,,transcriber',s ,,note ,italic text is denoted by underscores4 ,some minor changes to the text are noted at the end of the book4 ,,batiks1 ,,and ,,how ,,to ,,make ,,them ,illustration3 ,,chinese ,,screen ,,panel ,,by ,,pieter ,,mijer ,,and ,,emile ,,weeckers ,,batiks1 ,,and ,,how ,,to ,,make ,,them ,,by ,,pieter ,,mijer ,,with ,,illustrations ,from ,photographs by ,g4 ,w4 ,harting ,illustration3 7signet7 ,,new ,,york ,,dodd1 ,,mead ,,and ,,company #aiba ,,copyright1 #aiai ,,by ,,dodd1 ,,mead ,,and ,,company1 ,,inc4 ,first edition printed ,june1 #aiai ,second edition printed ,august1 #aiai ,third edition printed ,december1 #aiai ,fourth edition printed ,september1 #aibj ,,foreword ,in writing the following pages on 8,batiks1 and how they are made0 ,i had a double purpose in view4 ,first1 to make this ancient art more known to the public in general and to the many textile craftworkers in particular2 secondly1 to try to give some practical advice which will make for the better execution of the work4 ,batik is not so crude a method of decorating material as many people have thought it to be4 ,it is not a matter of smearing some wax on a piece of material with any old brush1 dipping it haphazard into any kind of dye1 leaving it to the gods to decide what colour it is going to be1 and finally trying to sell it as a high-priced work of art4 ,on the contrary1 it is a craft which requires quite a good deal of skill and knowledge of design1 as well as a good idea of colour4 ,the batik art has been much abused and it may be of interest to many to know something of its history1 to read the description of the process as practised by the natives of ,java1 the method used in ,holland1 and the means now employed by some craftsmen and women in ,america4 ,too much stress cannot be laid on the fact that it is1 as a rule1 the small details that many people like to overlook because they seem of comparatively little importance1 that bring out the charm and beauty of a real batik4 ,batik is not difficult1 the chief requirements are care and time1 and the best results are always gotten by giving time to the work and not trying to do it in a rush4 ,as with any other art or craft1 one needs to study the medium before using it and another fact that has only been too often forgotten1 is1 that batik has design and knowledge of colour as its foundation and ,i would like to advise readers who have not studied these essentials1 to leave batik alone until they have acquired some understanding of them4 ,most of the hints given here are the outcome of the many years that ,i have spent making batiks4 ,having seen it done in ,java as well as in ,holland1 ,i have had an opportunity to compare the different ways of working1 and by experimenting1 have found many little helpful things which ,i gladly share with present and future workers4 ,in the last few years1 batik has advanced in this country with rapid strides and ,i am sure that a good deal of this is the result of the interest which manufacturers1 especially those in the silk industry1 have taken in its development4 ,batik work1 however1 is not a manufacturing process4 ,the moment we try to commercialize it1 that is1 to make the same design in quantities1 the quality decreases2 a great deal of the beauty of a batik lies in the personal touch of the artist or craftsman who makes it1 and we may safely say that neither of them is able to do machine work and produce a practically unlimited quantity in a short time4 ,it certainly is a pity that some manufacturers have already tried to commercialize it by means of using untrained boys and girls to execute in quantities the designs of others4 ,when one sees the result of these efforts1 one is inclined to ask1 8,is it a good idea to spread the knowledge of batik80 ,on the other hand1 if the buying public knows more about the work than it does now1 if they know the time and the care it takes to make a good batik1 then ,i am sure that their desire for good batik will increase and the manufactured product soon will be where the other manufactured arts have gone4 ,before going on to the description of batik1 ,i should like to say a word of thanks to ,olive ,earle1 for valuable help4 ,also to 8,house and ,garden0 and 8,elsevier's ,geill3 ,maandschrift0 for their kindness in lending me some of the photographs used4 ,,pieter ,,mijer4 ,new ,york1 ,april1 #aiai4 ,,contents ,,page ,,batik ,,in ,,java #a ,,batik ,,in ,,holland #bd ,,utensils ,,and ,,materials #cb ,,tjantings #dd ,,the ,,batik ,,process #ej ,,successful ,,dyeing #ei ,,the ,,value ,,of ,a ,,dye ,,record #gg ,,illustrations ,chinese ,screen ,panel by ,pieter ,mijer and ,emile ,weeckers ,frontispiece ,,facing ,,page ,javanese ,kain ,kapala #b ,enlarged ,detail of ,native ,sarong #d ,native ,design ,showing ,european ,influence #ad ,pure ,native ,design ,adapted for ,european ,use #ad ,conventional ,fish ,design by ,chris ,lebeau #bf ,geometrical ,fish ,design by ,chris ,lebeau #bh ,stork ,panel by ,chris ,lebeau #cj ,flamingo ,curtain by ,pieter ,mijer #cj ,the ,use of ,batik in ,interior ,decoration #cb ,dyeing of ,textile #cd ,cleaning the ,tjanting #cd ,floral ,design ,entirely ,executed with a ,brush #cf ,various ,types of ,tjantings #df ,scarf ,batiked by ,hazel ,burnham ,slaughter #ej ,the ,right ,way to ,hold the ,tjanting #ed ,the ,use of the ,brush for ,filling ,spaces #ed ,tank for ,separating ,wax from ,gasoline #eh 8,spring0 by ,c4 ,bertram ,hartman and ,pieter ,mijer #fd ,by following the arrows in the above chart it will easily be seen which colours should be mixed together in order to produce a given colour and the various lengths of the connecting lines indicate about the proportion in which the dyes should be used #fh ,successive ,stages in the ,making of a ,batik #gd ,successive ,stages in the ,making of a ,batik #gf ,the ,use of ,batik for ,costume #gh ,sorceress by ,arthur ,crisp and ,pieter ,mijer #hj ,,batiks1 ,,and ,,how ,,to ,,make ,,them ,,batiks1 ,,and ,,how ,,to ,,make ,,them ,,batik ,,in ,,java ,investigation shows that there never was a time when the art of batik did not flourish in ,java4 ,the robes of idols worshipped in prehistoric days were decorated very much in the same way as those of today1 and apparently the modern native method of doing the work differs little from that employed so many hundreds of years ago4 ,the literal translation from a ,javanese paper on the batik art1 which concludes this chapter1 shows something of the confusingly elaborate process used in the ,east1 while the description of the modern ,american way of working explains how comparatively simply1 effective and beautiful results can be obtained4 ,sidenote3 ,,difference ,,in ,,methods ,the chief difference between the occidental and the native way of batiking is1 that the occidental starts his dyeing with the lightest colour and dyes his tones over each other1 whilst the native dips his fabric in the darkest colour first and removes the wax each time that he needs a lighter shade and he only uses dyes that set by oxidation4 ,of course their batiks have to stand very much rougher treatment than the textiles decorated here and to make the dyes stand the terrific glare of the sun1 the innumerable washings1 and the regular dips taken by their wearers who are tremendously fond of bathing1 it is necessary for them to take every precaution to produce fast colours4 ,their methods may seem complicated1 but it would not be amiss if ,american batikers were to use a little more of the patience and craft that the native exercises1 instead of eternally seeking short cuts to superficially beautiful effects4 ,batiks are chiefly used in ,java for wearing apparel and as a rule are made of calico which is imported from ,holland and ,england1 although homespun cotton is occasionally found and was used1 of course1 before trading with ,europe developed almost 8,mail ,order0 facilities4 ,illustration3 ,,javanese ,,kain ,,kapala ,sidenote3 ,,javanese ,,costume ,sidenote3 ,,kains ,the costume is similar for men and women and consists of the 8sarong10 the 8slendang0 and the 8sarong kapala40 ,there are two types of sarong or loin-cloth worn1 which are known as the 8kain pandjang0 and the 8kain kapala02 the former is decorated with an all-over pattern and is used for 8every-day0 wear1 whilst the 8kain kapala0 is a more expensive form1 which besides the all-over pattern1 has at one end1 from selvedge to selvedge1 an elaborate design4 ,there is no intricacy of cutting in a sarong as it consists merely of a piece of material from three to four-and-a-half yards long and about forty-two inches wide4 ,the material used for this garment is almost always cotton of varying grades4 ,the ,javanese sarong facing page #b is made in four colours1 the cream colour of the original material1 a bright indigo blue1 red1 and purple which is the combination of the red and blue4 ,the main part of the sarong is decorated with a flower and bird all-over design1 the ground being the cream colour of the material1 while the red dominates in the flowers and birds4 ,the wide border has a red background with a cream floral decoration1 and the narrow border has a blue background with an ornamental design in cream and red4 ,the kapala of this sarong is in red1 with a scattered floral decoration and filled in with a characteristic ,javanese filling-in pattern4 ,the purple notes are scattered through the design4 ,facing page #d is shown an enlarged detail of this design4 ,sidenote3 ,,slendang ,the 8slendang0 is no more complicated as to shape and the decoration is either in the form of an all-over design1 or it has a plain centre with a decorative border4 ,it is usually about three yards long and eighteen inches wide1 and it is worn by the women who throw it over their heads1 scarf-wise1 but its use is more general as a 8carry-all0 for babies and other personal effects4 ,sidenote3 ,,head-,,dress ,the 8sarong kapala0 is a square piece of material worn chiefly by the men and is wound around the head in a kind of turban shape4 ,after it has been folded on the head to the satisfaction of the wearer1 it is taken off very carefully and starched on the inside4 ,illustration3 ,,enlarged ,,detail ,,of ,,native ,,sarong ,the women sometimes add an upper garment1 called a 8kemban02 this is just a long straight strip which is wound tightly round the body4 ,the shoulders and arms are left bare1 for they are great workers and do not allow their movements to be hampered by an undue amount of clothing4 ,sidenote3 ,,javanese ,,design ,the designing and waxing of batiks is done largely by the women whilst the men usually take care of the dyeing part of the process4 ,the designs1 whilst apparently originating with each individual worker are founded as a rule on what one might call standard designs2 these have been used for generations1 although in course of time they have changed in character somewhat4 ,in most cases1 any one familiar with these ,javanese classics can trace the modern designs to their source and will recognize in present-day interpretations1 figures well-known in native folk-lore4 ,other designs have significance in that they designate rank or social prestige4 ,some hundred of these patterns have regular names1 such as 8batik parang rusa0 and 8batik sawat02 these two are reserved for the exclusive use of royalty1 and many designs are esteemed as much for their social ranking as for their artistic merit4 ,decorated silk is occasionally worn by the native aristocracy2 it is not in general use1 however1 and is always made in the form of a 8slendang0 and worn as a scarf4 ,the colours found in a batik can be interpreted to denote the part of ,java in which it was made4 ,those from ,djocdja and ,solo are executed in rich tans1 beautiful golden browns and deep indigo blue1 which colours are used on the royal batiks2 the work from these districts is sombre in tone but very rich in design4 ,pekalongan batiks are usually in white and different shades of blue1 or rather cream and blue1 for the native treats his fabric with oil