Nik Krevitsky

BATIKArt and Craft

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BATIKArt and Craft

Nik Krevitsky

1Reinhold Publishing CorporationNew Yorkan Art Horizons book

Frontispiece : Traditional Indian figurativebatik; courtesy, Standard Oil Co. (N. J.)

1964, Art Horizons, Inc.All rights reservedPrinted in the United States of AmericaLibrary of Congress Catalog Card No. 64-13647Type set by Graphic Arts Typographers, Inc.Printed and bound by The Comet Press, Inc.

CONTENTS

FOREWORD 6INTRODUCTION 7

1 Traditional Batik Methods 8Javanese Wax Resist 9Paste Resist 20

2 Contemporary Batik Techniques 21Dyeing by Immersion 23Direct Painting of a Batik 34Using the Tjanting 40Paper Batik 44Gallery of Examples 55

FOREWORD

The question "Batik, what's that?" is onereason for writing this book. When thelast popular book on the subject waspublished in 1919 this craft was at theheight of its vogue. At that time batik andother crafts kept decorative artists busyproducing laboriously detailed ornamen-tation for the age of opulence. Since then,a great depression, another world war,mechanization, automation, electronicmarvels, space travel, and other realitiesof the twentieth century have affected theAmerican attitude toward arts, crafts,and the individual.During recent decades we have found

ourselves searching for personal identityand values in a world that seems tohave little room for them. The vastexpansion of technical information andknow-how and the population explosionimpinge on our relationships to each otheras individuals and to the world. The needfor self-identity has never been greater,and the arts and crafts provide one out-standing means of making contact withthe creative potential that lies within allof us. The need to produce and ownhandmade objects is in part a reactionagainst the machine-dominated aspect ofalmost everything we see or touch and also

a search for our own worth as humanbeings. There is little doubt that hand-crafts fashioned with love and hard workhave come into new importance becausethey impart a feeling of great pride andjoy in knowing that the work was con-ceived and done by an individual, not amachine.

Batik has come back, revitalized andinvigorated. It is a technique that allows,simply and effectively, the production of apersonal statement, a work of art.When I was asked to write a basic

informative book on batik, I acceptedbecause I was aware that no recentexamples or ideas had been assembled as aguide. Research into the subject hasreinforced my confidence in the craft asan important and vital activity of man.My reward has been great because thisbook may serve as an answer to "Batik,what's that?" and as a guide to those whowish to express their individualitythrough a highly rewarding medium.It is my sincere hope that the followingchapters will permit the reader an inti-mate contact with this fine art form andimpart some of the joy I have had inlearning about batik and practicing it.Nik Krevitsky

INTRODUCTION

The art of batik has been known forcenturies, but its origin, probablythousands of years ago, is still obscure.Briefly, batik is a resist technique forproducing designs on fabrics. The process,in simplified form, follows these generalsteps: Selected areas of the fabric areblocked out by brushing melted wax or aspecial paste over them. After the wax isapplied, the fabric is dyed by brushingdye over it or by dipping it into a dye bath.The waxed areas, repelling the dye,remain the original color of the fabric.To achieve more intricate designs withfurther combinations and overlays ofcolor the waxing and dyeing process isrepeated.

While a simple batik can be made byusing only one dye color, the usual numberis two or three. Some batik artists use upto 20 separate waxing and dyeing stepsto achieve highly intricate designs. Sincethe colors are dyed one on top of theotherexcept where areas of the fabricare waxed outthey combine to producenew colors. The batik craftsman must beaware of the basic facts of color mixing totake advantage of this fact.

After the final dyeing, the wax isremoved from the fabric with heat orsolvents or by scraping. The decoratedfabric is then ready for use as intended:

for a wall hanging, a room divider, or asmaterial for a variety of garments.The Malaysian word batik is the term

most commonly applied to this resistprocess, since it is in Java that this artform was most extensively developed andhas been continually practiced on alarge scale. Batik continues to be a majorindustry in Java, and evidence derivedfrom the ancient decorative arts of thatcountry indicates that it has changed littlefrom the time, centuries ago, when itwas first practiced there. From Javabatik was introduced to Europe by Dutchtraders, who first imported batiks toHolland in the middle of the seventeenthcentury. Although batik is still practicedin the traditional way in the Far East, itstime-consuming method makes the trueprocess prohibitive to most Westerners.The modern Western approach to batik

