ,the fabric was first dyed yellow4 ,the dogs and spacing of borders were drawn in fine wax outlines4 ,the dogs were painted orange1 with small shapes of black for accents1 and covered with wax4 ,the material was then dipped in green dye1 rinsed and dried4 ,the decoration for the border was drawn in wax1 and the background for the dogs was also waxed4 ,in developing a pattern where so much drawing is needed1 pains should be taken to retain the original outlines of the drawing4 ,if the design is too much obscured after successive dippings1 the drawing should again be transferred4 ,the outline for the dogs and spacings for borders were saved by waxing4 ,the green decoration on the border was not painted until after two dippings4 ,the crackle1 tying the whole decoration1 is even and adds beauty to the design4 ,the beauty of this batik lies in its fitness1 its variety of line1 its pleasing space relations and its good color scheme4 ,,elephant ,,decoration ,the elephant decoration illustrated on page #ia 7#bg x #be inches7 was done on white taffeta4 ,the frame was made of two-inch basswood with a narrow gilt-edge moulding for a finish4 ,the decoration on the frame was batiked4 ,the elephant1 with its decoration and border1 was outlined in wax4 ,illustration3 ,,batiked ,,table ,,cover p4 #hi ,the vertical stripes numbered from left to right were3 yellow 7#a-c-e-g-i72 orange 7#b-f-aj72 magenta 7#d-h74 ,these were painted in and covered with wax4 ,the fabric was dipped in a dye-bath of grayed purple4 ,the design on the frame was painted in wax and the colors in the design reproduced from the colors in the silk4 ,most of the wax was removed with a knife and the balance with a gasoline wash4 ,it was afterwards finished with a coating of wax4 ,this wall hanging has a few spots where the treatment was not thorough4 ,the red stripe under the elephant's head shows unintentional breaking in the wax4 ,too much blue crept into many places4 ,it cannot be emphasized too many times--before painting over the colors with wax1 the colors must be dry4 ,this work illustrates the success of painting in rather large surfaces of color without streaks appearing and harmonizing the whole by tying together with crackle4 ,the design of the elephant and the outside border are unusually meritorious4 ,a ,,table ,,before ,,me ,this decoration was drawn on glazed paper and pounced on white china silk1 #dj x #gb inches4 ,there was no painting of colors1 the process being one of dippings only4 ,the design was outlined in wax4 ,the small spottings1 border lines and markings in the vine were stopped out1 and the piece was dipped in a yellow dye-bath4 ,through each dipping a dye record was kept by carrying a small piece of the goods through the dye-bath4 ,after each dyeing the wax was carefully mended4 ,illustration3 ,a ,,wall ,,hanging ,,with ,,batiked ,,frame p4 #ia ,the bell-like flowers in bands or borders1 the flowers at the foot of the vine1 the body1 wing1 tail and lower part of the bird's legs1 tendrils1 dragon fly and border were stopped out1 and the piece dyed orange4 ,the remaining bands and shapes in the flowers1 inside and outside border1 and tendrils were stopped out and the next dipping was blue4 ,the background and remaining shapes were a lovely warm gray lavender4 ,part of the leaves1 head of the bird1 upper part of the bird's legs1 shapes in the foreground1 and roots of the vine were stopped out4 ,the next dyeing was blue4 ,the vine1 remaining leaves1 tendrils1 the remainder of the foreground and spaces that were needed to fill in were drawn in wax4 ,the wax was removed from the wing and the tail of the bird and the batik dipped in a dye-bath of deep blue4 ,the color range in this piece includes red-orange1 yellow1 blue1 turquoise1 two shades of lavender1 green and sparkles of white broken by every color1 on a gray-blue background4 ,the work on this batik extended over a period of two weeks4 ,,the ,,capture ,the frontispiece is worthy of special study4 ,the material was white pussy willow silk1 #dj x #gb inches4 ,a sketch of the design1 #f x #aj inches1 was made in water colors4 ,illustration3 ,a ,,table ,,before ,,me1 ,,by ,,ida ,,strawn ,,baker p4 #ic ,the fabric was freed from sizing and dyed a pale yellow4 ,it was then stretched in a frame and the three thunder birds1 the clouds1 and a few flowers in the foreground were painted in wax4 ,the bills1 eyes and legs of the birds were painted in with orange dye4 ,the roadway1 parts of the rocks1 drapery on the ,indian maiden1 some of her decoration1 and parts of the foliage1 were painted directly on the silk with yellow or orange dye4 ,the remaining foliage1 more decoration worn by the maiden1 the grass1 