before starting to work and this gives a rich creamy tone to the white4 ,dead white itself is never used as it is literally associated with the dead1 being the colour of grave cloths and always signifying death4 ,variety of colouring in a batik will mean as a rule that the piece had its origin in the district of ,samarang4 ,the prices of the garments of course vary according to the amount of work on the piece4 8,kains0 can be bought as cheaply as a dollar each and sometimes as much as #be4jj is paid2 however1 a batik costing as much is rare1 and is usually one made to special order4 ,about two to two and a half dollars is the average price one would have to pay for a garment in ,java4 ,sidenote3 ,,tjaps ,besides the batik done entirely by hand1 the native produces a decorated material known as 8tjap40 ,this method can best be compared to block printing1 the wax being printed on to the material instead of being applied with a tjanting4 ,instead of the wooden block associated with block printing1 the native uses a sort of die made of wood1 on which the design is made by the insertion1 edgewise1 of thin strips of brass or red copper2 in some cases the whole die is made of the red copper4 ,these 8tjaps0 are reminiscent of the work done in ,madras where a similar process has been employed since the #aeth century1 for the direct application of the dyes4 ,some 8tjaps0 are done entirely by printing with blocks1 while others are partly hand-work4 ,the dies are used as time savers when making borders or patterns with a regular repeat4 ,the native artists consider these substitutes1 which are sold to the poorer classes for daily wear1 very inferior to real batik and no ,javanese of any standing would dream of 8lowering himself0 by wearing one4 ,at the present time not many die-makers are found1 as there is only a comparatively small market for the work4 ,a die is so solidly constructed and lasts so long1 that once made1 there is seldom a re-order of the same design4 ,the price of dies varies according to the size and elaborateness of the design1 ranging from about #be cents1 ,american money1 to as high as #bd4jj4 ,in ,samarang there are still a few men who trade in these tjaps1 whilst in ,soerabaja there is only one man known who is able to make them4 ,the copper used in the making of tjaps comes in three different weights2 the lightest is used for the making of fine outlines1 the second weight for the heavier lines1 whilst the third and heaviest weight is used for the frame work4 ,like the tjanting1 the tjap is constructed in three parts2 first1 the body of the instrument which is composed of the variously bent strips of copper which make the design1 then the frame-work which holds these strips together and lastly the metal handle4 ,the tjap has to replace the work done with the tjanting1 therefore the object of the tjap-maker is to replace all tjanting lines with strips of copper of varying sizes1 which1 when printed1 will give the effect of perfect tjanting work4 ,to that end1 the strips of copper have to be curved and bent1 and are set in a vertical position1 that is1 with the edges uppermost2 this of course is very delicate work which requires good craftsmanship and much patience4 ,in making the tjaps1 the copper plates of different thicknesses are first cut into strips1 each strip of the same width4 ,the design for the tjap is made on paper1 and the copper strips are bent in the various shapes as indicated in this design4 ,here is where the good craftsmanship is essential as it is no easy matter to reproduce fine curved lines with the strips1 especially in the case of flowered designs as no sharp angles may be shown in the bending of the copper4 ,then the whole design is soldered together1 and fixed by the same process on to the frame to which the handle is attached4 ,this does not1 however1 complete the die-maker's work1 for as in batik work with the tjanting where the material is waxed on both sides1 so with the tjap does the fabric have to be printed on the reverse side as well4 ,thus1 the die-maker has to make a second tjap in which the design is the exact reverse of the first one4 ,it takes a die-maker about twenty days to make a complete set1 that is two corresponding tjaps1 each about eight by eight inches square1 for which he gets about #h4jj4 ,out of this of course he has to pay for his materials4 ,when the tjaps are finished and found correct1 that is1 when every little line on one die is found to correspond exactly with the same line on the reverse block1 then it is the business of the printer to print the tjaps so that no difference is shown in the design4 ,the making of a pair of tjaps is only necessary when an irregular design is to be produced1 as in the case of a symmetrical pattern the same die can be used on both sides4 ,for the reproduction of a not very elaborate tjanting design1 a set of thirteen to fifteen tjaps is required2 this means with the reverse set at least twenty-six to thirty separate dies4 ,the original outlay for the making of a tjap may be great1 but if the amount of work that can be done with one set is considered1 it can be seen at once that the prices of pieces done by this process will be very low4 ,the printing of tjaps is practically always done by men4 ,the workman sits on a low stool1 and in front of him is a slanting table to which a large pad is attached2 over this the piece that is to be printed is spread4 ,the wax is heated in a flat pan1 in which there is a pad of jute1 covered with unbleached muslin4 ,the wax is transferred to the metal by pressing the tjap on to this pad4 ,to remove the surplus wax from the tjap the printer swings the die up and down a couple of times and then presses the tjap on to the material in the place where the decoration is desired4 ,after covering one side of the material in this manner1 the same process is repeated on the other side4 ,as the wax shines through the fabric1 it is not a difficult matter for the printer to place his die in the exact position1 so that it will register correctly1 but nevertheless1 there will be very few pieces made in this way found without a slight inaccuracy in the design4 ,although all the actual line work in a tjap is done by the use of dies1 a certain amount of the work1 such as filling in spaces and big surfaces1 has to be done by hand with the tjanting4 ,this1 however1 amounts to a very small proportion of the work when compared with the amount of labour required in the making of a real batik4 ,a good printer can print about twenty pieces of material1 sarong length1 a day1 while it would take twelve to fifteen days to produce one piece of a similar design1 with a tjanting4 ,the ,european printed imitations of batik meet with very little favour among the native ,javanese1 who are very critical of art and craftsmanship and the importations only find a market among the poor4 ,sidenote3 ,,native ,,industry ,for the most part1 batik is a home occupation of the native1 but some districts have become quite manufacturing centres4 ,the industry is chiefly under the management of the ,chinese with the natives as their workmen4 ,in the district of ,lassem1 where a great deal of batik work is done1 the ,chinese employers give the work out to the natives1 who do it in their homes4 ,fifty to a hundred kains will be given out to one man1 who will have them waxed and they will then be fetched by another worker who will do the dyeing4 ,this work will bring in to the native1 on an average1 the lordly sum of two and a half cents 7,american money7 a day1 and it is estimated that in the neighbourhood of ,lassem alone1 there are some #dcjj people subsisting on this munificent salary4 ,at that1 this group of workers are rather better off than the women who are employed directly by the ,chinese for the finer batik work4 ,large numbers of them bind themselves to work for three years1 at the beginning of which period they are given thirty gilders1 equivalent to about #ab4jj2 they are given board and lodging and once a year a new outfit1 but they receive no more pay4 ,many of them work like this for years in succession and from time to time they borrow small sums of money from their employers which they cannot pay back1 with the result that they are never out of debt and are consequently1 to all intents and purposes1 practically owned by their exploiters4 ,authentic figures give #bajj natives working under these conditions in ,lassem4 ,there are a few establishments run by the ,dutch in ,java1 who1 besides producing pure native designs1 have used native adaptations of ,european designs with splendid results4 ,illustration3 ,,native ,,design ,,showing ,,european ,,influence ,illustration3 ,,pure ,,native ,,design ,,adapted ,,for ,,european ,,use ,a combination of ,javanese and ,european influences is shown in the illustration facing page #ad4 ,this pillow-top1 batiked by a ,dutch artist1 has native motives1 arranged in a symmetrical design4 ,as a batik1 it is about the finest piece the writer has been able to find1 as there is no flaw in the execution4 ,the stiff geometrical pattern1 however1 does not give quite such a pleasing effect as the freer ,javanese design4 ,a sample of this is shown facing page #ad which is pure ,javanese decoration4 ,it shows the arrangement of a bird and some octopuses and was used for a small pillow-top2 the artist has been left free in this design1 not being tied down to a geometrical repeat1 and the result artistically is far superior to the previous design4 ,in the event of some enthusiast wishing to batik in the actual native manner1 he can do so by following the process as described by a native and translated here word for word3-- ,sidenote3 ,,native ,,process 8,batik is the art of dyeing fabric in one piece in different dyes consecutively1 through the combination of which the pattern of the design is produced4 ,the materials used in this process are cotton and very occasionally silk1 wax1 wax mixed with rosin and dyes4 ,the dyes usually are vegetable although aniline is used1 but rarely4 8,the first of these batik requirements the native buys at the ,pasar 7market71 the dyes they make themselves and in the case of the blue dye it is as a rule the property of a professional dyer1 who is called the #8toekang medel4' 8,the cotton used now by batikers is always of ,european manufacture and is graded according to the fineness of the texture4 ,the different qualities are known severally as1 #8mori moeslim' or fine-weave cotton1 #8mori mentah' or unbleached cotton1 and #8mori kasar' or coarse-weave cotton4 ,the second grade is subdivided into #8mori mentah aloes' which is the fine grade of the unbleached cotton and #8mori mentah kasar' or coarse unbleached4 ,this last kind is only used by the native aristocracy for the clothing of the members of their household2 they themselves wear batik of #8mori moeslim' or #8mori mentah aloes4' 8,the measure used when cotton is bought at the #8,pasar' is called #8katja' or #8saptangnan' and it is a square measure1 that is to say1 if1 for instance1 the cloth is a yard wide then the measure or #8katja' is a yard square and if the width is a yard and a half1 the #8katja' is a yard and a half4 8,the cotton as it comes from the market is not immediately ready to be batiked4 ,if it is a bleached cotton it has to be treated for the removal of all the starch1 chalk and other stiffening with which it is dressed4 ,this is done by washing it several times in clear cold water4 ,it is then soaked for several days in cocoanut oil2 this in its turn is boiled out in water containing the ashes of burnt rice stalks2 this process is continued till the fabric is free from oil4 ,this soaking and boiling is always done1 whether the material is bleached or unbleached1 and is called #8mateng' which literally translated means #8done' or cooked thoroughly4 8,after the piece is dried in the sun1 the cut edges are hemmed--#8didjilid4' ,now the material has to be starched again1 #8njekoeli'2 this stiffening is to prevent the wax from flowing too freely1--a condition