,,first ,,lessons ,,in ,,batik ,illustration3 ,a ,,batik ,,wall ,,hanging4 ,,by ,,anna ,,tyrell4 ,,art ,,institute ,,of ,,chicago ,by the ,courtesy of ,mrs4 ,caroline ,kohl ,,first ,,lessons ,,in ,,batik ,a ,,handbook ,,in ,,batik1 ,,tie-,,dyeing ,,and ,,all ,,pattern ,,dyeing ,by ,,gertrude ,,clayton ,,lewis ,instructor in ,art1 ,lindblom ,high ,school1 ,chicago ,illustration3 ,a ,javanese ,motif ,,the ,,prang ,,company #aibb ,calumet ,avenue1 ,chicago #cj ,irving ,place1 ,new ,york ,copyright1 #aiba ,by ,,the ,,prang ,,company ,,the ,,preface ,the growing interest in 8,batik0 leads the author to believe that this ,handbook1 describing the various processes and illustrating a number of definite problems1 will meet the need of many artists1 teachers1 and craft workers who wish to try their hand at this new and fascinating oriental art4 ,the book does not attempt to present a historical or critical study of 8,batik10 but to give detailed directions for doing the work under ,american conditions4 8,batik0 presents many new and interesting problems for art workers who have wearied of china painting1 metal work1 embroidery1 etc4 ,it not only permits the worker to produce exquisite gowns1 scarfs1 table covers1 bags1 curtains1 and many other articles that will express her own individuality1 and be exactly suited to the color scheme and design of their surroundings1 but it also will enable the worker to produce articles of commercial value which are readily salable4 ,as the beauty and value of 8,batik0 depends almost wholly upon the personal touch and artistic taste of the worker who produces it1 there is little likelihood of its being commercialized or produced by mechanical processes4 ,this promises to keep it an individual craft4 ,while 8,batik0 offers large opportunities for home workers1 it also presents an interesting field for industrial art problems for students in art schools1 high schools1 normal schools1 and colleges4 ,many progressive art teachers are offering courses in 8,dyes and ,dyeing0 in connection with their scientific study of 8,color10 and relating them also to the work in 8,costume ,design10 8,interior ,decoration10 and 8,domestic ,art40 8,bateeko ,powder ,dyes0 are recommended for ,batik work4 ,these dyes can be prepared and kept in bottles in strong solution1 ready for immediate use4 ,it is not necessary to boil the goods in the dyes1 as they work successfully in tepid water and without constant stirring4 ,these dyes are recommended as unusually beautiful and brilliant1 yet soft in tone4 ,mr4 ,albert ,buell ,lewis1 ,assistant ,curator of the ,department of ,anthropology in the ,field ,museum1 ,chicago1 has furnished interesting historical data and supplied a number of illustrations from his private collection of 8,batiks40 ,photographs have been kindly loaned by the following3 ,the ,art ,institute of ,chicago2 ,professor ,albert ,w4 ,heckman of ,teachers ,college1 ,columbia ,university2 the 8,keramic ,studio20 the 8,industrial ,arts ,magazine20 ,mrs4 ,helen ,reed of ,new ,york ,city2 ,mrs4 ,caroline ,kohl2 ,miss ,amy ,swisher of ,miami ,university1 ,oxford1 ,ohio2 ,lieutenant ,jean ,paul ,slusser of the ,u4 ,s4 ,general ,hospital1 ,fort ,mc,henry1 ,ind42 ,miss ,rose ,buhlig of the ,lindblom ,high ,school1 ,chicago2 ,miss ,anna ,tyrell4 ,the publishers are under special obligation to ,miss ,mary ,c4 ,scovel1 ,head of the ,normal ,department of the ,art ,institute of ,chicago1 who prepared the outline and first draft of this book1 and gave many practical suggestions4 ,they would be glad to receive suggestions or interesting photographs of 8,batik0 suitable for use in connection with future editions of this book4 ,the ,table of ,contents ,,page ,the ,preface #e ,chapter ,i4 ,the ,history of ,batik #g ,chapter ,,ii4 ,the ,method in ,java #aj ,chapter ,,iii4 ,the ,possibilities of ,batik #bj ,chapter ,,iv4 ,processes of ,batik ,dyeing #cf ,chapter ,v4 ,crackle in ,batik #dd ,chapter ,,vi4 ,color and ,how to ,use ,it #ej ,chapter ,,vii4 8,tied and ,dyed0 ,work #fj ,chapter ,,viii4 ,dyeing ,suggestions #gd ,illustration3 8,,the ,,castle10 ,a ,,batik ,,wall ,,hanging4 ,,by ,,winold ,,reiss ,by courtesy of the ,academy ,art ,shop1 ,new ,york ,copyright1 #aibj1 by the 8,keramic ,studio10 ,syracuse1 ,n4 ,y4 ,,first ,,lessons ,,in ,,batik ,,chapter ,i ,,the ,,history ,,of ,,batik ,the word 8,batik0 is ,javanese1 and means to paint or draw or design with wax on textiles so that when placed in the dye the wax prevents the part covered from taking the color4 ,the wax is then removed by hot water or gasoline1 leaving the parts thus covered of the original color4 ,from early times and in many places designs have been made in this manner on various kinds of objects1 but the process reached its highest development in its application to woven fabrics4 ,wax seems to have been used in this manner in southern ,india and probably in some other parts of southeastern ,asia for centuries4 ,early ,buddhistic books of the ninth or tenth century refer to a wax painting process1 and there are preserved in ,japan ancient ,indian cloths which have been colored in this manner4 ,this process of wax painting1 however1 reached its highest development in ,java1 where it was probably introduced about the twelfth century4 ,the earliest written record we have states that in #aeah1 there was a flourishing industry of this sort at ,cheribon1 ,java1 which showed certain remarkable resemblances to the processes employed on the ,coromandel coast of southern ,india4 ,the work was done by men1 and plant and animal motives were largely used in the designs4 ,at that time1 that portion of the island had not yet been ,mohammedanized1 as we see by the designs used4 ,after ,mohammedanism spread over the island1 the industry developed rapidly1 and many new and original patterns were added to those formerly used4 ,the highest development was in central ,java1 where 8,batik0 flourished especially during the seventeenth and eighteenth centuries4 ,here the work was carried on by women1 especially by those of the leisure class1 who could give the time and care necessary to the production of the finest work4 ,some designs were so elaborate and difficult that only the nobility could afford them and a few designs were reserved for the use of royalty4 ,in these designs1 indigoes or browns are the predominating colors4 ,the first detailed account of ,batik making was by ,raffles in #ahag4 ,at that time the 8tjanting10 an instrument which will be explained later1 was in universal use4 ,how long it had been used and when it superseded the brush1 which was doubtless used earlier1 as it was in ,india1 is not known4 ,about #ahfj1 a new process was introduced by means of which the wax was transferred to the cloth by a metal stamp dipped in the melted wax and then pressed on the cloth4 ,this stamping process is known as 8tjap0 and is done by men1 while in ,batik work the designing and painting are always done by women4 ,it is doubtless an adaptation of the color printing process of ,india to the wax process4 ,in some cases after stamping1 the opposite side is ,batiked1 but this is not common4 ,these tjap cloths are1 of course1 much cheaper than true ,batiks4 ,the designs used in ,javanese ,batik work show much variation in different parts of the island1 and certain designs are characteristic of particular regions4 ,the motives are of various origins4 ,some are old weaving patterns1 or adapted from basket or plaited designs4 ,some are evidently of ,indian origin1 similar to those on the cotton prints of southern ,india4 ,it is interesting to find the same designs on some of the old ,buddhistic sculptures that are found on certain ,batik pieces4 ,other designs are of ,chinese origin1 and recently modern ,european designs are being adopted4 ,most of the designs1 however1 are either modifications of the old ,indian plant and flower motives or geometric figures developed by the ,javanese themselves4 ,the ,javanese women employ the 8,batik0 process largely for the decorations of textiles used in their personal costume4 ,this costume is simple1 consisting of an oblong piece of cloth about three to four and one-half yards long by forty-two inches wide1 generally called a 8sarong40 ,it is worn wrapped around the waist and tucked in the belt4 ,this costume is worn by both men and women4 ,a cotton scarf1 generally about three yards long by eighteen inches1 is also worn1 and is used by the women as a 8carry-all40 ,silk is occasionally used by the nobility for scarfs4 ,the turban is made of a square piece of cloth twisted around the head in a different fashion in each district4 ,each district has its own characteristic color schemes4 ,djokjakarta and ,surakarta1 which are semi-independent principalities in the interior1 do the finest work and use largely indigo and soga-brown dyes1 which give a range of color from cream through the yellow browns and blues to a very dark color1 practically black1 made by dyeing strong blue over a strong brown4 ,in certain places on the north coast of ,java1 notably ,pekalongan and ,samarang1 much gayer colors1 such as red1 blue1 green1 etc41 are used1 and floral designs are common4 ,prices in ,java vary from one to twelve dollars1 and even as much as twenty-five dollars may be paid for a very fine piece4 ,two to four dollars will buy an excellent turban square4 ,illustration3 ,motifs from ,javanese ,batik in the ,field ,museum of ,natural ,history ,illustration3 ,designs from 8tjap0 stamps used in ,java for repeating units4 ,the ,field ,museum of ,natural ,history1 of ,chicago1 has a collection of these ,,chapter ,,ii ,,the ,,method ,,in ,,java ,the work of ,batik making is definitely divided1 in ,java1 between the men and the women4 ,the women do the designing and waxing1 while the men do the dyeing4 ,in ,java1 in the earlier days1 ,batik was largely a home industry1 but like all such it is being taken out of the home and transferred to primitive factories1 where the workers come together to work1 but continue the old methods and technique4 ,even in that far-off land1 machine