is quite different from the traditionalJavanese method. It tends to be freer,bolder, and more direct and spontaneousin concept and actual production. Manycontemporary artists, both Eastern andWestern, think of batiking as they do ofpainting as a means for developing anindividual, unique work of art.Westerners also use batik to decoratefabrics. Many of the currently popularfabric designs are batik inspired or

reproduced from batiks themselves. Thereproduced prints can duplicate exactlythe pattern of an original, but they lackthe uniqueness of the handmade article.In addition, the wearer is deprived of thepleasure of showing off an original design,perhaps his own.Contemporary batik artists simplify

the traditional procedure in many ways.To prepare the fabric, they merely washit to remove sizing or other filler in orderto allow for shrinkage, and to removeexcess dye if colored fabric is being used.Wax is applied with brushes, and com-mercial dyes are used instead of home-made natural dyes. These simplificationsmake it possible for almost anyone-child, adult beginner, or professionalto create a work of art using the batiktechnique.Many new applications of batik are

emerging as new and different media arebeing explored by science. The modernchemical industries have invented newwax formulas and improved dyes. Fabricsare still undergoing the revolutioninitiated by the invention of synthetics.These developments will naturally leadto new frontiers in batik. The possibilitiesof this age-old technique are far frombeing exhausted; there are many oppor-tunities for innovation.

1. TRADITIONAL BATIK METHODS

Batik probably originated in the East,and traditional methods of batiking, some-times using natural dyes, are stillpracticed there in some places. Thefollowing sections present two age-oldmethods of resist printing: the Javanesewax resist and the paste resist techniques.Both methods are laborious and slow,and do not lend themselves to the morespontaneous creative needs of the modernartist and craftsman. However, themethods are of great interest, and byfollowing the photographic sequences inthis chapter, the student, adult beginner,or professional will develop an awarenessof how a beautiful art technique has beengracefully maintained through traditionalpractice. It is not suggested that thegeneral reader undertake the tediousrecapitulation of either of these methods.Only the researcher, museum curator, orart historian might need to recreate thehighly technical sequences.

JAVANESE WAX RESIST

Although the wax resist method ofdyeing fabrics has been practiced in India,China, and throughout the Far East,the Javanese batik is of the greatestinterest, primarily because of the eleganceof design and the still current importanceof its production in the life and economyof the country. Batiks have been madecontinuously in Java since the techniquewas introduced from either Persia orIndia, probably in the 12th century. Javais also the one place where the techniqueis still widely practiced, in some areasmuch as it was hundreds of years ago.

There are two major types of Javanese

batik : the tulis, or hand drawn, and thetjap printed. The tulis batiks are thefinest examples of batik work. Theirdesigns are entirely drawn or painted inwax by hand with a tool known as thetjanting. A two-yard-long tulis may takefrom 30 to 50 days to produce, with about15 days being devoted to waxing in thedesign.

Tulis batiks, because of the time spentproducing them and the intricacy ofdesign permitted by hand waxing, havealways been expensive. They wereformerly worn only by the nobility andvery wealthy Javanese. Today they areworn not only as dress but are popularwith Westerners as decoration.

Tjap, or stamp waxed, batiks arehandsome, but the quality of their designsis limited by the mechanical aspect oftheir production. Tjap patterns areexactly repeated geometric forms orstylized natural shapes. The tjap batikmay be produced far more rapidly thanthe tulis, and therefore costs much less.Most of the 40,000,000 yards of fabricbatiked each year are done with thetjap technique.

PASTE RESIST

Paste resist is probably the oldest formof batik. It was widely practicedthroughout the Middle and Far East andis still done in Japan, Indonesia, India,Africa, and Okinawa .There are various Kinds of paste resists,

but combinations of rice and other floursare most common. The rice and bran flourmixture widely used in Japan is combinedwith small amounts of powdered zinc

sulphate and salt and cooked to make atransparent cream, which is stirred untilcool.

Paste may be applied in numerousways, including brushing freehand orwith stencils, dabbing with the fingers,and squeezing it through a stiff papertube. The tube, which resembles a pastrytube both in appearance and use, is filledand rolled from the top to force the pastethrough the small open end.The dye in paste resist batiks is usually

applied to only one surface. It is preparedby mixing powdered dye with a gumsolution, which gives it a stiff consistencyand prevents the spreading inevitablewith more watery substances. The dyesolution is used cold. Because the fabric isnot immersed, various colors may beapplied in different areas as long as theareas are separated by paste or distance.The final dye step usually consists ofbrushing a dark dye over the whole pieceof cloth.A steam bath is used to set the dye.