known as #8mresep4' ,the rice water that is used for this1 is made from a strained rice gruel1 or more simply1 the water is used in which the rice has been boiled4 ,after the material has been starched it is #8dipe' or dried once more in the sun and it is then rolled up4 ,this roll is laid on a wooden board1 #8kemplomgen' and pounded with a wooden hammer1 #8gandeng1' or if a hammer is not available1 the wooden rice pestle1 #8aloe' can be used4 ,this process is called #8nganplongi' and is to make the material soft and supple4 ,now the material is ready to be batiked1 and the following materials and tools are needed4 8#a4 ,wax4 ,usually six parts of #8melam geplak' and one part #8melam poetih' are used1 with sometimes the addition of a little #8melam ireng4' ,the #8melam geplak' consists of a mixture of #8damar mata koetjing' which is a kind of rosin that comes from ,borneo1 melted with animal fat4 ,the #8melam poetih' is pure bees-wax and the #8melam ireng' is dark coloured wax which has been used already in a previous batik and which has become dark from the blue dye which it took up when in the blue dye-bath4 ,the first two kinds of wax can be bought at any market1 but not the #8melam ireng1' as every one who batiks always saves enough dark wax from former work1 or in case of need1 a neighbour will always lend some4 8#b4 ,a pan called #8wadjan' in which to melt the wax4 ,this is generally of iron1 though poor people use stone pots4 ,sidenote3 ,,different ,,kinds ,,of ,,tjantings ,sidenote3 ,,price ,,of ,,native ,,tjanting 8#c4 ,a little copper instrument called #8tjanting' used in drawing with the wax on the material4 ,it is made of fine thin red copper and has one or more little spouts and a bamboo handle4 ,these tjanting have different names according to the type of work for which they are used1 7a7 ,tjanting #8isen isen'2 this has a very slender spout and is used to make very fine lines and little dots1 7b7 ,tjanting #8kjandangen'3 this instrument has a larger spout and is used to wax the parts which have to stay white in the first process1 7c7 ,tjanting #8penangang'2 this is the tjanting used to cover up the bigger surfaces1 7d7 ,the #8penembok' has a very wide spout to cover parts that are to be completely protected by wax1 7e7 ,the tjanting #8pengada' has two spouts next each other for the drawing of parallel lines4 ,there are various other varieties that have three1 five and sometimes as many as six spouts for making little rosettes and groups of dots4 ,tjantings are always made by men and the work is not subdivided1 that is to say1 one man makes the instrument from start to finish2 as a rule the makers have at least twenty-five tjanting in the course of construction at the same time4 ,it takes a good workman six to seven days to make about #bej of the little tools1 that is1 about forty a day4 ,figuring the cost of materials and charcoal used in the making1 together with overhead expenses and the receipts figuring at the rate of #bd cents 7,american money71 for #bdj tjantings1 it will be seen that an excellent craftsman makes on an average about #cj cents in ,dutch money1 equivalent to #ab cents ,american1 a day4 8#d4 ,the #8djegoel1' an instrument which replaces the brush used in ,europe and is made of a thin wooden stick with a wad of cotton tied to the end4 ,this is for waxing very large surfaces4 8#e4 ,the #8iroes4' ,this is a spoon made out of cocoanut shell and has a bamboo handle2 it is used to mix the melted wax and to scoop the wax off the water in which the finished batik has been boiled4 8#f4 ,the #8wadja4' ,the copper pan in which the fabric is boiled when the wax is being removed4 8#g4 ,the #8panjawanjan4' ,a small movable stand over which the material is hung during the waxing process4 8#h4 ,the #8tjawang4' ,a small bamboo clip used to fasten the fabric to the stand4 ,rich batikers use an iron clip called 8bandoel40 8#i4 ,the #8doelang4' ,a large wooden trough for dyeing4 8#aj4 ,the #8pane4' ,a small vessel also used for dye made of wood1 copper1 or earthenware4 8#aa4 ,the #8blebeo4' ,a wooden straight-edge for use when drawing straight lines--a process called #8batikan garisan4' 8#ab4 ,the #8semprong4' ,a blow-pipe with which to blow the fire4 ,the fire is made1 as a rule1 between three stones set in the form of a triangle1 upon which the wax pot is placed4 8,to do real batik work the proceedings are as follows4 ,first the main outline of the design is sketched on the material1 with charcoal or pencil1 and when this is completed the fabric is hung over the little stand and with the tjanting the design is drawn in with wax1 the material meanwhile being supported with the left hand2 the worker sits on a little mat in front of her stand4 ,the finer parts of the pattern are drawn in without pencil guiding lines4 8,when one side is decorated the piece is turned around and the back is very carefully drawn in4 ,with all the surfaces covered which are not intended to be blue it is ready for the blue dye-bath4 ,this dyeing in blue is done by the batiker herself or more often by the professional blue-dyer who does it for a small remuneration4 ,if red is planned on the batik1 the wax is removed from the places where this colour is wanted by sponging with hot water4 ,the material is then re-starched with rice water1 aren sugar and pulverized randoe leaves1 so that the wax will not run or become soft4 ,the parts that are to remain blue have to be re-covered with wax and the piece is ready for the red dye4 8,this red dye is made from an infusion of soga bark2 successive dippings are made until the desired colour is obtained4 ,to make the colour permanent and at the same time to obtain the much desired purple glow1 the material is dipped in a bath made of a mixture of ,java sugar1 whiting1 and alum4 ,it is left in this solution for about an hour1 after which it is well rinsed and transferred to a hot water bath4 ,the water is boiled and the wax is dissolved2 the wax floating on the top of the water is collected for further use4 ,the finished batik is then dried in the sun4 ,if other colours are required on the piece the same program is repeated40 ,,batik ,,in ,,holland ,batik in ,america is still a comparatively recent importation2 brought here some ten years ago1 it was met with absolute incomprehension and lack of interest1 but its real merit as a means of decorating fabrics has earned it a place in the industrial art of the nation and year by year it is gaining wider recognition4 ,sidenote3 ,,history ,for two hundred and seventy odd years it has been known in ,holland1 to which country it was brought by the ,dutch traders from ,java in the middle of the seventeenth century4 ,it was not1 however1 received very enthusiastically and the commercial failure that followed the importation of some #bjjj pieces 7which were finally sold at auction1 as no market could be found for them through regular channels7 did not encourage traders in their efforts to popularize batiks4 ,from that time1 that is1 about #agej until #ahag1 interest in the work decidedly flagged and the honour of reviving it must be given primarily to ,raffles who gave a description of it in his well known 8,history of ,java0 published at the latter date4 ,he1 however1 seems to have had very little personal feeling for the art and merely wrote it up as a matter of history1 and it remained for the modern artists to give it is first real impetus4 ,sidenote3 ,,dutch ,,artists ,,of ,,fame ,the present keen interest in the craft is mainly due to ,chris ,lebeau1 ,dijesselhof and ,lion ,cachet1 who have1 by their wonderful work1 revived and stimulated a nation-wide appreciation of the art4 ,american batik has recently gone through a phase of development similar to that experienced in ,holland some twelve years ago4 ,it has been in danger of getting into the class of transient 8cults0 and becoming a fashionable pastime with a rise and fall similar to the craze for doing peasant wood-carving1 burnt-wood work or sweater knitting4 ,but here1 too1 its real merit has saved it from becoming just a modish amusement4 ,in ,holland it was even introduced into girls' schools as a regular course1 so that graduates might enter the social world fully equipped6 ,luckily for its ultimate survival1 however1 it required so much technical knowledge that it was soon left to serious students1 but the desire for the beautiful results obtained by the process was not relinquished so willingly and the result was that people tried to produce the effect without the work4 ,this imitation was called a 8secret process0 and enjoyed considerable vogue4 ,the general public believed that this substitute was real batik1 because the material had been dipped and some wax had been used1 but any one who knew anything about the genuine process1 was not fooled and recognized that stencils and various other fake methods had been utilized4 ,the unlimited patience of the native worker was unknown1 and unsung was the thoroughness of the painstaking craftsman4 ,at this period the watch-word was 8speed0 and the results showed it4 ,illustration3 ,,conventional ,,fish ,,design ,,by ,,chris ,,lebeau ,the importance placed on the 8crackle effect0 is another parallel in the phases of development in ,holland and ,america4 ,crackle certainly has its place in the beauty of batik1 but the indiscriminate use of it as a complete motive of decoration in itself1 is to be regretted4 ,it would be used less1 probably1 if examples of the best native and ,european work were studied1 in which real design and colour are the arresting features4 ,even whilst admitting that the medium does limit the designer to a certain extent1 study of the work of the before-mentioned ,dutchmen1 ,dijesselhof and ,lebeau1 will show the variety of design1 feeling and temperament that can be expressed through the batik process4 ,sidenote3 ,,dijesselhof ,sidenote3 ,,lebeau ,dijesselhof considers batik a better way to express himself for his mural decorations than either oil or water colour painting4 ,he uses the brush to a great extent and works with great freedom of execution1 making the medium conform to his own particular type of work4 ,lebeau1 on the other hand1 after the manner of the ,javanese1 sees the tjanting as the only tool with which to produce his richly fantastic designs4 ,lebeau is technically the greater artist and possesses a supreme disregard of time when he is producing a magnificently ornamented textile2 his attitude toward his work is reminiscent of that of the monks who in bygone ages1 spent years on the intricate and beautiful ornamentation of their laboriously hand-lettered books of devotion4 ,they1 too1 had perfection of design and craftsmanship as their only standard4 ,these men have been an inspiration to ,dutch artists1 and the illustration of a batik by ,chris ,lebeau facing page #bf will give the reader a good idea of the high standard of proficiency this ,dutch artist and craftsman has achieved4 ,it will be seen that no actual lines were used in these designs2 if a line effect was wanted it was made by a series of little round dots1 almost equal in size1 with the result that a soft pleasing line is obtained instead of a hard one4 ,illustration3 ,,geometrical ,,fish ,,design ,,by ,,chris ,,lebeau ,by graduating the size of the dots1 from small to large1 an effect is produced that never could be obtained with lines2 not only are the lines treated in this way1 but whole surfaces in which a light tone is desired1 instead of being 8covered off0 with a brush1 are laid in with countless dots very close together4 ,as can be readily understood this hand-work requires the acme of craftsmanship1 for if the dots are placed irregularly1 that is to say1 if their arrangement is not directly harmonious with the main lines of the design1 the pattern formed by the spaces between them1 would disturb the rest of the drawing4 ,in the second reproduction it can be seen that the little dots are actually laid in circles1 but with such regularity that no circles are shown4 ,the workmanship in the