imitations of ,batik are flooding the country1 and it is difficult today to be sure that a given piece is a genuine example of the hand process1 unless the individual history of the piece is known1 since the old designs are still used1 and the native work is imitated in the printed cloths even to the crackle and irregularity of the designs4 ,in former times they wove their own cloth1 but now the cloth used is largely muslin woven in ,england or ,japan4 ,several qualities are used for different grades of work4 ,practically all ,batik work is done on muslin1 though occasionally a silk scarf may be colored in this way4 ,the cloth is prepared before using1 first1 by thorough washing to remove all starch and filling2 second1 by soaking it in cocoanut oil1 and third1 removing the oil with ashes4 ,this removes the dead-white look and gives the creamy color with which we are familiar in ,batik pieces4 ,next1 the cloth is starched with a rice starch made by boiling rice in water until it is a thin paste4 ,the cloth is then dried and rolled up4 ,in a primitive fashion1 it is then softened or ironed by pounding with a wooden pestle until it is smooth4 ,the cloth is now ready4 ,the wax used is a mixture of rosin1 animal fat and beeswax4 ,the proportion of each has been worked out by long experience4 ,a little iron pan or stone jar holds the melted wax4 ,the tjanting1 which is the characteristic tool of ,batik work1 is used to apply the wax4 ,this is a little oval cup made of very thin copper with a slender curved spout projecting from the base of the cup4 ,for a handle1 a short piece of reed with a soft pith is used4 ,tjantings vary in the size and number of spouts4 ,a tjanting with a fine slender spout is used for very narrow lines and small dots4 ,then comes a series of others1 each with a little larger spout for the purpose of covering more surface4 ,one kind is made with two spouts and is used to draw parallel lines4 ,others have from three to six spouts to give the little groups of dots which are quite an essential part of some designs4 7,see page #ac47 ,the remainder of the equipment consists of a wad of cotton tied to a stick1 a cocoanut-shell spoon1 a copper basin for boiling out the wax1 a light upright frame for holding the cloth while it is being worked1 a straightedge of wood1 and assorted basins and vats for dyes and dyeing4 ,these are of copper1 pottery or wood4 ,after dyeing1 the color is set1 wax is boiled out and saved to be used again4 ,it is now waxed a second time for the next color1 dyed and washed4 ,this process is repeated for each color desired4 ,illustration3 ,more tjap stamps giving ,javanese ,batik designs1 from the ,field ,museum of ,natural ,history1 ,chicago ,the use of the tjanting is the ideal method of making long even lines and for outlining large spaces4 ,up to the present it has been difficult to secure tjantings in ,america1 but they will undoubtedly soon be available1 since ,batik has firmly established itself as a beautiful and practical art-craft for ,american workers4 ,illustration3 ,the design for this ,batik ,tray was done in wax and the silk then dipped in an all-over dye ,illustration3 ,showing design for a ,batik ,bag with crackle ,illustration3 ,detail drawings of units taken from ,batiks in the possession of ,a4 ,b4 ,lewis ,illustration3 ,the native ,javanese ,tjantings1 showing two sizes of single spouts and one with double spouts ,illustration3 ,modern ,tjantings1 made by ,r4 ,h4 ,earl1 ,new ,york ,city ,illustration3 ,showing the use of the ,tjanting4 ,courtesy of ,r4 ,h4 ,earl1 ,new ,york ,city ,illustration3 ,a detail of a rare ,javanese ,batik in the ,american ,museum of ,natural ,history1 ,new ,york ,illustration3 ,detail of a ,javanese ,sarong4 ,property of ,a4 ,b4 ,lewis ,some means of keeping the wax hot must be produced4 ,anything that will hold the wax at an even temperature will do1 an electric stove1 gas burner1 or alcohol burner4 ,a bowl of wax may be set in the top of a tea-kettle of boiling water and will remain hot enough to use for half an hour without reheating the water4 ,all danger of burning the wax is eliminated by keeping the wax in a bowl set in a pan of water4 ,if the water is kept just below the boiling point1 that will give sufficient heat4 ,in covering a large space1 it is sometimes better to begin waxing in the center and working outward toward the edge4 ,when the woman is ready to start her work1 she sketches in the main outlines and more complicated parts of the design with charcoal2 then she hangs the cloth over the little upright frame and sits down on a little mat before her work4 ,she fills her tjanting with hot wax by means of the cocoanut-shell spoon1 and1 holding the cloth in her left hand1 draws the design in with the tjanting by resting the tjanting lightly on the cloth or moving it gently around the outline4 ,the small parts of the design are generally done without first drawing the design in charcoal4 ,the cotton swab is used as a brush to wax the larger places4 ,the more we study the designs of the ,javanese the more we realize the influence of their tools4 ,the dots on leaves and flowers1 the use of the light outline1 the kind of line1 the beautiful line designs used--all have been worked out with this characteristic tool and in certain ways are suggested by it4 ,after one side of the cloth is waxed1 a good piece will be turned over and the design very carefully followed on the back4 ,in doing this there are generally small differences in design between the back and front1 which give one a means of determining whether a piece is real ,batik or a print4 ,after waxing all parts of the design not to be dyed with the first color1 the piece of goods is ready to be dyed4 ,this work is done by men4 ,the dye is1 of course1 used cold1 and to render it permanent the cloth must be left in the dye for several days2 in the case of indigo often as long as two weeks4 ,when removed from the dye the cloth is first hung out in the air until the color is oxidized or 8fixed40 ,the wax is then removed by steeping in hot water and is saved for use again4 ,illustration3 ,a ,batik ,mural ,decoration by ,fall ,illustration3 ,a decorative ,wall ,hanging of modern ,batik ,illustration3 ,a ,javanese ,batik ,turban4 ,property of ,a4 ,b4 ,lewis ,illustration3 ,a corner of a ,javanese ,batik ,turban4 ,property of ,a4 ,b4 ,lewis ,,chapter ,,iii ,,the ,,possibilities ,,of ,,batik ,at this time of industrial and artistic development ,batik dyeing comes to offer a new field for the ,arts and ,crafts worker4 ,today the woman of leisure1 as well as the artist1 wishes her individuality to be shown in both the furnishings of her home and in her own personal belongings4 ,batik work helps to supply both these needs4 ,in the first wave of enthusiasm over this work1 it seemed as though the need of beautiful form as well as beautiful color was lost sight of4 ,beautiful color can hardly be avoided with good dyes4 ,the fascination of the color and the dye is such that the need of beautiful shapes was somewhat forgotten at first1 and there was a tendency to splash on a design without much regard to beauty of shape or of line and to depend upon the color to make it attractive4 ,the wonderful possibilities inherent in the process were the only things that saved it in this stage from the fate of stenciling1 etc4 ,batik will rank with the art processes that are always beautiful and in use if the requirements mentioned above are adhered to4 ,one of the chief requirements for success in this craft is a willingness to take time for careful and exact work4 ,a successful piece of ,batik must be carefully executed to be of any permanent value4 ,good craftsmanship is as essential in this as it is in making a good piece of embroidery or painting4 ,the present ,american method of ,batik dyeing has varied somewhat from the old ,javanese4 ,it has become simpler and more direct4 ,time is of very little value in ,java2 therefore1 the native artists worked without regard for the time spent4 ,specimens of ,batik work were carried to ,holland during the seventeenth century by the ,dutch ,east ,india ,company as one of the interesting products of ,java4 ,the work was neither understood nor appreciated at that time1 and the lack of appreciation discouraged any further importation4 ,somewhat later the ,dutch artists1 ,chris ,lebeau1 ,eachet and ,dysselhof1 appreciating the beauties of this craft1 studied it themselves4 ,by their exquisite work they aroused an interest among artists4 ,from ,holland the craft spread to ,france1 and to the alert artists of these countries we owe the increased appreciation4 ,the work done in ,europe has been applied to interior decorations rather than to costumes4 ,this side has been left to the ,american designer and artist4 ,the costumes illustrated in this volume are beautiful examples of costume designing in its broadest sense4 ,both in ,europe and in ,america considerable experimenting has been done with different kinds of tools4 ,various ,european modifications of the tjanting have been tried1 but none have been received with much favor4 ,they are1 as a rule1 heavy and awkward to use in comparison with the ,javanese instrument4 ,some of the leading workers of ,america and ,holland consider the ,javanese tjanting the most desirable means of outlining1 dotting1 etc4 ,illustration3 ,a ,dress of velvet ,batik by ,ethel ,wallace ,illustration3 ,a ,batik ,silk ,scarf1 designed and executed by ,helen ,r4 ,reed1 ,van ,dyck ,studios1 ,new ,york ,illustration3 ,an interesting ,batik ,blouse1 designed by ,anna ,tyrell1 ,art ,department1 ,art ,institute of ,chicago ,illustration3 ,a simple1 but beautiful ,batik ,blouse in two tones1 by ,noank ,studio1 ,new ,york ,illustration3 ,two ,batik ,blouses1 by ,florence ,e4 ,schell1 ,lima1 ,ohio ,illustration3 ,batik ,garment showing interesting treatment of tjanting and brush combined1 by ,helen ,r4 ,reed1 ,van ,dyck ,studios1 ,new ,york ,illustration3 8,an ,american ,batik10 by ,mary ,tannahill1 shown at the exhibition of ,american textiles and costumes1 held at the ,american ,museum of ,natural ,history in ,new ,york4 8,the decoration on this graceful gown is in the spirit of ,south ,sea ,island ,art40 ,illustration3 ,a ,batik ,robe1 by the ,noank ,studio1 ,new ,york ,illustration3 ,one end of a ,javanese ,sarong4 ,property of ,a4 ,b4 ,lewis ,the brush is in much more general use than the tjanting and is preferred by many who have experimented with both4 ,a small red sable1 ,no4 #d1 is good for outlining4 ,if it seems to carry too much wax or does not point well1 let the wax harden and trim off the projecting hairs4 ,a ,no4 #f to a ,no4 #ab brush will fill in flat surfaces rapidly4 ,with practice1 beautiful line work can be done with a small brush4 ,in the beginning1 it is safe to wipe off a little of the wax on the side of the cup instead of trying to carry to the cloth all the wax the brush will hold4 ,it is so easy to drop a bit of wax from an overloaded brush and so troublesome to get it off that considerable caution pays4 ,if a brush overloaded with hot wax is set on the cloth1 the wax will spread in a drop or blur at the point where the brush touches the cloth1 which will make the line irregular4 ,of course1 to have an even flow of wax from the brush1 the temperature of the wax must be kept the same4 ,if the worker dips first into wax that is hot and which sinks into the cloth easily and then into wax that is so cool that it stays on top of the cloth and refuses to penetrate the fiber1 the finished work will be ragged and uneven about the edges4 ,while applying the wax the cloth may be held up1 free from the table1 with the left hand4 ,with small articles this is quite easy4 ,a larger piece can be managed in the same way1 but this is not recommended as the very best way4 ,instead1 a wooden frame1 adjustable in size at the corners and faced with cloth1 to which the material can be either basted or pinned1 is advised4 ,with a ,batik frame such as described the cloth is held smoothly and firmly in place1 making it easy to get good edges and long smooth lines with either a tjanting or brush4 ,if no frame is used great care must be exercised to avoid letting the wax penetrate the cloth and touch anything behind1 as it will stick4 ,in lifting it away the wax covering will be torn from the back of the threads4 ,if this is not noticed before dyeing the dye will have a chance to penetrate these fibers and so spoil the clearness of the pattern4 ,if1 in applying1 the wax spreads too far over the pattern1 it is probably too hot4 ,to remove the overflow1 it will probably be necessary to take off a larger space than is exactly needed4 ,this will leave ragged edges1 which will need re-waxing4 ,if a drop is spilled in the wrong place while carrying the brush or tjanting1 it must be completely removed or the finished product will be marred4 ,this cannot be over-emphasized1 as it is usually incompletely done4 ,to remove the wax from a spot or part of a design1 lay the spot over an absorbent pad of some kind1 such as a soft towel folded4 ,wet the spot with gasoline1 benzine or carbona4 ,continue wetting and very light rubbing until the wax is completely dissolved and is either absorbed by the cloth with which you have been patting1 or the pad below4 ,illustration3 ,design of a ,javanese ,sarong4 ,property of ,fay ,cooper ,cole ,do not pile on more wax in this case1 as one may have a lump of wax on top and the cloth still not be protected4 ,also the lumps often chip off in dyeing1 exposing the fiber4 ,take a knife or any edge and remove the loose wax gently and re-wax4 ,wax that is too cool will not give a smooth edge to the design4 ,it is easy to tell by looking at the back of the cloth whether the wax has penetrated4 ,a thin silk will allow it to penetrate so easily that the design will be just as clear and distinct on the back as the front4 ,heavy cloth will need some retouching on the back1 probably where brush strokes do not quite meet4 ,sometimes a drop of wax will seem to penetrate in the middle but will be loose at the edges4 ,this means that the wax is too cool4 ,a little practice will make the right temperature easy to estimate4 ,some workers lay the cloth on a glass slab to which the wax will not stick4 ,this cools it before it really penetrates the cloth4 ,sometimes it is desirable to follow the outline of the pattern with wax before filling in the solid parts4 ,to do this1 hold the brush vertically as in drawing any painted brush line4 ,a ,no4 #a brush is good for very fine lines4 ,in covering a large space1 it is sometimes better to begin waxing in the center and work outward toward the edge4 ,illustration3 ,examples of ,batik1 done by the students of the ,design ,department1 ,art ,institute of ,chicago ,some means of keeping the wax hot must be provided4 ,it is quite desirable also to be able to regulate the heat1 so gas or alcohol1 with suitable burners1 are really best4 ,a bowl of wax may be set in the top of a tea kettle of boiling water and will hold a good temperature for half an hour without reheating the water4 ,wax will smoke over a direct heat and will1 of course1 burn4 ,the bristles of a brush will also burn if left in contact with the bottom of the pan over a direct fire4 ,all bother of this kind is overcome by having the wax in a bowl set in a pan of hot water4 ,once some small girls who were starting this work allowed the water to splash into the inner bowl4 ,this was afterwards set over the direct flame4 ,there was a grand explosion and spattering of hot wax4 ,illustration3 ,center panel of a ,javanese ,sarong4 ,property of ,a4 ,b4 ,lewis ,various wax mixtures have been used successfully4 ,a suitable wax must not scale off1 must not get so hard as to crack too freely1 and must not be affected by whatever chemicals are found in the dyes or are used as mordants4 ,a beeswax and resin mixture1 wax with mastic1 paraffin with lard1 paraffin and beeswax in varying proportions have all been used successfully4 ,paraffin alone is rather brittle and produces too much 8crackle0 in cold weather4 ,beeswax alone is rather too soft to use in warm weather and not brittle enough if any crackle is desired4 ,therefore1 mixtures of these various substances suggested give a wax that will crackle somewhat but not too much4 ,for the beginner it is safe to buy one of the prepared mixtures on the market and experiment later with the various possible combinations suggested1 after becoming thoroughly familiar with the result wanted4 ,the design must1 in some way1 be got on the cloth4 ,this is a place where careless work may spoil a beautiful design4 ,the lines on the cloth must be so carefully and clearly made that the brush can follow them without the slightest hesitation4 ,all corrections should be made before the tracing is considered finished and the waxing started4 ,if a mistake is made with the pencil lines1 8,carbona0 or gasoline will remove the wrong marks4 ,a ,conte pencil1 ,no4 #b1 trimmed to a sharp point1 is very satisfactory1 especially if the piece is to be dyed several times1 as the marks will not brush off as charcoal or chalk lines will4 ,for a simple one-process piece1 charcoal sharpened carefully will serve satisfactorily4 ,if the material to be used is thin1 which is desirable for first pieces1 the cloth can be pinned carefully on top of the drawing and traced as just explained4 ,if the cloth is too heavy for the lines of the drawing to be seen clearly1 the back of the design can be rubbed with charcoal1 the design laid carefully in place1 charcoal side down4 ,then with a sharp hard pencil the lines of the drawing may be traced on the right side4 ,when the paper is removed1 the design will be on the cloth in charcoal lines4 ,if it is to be dyed in several colors later it will be better to go over the pattern now with the ,conte ,no4 #b very carefully1 as the charcoal dusts off easily4 ,use the pencil lightly but clearly with even lines4 ,the cloth must be pinned or thumb-tacked so firmly that it does not slide over the design4 ,it is a little harder to fasten exceedingly thin material like georgette or voile firmly enough to get a good tracing1 so about the weight of medium china silk or thin crepe is the easiest material to begin with4 ,illustration3 8,the ,sheep and the ,goats40 ,a modern ,batik ,wall ,hanging1 by ,helen ,r4 ,reed1 the ,van ,dyck ,studios1 ,new ,york ,if a design is to be repeated several times1 as would be needed for the border of a curtain1 the charcoal rubbing may be the most convenient4 ,the design can be pricked with a pin and powdered charcoal dusted on the smooth upper side of the pattern4 ,the danger in this is that too small a number of points will be pricked to give the design clearly4 ,a better means of doing this is to follow the pattern with a sewing machine after removing the thread and presser foot so that the paper can be turned freely4 ,some ,batik workers make their design on thin paper which is pinned to the back of the cloth and the latter placed on a frame set against a window at about an angle of #de degrees4 ,this is somewhat on the principle of the photographers' retouching frame4 ,illustration3 ,the end of a ,table ,cover done in one color ,batik1 the white design being done in wax1 and the entire piece then dipped ,illustration3 8,the ,sorceress40 ,a ,batik ,wall ,hanging1 by ,arthur ,crisp and ,peter ,mijer ,illustration3 ,detail of a rare ,javanese ,batik in the ,american ,museum of ,natural ,history1 ,new ,york ,,chapter ,,iv ,,processes ,,of ,,batik ,,dyeing ,the intricacy of the design is the determining factor in the number of processes necessary for any given piece of ,batik4 ,the more colors desired1 the more often will the fabric have to be immersed in the dye bath4 ,the simplest and therefore first process for the beginner is that of dyeing the material one color with the pattern left in the original color of the cloth4 ,for convenience1 this will be referred to as the first or elementary process4 ,the blouse shown on page #bc was made on silk4 ,the design was drawn out carefully on paper and then traced on the silk4 ,the design was then waxed