leaves on the flowers and the stems were painted green4 ,these shapes were stopped out with wax4 ,much painting in of shapes was done with wax4 ,this gave a finish and jewel-like quality to the work as it progressed4 ,before the material was dyed it was soaked in warm water the same temperature as the dye-bath4 ,the piece was then dyed in a bath of blue4 ,it was worked constantly for about ten minutes4 ,it was removed from the dye and rinsed in clear warm water4 ,after rinsing1 the material was placed flat between layers of bath towels and much of the moisture removed4 ,the drying was finished by hanging over a waxed line4 ,the sky and the blue of the border were next stopped out1 leaving for the next bath the pony1 the remainder of the ,indian maiden1 the tree trunks and other shapes in the foreground4 ,illustration3 ,,details ,,from ,,old ,,sarongs p4 #ie ,the frame was placed in an upright position after the custom of ,javanese workers4 ,while waxing1 the light shone through and every uncovered spot was easily seen4 ,a medium sized soft brush was used for stopping out the large spaces4 ,great care was taken to drain the excess wax from the brush4 ,this is more necessary when the work is erect1 as it prevents the wax from running down the goods4 ,the third dye-bath was prepared with red and a little yellow4 ,a piece of the fabric dyed with the last dipping was dyed in this bath to test the color4 ,the material when dyed in this bath was a rich1 red-purple4 ,after partly drying with bath towels the piece was stretched on the frame to finish drying4 ,when thoroughly dry the entire surface was waxed except the mane and tail of the horse1 the hair of the maiden1 a few of the jewels1 some details in the foreground1 and the ground of the border4 ,all the broken places in the wax were carefully mended for the final dipping4 ,the colors for the bath were dark green and black4 ,the piece was finished by rinsing in warm water1 then in cold1 and finally by a gasoline bath4 ,the work extended over a period of two weeks4 ,it is a finished piece1 rare and beautiful in its illumination4 ,,chapter ,v ,,dyeing ,,for ,,plays ,,and ,,pageants ,the play bases its claim in the school curriculum on the very essence of human nature4 ,the art of being someone or something else in thought and action under a setting of conditions and through a flow of events is practiced by all of us4 ,it is the eternal expression of playful and imitative childhood1 and1 though restraints enter with maturity1 it never leaves us4 ,witness the audience we give to the stage4 ,illustration3 ,,costume ,,from ,a ,,play p4 #ig ,this has been recognized in the study of the play in literature and in the production of the school play4 ,the application of the art training of the school in giving the play its setting and costumes is of the greatest value4 ,the life of a school finds expression1 through co-operation of all departments1 in its own community theater4 ,dyeing is an important consideration in a dramatic production4 ,colorful costumes and properties have a large part in making a play4 ,illustration3 ,,miniature ,,stages1 ,,plain ,,and ,,decorated ,,by ,,children p4 #ih ,illustration3 ,,stage ,,scenes ,,in ,,miniature p4 #ii ,the possibilities of continuous play without scene shifting1 by drawing unobtrusive curtains alternately to the right and to the left--creating atmosphere by the merest suggestion--is simple when dyes and dyeing enter into the plans of the setting4 ,the old heavy painted scenery is not a part of the new drama4 ,the ground cloth and colored lights also offer opportunities for the service of the dyer4 ,costumes are more easily created when soft old materials are dyed1 and it requires but little experience to discover how the beauty and effectiveness of a play are enhanced thereby4 ,the proscenium arch takes its place in the illusion1 when the imagination is stimulated by color decoration4 ,there should be an intimate co-operation between the community of little theater and craft workers4 ,the relation of the little theater to those who do handicraft is stated by ,mr4 ,george ,somnes1 ,director of the ,little ,theater of ,indianapolis1 as follows3 ,too much stress cannot be laid upon the importance of all-over dyeing1 batiks1 and other pattern dyeing1 and their application in the work of the little theater4 ,preeminently the little theater stands for the giving of the theater back to the artist1 be he producer1 musician1 scene designer1 costume designer1 dancer or author4 ,there is the endeavor to establish each little theater group as a means of community expression4 ,the use of color in its relation to the play and lights1 as scenery and in costumes1 