stork design is even more amazing than that of the two first decorations and it is hard to believe that a human being has had sufficient patience to execute such a design4 ,sidenote3 ,,european ,,use ,,of ,,batik ,in ,europe1 batiks are chiefly used for interior decoration2 table covers1 screens and lamp-shades being more popular than costumes decorated by the process4 ,it is also used to a certain extent in book-binding1 on paper and on parchment4 ,practically the same methods are employed when batiking these materials as for woven goods1 but experimenters are advised to take the greatest care when handling paper1 which of course1 when wet1 tears very easily4 ,to batik parchment it is necessary to first soak it1 in order to make it pliable1 then whilst wet1 it should be stretched on a piece of plate glass1 slightly larger than the parchment1 and glued at the edges with strips of paper binding4 ,when thoroughly dry the design is pounced on or drawn in with pencil4 ,before starting to apply the wax the glass must be warmed from the back1 in order to make certain of an easy flowing of the wax2 if the parchment is cold it will be found that the wax congeals too quickly and will not be workable4 ,the parts of the design to be left un-coloured are covered with wax as usual1 and a little wall of clay is built around the edge of the glass2 this forms a bath into which the dye is poured4 ,the colour is allowed to soak in thoroughly and the dye is then poured off1 the process being repeated if the tone from the first bath is not intense enough2 other colours are applied in the same way4 ,the wax is then removed by sponging carefully with gasoline4 ,illustration3 ,,stork ,,panel ,,by ,,chris ,,lebeau ,illustration3 ,,flamingo ,,curtain ,,by ,,pieter ,,mijer ,aniline dyes are used chiefly and occasionally acids which produce colour by their action on each other1 are employed4 ,vegetable dyes are popular in ,holland on account of their permanence1 the ,dutch being almost as particular about the durability of their work as the ,javanese4 ,this is natural when one remembers that1 there1 the batik art is considered in the same light as painting and sculpture1 and frequent exhibitions are held for a public whose attitude toward the craft is very different to that of many ,americans1 who do not yet appreciate the art as an art4 ,beside public interest1 the government of ,holland has done its best to stimulate the study of the craft4 ,experimenting stations are maintained1 where free of all cost1 the artist can have his batiked design dyed and he is given all the information and help that he wants4 ,this1 of course1 means a great deal to the beginner who knows little or no chemistry1 some knowledge of which is quite essential to one who would become a really expert dyer4 ,,utensils ,,and ,,materials ,before going into the details of the actual batik process it will perhaps be a good plan to give a description of the necessary tools and their management1 wax1 and various other essential requirements4 ,the tools chiefly used1 are the native instrument called the 8tjanting10 the brush1 and the ,european wax pencil4 ,of these three the tjanting and the brush are most generally used1 the wax pencil being a somewhat clumsy affair and hard to handle4 ,illustration3 ,,the ,,use ,,of ,,batik ,,in ,,interior ,,decoration ,sidenote3 ,,tjantings ,the 8tjanting0 used in ,america is a modification of the ,javanese instrument2 it is a little cup-shaped tool with a handle set at right-angles to the base on one side and on the other is a fine spout arrangement4 ,through this spout the hot wax is drawn by capillary attraction when the point is brought in contact with the material4 ,in the best type of 8tjanting0 the spout is tapered toward the point2 this shaping is in order that the volume of wax1 small though it is1 will hold the heat longer than if the entire length of the tube were as minute as the hole through which it is finally drawn4 ,in batiking with the tjanting the wax is scooped out of the pot in which it is being kept hot and the instrument is wiped off carefully before it is brought near the fabric4 ,it does not do to take a chance on having a drop of wax fall on the work as it is next to impossible to remove it entirely4 ,some people hold their tjanting directly over a flame to re-heat cooling wax1 but it is a very unwise practice as there is a grave danger of hurting the spout and a likelihood of the wax becoming charred4 ,if the wax does get too cold to work with1 or the spout gets stopped up with chilled wax1 hold the bowl of the tjanting in the hot wax in the melting pot and it will be found that the trouble is remedied instantly4 ,if you have been unlucky enough to get grit or some other clogging substance in the spout1 the insertion of a fine hair wire will usually clear it2 this is almost a major operation though and should be performed most carefully as it is a delicate instrument you are handling and it costs money to repair it even if you are in the neighbourhood of some one who is able to re-solder it4 ,so fragile is the point of these fine instruments that even the sudden check caused by the rough fibre of some materials is sufficient to ruin the tip4 ,when not in use the safest plan is to hang it in a box of its own or at least keep it in a place sacred to itself1 with its spout upwards1 so that there is no likelihood of accidental pressure to bend it out of shape4 ,this careful handling of the tjanting is emphasized because1 while the initial cost of a good instrument may seem high1 it is a most satisfactory tool to use and with proper attention it should last a life-time4 ,one that is in use today has been used steadily for the past twelve years and looks good for holding many more pints of melted wax4 ,illustration3 ,,cleaning ,,the ,,tjanting ,illustration3 ,,dying ,,of ,,textile ,the frontispiece shows a piece in which all the line work was done with a tjanting1 the brush only being used to fill in the big surfaces1 after the various dippings4 ,the design is an adaptation from the ,chinese1 inspired by the decoration on a coramandel screen4 ,the panel is worked out in seven colours3 two golds1 two greens1 red1 brown1 and black4 ,it was designed by the writer and executed by ,emile ,weeckers and himself4 ,the spout openings come in various sizes and with the finest almost hair-lines can be produced4 ,the wax when ready to flow forms an infinitesimal globule which will run freely when just touched to the material and skimmed as lightly as possible over the surface4 ,a heavy hand will drop the point so that it touches the fabric2 the moment it does this the hole is automatically sealed and the wax cannot flow4 ,many batikers are not able to obtain a tjanting and would not if they could1 preferring to do their waxing entirely with brushes4 ,brushes1 properly trimmed and of various sizes1 will certainly give very satisfactory results to the careful worker4 ,of course the minute line possible with the tjanting1 is impossible to achieve with a brush1 though a line as narrow as the sixteenth of an inch can be made by a practised craftsman4 ,sidenote3 ,,use ,,of ,,brush ,the all-over floral design shown facing page #cf1 designed by the writer and executed by ,miss ,e4 ,shirtleff1 was made in six colours4 ,this panel was done in the 8blue group10 explained in the chapter on dyeing4 ,the outline of the flowers is in the original white of the material1 the petals of the flowers range in colour from straw yellow to orange1 with some of the outer ones in moss green4 ,the background has a 8wave design0 worked out in all the different colours used in the flowers and an extra shade of dark green4 ,the waxing of this piece was done entirely with the brush and has no line of a greater width than one-sixteenth of an inch4 ,illustration3 ,,floral ,,design ,,entirely ,,executed ,,with ,a ,,brush ,sidenote3 ,,preparing ,,brushes ,this fine work is easier with shaped brush2 this shaping is done without much difficulty by dipping the brush1 preferably a good sable one1 into hot wax1 and1 without pressing the globule formation out of shape1 gently wiping the excess of wax from the distended bristles4 ,allow this to cool and when hard1 trim to a point with a sharp knife4 ,melt the cold wax out by dipping in the wax pot and you will have a brush that will be more manageable and will hold more wax for the size of its point1 than one would have with the regular unshaped brush4 ,for covering big surfaces1 one or two flat soft-haired varnish brushes will be needed4 ,sidenote3 ,,wax ,,mixtures ,sidenote3 8,,crackle0 ,for waxing1 bees-wax with a mixture of white paraffin wax is used by most batikers1 the proportion varying according to the brittleness desired4 ,this of course is best worked out to suit the individual batiker's requirements and after a little experimenting one soon learns to get a satisfactory mixture4 ,one part paraffin to five parts of bees-wax will give the consistency of medium to produce the crackle surface so popular with many artists in ,america4 ,pure bees-wax cracks very little and will stand the highest temperature when in the dye-bath1 and inversely the larger proportion of paraffin used the more the medium will crackle and the cooler the dye-bath must be used if one does not want one's design to melt away4 ,when no crackle at all is desired1 the solution can be made more pliable by the addition of rosin4 ,use this1 however1 in hot dyes only1 for it has unpleasant mannerisms1 one of which is to increase the mixture's brittleness when it is made to undergo a cold plunge4 ,whilst on the subject of wax1 a word may be well said regarding the care that should be taken to keep water out of the neighbourhood of the wax pot4 ,one has only to allow a drop of water to get itself into the melted wax just once1 to find out what a horribly messy spattering and explosion can result4 ,one may gain in understanding and be able to sympathize with long-suffering relatives who declare that 8,batik is such a messy business10 but it is hardly worth it4 ,of course it need not happen if a few precautions are taken1 and it is perhaps better to take care at first than to run the risk of becoming unpopular in the household4 ,another warning that may be of service to the worker in the country4 ,do not apply wax1 in summer time1 seated near an open window4 ,a really true story tells how a batiker was sitting coolly working by a window and was visited by a solitary bee1 who took a good look and one sniff at the wax pot and flew away4 ,he returned immediately1 however1 with all his relations who swarmed gaily all over the work1 the wax pot1 and the worker to the great discomfort of the visited and the visitors4 ,exploding in boiling wax can hardly be a comfortable end to a busy life4 ,sidenote3 ,,heating ,,apparatus ,to complete the outfit one also needs a small agate pan in which to melt the wax1 one about four inches deep will answer best and some sort of heating apparatus4 ,a kerosene stove should not be used unless one is willing to blacken one's utensils and most probably one's self4 ,gas or an alcohol lamp with an adjustable burner are more satisfactory than an electric attachment as the ability to regulate the heat makes for great comfort when one wants to keep the wax at an even temperature4 ,of course if necessity demands it1 any heat producer available can be used2 an electric flat-iron turned upside-down can even be pressed into service although the inconvenience of having to keep one eye on the melting pot is great1 when one wishes to give all one's attention to the design2 but if it is not watched the result may be a most uncomfortable 8smoking-out40 ,work in a warm room or near the stove and it will be found that the wax when in the tjanting will chill less quickly and will consequently be more manageable4 ,these little hints may seem of small importance1 but it is as well to take advantage of everything that will make the actual tool handling easier4 ,there are likely to be troubles and mis-adventures