and dyed in a basin containing about two quarts of water1 one-half teaspoon of #cf acetic acid and a teaspoon of imperial blue dye solution4 ,it was kept gently moving in the dye for fifteen minutes1 rinsed thoroughly1 dried and pressed between clean old newspapers or blotting paper and ironed dry4 ,the ironing melts the wax out4 ,if traces of the wax or pencil marks still adhere1 the goods can be washed in gasoline or benzine4 ,when the wax was removed1 the result was a piece of two-tone ,batik work of deep blue with a white design4 ,for most ,batik work1 light colored fabrics are used1 as designs can be successfully darkened1 but cannot be made lighter on dark goods4 ,but1 on the whole1 a delicate color is better as a foundation than white1 because the white will often be a little out of harmony with the colors4 ,the designs for the two charming sashes on page #cg illustrate additional steps in more elaborate designs4 ,the right-hand scarf was dyed first so that the ground was not white4 ,for such a sash one-half teaspoon of dye solution in four quarts of water1 with one teaspoon of #cf acetic acid1 would be used for the background1 with perhaps a ten-minute immersion4 ,after it was dyed it should be rinsed thoroughly in cool water to remove all excess acid and any loose color4 ,rinse until the water is practically clear4 ,hang it up so that it will dry smoothly4 ,when dry1 wax the flowers1 the connecting lines1 and the broad light bands4 ,prepare the second dye4 ,an agreeable color scheme is pink for the lightest1 made by using scarlet dye in a weak solution1 a deeper pink for the second color1 and lavender for the last4 ,if the color scheme suggested were to be used1 the same dye would be used for the deeper pink and the material immersed a second time with the addition of another teaspoon of the scarlet dye solution to the basin4 ,after the second dyeing1 all the superfluous color was rinsed out1 it was dried1 and the parts to remain the deep pink were waxed4 ,that left the heavy bands alone exposed to this last dye bath4 ,for this a green solution was used which on the pink gives a beautiful grey lavender4 ,a color scheme of1 first1 orange dye2 second1 brown dye1 and third1 navy blue dye1 is attractive4 ,some silks will ravel so as to make a good fringe2 in that case a pattern for the fringe would be dyed in before raveling4 ,with a purchased fringe the tied and dyed method will give charming bands4 ,illustration3 ,two sashes done in ,batik by the students of the ,art ,institute of ,chicago ,the interesting sash shown on the left of the previous page is also a three-process piece in which greater contrast has been kept between the colors4 ,such a place as the wing and crown of the bird figured on the velvet bag shown on page #cj could well be painted in with a brush4 ,a blending of the colors found in some of the tropical birds--yellow1 orange and blue1 for instance--would be gorgeous4 ,the process of cleaning and finishing velvet is long and requires skill to do it successfully4 ,the craft worker is advised to send a piece of velvet ,batik to a professional if possible1 rather than risk spoiling it herself4 ,an abbreviated outline of the process is as follows3 ,first1 remove all waxing with benzine1 using several baths2 second1 raise the nap with dry steam1 that is1 steam carrying as little water as possible4 ,avoid touching the nap while steaming and do not crease or fold while damp4 ,after the nap is raised by the steam1 brush it gently in the direction of the nap with a bristle clothes brush4 ,for more elaborate work1 where a combination of colors is desired in the design1 the painting process may be used4 ,as in the previous cases1 the material is stretched on the ,batik frame and the design outlined and then waxed in4 ,if a combination of colors is to be used1 it is best to have the design in colors on paper as a guide4 ,it is very easy to become confused as to colors to be used on the various sections of the pattern1 and mistakes in painting with dyes are serious1 as the color can only be removed with a solution of ammonia or washing soda4 ,with the colored design before one1 the dyes are mixed and tried on a scrap of the material4 ,this method of applying color with a brush is desirable only for small spots or surfaces4 ,it is not possible to cover large surfaces evenly with a brush1 as the color will be stronger in the spot first touched by the brush4 ,in dyeing one color over another the result is a modified color which seldom harmonizes with spots of color that are painted in4 ,in addition1 the color is not as fast when applied in this way1 as it does not have the chance to penetrate the fiber of the cloth as in dyeing4 ,this use of the brush is a convenient method of inserting small spots of a contrasting color that would otherwise require a re-waxing of the whole piece of goods1 but is not recommended as a substitute for dipping process4 ,illustration3 ,the center panel of a ,javanese ,batik ,illustration3 ,a ,table ,runner1 by ,gertrude ,dandiliken1 ,design ,department1 ,art ,institute of ,chicago ,illustration3 ,a design motif from a ,javanese ,sarong4 ,courtesy of ,american ,museum of ,natural ,history1 ,new ,york ,illustration3 ,a group of ,batik articles1 done by the students in the ,winnetka1 ,ill41 ,high ,school ,illustration3 ,a modern ,batik ,hanging ,,chapter ,v ,,crackle ,,in ,,batik ,as the worker in ,batik dyes his material1 he finds that the wax on the cloth will crack as it is handled4 ,the dye will then penetrate these cracks in fine lines4 ,the ,javanese worker considers these lines undesirable and handles his goods with the greatest care to avoid producing them4 ,he cannot1 however1 avoid them entirely even with the greatest care4 ,he desires clear even edges no matter how fine and complicated the pattern4 ,by looking closely at the very finest specimens1 these fine cracks will always be found meandering through the pattern4 ,to the ,european this is part of the charm of ,batik4 ,as the craft workers of this country began experimenting with ,batik work1 they discovered the moss-like pattern produced by this crackling of the wax4 ,this gave a quick easy method of making an all-over pattern and was immediately seized upon4 ,at the present time1 it is used to produce quick pattern effects1 or to soften the effect1 by putting a fine 8crackle0 of some harmonizing color over the whole pattern4 ,for instance1 flowers have been left white1 the background blue1 and leaves green4 ,the flowers seem too white and stand out too strongly4 ,crush the wax over the flower to produce fine lines of crackle in the wax and dye in the blue of the background again4 ,this brings the white into harmony with the colors4 ,like many other processes it can be overdone very easily4 ,to make a crackle piece1 stretch the material on a frame tightly4 ,take a broad bristle brush1 ,no4 #c or #d1 and cover all the surface to be crackled evenly with wax4 ,hang the cloth on a waxed line to harden and also to allow any superfluous wax to drip off4 ,after the wax has stiffened1 the next step depends upon the weather4 ,when it is so warm that the wax will not become brittle in the air1 it may be put in the refrigerator1 or it may be laid in cold water to chill4 ,in some way the wax must be cooled until it will crack when crushed in the hands4 ,if a fine all over pattern of crackle is wanted1 crumple in the hands in such a way as to crack the wax thoroughly in every direction in fine lines4 ,if a heavy crackle is wanted1 wax and chill as before1 then twist or wring the material in such a way as to give deeper1 heavier cracks4 ,a little practice will make these suggestions clear4 ,it will sometimes be desirable to crackle certain parts or spots in a design in both of these ways4 ,after crackling the wax1 dye as in any ,batik piece4 ,stir constantly to dye evenly in every small crack4 ,rinse very thoroughly to remove all extra dye from the cracks4 ,this process may be repeated with another color1 so that the two sets of crackle lines intermingle4 ,this adapts itself well to borders of any kind1 blouses1 table scarfs1 and if patience allows1 to all-over patterns for bags1 pillow tops1 etc4 ,the play of color that can be secured with these crackle patterns is charming1 and has been used extensively as a part of the design4 ,illustration3 ,a modern ,batik ,wall ,hanging1 by ,peter ,mijer and ,jean ,paul ,slusser ,in the decorative panel by ,jean ,p4 ,slusser on page #de the figures have been treated with a rather light crackle and the background between the tree trunks with a much heavier crackle4 ,in the memorial panel on page #dh the semi-circular framing band and the ground below the figure have been crackled carefully4 ,both of these uses of crackle suggested are suggestive of desirable possibilities of the crackle forms4 ,a similar use of crackle to add variety to special plain surfaces is illustrated in the framing panel of the drapery on page #dc4 ,illustration ,illustration3 ,two ,javanese ,batiks ,courtesy of the ,metropolitan ,museum1 ,new ,york4 ,illustration3 ,a ,javanese ,batik design from the ,metropolitan ,museum1 ,new ,york ,illustration3 ,a ,batik ,memorial ,hanging1 by ,jean ,paul ,slusser ,illustration3 ,an unusual piece of ,samarang ,batik in the ,american ,museum of ,natural ,history1 ,new ,york ,,chapter ,,vi ,,color ,,and ,,how ,,to ,,use ,,it ,for those who have not had an opportunity of studying color1 the following explanation of the theory of mixing colors may not be amiss4 ,yellow1 red1 and blue are called the standard or primary colors4 ,from these we make the three binary or secondary colors1 orange1 green1 and violet4 ,orange is produced by mixing red and yellow4 ,green is produced by mixing blue and yellow4 ,violet is produced by mixing red and blue4 ,these primary and binary colors are thought of as though they were arranged in a circle4 ,divide the circumference of a circle in six equal parts4 ,draw three diameters through the points found4 ,begin at the top with yellow4 ,one-sixth of the distance to the left1 we