Several lengths of fabric are steamedtogether. Each length is separated bymany sheets of newspaper and then all arerolled together. This roll is then rolledin more sheets of paper and the endsfolded and tied. The batch is covered witha heavy cloth and hung in a steam closet.The fabric is steamed thoroughly for atleast an hour; heavy fabrics requiremore time.

After the fabric is removed from thesteam bath, it is washed in clear, coldwater and rinsed several times until thepaste is completely removed. After it isdry, the fabric is ironed and the processis complete.

Making a Tulis Batik with the Tjanting

Preparing the fabric. Before any of thelaborious design application is begun,the fabricusually white cotton cambric-is carefully treated. First it is washedin hot water to pre-shrink it and toremove any filler, thus making it pliable.It is then steeped in coconut oil or castoroil so that the fibers will accept the dyemore readily. In this illustration thefabric is being inspected for suppleness.

Photos courtesy Standard Oil Co. (N. J.)

Squeezing off the oil. The fabric is then boiled in water to separate out oil notabsorbed by the fibers. Next, it is beaten with wooden paddles to make it sup-ple and to realign the weave, and starched to prevent the wax from running.

Weighing the ingredients for the resist. Although the proportions arewell-guarded secrets of the various factories, the wax resist usually consistsof combinations of paraffin, beeswax, resin, varnish gums, and tallow.These come from distant parts of the globe, the beeswax being importedfrom America. The ingredients are melted together and cast into blocks.

To prepare the day's supply of wax,the batiker flakes pieces from a blockof wax and puts them into an iron potset on a charcoal burner. The wax is keptin a liquid state throughout the day bycontinually stoking the burner.

Detail showing use of the tj'anting.This technique is known as the tulis, orhand drawing, method of batiking.

First outline waxing of the batik.The design has already been carefullysketched in with charcoal. The youngwoman follows the charcoal drawingprecisely, depositing a fine line of waxwith the tjanting. She then turns thefabric over and waxes the back toadequately protect the fabric from thedye when it is immersed in the dye bath.

11

A variety of tjantings showing single andmultiple spouts. The multiple-spoutedtjantings deposit parallel lines or dots.Some spouts are so narrow that theyleave a wax line only 1/25 inch thick.The bowl of a tjanting is copper or bronze,both good conductors of heat, and istapered at the top to help retain the heat.The spout is also carefully tapered frombowl end to tip for proper flow of thehot wax.

Second waxing of the fabric. Areas that are to remain white or indigoare covered by another coat of wax. The second waxing, like the first,must be done on both sides of the fabric. The fabric is then immersedin the second dye, ustcally a reddish brown. The uncovered white areasdye reddish brown, and the unwaxed indigo areas turn a rich deep brown.

After the first application of wax, thebatik receives its first dye, usually indigo

blue. As soon as the fabrics are pulledout of the dye vat, they are hungstraight so that the wax does not crack

and the dye remains even. When thefabric is dry, the first wax designorparts of itis scraped off. The underlyingparts, which have been protected by thewax, are white.

Preparing sago bark for making reddish-brown dyes. The bark is chopped intosmall pieces and soaked with a mordantto make the second color of the traditionalbrown and blue Javanese batik.

Batik being dipped in the second dye bath,the reddish-brown dye made from thebark of the sago tree of Borneo. The tubis large enough to allow the fabric to becompletely immersed and agitated inthe bath.

Drying batiks after the second, and final,application of dye. This step is followedby boiling the fabric in water to removethe wax. The wax residue is salvagedto be mixed with fresh wax for later use.

Finished batiks hanging in the sun to dryafter the wax has been boiled awayin water.

One of the most intricate traditionalDjogja batiks, made by the processpreviously described. This pattern,which required six months to complete,is called sruni after a local flower.The sruni batiks are used as sarongs andreserved for formal functions.