enough with the rest of the process4 ,sidenote3 ,,dyes ,sidenote3 ,,removing ,,stain ,a great many people seem to be under the impression that the ordinary household dyes that are on the market are not good enough to use in batik work4 ,there is a strong prejudice against ,diamond dyes1 but there is no reason for it1 as these dyes when used according to directions1 produce admirable results and are most practical for the beginner who is not in need of large quantities4 ,for any one going extensively into dyeing1 it is rather an expensive way of working and it is better to buy the dyes in bulk direct from the manufacturer4 ,rubber gloves will give some protection to the hands when handling materials in the dye-bath1 but if1 in spite of care1 the hands or clothing become stained1 soda or ammonia in the washing water will prove helpful4 ,lava soap is very good for removing stains from the skin4 ,sidenote3 ,,dye ,,tubs ,one of the chief helps in successful dyeing is a good vessel for use as a dye-bath4 ,if one is possibly obtainable1 the best thing to use is a seamless copper tub4 ,this utensil1 however1 is not within the reach of every student and it is quite possible to do satisfactory work in a good agate or enamel pan4 ,galvanized iron is safe to use with most dyes1 but in time the acid used with some colours will eat into the metal4 ,be sure to get a big enough vessel as disaster follows goods that are crowded in the dye-bath4 ,a thermometer is quite a necessity1 and one should also have a glass spoon and a stirring rod4 ,for this latter1 a couple of smooth round pieces of wood can successfully be substituted2 these are used for lifting and manipulating the material in the dye-bath4 ,sidenote3 ,,fabrics ,batik can be done on all kinds of woven material1 such as cotton1 silk1 velvet1 wool1 mixed goods or leather4 ,it is rather difficult to get satisfactory results on cotton owing to the fact that cotton dyes have to be boiled in order to attain any degree of brilliancy1 and of course boiling is not practical when one is dealing with waxed material4 ,japanese habutai silk is perhaps the easiest fabric to use and best for beginners' experiments1 as the wax penetrates easily and it takes colour well4 ,this applies to chiffon and similar sheer materials1 but of course their delicacy makes them harder to handle4 ,fibre silks1 being composed of both animal and vegetable matter1 should be dyed in 8mixed goods dyes10 or should be first dipped in a bath of cotton dye1 and then immersed in a dye for silk1 of a similar shade4 ,very heavy silks and velvets are magnificent when batiked1 but they should be sent to the professional finishers to be treated when the piece is completed as it takes a great deal of effort and considerable skill on the part of the amateur to finish a large heavy silk panel or to raise the flattened pile of velvet4 ,taffeta silk and very heavy satin are not good fabrics for the batik process1 owing to the loading used in their manufacture4 ,,tjantings ,ever since the batik art has been practised by occidentals there has been a search for a tool to replace the tjanting1 or perhaps not so much to replace1 as to develop an improved edition4 ,but after many trials1 it seems that the tjanting in its original form1 with just a slight variation in its handle1 is after all1 the best instrument for fine line and dot work4 ,sidenote3 ,,price ,,of ,,tjantings ,the ,dutch edition of the original ,javanese tjantings is better than the native tool in two particulars4 ,first1 it is made out of heavier metal and is consequently much stronger and the second distinct improvement is the re-modelled handle which replaces the little tied-on bamboo affair4 ,of course when the difference in price is taken into consideration the ,javanese tjanting stands away above any other1--it costs from #a to #aj cents in ,dutch money1 which is the equivalent of five tjantings for two cents1 ,american money1 whilst the ,dutch-model tjanting made here in ,new ,york1 is sold for from #e4jj to #g4jj apiece4 ,various kinds of tjantings are shown in the accompanying illustrations4 #a4 ,the original ,javanese tjanting4 #b4 ,the ,dutch tjanting4 #c and #d4 ,belgian tjantings4 #e4 ,the ,walther glass tjanting4 #f4 ,the wax pencil4 ,the first two of these types have already been described4 #c4 ,a ,belgian tjanting4 ,this tool has a few very good points1 but the trouble is1 that whilst each factor in itself is good1 the combination of them in the tjanting is not desirable4 ,the cup of this instrument is made out of a brass ball out of which a segment is taken to form the top opening2 on one side1 not quite at the lowest point of the ball1 the spout is placed1 while the handle is fastened opposite to it on the other side4 ,this placing of the spout has one great advantage as any impurity in the wax will settle below the spout opening1 and clogging is less liable4 ,the spout is made of solid brass plate2 it is tapered and the nozzle has a fine opening4 ,the only disadvantage to it is1 that it cannot be shaped1 that is1 it cannot be bent up or down at the will of the worker4 ,the main objection to this tool is1 however1 that it is rather heavy by reason of its very solid cup and it does not balance well in the hand4 ,besides the before-mentioned advantage of the spout being unlikely to clog1 the greatest thing in its favour is1 the long time that it holds the wax hot2 on account of its round shape1 the small opening on top1 and above all1 because of the thickness of the walls of the cup1 the wax retains the heat longer than in any other tjanting made4 #d4 ,a second type of ,belgian tjanting4 ,this tool very much resembles some of the first tjantings made in this country4 ,it is not very good1 mainly on account of the spout1 which is not tapered1 and another weak point is the cup1 which holds only a very little wax4 ,illustration3 ,,various ,,types ,,of ,,tjantings #e4 ,the ,walther glass tjanting4 ,this is a ,german invention and is certainly no improvement on any existing type of instrument4 ,in fact it is a clumsy and awkward tool1 difficult to handle1 and being made of glass it is of course1 very fragile4 #f4 ,the wax pencil4 ,this is another ,german attempt to replace the tjanting and is made in two separate parts4 ,first1 the metal cylinder which holds the wax and replaces the cup and spout of the tjanting and the second part is the wooden holder1 which slips over the cylinder and serves as a handle4 ,the cylinder itself is of brass1 shaped to a point at one end and at the other is closed with a brass stopper4 ,the pointed end is fitted with a fine needle which is held in place by a minute spiral spring4 ,this needle closes up the opening in the tube and prevents the molten wax from flowing out4 ,when a flow of wax is desired1 the pressure of the point of the 8pencil0 on the fabric1 will push back the needle and release the wax4 ,to fill the tool1 the wax is scraped into fine chips1 or better still1 cut into a thin bar1 and inserted in the tube and closed in with the stopper4 ,the wooden handle is then slipped back and the tool heated in a flame to melt the wax2 when the instrument is sufficiently hot1 the handle is slipped back in position1 and work can be started4 ,a great drawback to this tool is that it gets very hot1 so hot in fact1 that the wooden handle is likely to char1 as is shown in the one illustrated1 and after working some time one has to stop in order to give the handle a chance to cool4 ,very fine work cannot be done with this instrument and the opinions as to its usefulness are very divided4 ,some people say the tool is as good as useless1 whilst others cannot or will not work with anything else--this is most probably because they never had a good tjanting1 if they had they would soon put their wax-pencils in the discard4 ,the main thing in favour of the tool is1 that it makes very little wax smoke in the room1 but this is its only virtue and it does not have a monopoly of that1 as any batiker1 with a little care can keep his or her wax as hot as it is needed without having a column of smoke constantly coming out of the wax pot4 ,although much time has been spent and trouble been taken in endeavours to supply a tool which would be better and more practical than the tjanting1 it can be safely said that the original appliance has stood up successfully against all competitors and nothing better has yet been made4 ,,the ,,batik ,,process ,sidenote3 ,,preparation ,,of ,,material ,the first step in the batik process is to prepare the material4 ,this is nothing more elaborate than a thorough washing1 which will result in freeing the goods from any artificial loading and will shrink the piece and the size will not be an unpleasant surprise when the work is finished and one will not find that the triangle especially cut for a lamp-shade will not fit by an inch or so4 ,if one is using 8dyed in the piece goods0 7that is1 material already dyed one colour when bought71 it is a good plan to boil it for ten minutes1 in order to remove any loose colour1 and to make sure that no unexpected colour will run and mix itself with the dye in which the fabric is being dipped4 ,the drying and ironing of the material makes it ready for the application of the design4 ,illustration3 ,,scarf ,,batiked ,,by ,,hazel ,,burnham ,,slaughter ,sidenote3 ,,application ,,of ,,design ,sidenote3 ,,folding ,,material ,some people when making a simple design draw directly on the material with wax1 but it is usually the best plan to make the design on paper first1 together with a coloured sketch to be used as a guide when the dyeing part of the process is reached4 ,in using transparent material1 the design can of course be placed underneath it and the pattern traced directly through1 but this is not practical with heavier fabrics4 ,when waxing very thin material such as chiffon1 it can be doubled or in some cases even folded in quarters1 laid perfectly flat and the wax applied4 ,this short cut was used in the batik illustrated facing page #ej4 ,it was designed and executed by ,hazel ,burnham ,slaughter1 and it is a representative piece of the beautiful work done by her on sheer materials4 ,it is made with only two colours--the original colour of the chiffon1 a very light tan1 and a soft mellow red2 the design is an arrangement of free ornament1 floral and animal life4 ,it is a free-hand all-over design1 and repeats itself four times1 having been folded as described above4 ,this folding process only has satisfactory results when very thin material is used as the wax will not penetrate through two or more thicknesses if the fabric has any weight at all4 ,the most satisfactory means of transferring the design1 is to prick the outline with a pin1 or wheel perforator1 place the perforated paper on the fabric and rub charcoal through the holes4 ,if one cannot obtain any charcoal--though one must be far indeed from the madding crowd to be out of reach of even charcoal tablets1 lead-pencil dust can be used1 though it is not at all to be recommended owing to the dirty smears that it makes when rubbed4 ,be very careful to have the material quite straight and place the design on it squarely1 or the final effect may be very twisted and distorted4 ,if the pricking has left a jagged edge to the holes in the paper1 rub the perforations lightly with sandpaper in order that the charcoal may go through cleanly and easily4 ,sidenote3 ,,redrawing ,,of ,,design ,when the finished work is to be in more than one colour1 it is advisable to strengthen the charcoal outline with pencil or ,cont ,crayon ,no4 #b1 otherwise it is washed off in the first dipping4 ,this redrawing is not necessary if one wishes to have an undyed outline edging the different colours1 as in that case the outline of the whole design will be drawn in1 in wax1 and this will permanently indicate the pattern4 ,sidenote3 ,,preventing ,,the ,,wax ,,from ,,sticking ,the ,american method of working differs from the ,javanese in the fact that the native hangs her material vertically in front of