place orange1 at the next diameter's end place red4 ,at the bottom of the circle opposite yellow is violet4 ,passing upward toward the right blue is opposite orange1 and continuing upward1 green is opposite red4 ,the colors at opposite ends of the three diameters are called complements4 ,yellow is the complement of violet and violet of yellow4 ,orange is the complement of blue and blue of orange4 ,red is the complement of green and green of red4 ,the outside of the circle in the cut represents the full strength of the pure color4 ,the addition of different amounts of white and black is indicated by the inner circles1 the center standing for pure white or pure black4 ,the circle may be subdivided to suggest many gradations from the full color through the tints to white and by the addition of black through the shades to black4 ,this system of gradation is a help in determining the contrast of tints1 but is more useful in helping to determine related harmonies up and down the scale from black to the pure color and then through the tints to white4 ,red1 with one part of white added1 would be indicated by the second circle4 ,its complement would be the green found on the second circle1 which has an equal amount of white mixed with it1 producing a tint4 ,the same arrangement holds true with regard to black4 ,each circle represents also one portion of black added to the standard color1 producing a shade4 ,there is an almost indefinite number of these tints and shades1 depending upon their location within the color circle4 ,it is found that equal parts of the primary colors red1 yellow1 and blue make neutral grey4 ,any binary color plus a primary color makes grey4 ,for instance1 a binary green1 which is made of the two primaries yellow and blue1 added to a primary red produces grey4 ,in the same way1 a binary orange1 which is a combination of primary red and yellow1 added to blue makes grey4 ,illustration3 ,,color ,,circle ,for explanation of this 8,color ,circle0 see page #ej ,a binary violet1 which is primary red and blue1 added to yellow makes grey4 ,colors may be softened or greyed by adding a little black or brown dye or by adding the complementary color4 ,a bright green1 for instance1 is softened either by adding a little black or brown or the complement of green1 which is red4 ,dyes are mixed in much the same manner as paints and it is necessary to know the action of one color upon another4 ,especially must one know how grey is produced so as not to produce this effect when such a result is undesirable and yet avoid too vivid combinations4 ,in mixing dyes both brown and black are valuable to tone down the clear colors4 ,there need be no fear of producing a muddy color by adding black or brown dye to the colors1 as is produced by adding black paint1 because the black dye is made up of particles of other colors4 ,valuable help in reproducing color combinations is found in keeping a record of the amounts and colors used1 the weight or size of material dyed1 and the length of time the goods is in the dye bath4 ,if commercial dyes are used1 follow the directions given exactly as on the package4 8,top dyeing0 means to dye over another color4 ,the material may be a light blue4 ,over this or on top of this1 a green is dyed1 giving a blue green result4 ,in dyeing one color over another the result naturally depends upon the strength of the first as well as upon that of the succeeding dyes4 ,as yellow is nearest white in value1 it is wise to dye yellow first if other colors are to be added4 ,if the yellow is weak the other dyes will be very little affected by it as they are much stronger4 ,if a strong yellow has been used first1 the following modifications may be expected3 ,,color ,,table ,,for ,,top ,,dyeing ,orange over yellow will give orange yellow4 ,red over yellow will give red orange4 ,blue over yellow will give green4 ,green over yellow will give yellow green4 ,violet or magenta over yellow will give grey4 ,brown over yellow will give yellow brown4 ,black over yellow will give grey4 ,if a blue dye is to be used first1 the following suggestions may help4 ,accordingly as the blue used is strong or weak1 it will appear in the resulting combination strongly or weakly4 ,the top dye used over it will equally of course count in the resulting combination according as it is strong or weak4 ,having these two points in mind we can say3 ,red over blue will give purple4 ,violet over blue will give blue violet4 ,green over blue will give blue green4 ,yellow over blue will give green4 ,brown over blue will give dark brown4 ,black over blue will give blue black4 ,illustration3 8,spring40 ,a ,batik ,wall ,hanging1 by ,c4 ,bertram ,hartman and ,peter ,mijer ,with red as the basic color1 and with the strength of color in mind as suggested before1 we find that ,orange over red will give orange red4 ,yellow over red will give orange4 ,green over red will give dark grey1 green or red4 ,blue over red will give violet4 ,violet over red will give red violet4 ,brown over red will give red brown4 ,black over red will give grey red4 ,the following mixtures of dyes are valuable3 ,yellow1 orange and blue with yellow predominating make gold4 ,orange and green with orange predominating give russet shades4 ,orange1 green and red give orange brown4 ,orange1 blue and magenta give bronze4 ,in studying out the color scheme of any piece it is desirable to refer to the ,color ,chart for contrasts1 related colors and combinations that are not familiar4 ,if a perfect balance of contrast of any tint of a color is desired1 the contrasting tint must show the same proportion of white in its make-up2 but the contrast may be made more decided by choosing a lighter contrasting tint4 ,yellow has the tendency to come nearer the observer and it adds warmth and brilliancy to all its combinations with other colors4 ,red is less brilliant than yellow1 but it is the most intense and positive of all the colors4 ,blue is the retreating cold color4 ,it shows its quality best by daylight4 ,blue and white are the strongest color contrasts excepting black and white4 ,green1 composed of the primaries yellow and blue1 is capable of great variation from cool to warm according to the amount of either blue or yellow entering into it4 ,its contrast is red4 ,orange is the most brilliant of the secondary colors4 ,it is most useful when toned down to old gold and russet4 ,violet is the darkest of the secondary colors4 ,as it contains much blue it has a tendency to fade into a neutral brownish color by artificial light4 ,the tertiary colors russet1 olive1 and citrine are most valuable4 ,russet is made up of orange and violet1 which again are composed of yellow1 blue1 and red4 ,red being in both of these colors1 russet evidently belongs to the red group of colors1 and contains a smaller proportion of both yellow and blue4 ,the contrast to russet is from deep green to blue grey for a very orange shade4 ,olive is dominantly a blue color as it is made from green and violet1 both of which contain blue4 ,the contrast of olive is deep orange4 ,illustration3 ,a ,scarf tied in bands across the ends4 ,designed by ,helen ,r4 ,reed ,illustration3 ,a ,scarf1 showing a combination of tied squares1 circles and stripes4 ,designed by ,helen ,r4 ,reed ,citrine is a combination of orange and green1 and therefore is made up of the primaries1 two parts yellow1 one red1 and one blue4 ,yellow is in the largest amounts1 red next1 and blue least4 ,these three colors are exceedingly valuable to the decorator as each one has an enormous range of tints and shades and the whole group is very pleasing to the eye4 ,there are a few other colors that are so generally used that they deserve special note4 ,first1 brown1 theoretically produced by a mixture of citrine and olive or red1 blue and yellow4 ,practically several shades require the addition of black dye to produce brown4 ,a bluish or purplish color according to its shade is its contrast4 ,maroon is a red and brown whose contrast is shades of green4 ,tints and shades of any full color also give harmonious combinations4 ,the nearer the shade approaches black and the tint approaches white1 the greater the contrast4 ,the more closely related the two are the less the contrast4 ,in considering color combinations we also have the related or analogous group1 from which to choose our color schemes4 ,these are in every way more easily handled in dyeing work and are of greater use especially to the beginner4 ,a tint is secured in dyeing by reducing with water the full strength of the dye and also shortening the time of immersion4 ,a shade is secured by adding black4 ,between the full strength of the dye and white1 however1 lies the range of tints most easily used4 ,refer to the ,color ,chart for the complements of the tints and shades4 ,these vary in the case of crimson1 for instance1 from deep crimson through rose to the palest pink tints4 ,each decided color step in this scale gives related tints that may safely be combined4 ,if they are not far removed from each other in intensity1 they give very little contrast1 but may be at the same time a very pleasing combination4 ,considerable contrast may be secured by using tints that are considerably removed from each other in the color scale4 ,still another group of color harmonies must be considered4 ,this is the harmony of related colors4 ,by this is meant the harmony of all colors of which blue1 for example1 forms a part4 ,this group runs all the way from the purplish blues formed by adding red through all the different blues to blue greens made by adding yellow4 ,this grouping is especially useful in dyeing1 as we can dye in one such group very effectively1 starting with the yellow found in the blue green and working toward the red found in the violet blues4 ,for dyeing purposes we can really make just two color groups--the blue just given and the red4 ,the red group starts with the red violets1 which contain1 of course1 red and blue1 and goes through the red group into the orange1 which is red and yellow4 ,illustration3 ,a center panel of a ,javanese ,batik ,,pleasing ,,color ,,combinations ,the following table of harmonizing colors is inserted as a guide for those who do not have a scientific knowledge of ,color and its many harmonies3 ,black harmonizes with crimson1 lemon1 yellow4 ,black harmonizes with scarlet1 blue1 green4 ,black harmonizes with citrine4 ,black harmonizes with olive4 ,black harmonizes with salmon4 ,black harmonizes with primrose4 ,black harmonizes with corn color4 ,black harmonizes with orange4 ,black harmonizes with gold4 ,black harmonizes with white4 ,white harmonizes with cerise4 ,white harmonizes with scarlet4 ,white harmonizes with orange4 ,violet harmonizes with scarlet1 blue1 orange4 ,violet harmonizes with scarlet1 gold4 ,violet harmonizes with corn color4 ,violet harmonizes with gold4 ,violet harmonizes with citrines4 ,violet harmonizes with yellow4 ,orange harmonizes with violet4 ,orange harmonizes with blue1 scarlet1 green4 ,orange harmonizes with purple1 scarlet4 ,orange harmonizes with crimson1 blue4 ,orange harmonizes with brown4 ,orange harmonizes with violet4 ,orange harmonizes with blue4 ,dark ,green harmonizes with crimson1 blue1 gold4 ,dark ,green harmonizes with gold4 ,blue ,green harmonizes with orange4 ,green harmonizes with russet4 ,green harmonizes with scarlet4 ,green harmonizes with red4 ,yellow harmonizes with violet1 scarlet1 blue4 ,yellow harmonizes with brown4 ,yellow harmonizes with deep crimson4 ,yellow harmonizes with blue4 ,yellow harmonizes with violet4 ,crimson harmonizes with black4 ,crimson harmonizes with violet4 ,crimson harmonizes with corn color4 ,crimson harmonizes with orange4 ,crimson harmonizes with gold4 ,crimson harmonizes with yellow1 green4 ,scarlet harmonizes with blue1 grey4 ,scarlet harmonizes with violet4 ,scarlet harmonizes with blue4 ,scarlet harmonizes with blue1 green4 ,red harmonizes with white4 ,red harmonizes with grey4 ,red harmonizes with blue4 ,red harmonizes with gold4 ,red harmonizes with green4 ,blue harmonizes with brown1 crimson1 gold4 ,blue harmonizes with orange1 green4 ,blue harmonizes with orange1 black4 ,blue harmonizes with black4 ,blue harmonizes with white4 ,blue harmonizes with chocolate brown4 ,blue harmonizes with neutral grey4 ,blue harmonizes with salmon4 ,blue harmonizes with straw4 ,blue harmonizes with corn color4 ,blue harmonizes with gold4 ,blue harmonizes with orange4 ,illustration3 8,the ,madonna40 ,a ,batik ,wall ,hanging1 by ,helen ,r4 ,reed1 ,van ,dyck ,studios1 ,new ,york ,,chapter ,,vii 8,,tied ,,and ,,dyed0 ,,work ,another new-old process that has been revived recently is 8,tie-,dyeing40 ,its artistic possibilities are as yet hardly realized in this country4 ,this is partly due to the difficulty that has been experienced in dyeing with a cold process and at the same time securing a strong fast color4 ,this difficulty has now been met4 ,the new 8,bateeko ,dyes0 prepared for ,batik work can be used on wool and silk in cold or tepid water4 ,the dyes will wash so that permanent effects can now be secured4 ,if the tying is firmly done1 the goods can be dyed by boiling1 so that ordinary dyes1 that require boiling to set them1 can be also used successfully4 ,this ,tied and ,dyed work is found among many primitive conditions and peoples4 ,in old colonial days our grandmothers made their shaded wool by this method4 ,they wrapped their skeins of woolen thread with corn husks and wound these around tightly with cord to give the necessary pressure4 ,the portions covered with the husks retained the original color of the wool1 while those exposed became the color of the dye bath into which they were dipped4 ,legend says that the ancient ,greeks tied the borders of their robes to produce waving lines4 ,two main variations in method of ,tie-,dyeing are3 ,first1 the pattern is developed by tying the threads of warp or woof or both before weaving4 ,second1 parts of the goods are tied before dyeing in such a way as to protect spots of the cloth from the action of the dyes4 ,the first method is found in ancient ,peruvian work1 in central ,india1 and in parts of the ,philippines4 ,it is a complicated process and requires a high degree of skill on the part of the weaver4 ,the second method was used to a large extent in central ,india1 and a few examples are also known from ,peru4 ,sir ,george ,watt1 in his 8,indian ,art of ,delhi10 gives such a clear description of ,indian ,tie-,dyeing1 ,knot-,dyeing1 or ,bandana work that it is worth quoting3 8,the once famous ,bandana handkerchiefs may be given as the best known example of ,tie-,dyeing4 ,the process is simple1 but so laborious that it could only have been invented or practiced in a country where food was cheap and consequently human labor valued at an abnormally low figure4 ,tie-,dyeing may be described briefly as follows3 ,the fabric is folded several times into half until reduced to a square or rectangular piece perhaps not more than one foot by a foot and a half in length and two or three folds in thickness4 ,it is then dampened and pressed over a block which consists of a piece of wood with a mass of nails or pins fastened all over it in elaboration of some design4 ,it is then taken off the block and given to a girl 7the ,bandhani7 who purposely allows her thumb and forefinger nails to grow long with a view to their becoming an indispensable pair of pincers1 by means of which minute particles of the cloth may be laid hold of readily4 ,the raised up portions indicated by the block are seized and deftly tied by a string that may or may not have been coated with a resist paste4 ,great skill is needed not only to securely grasp all the layers of cloth at once1 but to so seize each portion that it may crinkle in a particular manner while being securely wound around and tied4 ,moreover1 the thread is not cut into separate pieces at each tied point4 ,it is carried from the one to the other and is merely held in position by the turn upon itself that is given just before being carried to the next point4 ,in consequence1 when the operation of dyeing has been completed1 the thread may be readily unwound and used again and again4 ,illustration3 ,an example of ,japanese tied and dyed work ,illustration3 ,a tied and dyed ,jacket 8,the ,bandhani having finished her task1 the fabric is given to the dyer1 who begins by immersing the folded up and compactly tied cloth in the lightest shade that it is intended to be given1 say yellow4 ,when finished1 it is handed to the ,bandhani1 who now impresses it upon a second pattern block1 and proceeds to tie a still further series of raised up points4 ,it is again dyed the next shade1 say red1 and if the pattern and scheme of color desired be thus completed1 the threads are unwound and the fabric opened out1 when it will be found to have a red field with a pattern in white and yellow points1 repeated several times all over it4 8,instead of stopping with a red1 a third series of points may be tied1 and the fabric dyed black1 when the pattern will appear in points of white1 yellow and red on a black 7or black brown7 field4 ,but should a still more elaborate design be contemplated1 the tying and dyeing may be repeated indefinitely4 ,for example1 the first points tied may have been very large and the cloth so folded that when they are opened out they form perfectly circular white spots1 squares1 or star-shaped patches upon the first ground color4 ,these may now be dealt with separately and be tied and retied until the circles1 the squares1 or the stars become variegated by concentric bands of color1 or a final special spot may be given in the center of each by uncovering the tips so as to allow these portions of the tied up spaces to receive the desired tint2 in fact1 such exposed portions may be specially colored by means of a brush4 ,but since the tying of points can never be absolutely complete1 the very center of each bears the tiniest speck of the final field color4 8,instead of using a block to raise up the cloth at the desired points1 the ,bandhani may simply proceed to tie up portions according to a pattern that she has practiced until it has become second nature4 ,in this way she will work rapidly and outline a bird1 a horseman or a flower1 and pass over certain points in the design that require to be tied at subsequent stages1 while carrying on a heated controversy with her neighbor or attending to her infant child4 ,and she will return again and again to the further elaborations of one piece after another with the certainty of action that speaks of intuition rather than training4 8,but instead of circular1 square or star-shaped spots1 it may be desired to produce transverse bands or zigzag lines of one color or another4 ,this is accomplished by folding the cloth lengthwise into1 say1 four folds1 then tying at intervals by a series of patches of the desired breadth4 ,if then dyed and subsequently opened out1 it will be found to have a ground color with zigzag transverse bands of white4 ,having obtained this result1 the ordinary point tying may next be resorted to1 with the result of producing a limitless series of effects40 ,illustration3 ,a ,cupboard ,curtain in ,batik4 ,designed by soldiers in ,u4 ,s4 ,general ,hospital ,no4 #b1 under direction of ,lieutenant ,jean ,paul ,slusser ,illustration3 ,filipino tied and dyed work4 ,courtesy of ,american ,museum of ,natural ,history ,this old process1 although impossible as a manufacturing method under modern industrial condition1 is full of suggestions for the art worker4 ,the simplicity of the process is part of its charm4 ,there is no long process of tracing around edges or smoothing curves4 ,the whole thought goes to planning the shapes1 spacing1 and arrangement of the spots produced by the tying4 ,in working with a piece of cloth1 all sorts of interesting design possibilities will develop4 ,in starting to experiment with this work1 it is a good plan to take some soft cord1 dip it first in any convenient wax1 such as paraffin1 and cool it1 then take a few old pieces of soft cotton cloth and try arranging the folding and wrapping to find by actual experience how to make