Traditional step-by-step method of making a tulis batik15

1. The prepared fabric after washing,oiling, boiling, beating, and soakingin thin starch

Photos courtesy Republic of Indonesia

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U. Reverse side of the fabric, showingits coat of wax

5. Large areas not to be dyed the firstcolor have been waxed

6. Reverse side, showing same treatment

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Areas to be dyed the second colorhave been scraped and wax appliedto those that are to remain indigo

9. Second dyeing, in reddisk-brown

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10. The finished batik, after it has beenwashed in hot water to remove the wax

Making a Tjap Batik L9

Tjap waxing can be don* in a fraction oftin time that it takes to tract u designwith the tjanting. On* man mmi prodas many as jo tjap batiks in a singl* day,while it ordinarily takes s* v* ral uweeks to eompU t* on* hand-waxi d work.Tin tjap stamp is made of metat T)of the design or* form* d by thin stripsni eoppt r inn! tin dots tin short stumps ofwin . These art soldered to a solid copperbase with mi attached iron handle.The artisan pr* \ses the tjap onto a padsaturated with molU n wax and thenapplies it to the cloth. Tin* must be don*on both siih s ni tin fabric, and mate}tin design requires considerabU skill.

Photos eourtetty Standard ">/ Co. (N. J.)

Stamp print inn with the tjap, a tooldevised for accelerating the production

of batiks. Tjap stamping was introducedin to Java in 1850 from Madras, India,where it had been used extensively sincethe 15th century. Stamping is done almostexclusively by men, whereas women dothe meticulous work of hand drawingin wax with the tjanting.

Scraping the tjap printed batik after thefirst dyeing. Between dye immersions,areas to be exposed for subsequentcolors are scraped with a smooth woodenstick. The stick is used for scrapingha ml-waxed as well as tjap-printed ha t iks.

20 Traditional Paste Batiks

Most of ' -': is applied freehand, using a tube, brush, oras illustratedherethe fingers. Delicate outlines may be laid in using the tube and theinterior of the form gently patted in with the fingers. The paste resistdesign can be clearly seen to the right of the artisan's arm.

Applying the pas'e. The batikersfront of the fabric, which is stretched bybamboo bract - -pended betsmall wooden horses. He - akingsmall details by squeezing paste througha tube.

Drying the fabric. After each applicationof paste or dye. the fabric must bethoroughly dried. B 1 1 strips arehung across the room. As the fabric driesit becomes lighter and the batnboo

become straighter as the weightdiminif -.because of the flexibilityof the bamboo, the fabric remains taut.

2. CONTEMPORARY BATIK TECHNIQUES

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Dyeing by Immersion

Although many variations of the basicbatik technique are possible, a simplifiedversion of the traditional Javaneseprocess will be demonstrated first. Thismethod involves applying wax to thefabric with brushes and dyeing byimmersion.Once this technique is mastered, one

may go on to its variations: brushingdyes directly onto the fabric, and usingthe tjanting.

MATERIALSNo unusual materials or equipment are

required for first experiments in batik.Most of the items listed below areordinarily available in the kitchen orclassroom.

FABRICS

Closely woven, thin fabrics are best for

batik. Sheer cottons and silks areexcellent. Used fabrics such as wornsheets work well, especially for pre-liminary experiments. Avoid fabricstreated with water repellentssuch asdrip-dry fabrics ; they contain resinswhich may cause difficulties in dyeing.Some synthetic fabrics, such as orlon andnylon, can be used for making batiks,but only with dyes specially formulatedfor them. Heavier fabrics, such as theheavier cottons and silks or linens, can beused successfully in batik; however,since wax penetrates them less readily,they will require waxing on both sides toprevent the dye from penetrating thewaxed areas from the underside. Heavierfabrics may also require greater quan-tities of water and more dye stuff, since

the weight of the fabric exhausts more ofthe dye from the bath and absorbs moreof the liquid. Insufficient dye can causeirregular coloring.

Many of the household dyes commonlyavailable in drug and variety stores aresatisfactory. Do not use dyes that requireboiling the fabric, as this will melt thewax. Dyes should be of a type that can beused in lukewarm water. Be sure thatthe dye used is compatible with the fabricto be batikedand follow directionscarefully.

Colored waterproof inks are recom-mended for accents. Both dyes andwaterproof inks can be used when coloris applied to the fabric by brushingrather than by immersion. Felt-tip penscontaining strong alcohol dyes provide ameans of making accents conveniently.