is so obvious and necessary that it needs scarcely more than mention4 ,as experimentation is necessary and desirable1 there must be at the bottom an actual foundation and knowledge upon which to experiment and build4 ,illustration3 ,,miniature ,,stagecraft p4 #ajj ,school plays and pageants could be improved many hundred percent if the knowledge of color and its application were made more general4 ,not only would children be taught that green and red go together1 but they would be taught just what greens and reds form the various combinations--they could find out under what lights certain colors react best4 ,give us more artists and craftsmen and we will have a real theater2 give us local artists and craftsmen and we will have a ,community ,theater4 ,in the following item from ,the ,workshop1 the magazine issued by the ,little ,theater ,society of ,indiana1 the editor writes to the community of the dyed costumes used in ,dierdre of the ,sorrows4 ,the ,little ,theater ,society feels it very significant that they are able to call attention to the use of color in the present production and to mention that its application in this play is the work of local artists4 ,the ,waldcraft ,studios have generously given time1 service and experience to help make this production complete4 ,does not that sound hopeful for our development1 and by example1 are there not more people in other fields who can give their time1 knowledge and experience to the development of something which when it is completed as an institution will belong to you8 ,illustration3 ,,miniature ,,stage1 ,,plain ,,and ,,draped ,,with ,,batiked ,,hangings p4 #ajc ,the illustrations shown in this chapter are1 7#a7 a plain miniature stage constructed of pasteboard and upon which the study of the decoration for a school play may well begin1 7#b7 two stages that have been thus decorated1 7#c7 two scenes in a play with miniature jointed dolls wearing real dyed costumes made by children1 7#d7 several children at work designing and constructing for plays1 7#e7 a group of scenes from a play given in a backyard1 for which the costumes were especially dyed1 7#f7 another miniature stage made of wood1 shown plain and decorated with dyed hangings for a play1 and 7#g7 some character parts from the ,little ,theater of ,indianapolis1 for which special dyeing was done4 ,the miniature pasteboard stages1 page #ih1 were decorated with opaque water colors by school children4 ,these illustrate the preliminary step in decorating a stage with dyed textiles4 ,they would reproduce in batiks4 ,the first decorated stage is planned to play ,treasure ,island4 ,the decoration over the proscenium arch is ,the little ship that is headed south-west1 and the border1 ,fifteen men on a dead man's chest1 ,yo-ho-ho and a bottle of rum4 ,the background colors are blue and black1 the ship white and the fifteen men red and white4 ,the other stage is planned for a patriotic entertainment4 ,the colors for this occasion are conventional4 ,the miniature stage in wood 7page #ajc7 and the ensemble pictured suggests dyeing of stage properties4 ,illustration3 ,,scenes ,,from ,,an ,,out-,,of-,,door ,,play p4 #aje ,the proscenium arch of this little stage was decorated for the study of the play ,restoring the ,mourners4 ,the dramatic story tells of the exile of the ,miami ,indians from ,indiana to ,kansas4 ,when this event took place there were seventeen states in the ,union4 ,the ,indians called these states the ,seventeen ,fires 7,council ,fires74 ,these fires were treated symbolically in the border at the top of the proscenium arch4 ,the fires1 realistic in color1 were painted in and stopped out with wax4 ,the panels were dyed blue4 ,the spaces back of the fires and the council were stopped out with wax and the whole dyed a deep purple4 ,this stage construction is suitable for the end of a room or hall where there is no balcony or for out-of-doors4 ,the curtain1 seen through the proscenium arch and enlarged on page #ajh1 is an interesting batik dyed in values of red1 blue and purple4 ,the decoration was painted realistically on the white silk and covered with wax4 ,the bottom of the piece for about four or five inches was kept in the dye-bath until most of the color was exhausted4 ,a small amount of red was added to the bath and little by little the material was immersed in the bath until about two-thirds of the goods were dyed4 ,the top of the material was dyed blue in like manner4 ,the bottom is a brilliant red1 the top a bright blue and the center different values of purple and pale lavender4 ,the pictures of ,mr4 ,george ,somnes and ,mrs4 ,eugene ,fife as ,naisi and ,dierdre1 in ,dierdre of the ,sorrows1 page #ajg1 