different shapes4 ,to produce a 8tied0 square fold a piece of cloth on what is intended to be the two diagonals of the square4 ,fold on the first diagonal and then on the second1 and then holding one end of the cord with the thumb of the left hand begin at the tip and wrap backward to the desired depth4 ,to make a circle1 pick up a point of cloth and crease away from the point as evenly as possible4 ,a shot or marble tied in the center will give a colored center with a light ring or border--square or round1 as desired4 ,if the cord is waxed1 a single twist at the bottom of the tied spot will hold it firmly4 ,one layer of waxed cord wrapping smoothly done will protect the cloth below perfectly4 ,in working with semi-transparent material the design can be first blocked in with charcoal on paper4 ,distances from edges1 centers1 etc41 should be carefully measured with a ruler1 tape line1 or yard stick4 ,the size of the spots to be protected should be planned carefully1 then1 laying the cloth over the plan1 with either blue tailor's chalk or charcoal1 mark the centers of squares and circles and lines for oblongs4 ,with heavier material1 after the piece has been planned on paper1 draw the foundation lines that give the spacing directly on the cloth as before explained4 ,the necessary equipment includes jars for the dye1 enamel pans1 preferably1 as acid corrodes metal pans in time1 plenty of string1 a cake of paraffin wax1 and marbles1 shot1 etc4 ,the list of articles for which ,tie-,dyeing is a suitable decoration is long3 ,pillow tops1 scarfs1 bags1 table and bureau covers1 curtains1 bed-spreads1 blouses1 lamp shades1 middy ties1 collars1 aprons1 etc4 ,a charming lamp shade can be made of a square piece of cotton crepe dyed gold first without tying1 then tied to give a suitable group of orange brown spots and borders4 ,illustration3 ,tied and dyed work in diagonal stripes ,illustration3 ,figure #h shows how to tie a small square or circle2 ,figure #i1 for larger circles1 and ,figure #aj1 for concentric circles ,illustration3 ,showing a method of tie-dyeing used in ,peru4 ,courtesy of the ,american ,museum of ,natural ,history1 ,new ,york ,illustration3 ,an example of modern tie-dyeing1 by ,amy ,swisher1 ,athens1 ,ohio ,illustration3 ,an example of tie-dyeing from an old ,peruvian tomb4 ,courtesy of ,american ,museum of ,natural ,history1 ,new ,york ,illustration3 ,a ,javanese ,batik design4 ,courtesy of the ,metropolitan ,museum1 ,new ,york ,illustration3 ,showing cloth tied in itself1 ready for dyeing ,illustration3 ,the end of a ,scarf tied with string ready for dyeing ,illustration3 ,showing intricate tjanting work on a ,javanese ,batik ,courtesy of ,metropolitan ,museum1 ,n4 ,y4 ,illustration3 ,a border from a ,javanese ,batik ,courtesy of ,metropolitan ,museum1 ,n4 ,y4 ,illustration3 ,javanese ,batiks4 ,metropolitan ,museum ,illustration3 ,javanese ,batiks4 ,metropolitan ,museum ,illustration3 8,the ,queen40 ,a ,batik hanging by ,ilonka ,karasz4 ,courtesy of ,academy ,art ,shop and 8,keramic ,studio0 ,illustration3 8,the ,king40 ,a ,batik hanging by ,ilonka ,karasz4 ,courtesy of ,academy ,art ,shop and 8,keramic ,studio0 ,,chapter ,,viii ,,dyeing ,,suggestions ,in the past1 in dyeing under our ,american conditions1 very little attention has been paid to the durability of the dyes4 ,unless the dye is specially prepared to be used with the cold process which is necessary to keep the wax from melting1 the colors will not be fast and the work therefore only transient4 ,this lack of durability has often discouraged careful work4 ,for this reason1 great care should be used in the choice of dyes4 ,the requirements for good ,batik dyes are-- #a4 ,they must be easily applied4 #b4 ,they must be used cold1 as the wax melts at #abh ,fahrenheit or #fj ,centigrade4 #c4 ,the colors must be sufficiently fast to allow the wax to be removed without injury to the color4 #d4 ,the colors must not fade in light or in sun4 ,many commercial dyes that are prepared to be used hot can be used somewhat successfully cold4 ,there will be more or less loss of brilliancy and fastness of color1 however4 ,these dyes should be used in a much stronger solution than indicated by the directions on the packages4 ,the most satisfactory results1 however1 are obtained by using colors prepared especially for the cold process1 such as the 8,bateeko ,dyes40 ,they are exceedingly strong and for that reason exact directions for mixing from the powdered form are impossible1 as a tiny speck of the powder will modify the color mixed4 ,for exact measurements it is recommended that each package of the ,prang ,bateeko ,dyes be dissolved in #a cups of water2 that is1 about #bj tablespoonfuls1 and that the amount of each color used in mixing be taken with measuring spoons from this solution4 ,a pint fruit jar is good to hold the mixture4 ,the extensive use of dyeing as a means of printing textiles dates from the #aith century1 when the modern chemical dyes were discovered4 ,there is still a prejudice among some people against the use of chemical dyes for art work4 ,this seems to be based upon the undisputed fact that in the early days of the dye industry some of the colors were so crude and harsh that people fell into the delusion that all harsh colors were due to chemical dyes4 ,the chemists in the meantime have been improving these products until now one can depend upon the manufactured dyes for as beautiful colors as were ever obtained by the older methods4 ,they are so much more easily applied that it is largely for experimental purposes and as a means of keeping alive a craft of our ancestors that the old processes are ever used4 ,some brands of dyes are completely dissolved by stirring in hot water4 ,some need to be boiled and strained to be perfectly clear from specks4 ,they must be thoroughly dissolved4 ,most dyes are used with either salt1 vinegar or acid4 ,use whichever is recommended by the makers of the dyes used4 ,for ,batik the acid is generally added to the water in which the cloth is to be dipped4 ,dyes will all work a trifle better in lukewarm than in cold water4 ,several dippings in a weak dye will give a more permanent color than one dyeing in a strong color4 ,illustration3 ,a decorative ,batik ,hanging by ,jean ,paul ,slusser1 using the ,javanese 8,tree of ,life0 motif ,illustration3 ,a ,javanese ,batik1 showing the ,tree of ,life and ,bird of ,paradise4 ,courtesy of ,american ,museum of ,natural ,history1 ,new ,york ,dyes vary in their tendency to dye evenly or in spots1 and if the worker finds herself using a color having a tendency to streak1 this can be overcome by especial care in keeping the piece continually moving while in that color4 ,to secure an even color it is necessary to keep a gentle motion so as to prevent the dye from settling in any part and to keep all the cloth equally wet1 so that it is necessary to have a vessel large enough to keep the cloth entirely under the water and moving freely4 ,in using any metal pan one should not let dye containing acids stand in it1 as the metal will corrode4 ,an enamel pan with a flaw will allow the acid to eat a hole in it in two weeks' time 7as the writer found74 ,dye need never be thrown away4 ,if it dries to a powder or crystal on the bottom of the pan1 set the pan away1 and when the color is wanted again add warm water as at first and dissolve again4 ,sometimes as the dye stands in a pan day after day1 if it is in constant use1 some color may settle on the sides or a film may gather on top of the pan which will streak or spot the cloth if not noticed4 ,simply strain the dye into a clean vessel and continue to use it as long as any color remains4 ,when the worker can produce a piece of ,batik or tied-and-dyed with a dye that will last1 there is no excuse for careless work4 ,and a piece of the work should receive the time and care in making that its beautiful possibilities deserve4 ,batik dye cannot be used hot as the wax would melt4 ,if used very cold the wax tends to crack and the color will creep under the wax4 ,if too hot1 that is1 over #abh degrees ,fahrenheit1 the wax melts and the design is blurred or lost4 ,the best temperature for the dye bath is between #ij and #aaj degrees ,fahrenheit4 ,as #ih degrees is blood heat1 if no thermometer is convenient1 water that feels the temperature of the wrist will be all right4 ,use plenty of water to float the cloth4 ,allow it to move freely without crowding in the basin4 ,put only enough dye in the water to color the water distinctly4 ,the cloth will absorb the dye color from the water and leave the water clear1 if only enough dye has been used4 ,if much dye remains in the water after the work is finished it shows that more dye was used than was necessary4 ,if more dye is to be added1 remove the cloth from the water and add in small quantities4 ,mairet's 8,vegetable ,dyes0 will give all the formulas necessary for experimenting in that line if any readers are interested4 ,it is not only waste of dye to use a strong solution1 but a more durable fast color is secured by allowing the goods to remain in the dye bath until there is a thorough union between the dye and the fiber of the cloth4 ,this union cannot be obtained in a few minutes sufficiently to stand much rough usage4 8,make haste slowly0 must be the motto of the dyer who wishes a permanent color4 ,remember the time required in the old indigo and turkey red processes4 ,illustration3 ,batik by ,ilonka ,karasz4 ,courtesy ,academy ,art ,shop1 ,new ,york ,illustration3 ,batik by ,winold ,reiss4 ,courtesy ,academy ,art ,shop1 ,new ,york ,therefore1 it is better to allow at the very least twenty minutes for the dyeing4 ,an hour is better for a slow color like black4 ,some colors1 such as black1 brown and yellow1 unite with the fiber of the cloth more slowly than others1 so that more time must be allowed for these4 ,blue dyes very quickly and easily1 but must be given time to set in the fiber to become thoroughly permanent4 ,these time suggestions are for the 8,bateeko ,dyes0 in powder form4 ,there is also a great difference in