her when she is waxing her design1 whilst the ,american is decidedly more comfortable with his material flat on a table4 ,usually it is stretched on a frame or canvas-stretcher to prevent it from coming in actual contact with the surface of the table whilst the wax is being applied4 ,if it is not kept clear1 it will be found that when an attempt is made to lift the textile1 on the completion of the waxing process1 it will be sticking in places and the wax torn in consequence2 the effect of this damage will be that in dyeing the colour will penetrate from the back1 and the material exposed by the breaks will turn out to be some shade quite unplanned for in the original scheme4 ,for very big pieces1 however1 it is rather impractical to use a frame and as an alternative to stretching1 the fabric can be waxed on a table which is covered with thin smooth paper2 with careful lifting1 little or no harm need be done to the wax1 but in any case it is well to make a thorough examination of the reverse side in order to be sure that there are no exposed surfaces that should be retouched4 ,some artists work with a sheet of glass under their material1 instead of paper1 but this1 whilst having the advantage of not sticking as much has the great objection of rapidly cooling the wax with which one is working and cool wax does not penetrate the material properly4 ,illustration3 ,,the ,,right ,,way ,,to ,,hold ,,the ,,tjanting ,illustration3 ,,the ,,use ,,of ,,the ,,brush ,,for ,,filling ,,spaces ,sidenote3 ,,clean ,,outline ,sidenote3 ,,handling ,,the ,,tjanting ,a clean edge to the design is obtained with more certainty if the flat masses are outlined with a fine brush or preferably with a tjanting1 before being filled in with the larger brushes4 ,where the work is done with a tjanting1 it is difficult to have the fabric stretched on a frame as this tool is used with the palm of the hand resting on a steady surface4 ,the illustration facing page #ed shows the way to hold the tjanting when the work is laid flat on the table4 ,the wrist and the lower part of the hand rest on the table1 the tjanting is held between the thumb and the two first fingers1 while the remaining fingers act as an additional support4 ,all small movements can be made with the wrist remaining stationary2 for big curves the hand and arm are slowly moved in the required direction1 keeping the tjanting at an even level4 ,though in the beginning this may seem difficult1 it will be found that after a little practice1 it will be quite easy to make even and regular lines4 ,having covered up with wax all the parts of the design which are to remain white or the original colour of the fabric 7if an already dyed piece is used for the foundation7 it is now ready for the first dye-bath4 ,select the lightest shade in the colour sketch for the initial dyeing4 ,to be sure of getting the desired shade it is well to test a sample of the fabric4 ,to do this1 wet the piece and immerse it in the dye for a few moments2 when it is dry it will be several shades lighter than when it is wet4 ,one can get an approximate idea of the colour that a wet piece will be when it is dried1 by looking at it against the light4 ,the simplest batiks1 of course1 are those in which only one colour is used and consequently only one dipping is required4 ,details of dyeing and the matter of colour schemes will be treated at length elsewhere in this book4 ,after dipping1 the material should be rinsed thoroughly in luke-warm water4 ,avoid the use of cold water1 especially when another dyeing is to follow1 as the cold will cause the wax to become brittle and crack1 and unintentional crackling is a sign of poor craftsmanship4 ,if the batik is to be in only one colour it is now ready for the removal of the wax1 which is a simple business1 consisting of rinsing the fabric very thoroughly in gasoline or ,carbona4 ,more elaborate colour schemes are produced by a repetition of the process1 simply covering up with fresh wax the parts one wishes to retain in the shade of the last-dyed colour4 ,this re-waxing1 dipping and rinsing is continued until all the colours that the scheme demands are obtained1 and then the wax is removed as described4 ,sidenote3 ,,gasoline ,a word here on the use and mis-use of gasoline may be in order4 ,gasolining should be done very thoroughly2 one of the faults common to all amateurs is insufficient rinsing and the fabric still stiff with wax is placed on the market as a finished product4 ,often the lovely softness of a drapery will be lost and a papery quality substituted just because there have not been a sufficient number of gasoline baths used4 ,sidenote3 ,,precautions ,when possible1 gasoline should be used out of doors1 although if proper precautions are taken1 there is no reason why people should be nervous about using it in the house4 ,in the first place do not use it in a room in which there is a fire burning and do not imagine the room is safe for a lighted match immediately after the vessel containing the gasoline has been removed4 ,gasoline fumes are heavier than air and if undisturbed will hang low in the room for some time2 it is therefore a good plan to have the window open slightly1 at the bottom as well as at the top1 in order to create a current of air4 ,the hot air rising and the fresh air coming in at the bottom of the window1 will soon disperse the fumes4 ,sidenote3 ,,gasoline ,,economy ,have the gasoline in an earthenware vessel4 ,enamelware easily gets chipped and the exposed iron when touched by the hand may give a slight electric shock1 as electricity is sometimes generated through rubbing the fabric4 ,it is well1 in any case1 to avoid hard rubbing and to use as little friction as possible1 taking particular care on bright clear days when the air itself seems charged with electricity4 ,gasoline can be used over and over again4 ,the last baths for one batik1 containing only a small amount of dissolved wax1 can be used for the first bath next time1 and with an apparatus similar to that illustrated1 it is quite easy to run off the dissolved wax 7which sinks1 being heavier than the gasoline71 and save only the clear fluid4 ,the last stage of the process is the ironing1 which needs no more description than the suggestion that the work is placed between papers2 this hint may prevent the streaking which sometimes ruins a batik that has successfully survived the various stages of a decorated textile's creation4 ,illustration3 ,clean ,gasoline ,dissolved ,wax ,,tank ,,for ,,separating ,,wax ,,from ,,gasoline ,,successful ,,dyeing ,sidenote3 ,,temperature ,,of ,,dye-,,bath ,a good deal of the failure of success attending the dyeing of a batik depends on the temperature of the dye-bath4 ,too hot water will of course melt the wax and a too cold bath will make it so brittle that it will crack in unexpected and undesired places4 ,the accompanying scale of temperatures shows the corresponding degrees of heat on different thermometers4 ,when pure bees-wax has been used the dye-bath can be brought to and maintained at a heat of #aaj ,fahrenheit1 corresponding to #df ,centigrade or #cf ,reaumur4 ,if a mixture of paraffin has been used1 it is not advisable to have the dye at a higher temperature than #ij ,fahr4 ,,table ,,of ,,temperatures --------------------------------- ,centigrade ,reaumur ,fahrenheit --------------------------------- #cj #bd4- #hf4- #ca #bd4h #hg4h #cb #be4f #hi4f #cc #bf4d #ia4d #cd #bg4b #ic4b #ce #bh4- #ie4- #cf #bh4h #if4h #cg #bi4f #ih4f #ch #cj4d #ajj4d #ci #ca4b #ajb4b #dj #cb4- #ajd4- #da #cb4h #aje4h #db #cc4f #ajg4f #dc #cd4d #aji4d #dd #ce4b #aaa4b #de #cf4- #aac4- #df #cf4h #aad4h --------------------------------- ,sidenote3 ,,the ,,use ,,of ,,too ,,much ,,dye ,sidenote3 ,,streaks ,,in ,,dyeing ,a fault with amateur dyers is that they often use a great deal more dye than is really needed4 ,by this1 it is not meant1 that too much solution is used1 but too much of the actual colouring matter4 ,one ten cent package of dye will dye a pound of material2 some fabrics1 such as a light weight silk run about sixteen yards to the pound4 ,to avoid any waste of dye1 it is a good plan to prepare a concentrated solution in a small pan and use it with care and economy4 ,do not add it all at once to the water in the large vessel1 but rather make a weak bath into which the piece is put1 after having been rinsed in clear water and squeezed out4 ,when the colour is all taken up from the bath1 remove the fabric and add more of the concentrated solution4 ,do this several times rather than impatiently pour in the whole strength2 when finally the desired intensity of colour is reached1 it will be found that the dyes are faster and a great deal less colour will have been used than would have been the case otherwise4 ,if careful judgment has been used1 the water will be practically clear at the end of the proceedings4 ,another good reason for not using too strong a bath is that with a weaker solution it is much easier to avoid the streaks that annoy the inexperienced dyer4 ,the use of too small a vessel is a frequent cause of uneven dyeing2 the material should literally swim in the tub so that no dye can possibly settle in the folds1 and for this same reason it is essential to keep the goods stirred the whole time they are in the dye4 ,sidenote3 ,,rinsing ,after the material has been removed from the dye-bath1 it should be rinsed very thoroughly and dried4 ,a large piece can be quickly dried when one knows how4 ,do not wring it on any account or the wax will be broken in a thousand pieces4 ,old sheets and towels can be requisitioned with good effect2 wrap the rinsed material in these to absorb the heaviest of the moisture and to prevent dripping4 ,if the material is allowed to drain and has not been rinsed properly1 the appearance of the dreaded streaks will at once show the reason why the rinsing part of the process is emphasized4 ,when thus 8blotted0 the material will soon dry when hung over a waxed non-absorbent clothesline2 an unwaxed line will sometimes leave a mark where the fabric has touched it4 ,sidenote3 ,,rewaxing ,the material should be thoroughly dry before the second waxing is applied4 ,if an attempt is made to do it while the goods are still damp1 it will be found that the wax does not penetrate so well1 and consequently1 in the second dipping the dye will seep in through the back and spoil the colour which the wax was intended to preserve4 ,sidenote3 8,,crackle0 ,a crackle effect can be produced all over the design by crushing the fabric1 more or less gently1 according to the amount of colour that one wishes to allow to penetrate1 just before the last dipping4 ,a local crackle can be obtained similarly1 by crushing only those parts where a broken-up surface to the design1 is required4 ,the occasional use of 8crackle0 will help the artist a great deal1--for instance1 it may happen that one of the light colours in the design may turn out to make too glaring a spot to be entirely harmonious and in such an event one may get pleasing results by deliberately crackling that particular spot and thus tone down its brightness4 ,sidenote3 ,,painting ,,in ,,colours ,instead of dipping their batik several times1 some people paint in some of the colours4 ,as a rule this local application of dyes is resorted to when multi-coloured batiks are desired and when red and blue are used in the same colour scheme4 ,the results of this method of dyeing are not1 however1 very satisfactory1 as it always shows in the finished piece4 ,no matter how small the painted-in spots may be1 they always seem to stand out and do not harmonize with the general scheme1 the way colours do that have been dyed over each other1 as1 having been dyed over each other the darker tones are a composite of the colours dyed previously and the whole effect naturally shows a pleasing relationship of colour4 ,the ,javanese occasionally put in their extra colour by this means1 but with no greater success than the ,american artists and the finest craftsmen there are not using the