illustrate some of the hand-dyed costumes for this play4 ,illustration3 ,,hand ,,dyed ,,costumes ,,from ,,the ,,little ,,theater p4 #ajg ,mrs4 ,fife's cloak was a beautiful clear blue2 her dress a dark red2 the tie-dyed veil a deep purple2 the design an intense yellow-gold4 ,there was no attempt to show batik in the decoration4 ,the wax resist was the easiest means of decorating the costume4 ,mr4 ,somnes' cloak was a purple gray with symbolic designs painted in wax4 ,his boots were dyed brown4 ,these costumes were made of old material4 ,all of the costumes were dyed to suggest contact with the elements4 ,illustration3 ,a ,,scene ,,curtain p4 #ajh ,,chapter ,,vi ,,tie-,,dyed ,,work ,this beautiful and fascinating art of textile decoration1 applied to draperies and articles of dress1 has been practiced in many countries for centuries4 ,old pieces have been found in ,south ,america1 in ,peru and ,bolivia4 ,in the ,philippines and in provinces of ,india the work may still be seen1 the art having been handed down from generations unknown4 ,illustration3 ,,tie-,,dyed ,,fabric p4 #aji ,the essential process consists in dyeing the cloth in a dye-bath after having wound parts of it more or less tightly with string or cord1 which serves as a resist to prevent the color from reaching those parts of the fabric4 ,the result is a white or1 if the cloth has been previously dyed1 a light colored pattern on a darker background4 ,the method is capable of more elaborate work4 ,there may be several dyeings1 beginning with lighter colors and passing to those of darker values1 and between the dyeings additional tying or untying or both4 ,illustration3 ,,portion ,,of ,a ,,chundri ,,showing ,,tie-,,dyed ,,work ,,done ,,in ,,india p4 #aaj ,for example1 a cloth is dyed light gray1 then a pattern tied into it1 after which it is put through a light blue dye-bath4 ,this gives a light gray design upon a grayed blue background4 ,but suppose now that a part only of the tying is removed1 some additional tying done in the grayed blue field1 and a third dye-bath used1 this time a light red4 ,the background becomes a grayed purple and in the design are gray1 grayed blue and grayed red4 ,there may be a great variety of designs1 depending upon the manner of tying the individual unit and the spacing of these units with relation to each other4 ,the ,oriental work is characterized by very small individual ties and the arrangement of many of these into some geometrical or pictorial pattern4 ,the grouping of these little ties accurately and uniformly into lines and design clusters challenges wonder and admiration4 ,but even with the dexterity acquired by these people the process is slow and laborious4 ,the illustration 7page #aaj7 shows a piece of tie-dyed work from ,india4 ,the material is cotton4 ,careful examination shows it to have been done in the following manner3 ,the cloth1 which is very thin1 was folded to form four thicknesses4 ,then at each point where a tie was desired the four thicknesses were pressed or drawn up and wound very tightly with string1 the very tip of the fabric being left exposed to take the dye like the background4 ,after dyeing and removing the ties the cloth was unfolded1 showing the four repeats4 ,the upper left quadrant was uppermost in the tying1 and shows the dark centers very distinctly4 ,then came in order the upper right showing small dark centers1 the lower right showing few dark centers1 and the lower left showing none at all4 ,illustration3 ,a ,,tie-,,dyed ,,pattern ,,by ,,high ,,school ,,pupil p4 #aab ,illustration3 ,,portion ,,of ,a ,,tie-,,dyed ,,silk ,,scarf p4 #aac ,as with other crafts that have come to us from the ,east1 we have not chosen to imitate their marvelous perfections of detail4 ,it has rather been to our liking to work out space and color adjustments in a manner more in keeping with our national temperament4 ,and it is not without its measure of success in artistic and pleasing results4 ,the illustration on page #aab is the work of a school boy4 ,the material was cotton1 dyed old rose before the tying was done4 ,after the tying it was dyed deep blue4 ,the space relations are very good4 ,the work upon such a piece should proceed in the following manner4 ,first the cloth should be prepared for dyeing in the manner indicated in the chapter on dyeing4 ,the centers of the ties should next be located4 ,sometimes the cloth is merely gathered at each center and tied1 but with larger patterns it is often folded in some definite way4 ,the border in this piece was made by gathering across the entire piece and tying4 ,if the tying is very tight the outlines will be sharp4 ,with a little looseness in the ties the color will