materials used1 as to the rapidity with which they will absorb the dye4 ,wool and silk absorb the dye easily and quickly1 cotton1 linen and hemp much more slowly4 ,therefore1 the time allowed for dyeing must be increased to get deep colors in cotton1 linen and hemp4 ,the closeness of the weave and the hardness of the twill must also be considered4 ,a very loose porous silk or cotton crepe will dye in a few minutes1 while a firm muslin will require perhaps half an hour to an hour to produce a strong fast color4 ,the material should be free from starch or sizing of any kind before it is put into the dye4 ,after the goods has been stirred in the bath for five to ten minutes1 more dye can be added if necessary4 ,be sure to remove the material from the dye bath before adding more dye4 ,as color always seems darker when it is wet1 it is difficult to tell exactly when you have as deep a color as you desire1 but holding the material up to the light gives a fairly good idea of the way the color will look when dry4 ,to get a deep shade of a special color it is always better to work up to the color desired by steps1 that is1 to dye a light tone of the color desired1 examine this and if it is the desired shade continue until the desired depth of color is reached4 ,after dyeing1 rinse thoroughly in cold water1 drain the water out on an old towel or sheet and hang it on a waxed line or cord to dry4 ,it is best to wax the line so that the line does not tear off the wax on the cloth where it is pinned up4 ,the remaining problem of dyeing is the most interesting of all1 viz43 the effect of one dye on another1 and of dyeing one color over or on top of the preceding color4 ,in this 8top dyeing10 we must remember that the final color will be the combination of the color already on the material and the dye color which is being added4 ,if we have a brilliant yellow scarf1 we cannot dye it a blue unless in some way we can remove the yellow1 but we can dye it any color of which yellow forms a part1 such as orange1 orange red1 mahogany1 green of all kinds1 browns1 greys1 and black4 ,all these colors contain yellow and can be dyed over yellow by adding the other colors which make the desired combination4 ,a pale yellow can be neutralized by dyeing with weak magenta and then dyeing blue4 ,illustration3 ,a ,window ,curtain decorated in ,batik4 ,designed and executed by soldiers in the ,commercial ,art ,class at ,u4 ,s4 ,general ,hospital ,no4 #b1 under the direction of ,lieutenant ,jean ,paul ,slusser ,illustration3 ,javanese ,batiks4 ,courtesy of the ,metropolitan ,museum1 ,new ,york ,for instance1 to make a medium grey green over a yellow1 both blue and red must be added1 the blue making green when dyed over yellow and a little red making the color grey4 ,in dyeing a strong color over a weak and greyish color the original color will seem to have very little effect4 ,the amount of each color used depends upon the result desired4 ,therefore1 analyze the color you wish to produce4 ,decide what proportion of each color there seems to be in the shade desired1 and mix the dyes accordingly4 ,dye the light colors first1 and the darkest last4 ,remember a color may be darkened or modified1 but cannot be lightened1 except by removing the dye with ammonia or washing soda4 ,in dyeing for ,batik1 the safe thing is1 of course1 to depend upon several weak dye baths of rather clear colors1 as there is danger of producing too grey and muddy a color if strong baths are used before there is a good understanding of the result of the color combinations4 ,if at all uncertain of the result of a color combination1 dye a piece as a trial first4 ,in dyeing1 to secure a red and green in the same piece1 the colors of the 8blue group0 discussed in the previous chapter should be dyed first entirely4 ,then with washing soda or ammonia the color on the spots where the red group of colors is desired can be removed4 ,this bleaching process had better be reserved for advanced work1 and in the beginning stages color combinations not requiring it should be used4 ,the soda and ammonia both affect the wax and after using them the waxing should be looked over carefully and ragged edges re-waxed4 ,when a small spot of a contrasting color is wanted on such a place as the wings of the bird on the velvet bag on page #db1 the method of removing the color by ammonia is the one to use4 ,with thin silk the wax can be so entirely removed with a hot iron and papers that a piece can be re-waxed for contrasting colors4 ,with heavy cloth or velvet1 the wax could not be so completely removed by this method that the next dyeing would be satisfactory4 ,gasoline is the best method of removing the wax in such a case4 ,every particle must be removed in order to have the next dye bath satisfactory4 ,for that reason it is best to remove all the wax possible in the first gasoline bath and rinse in clean gasoline before dyeing again4 ,in dyeing textiles in large quantities with the 8,bateeko0 ,powder ,dyes as is required for costumes1 draperies1 etc41 the directions as to size of receptacle1 time of dyeing1 stirring1 etc41 are the same as for smaller work4 ,while these dyes are very rapid in their action when used in only tepid water1 they are naturally still more rapid when used hot4 ,the user1 therefore1 has the choice of the hot or cold process1 according to her convenience4 ,if the dye is used hot the material must be stirred constantly4 ,if used in tepid water it must be kept in motion only sufficiently to keep the color from settling in the folds and making dark spots or streaks4 ,always rinse out all the loose color thoroughly in cold water before hanging up to dry4 ,hang the pieces so they do not touch anything4 ,illustration3 ,a section from a ,javanese ,batik from ,metropolitan ,museum1 ,new ,york ,illustration3 ,an all-over design in ,batik that was practically improvised as the work was done4 ,by ,jean ,paul ,slusser ,if working constantly with dyes1 rubber gloves are a convenience4 ,however1 even with gloves one sometimes stains the hands4 ,ammonia or washing soda will help remove the stain4 ,practically any container that is large enough can be used4 ,the best is perhaps a copper tub2 enamel ware is excellent4 ,wooden tubs are used by professional dyers somewhat4 ,galvanized iron is all right1 unless the dye containing acid stays in it so long that the acid affects the iron4 ,illustration3 ,tied and dyed pattern done in stripes ,illustration3 ,a ,scarf showing application of concentric circles4 ,designed by ,helen ,r4 ,reed ,illustration3 ,a pattern from a ,javanese ,batik4 ,courtesy of ,metropolitan ,museum1 ,n4 ,y4 ,illustration3 ,an ,indian ,saree4 ,courtesy of the ,metropolitan ,museum1 ,n4 ,y4 ,illustration3 ,a pattern from a ,javanese ,batik4 ,courtesy of the ,metropolitan ,museum1 ,new ,york ,illustration3 ,a pattern from a ,javanese ,batik4 ,courtesy of ,metropolitan ,museum1 ,n4 ,y4 ,illustration3 ,batik ,scarf4 ,designed and executed by ,miss ,robiccheck4 ,courtesy of ,academy ,art ,shop ,illustration3 ,batik ,scarf4 ,designed and executed by ,conrad ,kramer4 ,courtesy of ,academy ,art ,shop ,illustration3 ,a ,javanese ,batik pattern4 ,courtesy of ,adelaide ,a4 ,robineau ,illustration3 ,a modern ,batik wall hanging ,,prang 8,,quarto ,,art ,,books0 8,,the ,,theory ,,and ,,practice ,,of ,,color0 ,by ,,bonnie ,e4 ,,snow and ,,hugo ,b4 ,,froehlich ,the most authoritative work on 8,color0 issued in this country4 ,illustrated with hand-painted 8,color ,charts0 of great value4 ,large quarto1 price1 #d4jj2 by mail1 #d4be4 8,,art ,,simplified0 7,revised ,edition7 ,by ,,pedro ,j4 ,,lemos and ,,john ,t4 ,,lemos ,a book of practical instruction in ,art for advertisers1 commercial artists1 teachers and students4 ,twenty-two full-page plates1 #age pages4 ,price1 #d4jj2 by mail1 #d4be4 8,,lettering0 ,by ,,thomas ,,wood ,,stevens1 of ,carnegie ,institute1 ,pittsburgh ,the standard work on the subject for students and artists4 ,one hundred ten full-page plates4 ,large quarto1 price #c4jj2 by mail1 #c4be4 8,,cartoonist',s ,,art0 ,by ,j4 ,,campbell ,,cory ,the secret of the art told by a successful cartoonist1 with many examples of the work of other prominent artists4 ,price1 #b4jj2 by mail1 #b4be4 8,,constructive ,,anatomy0 ,by ,,george ,b4 ,,bridgeman ,teachers in ,anatomy in ,art ,schools1 ,colleges1 ,normal ,schools and ,high ,schools will find this book invaluable as a ,text ,book on the subject4 ,price1 #g4ej2 by mail1 #g4ge4 8,,pencil ,,sketching ,,portfolios0 ,by ,,george ,w4 ,,koch ,these 8,pencil ,sketching ,portfolios10 ,nos4 #a and #b1 contain drawings which have been specially designed for students of pencil technique4 ,each ,portfolio contains #ae plates4 ,price1 each1 #a4jj2 by mail1 #a4be4 8,,twelve ,,great ,,paintings0 ,by ,,henry ,,turner ,,bailey1 ,director ,cleveland ,school of ,art ,interpretations which cannot fail to stimulate interest in the world's masterpieces4 ,large quarto1 price1 #c4jj2 by mail1 #c4be4 8,,with ,,pen ,,and ,,ink0 ,by ,,james ,,hall ,complete instructions for work in this medium1 with #ba full-page plates and #ba problems4 ,large quarto1 price1 #c4jj2 by mail1 #c4be4 8,a ,,short ,,history ,,of ,,art0 ,by ,,de ,,forest and ,,caffin ,the most comprehensive single volume on the subject1 comprising #geh pages with #bhi illustrations4 ,price1 #d4jj2 by mail1 #d4be4 8,,exercises ,,in ,,design0 ,by ,,elizabeth ,g4 ,,branch ,suggestions to teachers accompany each of the #gj full-page plates1 #gaa inches in size4 ,quarto1 price1 #c4jj2 by mail1 #c4be4 8,,first ,,lessons ,,in ,,batik0 ,by ,,gertrude ,c4 ,,lewis ,a practical handbook1 giving full information for 8,batik0 dyeing and 8tie-dyeing0 on various fabrics4 ,beautifully illustrated4 ,price1 #a4ej2 by mail1 #a4fj4 8,,permodello ,,modeling0 ,by ,,bonnie ,e4 ,,snow and ,,hugo ,b4 ,,froehlich ,gives full directions for innumerable uses of 8,permodello10 the permanent ,modeling ,clay1 which sets like concrete without firing4 ,beautifully illustrated4 ,price1 #a4ej2 by mail1 #a4fj4 ,,the ,,prang ,,company1 ,publishers1 ,,new ,,york1 ,,chicago