painting process at all4 ,another drawback is1 that not only are the colours inharmonious1 but the moment you try to paint in any large surface1 that is1 any area bigger than a square inch1 the colour is always uneven2 this is because the moment the silk is touched with the brush1 that individual spot gets the full strength of the dye1 which fades out toward the edges and no matter how much patching up is done1 it is impossible to get a perfectly even surface such as can be obtained by dipping4 ,of course1 the dye when painted in1 is cool and the colours will not be as fast as when the fibres of the material slowly absorb the hot dye4 ,among other disadvantages1 is the fact that the spot which is to be coloured1 always has to be first outlined in wax to prevent the dye from spreading2 this gives a light outline round a dark surface1 which1 while not spoiling some designs has an unpleasing effect more often than not4 ,illustration3 8,,spring0 ,,by ,c4 ,,bertram ,,hartman ,,and ,,pieter ,,mijer ,sidenote3 ,,colour ,,groups ,batiks in one or two colours are of course much simpler than those in which a variety of tones are required1 but with a little thought and practice many colours can be used together on the same piece4 ,the simplest colour scheme consists of an arrangement of yellow1 green and blue4 ,always start dyeing the lightest colour first and work through the colour plan to the darkest shade2 for instance1 in a piece where yellow1 red and black are desired1 the dye-baths are arranged in the same order4 ,in the use of dyes it is necessary to arrange the colour ranges into two groups1 which we will call the 8group of the reds0 and the 8group of the blues40 ,the 8group of the reds10 starts with yellow and its variations and hues1 then red and variations of red1 and lastly purple4 ,the main colours of the 8blue group0 are yellow1 green1 blue1 and purple4 ,this division of colour will be readily understood by those who have some knowledge of the subject4 ,it will be clear to them that red can be dyed over yellow1 and purple can be dyed over red in its turn1 whilst it would be impossible to produce a good blue or green on top of a previously dyed red4 ,this same idea holds good in the group of the blues4 8,spring10 the panel illustrated facing page #fd1 designed by ,bertram ,hartman and executed by him and the writer1 is one of the early batiks designed by this artist4 ,it was dyed in the group of the blues and no reds were used in the making of it4 ,it was dipped eight times1 the original white of the material making the ninth colour4 ,the waxing of this piece was done entirely with the brush1 no tjanting being used1 and gives a fair idea of the fine work that can be done with the brush1 if one considers that the size of the original panel is only about forty by sixty inches4 ,sidenote3 ,,extracting ,,colour ,for some designs it may be necessary to use both red and green in the same piece2 in this case the colours of the 8blue group0 should first be dyed1 until the darkest shade called for in the colour scheme has been obtained and then the colour can be extracted from the places where the shades that belong in the 8red group0 are demanded4 ,with the strong colour extracted1 it is possible to get the opposing colours quite successfully1 starting in with the lightest tones and working through to the darkest in the manner already described4 ,this bleaching can be done with a solution of ammonia or washing soda4 ,both these mediums have to be used with the greatest care as either of them will eat into the wax to a certain extent and consequently allow the next colour to penetrate and affect the previous dyes4 ,it is wise1 therefore1 to inspect the waxed off parts very carefully before re-dyeing and retouch the places where the wax has been destroyed4 ,a good plan is to keep a strict eye on the wax in any case1 in order to prevent surprise attacks by dye on the material through places that have become weakened4 ,naturally the wax is likely to suffer when the fabric has to be handled as much as it has to be1 when being dyed a number of colours4 ,some people1 when they wish to have opposing colours1 such as blue and red1 in the same design1 resort to the native method of removing the wax entirely after each dipping and re-covering the parts already dyed4 ,this takes a great deal longer and the wax needs very careful dissolving1 as the fresh dye will not 8take0 unless every particle of it is removed from the fabric and even then it is not easy to get a successful dipping as the gasoline used for the dissolving is more or less greasy and of course grease has no affinity with water4 ,white lines1 or lines the colour of the original fabric1 are apt to show too1 if one has overstepped the boundary when covering up the first colour1 prior to the second waxing4 ,when dyeing a batik with one colour over the other1 the second colour dyed will always be affected by the tone of the first dipping2 for instance1 suppose your material is dyed yellow the first time1 and blue the second1 the fabric will not come out as a true blue1 but according to the strength of the blue dye1 will be either light green1 green blue1 or if an intense blue has been used1 a blue-green will result4 ,it will be found that similar variations will occur when red is dyed over yellow1 which will give shades of orange and gradations of purple will be obtained when red is dyed over blue4 ,illustration3 ,,by ,,following ,,the ,,arrows ,,in ,,the ,,above ,,chart ,,it ,,will ,,easily ,,be ,,seen ,,which ,,colours ,,should ,,be ,,mixed ,,together ,,in ,,order ,,to ,,produce ,a ,,given ,,colour4 ,,the ,,proportion ,,of ,,dye ,,used ,,is ,,indicated ,,by ,,the ,,connecting ,,lines2 ,,the ,,shortest ,,line ,,shows ,,which ,,colour ,,should ,,predominate ,a careful study of the accompanying colour mixing chart will give the reader an idea of the way various shades are produced from the primary colours4 ,sidenote3 ,,the ,,composition ,,of ,,colour ,the three primary colours are red1 yellow and blue4 ,sidenote3 ,,primary ,,and ,,secondary ,,colours ,red mixed with yellow produces orange4 ,yellow mixed with blue produces green4 ,blue mixed with red produces purple4 ,the orange1 green and purple are known as the secondary colours and by mixing either the three primary or the three secondary colours together1 grey is obtained4 ,it would therefore be quite possible to dye successfully1 with a stock consisting of only the three primary colours1 but it certainly would be a waste of time4 ,for several years the writer worked with five colours1 red1 blue1 yellow1 brown and black1 and with these produced the various tones necessary in a multi-coloured batik4 ,it is1 however advisable to have a few more shades in stock2 and with the following selection it is possible to make the widest range of colour in a very short while1 and the writer has found that the best results are obtained with the following3 ,sidenote3 ,,dyes ,,and ,,dye ,,manufacturers ,roccelline #begh;,j1 ,natl4 ,aniline ,chemical ,co41 ,inc41 #ba ,burling ,st41 ,n4 ,y4 ,c4 ,orange extra1 #begh;,j1 ,natl4 ,aniline ,chemical ,co41 ,inc41 #ba ,burling ,st41 ,n4 ,y4 ,c4 ,azo flavine1 ,bachmeier ,co41 #dch ,west #cgth ,st41 ,n4 ,y4 ,chenoline yellow1 ,bachmeier ,co41 #dch ,west #cgth ,st41 ,n4 ,y4 ,victoria green1 ,dicks ,david ,co41 #bii ,broadway1 ,n4 ,y4 ,acid green1 ,bachmeier ,co41 #dch ,w4 #cgth ,st41 ,n4 ,y4 ,indigotine1 ,bachmeier ,co41 #dch ,w4 #cgth ,st41 ,n4 ,y4 ,oxaline black1 ,h4 ,h4 ,metz ,co41 #abb ,hudson ,st41 ,n4 ,y4 ,alphanol brown ,b1 ,natl4 ,aniline ,chemical ,co41 ,inc4 ,magenta1 ,h4 ,h4 ,metz ,co41 #abb ,hudson ,st41 ,n4 ,y4 ,sidenote3 ,,acids ,most dyes used in batiking are set with either sulphuric or acetic acid4 ,the above list is all used with the latter1 which is preferable1 as sulphuric is very dangerous2 the slightest trace left in the fabric will1 after a while1 rot the fibre4 ,acetic acid does not harm the silk1 but with some dyes it is too strong and will change the colour4 ,if this should be the case1 either tartaric or oxalic acid can be used4 ,in most cases the acid is added to the bath of the diluted dye rather than to the concentrated solution1 the exception being in the case of the ,victoria green and the magenta2 these have to be dissolved in acetic acid before they are put in the water4 ,acetic acid is obtainable from any druggist4 ,some dyes are set with salt and it is used with many of the household dyes which are always sold with directions on the package4 ,when buying direct from the manufacturers1 their chemists will always give the necessary information as to which acids should be used with the various colours4 ,this book is not intended to be a technical treatise and readers who wish to know more of the chemistry of dyeing are advised to study ,prof4 ,chas4 ,e4 ,pellew's 8,dyes and ,dyeing40 ,sidenote3 ,,tertiary ,,colours ,the tertiary colours are all in the brown tones and the following table may prove a useful guide4 ,blue orange yellow produce gold4 ,red green blue produce blue-brown4 ,yellow purple red produce red-brown4 ,green orange red produce orange-brown4 ,orange blue purple produce bronze4 ,purple yellow green produce green-brown4 ,it would not be possible to give weights and measures of the different colours1 as such specks of colour will change the tone1 but any one wanting to mix colours for matching will find that it takes very little time to get a colour once he has decided what the nearest colour is1 on the colour chart4 ,by studying this1 it is easy to find out what colour should be added to produce any given shade4 ,sidenote3 ,,matching ,,colours ,the most difficult problem in dyeing is the matching of colours when the materials are different4 ,for instance it is not easy1 on account of the difference in surface1 to match a charmeuse to a given plush or velvet4 ,for beginners it is always best to start experimental dyeing by daylight1 unless one has a very white light1 as the yellow of artificial light takes all1 or very nearly all the yellow out of a colour1 with the result that where one at night has a beautiful blue1 this blue will turn to green in the daytime and lavender will invariably turn grey4 ,sidenote3 ,,colour ,,relation ,yellow is sometimes rather a difficult colour to manage1 that is to say that if1 in a batik the original white of the material is to be used as a background for a design in yellow1 it will be very difficult to see where the white finishes and the yellow of the decoration begins4 ,while the material is wet the design will show1 but when it is dry1 by some mysterious trick of the eye1 it has apparently vanished2 it is therefore advisable to use a second colour to offset either the white or the yellow4 ,if1 however1 a second colour is not desired in the batik and consequently have nothing to offset the yellow1 the following hint will save the situation2 a little blue or a little red1 mixed with the yellow solution1 will enable the yellow to hold its own on the white ground4 ,the slightest touch of either of these colours will have the desired effect4 ,when the colour scheme calls for a yellow and a blue as separate colour units in the design1 and the blue is wanted after the yellow dipping1 the effect of the yellow on the blue 7which produces green7 can be diminished by dyeing first1 a very weak solution of magenta1 over the yellow4 ,rinse the material thoroughly1 then proceed to dip in the blue dye-bath4 ,in doing this1 it is necessary to be very careful with the magenta1 as it is a very strong colour and an overdose will be liable to produce a purple instead of a blue4 ,of course1 if the original yellow is very intense it is not possible to neutralize it in this way and the bleaching process will have to be used1 in order to obtain the blue4 ,illustration3 ,fig4 #a ,fig4 #b ,fig4 #c ,,successive ,,stages ,,in ,,the ,,making ,,of ,a ,,batik ,and this is another good thing to remember in making a multi-coloured batik which is to have white as part of the colour arrangement4 ,it is always