Ordinary paraffin is adequate andinexpensive. A slight addition of beeswaxto the paraffin will provide a more flexiblemedium. The ideal resist medium containsmostly beeswax ; it is very flexible andwill hold up under immersion in warmerdye baths. Beeswax is, however, veryexpensiveunless a local beekeepercan provide it in its unrefined state.

Brushes are the only tools needed forthe basic wax and dye technique.An assortment of expendable, inexpensivebrushes should be on hand. Bristlebrushes are good for painting large areasor making wide strokes. Soft brushes,

such as the inexpensive Japanese inkbrushes, are useful for small areas andthin lines. Do not use fine watercolorbrushes. They work very well, but theyare expensive and difficult to cleanthoroughly once they have been dipped inhot wax. Wax stiffened brushes becomeflexible again when they are dipped inhot wax. Wax may be removed frombrushes with mineral solvents.

Improvised implements for applyingwax can provide a variety of unusualtextural effects. Objects used in stampprintingsuch as pieces of wood, corks,sponge fragments, etc.can be dipped inhot wax and applied to the fabric.A syringe or plastic dispenser can beused for squirting wax onto the fabricfor spontaneous lines and patterns.

SPECIAL EQUIPMENTElectric plate for heating the wax

container. (If wax is heated over anopen flame, an asbestos mat shouldbe used)

Double boiler or tin can (placed in a panof water) in which to heat the wax

Electric iron for removing the wax fromthe fabric

Waxed paper, newsprint, newspaperLarge glass, copper, or enamel container

in which to dye the fabricRubber glovesStirring sticksPlastic clothesline and clothespinsAcetic acid for fixing the dye (household

vinegar will do)Solvents for removing the wax (e.g.,

mineral spirits, commercial cleaningfluids, gasoline, kerosene)

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Basic equipment for beginning experi-ments in batik. From left to right :solvent for final cleaning, jars of dyes,rubber gloves, electric plate and tin canfor heating wax, oil for preliminaryfabric rinse, paraffin and beeswax,assorted brushes, acetic acid for settingdyes, assorted tjantings.

Dyeing by Immersion 23

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1. Fabric showing preliminary drawing and first ivaxing covering areas to remain white Photos b>j Peter Balestrero

PREPARING THE FABRIC

It is advisable to wash and press thefabric in preparation for the waxing.Washing will remove any filler from thefabric and prevent later shrinkageduring the dyeings. Next, apply a thinstarch solution to the fabric and press it.Starching permits a smooth applicationof the wax and prevents edges of the wax

from bleeding during the waxing process.

DRAWING THE DESIGN

Although one may begin by workingspontaneously on the fabric without apreliminary design in mind, it is helpfulto work from a drawing or plan. If oneis able to visualize the additive aspect ofthe technique, a complete color sketch

might be of considerable help in the actualmaking of the batik.The easiest methodwhich was used in

the accompanying demonstration is todraw with charcoal the areas to bereserved on the fabric in the first waxing.Charcoal will wash out in the manydippings and rinsings of the fabric.Other sketching materials, such as

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2. First dyeing (yellow). Waxed areas have resisted the dye

pencil, are less likely to wash out.A design may be transferred from anoriginal drawing by using carbon paperor by using a pricking wheel, whichproduces a delicate pinpoint line onthe fabric.

FIRST WAXING

Brush melted wax onto the fabric in

lines or areas to be reserved. This willprotect those areas which are to remainthe original color of the fabric (white, inthe accompanying demonstration) . It isimportant to plan this and subsequentwaxing steps in advance. At no laterstage, once a dyeing is done, may oneretrieve a color unless controlledbleaching is possible.

Waxing may be done in several ways.If it is desirable to work with the fabricin a horizontal position, place it on a flatsurface protected with waxed paper orother smooth, non-absorbent material.For greater control, the fabric may bestretched over an improvised frame, suchas a canvas stretcher or large woodenpicture frame, and tacked down with push

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3. Second waxing covering areas to remain yellow

pins. If the fabric is larger than theframe, it can be moved over the frameand waxed one section at a time.

If the worker prefers to see the entiresurface all at once, a vertical frame, suchas a curtain stretcher, is recommended.However, the vertical position is awkwardand uncomfortable for the batik techniquebecause of the flow of the wax on the

brush or other tools used. For brushingin large areas, however, the verticalposition works very well. The wax mustbe kept hot enough to penetrate the fabricimmediately upon contact. When the waxbegins to dry on the surface of thefabric, it is time to reheat it.