creep in1 the results of which are often very beautiful4 ,a tie that is too loose1 however1 is in danger either of coming off in the dye-bath1 or it may allow the color to penetrate to the extent of destroying the design4 ,too prolonged treatment in the dye-bath1 or dyeing at too high a temperature1 may cause too much penetration of color into the tied spaces4 ,illustration3 ,a ,,tie-,,dyed ,,border p4 #aae ,illustration3 ,,portion ,,of ,a ,,tie-,,dyed ,,scarf p4 #aae ,on page #aac is shown a portion of a silk scarf4 ,in this case the white cloth was gathered at the respective centers1 without any definite plan of folding1 and tied rather tightly with a few winds of string about an inch or more from the center4 ,the piece was then dyed a soft gray yellow4 ,then more winding was done so as to leave only the tips exposed4 ,the next dye-bath was a soft blue somewhat stronger than the yellow4 ,the color qualities are beautiful4 ,the border shows the penetration of the blue color in a very happy manner4 ,the border design on page #aae shows the result of a definite manner of folding the cloth before tying4 ,the portion of a scarf illustrated on page #aae shows one large pattern beginning at the center of the scarf4 ,the scarf was gathered or folded from the center and tied at intervals4 ,the color is delicate old rose1 especially beautiful for evening wear4 ,sometimes small objects1 such as marbles or glass beads1 are placed at the center of the tied spots and the cloth tied around them4 ,a very interesting development of tie-dyed work and one which greatly increases the variety of designs is what we may term stick tying1 i4e41 tying over sticks4 ,the sticks for this purpose are those commonly used by school children in stick printing4 ,these are sold by all the leading school art supply houses4 ,these sticks are treated so they will not absorb color1 which makes them especially suitable for tie-dyed work4 ,they are of different shapes1 squares1 circles1 triangles1 oblongs1 etc4 ,on these shapes the cloth may be folded in different ways1 giving an element of geometrical symmetry1 which1 however1 is always softened in the dye-bath as the color makes its little incursions into the tied spots4 ,illustration3 ,,examples ,,of ,,stick ,,tying p4 #aag ,illustration3 ,,stick ,,tied ,,patterns p4 #aag ,stick tying is not only a good craft problem but also splendid for the school room for both boys and girls4 ,it is best to lay out the design on the cloth by stick printing with a very light tint of the color to be used in the first dyeing1 and using1 of course1 the end of the stick over which the cloth is to be tied4 ,this insures a proper direction of the axes of the tied spots4 ,on page #aag are shown a number of tyings over the different sticks1 and also some dyed spots resulting from tying in several ways4 ,any school boy can devise other stick ties1 and he will be delighted with some of the effects produced by his inventions4 ,we also show 7page #aai7 a silk scarf tied over sticks1 with a border at each end1 ready for the dye-bath4 ,on page #abj is this same scarf after dyeing4 ,the work was carried out in the following manner3 ,the stick used was a flat oblong one-eighth inch thick1 five-eighths inch wide and one inch long4 ,the cloth was stick printed with light yellow to locate the centers for the ties4 ,the end of the stick was placed at the center1 the cloth folded equally on the two sides1 and the tying done as shown on the first stick 7page #aag74 ,the entire scarf was dipped in warm water before dyeing4 ,this conformed to our directions for dyeing and also caused the ties to tighten4 ,the piece was first dyed yellow1 then without any change in the tying it was dyed green4 ,illustration3 ,a ,,piece ,,of ,,stick ,,tying ,,ready ,,for ,,the ,,dye-,,bath p4 #aai ,illustration3 ,,units ,,of ,,the ,,pattern ,,from ,,the ,,above ,,tying p4 #aai ,illustration3 ,a ,,silk ,,drapery ,,decorated ,,by ,,stick ,,tying p4 #abj ,illustration3 ,a ,,stick-,,tied ,,lining ,,for ,,jacket p4 #aba ,after a thorough rinsing the two yellow green bands around the stick were protected by additional tying and the upper and lower ties removed1 exposing two white bands4 ,then followed a red dyeing1 another rinsing1 the removal of all ties1 and a final dyeing in a very dilute golden yellow4 ,the result is a ground color of rich1 beautiful brown4 ,in the tied spots are bands of gold1 of orange-red1 of yellow-green and of brown1 also a brown center4 ,along the edges of these bands the colors have crept in1 one here and another there1 to produce a beautiful iridescence4 ,the same colors are repeated in the borders4 ,the lining of the jacket1 page #aba1 is a