advisable to dye the original white of the fabric some very pale shade1 either grey1 light tan1 pale blue or even pink4 ,if the material is used in its original pure white state1 a pleasing effect will never result1 as the white will always stand out as a glaring hard spot when it is next to colours that are dyed over each other and consequently blend harmoniously4 ,this preliminary all-over dyeing will 8tie in0 the white and make it in key with the rest of the scheme4 ,the series of photographs shown here represents the successive stages of a batik in the making4 ,the original fabric is white silk and the first step is the pouncing on1 of the design with charcoal1 which is then strengthened with pencil4 ,with the tjanting this outline is then waxed 7,fig4 #a74 ,the spots which are to be white in the completed design1 are now filled in with the brush and the material is given its first dyeing1 yellow 7,fig4 #b74 ,now all the parts that are to stay yellow1 are covered off with the wax2 when this waxing is completed the material is dipped in light blue1 which being dyed over yellow1 will produce light green 7,fig4 #c74 ,after drying1 all that has to stay green is covered off with wax 7,fig4 #d74 ,the final dipping is in red4 ,the last picture 7,fig4 #e7 is the completed piece after the wax has been removed by gasolining2 this photograph distinctly shows1 in its variations of tone1 the different colours that were used4 ,illustration3 ,fig4 #d ,fig4 #e ,,successive ,,stages ,,in ,,the ,,making ,,of ,a ,,batik ,,the ,,value ,,of ,a ,,dye ,,record ,a dye record is an invaluable asset to a batiker2 it is very little trouble to make and the time spent on it will easily be saved when future work is to be speeded up or samples are being made4 ,a record book will prove its value in many ways1 particularly if the batiks made are liable to be re-ordered1 as for instance1 when gowns are decorated for the trade1 or if the making of one batik leads to a demand for a second1 which perhaps is wanted with the same colour effects although not the same design4 ,it is a good plan1 therefore1 to leave an extra strip of material on the piece that is to be batiked1 or to pin a piece to the fabric which is to be decorated and let it go through all the different baths and processes1 each time taking off a small sample of the new colour to be pasted in the record book4 ,,design1 8,,sorceress40--,,designer1 ,a4 ,,crisp4 ,,batiked ,,by ,p4 ,,mijer ,,and ,a4 ,,crisp4 ,,date1 ,,january #b,,nd1 #aiah4 ,no4,sample ,temp4 ,color ,time ,acid ,remarks in bath #a ,white #aje-aaj,yellow#bj min4,acetic cream ---------------------------------------- --------------------------- #b ,yellow #aaj ,salmon#bj min4,acetic cream pink ---------------------------------------- --------------------------- #c ,flesh #aaj ,light #ae min4,acetic colour blue ---------------------------------------- --------------------------- #d ,grey- #aje ,strong#bj min4 ,slight crackle obtained by blue #ij blue #bj min4 reduction of temperature4 ---------------------------------------- --------------------------- #d;a ,blue #ajj ,bleach #ae-bj ,ammonia,the batik is dipped min4 in ammonia and rinsed for an hour4 ---------------------------------------- --------------------------- #e ,grey #aaj ,gold #dj min4,acetic ---------------------------------------- --------------------------- #f ,gold #aaj ,blue #fj min4,acetic ---------------------------------------- --------------------------- #g ,bluish- #aaj ,red #ej min4,acetic gold ---------------------------------------- --------------------------- #i ,bordeau #ij ,black #fj min4 ,blue added to improve tone #aaj ,blue #fj min4 of black4 ---------------------------------------- --------------------------- #aj ,black ,material used1 crepe-de-,chine4 ,price per yd41 #e4jj4 ,length of piece1 #ac ft41 #d in4 ,height of piece1 #i ft4 ,gasoline1 #ae gallons4 7#c baths74 ,beeswax1 #e lbs4 ---------------------------------------- --------------------------- ,illustration3 ,,the ,,use ,,of ,,batik ,,for ,,costume ,as will be seen from the record quoted here1 every detail is marked down--the temperature1 time of dyeing1 price of material and where it was bought1 in fact any little item that may be of help later4 ,a full explanation of this sample page may be of service to some readers4 ,the record shows the process of dyeing in the making of the 8,sorceress0 panel1 shown facing page #gh4 ,the silk used for this panel was a very heavy ,japanese crepe and the design was worked out in nine colours4 ,that is to say1 it was dipped eight times1 the ninth being the original white of the silk4 ,the only places where this original white shows is in a few little flowers in the branches of the trees1 and these1 on account of the many times the piece was dyed1 have so much crackle in them that they do not appear as pure white4 ,the piece was first dyed a very light creamy yellow colour2 this tone being composed of yellow1 a speck of blue and a speck of orange4 ,the mixture of these colours produces gold and a much diluted solution results in a straw yellow4 ,the temperature for this bath was between #aje and #aaj ,fahr41 and the time for dyeing about twenty minutes4 ,after having been rinsed and dried1 the parts of the design that were wanted the straw colour were covered in wax1 the largest surface being the scarf of the ,sorceress4 ,the panel was now ready for the second dipping4 ,this was a light salmon pink1 which over the straw-yellow gave the flesh colour for the face and body2 this tone also appears in the light outline of the smoke and clouds4 ,this salmon colour was made of orange and yellow mixed and was used very light4 ,temperature #aaj2 time1 about #bj minutes4 ,the third bath was blue4 ,this was used in the mountain in the background and in some of the leaves in the foreground on the piece4 ,the blue was used pure1 but not very strong4 ,with the flesh colour1 this gave a greyish blue4 ,temperature #aaj4 ,time #ae minutes4 ,illustration3 8,,sorceress0 ,,by ,,arthur ,,crisp ,,and ,,pieter ,,mijer ,the fourth colour was the same blue1 only much stronger1 and in this the trees in the mountain1 the outlines of the mountain and the stems of the bigger leaves were dyed4 ,the fabric was in this bath altogether about #dj minutes4 ,the first half of this period the temperature of the dye was about #aje and was reduced to #ij for the last twenty minutes4 ,this difference in the temperature was made in order to make the wax brittle and obtain a slight crackle to allow the penetration of the colour4 ,the crackle effect was not desired all over the design1 so a second covering of wax was applied in some parts1 after the material had been thoroughly dried4 ,the face and body of the figure1 in particular1 were carefully gone over1 as these parts had to remain as little as possible affected by the darker colours4 ,the panel was now dipped in an ammonia bath to extract the colour from the parts not covered by wax4 ,this took from #ae to #bj minutes with a temperature of #ajj ,fahr4 ,when the colour in the fabric was reduced to a light grey1 the piece was transferred from the ammonia bath to a tub of clear water at the same temperature1 and rinsed thoroughly for at least an hour1 in order to remove every trace of the ammonia4 ,after drying1 the whole panel was carefully gone over to close all undesired cracks that had come during the colour extracting process2 these were mainly in the figure and the scarf4 ,no grey was used in the panel1 therefore after the filling in of the cracks1 the piece was ready for the fifth bath4 ,this was the gold used for the foreground1 and it also makes the high-lights in the leaves and in the tree-trunks4 ,this gold was obtained by mixing yellow1 orange and blue1 with the yellow as the dominant colour4 ,temperature1 #aaj4 ,time1 #dj minutes4 ,the sixth bath was the same gold solution1 strengthened up with blue but without the addition of any more orange or yellow4 ,this colour was used in the leaves1 some parts of the trees1 the wings of the parrot and the solid colour of the skirt4 ,temperature1 #aaj4 ,time1 #fj minutes4 ,the seventh dipping was red 7roccelline74 ,this colour was used pure and over the blueish gold of the previously dyed colours1 it appeared a deep rich red1 almost a bordeau4 ,the turban1 the vase1 parts of the parrot's wings1 the flowers in the foreground and the borders at the top and bottom of the panel are all in this tone4 ,temperature1 #aaj4 ,time1 #ej minutes4 ,after waxing all these parts1 the other covered parts were inspected once more and all damaged places and objectionable cracks repaired2 this completed1 the panel was ready for the eighth and final bath1 black4 ,at this stage the only parts of the whole design that were not covered in wax1 were1 the sky1 a small part of the turban1 the two panthers and the three little birds in the centre foreground4 ,the black was started pure1 at a temperature of about #ij1 and the piece remained in this bath about an hour2 it was then taken out1 the temperature brought up to #aaj1 blue added to the solution and the panel again dipped for another hour4 ,the blue was added in order to improve the tone of the black4 ,a solid blue-black was obtained in this way in place of the rusty black that would have been the result of dyeing straight black over the red4 ,after the required intensity of tone had been reached1 the piece was well rinsed and dried1 preparatory to dipping in gasoline to remove the wax4 ,the making of this piece took about four weeks1 exclusive of the time taken to prepare the original sketch or the full-size cartoon4 ,about five pounds of pure bees-wax was used to cover all the surfaces1 and fifteen gallons of gasoline were necessary to clean the piece4 ,this is not surprising when one realizes the size of the panel1 which was eight feet high and thirteen feet four inches wide2 in all1 #ae1cfj square inches4 ,,index ,a ,acids1 #gj ,application of design1 #ej ,c ,clean outline1 #ed ,colour groups1 #fd ,colour relation1 #gc ,composition of colour1 the1 #fi 8,crackle10 #cg1 #fb ,d ,difference in methods1 #b ,different kinds of tjantings1 #ai ,dijesselhof1 #bg ,dutch artists of fame1 #be ,dyes1 #dj ,dyes and dye manufacturers1 #gj ,dye tubs1 #da ,e ,european use of batik1 #bi ,extracting colour1 #ff ,f ,fabrics1 #da ,folding material1 #ea ,g ,gasoline1 #ef ,gasoline economy1 #eh ,h ,handling the tjanting1 #ed ,head-dress1 #d ,heating apparatus1 #ci ,history1 #bd ,j ,javanese costume1 #c ,javanese design1 #e ,k ,kains1 #c ,l ,lebeau1 #bg ,m ,matching colours1 #gb ,n ,native industry1 #ac ,native process1 #ae ,p ,painting in colours1 #fc ,precautions1 #eg ,preparing brushes1 #cf ,preparation of material1 #ej ,preventing the wax from sticking1 #ec ,price of native tjanting1 #bj1 #dd ,primary and secondary colours1 #fi ,r ,redrawing of design1 #eb ,removing stain1 #dj ,rewaxing1 #fb ,rinsing1 #fa ,s ,slendang1 #d ,streaks in dyeing1 #fa ,t ,temperature of dye-bath1 #ei ,tertiary colours1 #ga ,tjantings1 #cb ,tjaps1 #g ,u ,use of brush1 #cf ,use of too much dye1 the1 #fj ,w ,wax mixtures1 #cg ,,transcriber',s ,,note ,illustrations in this e,book have been positioned between paragraphs and outside quotations4 ,in versions of this e,book that support hyperlinks1 the page references in the ,list of ,illustrations lead to the corresponding illustrations4 ,illustrations without captions have had a description added1 this is denoted with parentheses4 ,the index was not checked for proper alphabetization or correct page references4 ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,some hyphens in words have been silently removed1 some added1 when a predominant preference was found in the original book4 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained4 ,pg #d3 8kapale0 replace by 8kapala0 ,pg #af3 8houshold0 replace by 8household0 ,pg #eg3 ,added missing word 8after0 in the phrase 8lighted match immediately after the vessel containing the gasoline0 ,pg #ei3 ,removed duplicate 8or0 from 8#df ,centigrade or or #cf ,reaumur0