After the first waxing, inspect thefabric for penetration of the wax. If the

fabric is heavy, it may be necessary toapply wax over the same areas on thereverse side. Thin fabrics such as silkseldom require double waxing.

FIRST DYEING

It is advisable to make the first colorthe lightest one used, and to conceive thedesign as one in which colors add to

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8. Fourth dyeing in black

THIRD WAXING

After the fabric has been dried forthe second time, areas to remain the colorof the second dye are covered with waxas before. At this stage the fabric haswax over the white, yellow, and orange

,

areas. The remaining, unwaxed areaswill be dyed the next colorchestnutbrown.

DYEING THE THIRD COLOR

The fabric is immersed in the thirdcolor (in the demonstration, chestnutbrown) , following the usual procedure.The chestnut brown dye combines withthe second color to produce a rich,warm brown.

FOURTH WAXING AND FINAL DYEING

After the fabric is dry following thethird dyeing, areas to remain brown arewaxed out. The remaining exposed areaswill be dyed the final, darkest color-in this case, black.

FINISHING THE BATIK

The fabric after final dyeing is finishedby removal of all the wax. This is done

::i

.9. Batik with all the wax removed

by pressing it with a hot iron. Placeseveral sheets of newspaper over theironing surface and cover them withplain newsprint. Lay the fabric on this,and cover it with newsprint andnewspaper, in that order. Press withsufficient heat to melt the wax out of thefabric. The ironing must be done severaltimes, and an adequate supply ofabsorbent paper, paper towels, or old

cloth should be available to simplify thisprocedure.

Fabric may also be dipped in a vat ofgasoline, kerosene, or other inexpensivesolvent which will dissolve the wax.This treatment removes the wax morethoroughly than does the ironing, butspecial precautions must be taken whenworking with flammable and sometimestoxic solutions.

Unless very strong, special batik dyeshave been used, it is unwise to washthe finished article; therefore drycleaning is recommended. An excellentprocedure for fixing the dye is to steamit with an acetic acid solution (such aswhite household vinegar) . A simplemethod for doing this is to cover thefinished batik with a cloth saturated withthe solution and press it with the iron.

28

6'. Third dyeing (chestnut brown)

prepared by washing and drying beforethe first application of wax, there is noneed to follow dye directions aboutremoving filler from new fabric. Becausethe dyeing, to be successful, requiresmoving the fabric about in the bath witha dye-stick or with one's hands (protectedby rubber gloves) , it is not convenientto dye isolated areas of batik by

immersing. Designs requiring this can bemore easily dyed by brushing dye ontothe fabric, as demonstrated in thenext section.

For good, even dyeing, every part ofthe fabric must be equally exposed to theaction of the dye. This is achieved bystirring, turning, and lifting the fabric.Allowing the fabric to remain in the bath

in one position can result in a variety ofaccidental effects. Always remember thatcolors will appear brighter and darkerwhen the fabric is wet. Therefore, thecraftsman is advised to allow the fabricto remain in the dye longer than thecolor desired.

After the dye is applied, the fabricshould be rinsed carefully to remove the

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7. Fourth waxing, covering areas to remain brown and leaving exposed those areas to be dyed the final, and darkest, color black

excess dye. Blot the fabric before hangingit to dry to prevent streaking andrunning. Wringing is not recommended.To dry the fabric, hang it carefully fromone side (not doubled over) withclothespins on a plastic clothesline.

SECOND WAXING

When the fabric is completely dry

after the first dyeing it is ready for thesecond reserving of wax. This applicationof wax will cover those areas which areto remain the color of the first dye.Wax is again applied, as previously,with careful inspection of the reverseside of the fabric.

DYEING THE SECOND COLOR

The fabric is then dipped into thesecond color (in the accompanyingdemonstration, red) , following theprocedure outlined for the first dyeing.The action of the red over the yellowcreates an orange hue. The second coloris also slightly darkened by combinationwith the first.

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8. Fourth dyeing in black

THIRD WAXING

After the fabric has been dried forthe second time, areas to remain the colorof the second dye are covered with waxas before. At this stage the fabric haswax over the white, yellow, and orange

,

areas. The remaining, unwaxed areaswill be dyed the next colorchestnutbrown.

DYEING THE THIRD COLOR

The fabric is immersed in the thirdcolor (in the demonstration, chestnutbrown) , following the usual procedure.The chestnut brown dye combines withthe second color to produce a rich,warm brown.