beautiful piece of stick tying on pongee silk4 ,the colors here are yellow1 green and grayed purple1 as well as the original color of the pongee4 ,these were three dye-baths1 yellow1 blue and red4 ,illustration3 ,,tie-,,dyed ,,fabric p4 #abb ,,chapter ,,vii ,,stick ,,printing1 ,,block ,,printing ,,and ,,stencil ,,dyeing ,it has been seen how versatile the batik method is as a means of illuminating fabrics1 also how design is the controlling element in all good batik work4 ,in both the space and color relations the batik worker has control of the entire surface subject only to the limitations imposed by the mediums in which he is working4 ,illustration3 ,,stencil ,,design p4 #abc ,it follows that a knowledge of the principles of design must underlie good batik work as well as a knowledge of dyes4 ,in taking up the other ways in which school children are using dyes1 it is well to place emphasis upon the design elements involved4 ,all dyeing as done by craftsmen and in the schools involves design4 ,even all-over dyeing is carried out with the idea of the dyed piece becoming a part of some larger whole4 ,the earliest use of dyes in the schools is in stick printing1 and here begin the first lessons in pattern dyeing4 ,illustration3 ,,suggested ,,use ,,of ,,block ,,printing ,,for ,,end ,,paper p4 #abd ,all shapes used in design resolve themselves into certain recognized types4 ,these type shapes are the square1 oblong1 triangle1 circle1 ellipse and oval4 ,there are also standards of color that have become associated with these types4 ,they are red1 yellow1 blue1 orange1 green and violet4 ,these shapes and colors are taught universally by teachers who train children in the elementary concepts of design4 ,it is the adjustment of these shapes and colors in space that constitutes design4 ,it is the application of these shapes and colors to definite materials for definite uses in the child's life that constitutes applied design4 ,when the child prints a square on his paper it is a real square and good in color4 ,the next one will be a real duplicate1 both in shape and color4 ,the problem is where to put the duplicate4 ,that is the essence of design1 and both teacher and pupil are ready to take hold of it4 ,there is time for discussion and drill4 ,results must follow4 ,the child begins to sense and appreciate standards and to love accuracy1 neatness and orderliness4 ,his interest is sustained and his powers strengthened through satisfactory accomplishment4 ,he plans1 invents1 and executes1 acquires independence of thought and expression1 and designs in accordance with his imagination and experience4 ,very early in the child's training1 while the stick printing is unfolding the elements of design to him1 he applies his designs to enrich his construction work4 ,it is the time for the child to begin through concrete efforts to get rooted into his thinking that designs are made to be applied and that everything which contributes to his comfort1 happiness and well-being exists because a design has been applied4 ,illustration3 ,,hindu ,,block ,,printed ,,design p4 #abf ,then is also the time for the child to see some printed textiles in which the pattern is geometrical like his stick printing4 ,after the child has had sufficient experience with type shapes1 he may add block printing4 ,with the knowledge and experience gained through the use of sticks1 he is enabled to modify the standard shapes4 ,a wood block veneered with linoleum that can be easily cut with a sharp knife into any form desired1 and which maintains a rigid printing surface1 brings this craft within his reach4 ,in beginning the print block work a square or rectangular surface may be cut into a pleasing group of standard shapes involving straight lines and then simple curves4 ,there may follow at later intervals in the course problems of increasing difficulty consistent with the ability to think and execute4 ,continued observation of commercial prints and1 if possible1 of fine handicraft is always in order4 ,in connection with block printing may well come an early lesson in setting colors4 ,in color printing the color should be a part of the fiber of the goods without the least injury or change in the texture4 ,any process which gums the fiber or destroys the texture is not beautiful in its results1 and does not give true color printing4 ,illustration3 ,,patterns ,,for ,,print ,,blocks p4 #abh ,illustration3 ,,print ,,blocks1 ,,plain ,,and ,,cut4 ,,print ,,showing ,,influence ,,of ,,stick ,,printing ,,and ,,block ,,printing p4 #abi ,besides the method elsewhere referred to1 the following will give excellent results in block printing4 ,a large tin cover into which a thick piece of felt is fitted serves as a color pad4 ,pains should be taken to have the right quantity of dye well spread on the pad4 ,too much color makes the printing less clear4 ,when a trial on a piece of the goods is right a large number of imprints can then be made4 ,the secret of good work is a nice adjustment of the color pad and then uniformity of pressure on the block1 both in taking color from the pad and in making the imprint4 ,the printing is done on a flat surface with a single layer of blotter beneath the textile4 ,some fabrics take the imprint better if slightly dampened4 ,the illustration of block printing is a specimen of ,hindu work4 ,the sticks will find continued use in printing connecting spots and for the introduction of additional color so often needed for enrichment4 ,the manufactured textile here illustrated was designed by using stick printing and block printing4 ,when the attainment reached with sticks and print blocks is sufficient to call for larger and more varied design1 it is time for the craft to broaden and include stenciling4 ,stenciling is the most exacting master of simplicity4 ,it teaches one how to sweep away all that is trivial and unnecessary in design4 ,it shows the value of broad1 flat tones combined with accurate drawing1 and proves conclusively the vital importance of good composition4 ,the stenciling process has been described so many times that directions for the work are not needed4 ,an elementary lesson in all-over dyeing can very appropriately be given in connection with advanced block printing or stenciling4 ,this might well be the waxing over of the printed or stenciled pattern1 followed by a dipping for the ground color4 ,illustration3 ,,stencil ,,designs4 ,,applied ,,stencil ,,pattern p4 #aca ,the example of stenciling illustrated is a table cover4 ,the material is natural colored linen4 ,the colors were liquid dyes blown on with an atomizer4 ,the bodies1 heads and legs of the cranes are orange2 the wings and tails blue4 ,the flowers and spots are purple1 the leaves and stems blue4 ,spraying liquid dye with an atomizer permits not only of the usual direct coloring of the design areas1 but also of resist stenciling1 in which a light design is produced on a dark background4 ,a small dark design on a large light background is stringy and thin4 ,the light seems to eat into the edge of the design and minimize its importance4 ,on the other hand1 a small light design on a large dark background is magnified in importance4 ,while for proper control in either case we must adjust the space relations of the design and background areas1 yet it is equally important that one be able to adjust the color relations of the design and background areas4 ,the process for resist stenciling is as follows3 ,the stencil is laid upon the surface to be decorated1 and the open pattern is carefully covered with a thin layer of library paste or paste made from flour and salt water4 ,flour added to a solution of salt in water is the best preparation we have found4 ,a palette knife1 or a case knife may be used to spread this paste4 ,the stencil is at once lifted and the color desired for the background is sprayed in a flat tone over the entire surface4 ,the paste acts as a resist1 preventing the penetration of the color4 ,the entire surface is immediately wet with cold water and the resist washed off4 ,the stencil is carefully and thoroughly cleaned in the same way and then pressed and dried4 ,illustration3 ,,stencil ,,designs p4 #acc ,this is especially suitable for book covers and end paper designs1 or mats1 where the pattern does not partake of the nature of a repeat1 as it is better to remove the resist while wet4 ,it is interesting to stencil the open pattern in one or more colors1 then apply the resist and give another color to the background4 ,most interesting stenciling has been done with two or more stencils4 ,to make these1 a stencil should be cut for each color4 ,use the original design sheet for one color4 ,transfer other color areas to new sheets4 ,make all sheets1 including the tracing paper1 the same size4 ,before tracing lay sheets and tracing paper together and punch coinciding holes in the upper corners4 ,keep these holes coincident during the process of tracing4 ,by means of these holes the respective stencils are easily applied so that the color scheme is accurately reproduced4 ,it must not be overlooked by those who are stenciling that only part of the color applied becomes incorporated into the fiber of the goods4 ,the other part is outside the fiber1 adherent to the goods4 ,this adherent color should be removed4 ,it corresponds to the excess color in dyeing1 which we take pains to remove by rinsing4 ,the very purpose of the steaming1 or other setting process1 is to incorporate the dye into the fiber4 ,this is never perfectly accomplished4 ,there is always some excess adherent color to be removed4 ,illustration3 ,,old ,,japanese ,,stencils p4 #ace ,how often we meet the following experience3 ,a craft worker in decorating a fabric applies color until the eye is pleased1 takes little or no pains to incorporate the color into the fiber1 and ignores altogether the fact that some of the color is only adherent4 ,later this adherent color comes off 7not out7 in the wash4 ,there is then disappointment and complaint against methods1 colors1 etc41 when the real fault is one of workmanship4 ,adherent color is never dependable4 ,the ,japanese have been the masters of the art of stenciling4 ,the technique and beauty of their designs have not been equalled by any other craftsmen4 ,for centuries these people have been making imprints on fabrics4 ,the old stencils are more simple and the paper of better quality4 ,these old stencils are always darkened by time4 ,the stencils shown in the illustration were collected by ,ernest ,fenollosa1 an authority on ,japanese art4 ,little has been written about these stencils but many museums and school art departments have collections4 ,in cutting stencils the ,japanese use a number of tools4 ,some of these tools are of the nature of punches1 being the shape of the cut out place4 ,there is no drawing on the stencil paper1 the workman looks at the design and cuts the pattern free hand4 ,the paper1 before cutting1 is treated with oil and a kind of lacquer4 ,the old stencils were strengthened by a net work of human hair placed between two stencils cut at the same time4 ,these stencils were then pasted together with rice paste4 ,this net work of hair serves as ties in the stencil and permits a larger freedom of design than is otherwise possible4 ,the ,japanese use two methods for stenciling1 the direct coloring method1 in which the dye is brushed on the material through the stencil1 and the resist method1 in which a paste is rubbed through the stencil on the white goods and the fabric dyed in an all-over bath4 ,the color is set by steaming and the paste washed out4 ,this leaves a white pattern on a colored background4 ,illustration3 ,,stencil ,,design p4 #acg ,,the ,,index ,page ,acid colors #df ,all-over dyeing #ce-db ,basic colors #df ,block printing #abf-acj ,characteristics of batiks #ad-bb ,colors1 mixing of #di-ec ,costumes1 decoration of #gi-he ,crackle #ad ,designs1 old batik #bc-cd ,direct colors #de-df ,direct coloring1 method of #dc-dd ,discharge process #dc-dd ,dye-baths1 preparation of #cg-ci ,dyeing over old color #cf1 #eb-ec ,dyeing1 shaded #da ,dyes #de-di ,dyes1 setting of #dd ,end papers #gg ,fabrics1 drying of #da-db ,fabrics1 dyeing of #ce-ec ,fabrics1 preparation of #ce-cg ,frame1 batik #ee1 #eg-eh ,graying of colors #dg-ej ,high school1 batiks in #fe-gd ,history of batiks #aa-bb ,holland1 batiks in #ab1 #ba ,interiors1 decoration of #hf-if ,japan1 batiks in #ba ,japan1 stenciling in #acf-acg ,java1 batiks in #aa-bj ,javanese costumes #af-ah ,jewelry1 costume #gg-gi ,linings #hb ,pattern dyeing #db-de ,petroplast ornaments #gg-gi1 #ha ,plays and pageants #ig-ajh ,principles of dyeing #ce-ec ,resist processes #dc-de1 #ed-gd ,sarongs #ac1 #af ,sizing #cf ,stages1 miniature #ih-ajf ,stencil dyeing #acj-acg ,stenciling1 ,japanese #acf-acg ,stenciling1 resist #acb-acd1 #acg ,stick printing #abc-abg ,stick tying #de1 #aaf-abb ,sulphur colors #df ,theater1 ,the ,little1 ,dyeing for #ig-ajh ,tie-dyed work #aji-abb ,tjanting #ah1 #fj ,tjap #ah-bj ,vat dyes #df ,vegetable colors #dh-di ,wax1 batik #ad1 #eh-fj ,wax resist processes #ed-gd ,wood1 decoration of #ed-ef ,transcriber's ,note ,minor punctuation errors have been repaired4 ,inconsistent hyphenation is preserved as printed4 ,assuming typographic errors1 the following amendments have been made3 ,page #ab--;fibre amended to fiber--444 women and girls seated upon fiber mats 444 ,page #dd--practised amended to practiced--444 is the commonly practiced method 444 ,page #gi--;insized amended to incised--444 and the bird1 flowers and pedestals were incised 444 ,page #ajj--or amended to of--444 between the community of little theater and craft workers4 ,page #ajb--;give amended to given--,the ,waldcraft ,studios have generously given time1 444 ,page #aci--,theatre amended to ,theater--,theater1 ,the ,little1 ,dyeing for 444 ,illustrations have been moved where necessary so that they are not in the middle of a paragraph4 ,page number references and illustration captions in braces have been added by the transcriber for the convenience of the reader4