FOURTH WAXING AND FINAL DYEING

After the fabric is dry following thethird dyeing, areas to remain brown arewaxed out. The remaining exposed areaswill be dyed the final, darkest color-in this case, black.

FINISHING THE BATIK

The fabric after final dyeing is finishedby removal of all the wax. This is done

31

Batik with all the wax re

by pressing it with a hot iron. Placeseveral sheets of newspaper over theironing surface and cover them withplain newsprint. Lay the fabric on this,and cover it with newsprint andnewspaper, in that order. Press withsufficient heat to melt the wax out of thefabric. The ironing must be done severaltimes, and an adequate supply ofabsorbent paper, paper towels, or old

cloth should be available to simplify thisprocedure.

Fabric may also be dipped in a vat ofgasoline, kerosene, or other inexpensivesolvent which will dissolve the wax.This treatment removes the wax morethoroughly than does the ironing, butspecial precautions must be taken whenworking with flammable and sometimestoxic solutions.

Unless very strong, special batik dyeshave been used, it is unwise to washthe finished article; therefore drycleaning is recommended. An excellentprocedure for fixing the dye is to steamit with an acetic acid solution (such aswhite household vinegar) . A simplemethod for doing this is to cover thefinished batik with a cloth saturated withthe solution and press it with the iron.

32 Examples of Simple Batiks Dyed by Immersion ' oj 1'. " ' t T.

-

.-;)

33

Wall hanging of stylized plant forms,showing crackle effect achieved in finaldyeing. By Opal Fleckenstein

'-;... d'/.i-J

Wall hanging based on architecturaltheme. Several dye colors on whitecotton. By Sylvia Steiner

Decorative wall hanging by Mary A.Dumas. Courtesy, San Francisco Museumof Art

34

Direct Painting of a Batik

The true batik technique which hasjust been demonstrated (wherein areasare waxed to reserve them and the entirefabric is then dipped into a dye bath)is followed, with modifications from thepure Javanese technique, by most artistsworking in this medium today. Thenon-conformist who prefers his owninnovations inevitably works out apersonal method. No two Western batikartists can be said to approach themedium in exactly the same way.Many of them have experimented withvariations on the medium, and severalincorporate unorthodox techniques.One of the common deviations is the

hand-painting of the dye onto theunreserved areas, sometimes incorporatingthis with the dipping procedure. Thispaint-on technique of applying colorto the fabric is a simple exercise whichallows for considerable license and givesthe beginner an opportunity to experiencea variety of possibilities. It is recommendedas a first introduction to batik.One of the advantages of painting on

selected reserved areasrather thandipping the entire fabric in dye for eachcolor is that several colors may beapplied with ease in separated wax-freecloth islands. Colors may also be blendedwithin any one open space. The directpaint-on dyeing technique may be donewith strong concentrated dye solution.A simple substitute, though relativelymore costly, is waterproof ink. These inkscome in a good range of brilliant colorsand combine well for intermediate hues.Available in % -ounce bottles, they aresuggested for small designs, such as silkhandkerchiefs. If one is to use them for

Brushing on the first application of vmx.The fabric is placed on waxed paper sothat wax seeping through will not causethe fabric to stick to the work surface.

larger pieces it would be wise to purchasethe half-pint, pint, or quart size bottles,as there is a great saving in cost. Theseinks may be diluted, but for batik purposesfull strength is recommended. They arewater-soluble in use, but waterproofafter they have set. However, they arenot guaranteed to be wash-proof andtherefore dry cleaning is preferred.One great advantage of these inks is theirintermixing quality ; a wide range ofintermediate hues is possible with them.In the direct color application, pure

colors may be juxtaposed allowing for abrilliance or vibration that super-imposition of colors, commonly used indipped-dyed batiks, might violate.The process may be continued with waxing

and painting for combined colors anddetails as one develops the design. Thefinal step in the coloring may be thecrackling for a linear veined texturaleffect. This may be done in a bath of dye,as illustrated, but it might also be easilyachieved by brushing over the waxedfabric with ink or dye using a wide brush

;

a 2-inch varnish brush is good for thispurpose. Crackling penetrates more ifthe fabric is immersed in dye. However,to control areas where crackle is desiredor to achieve variation in the cracklecolor in separate parts of the batik, thebrush technique is preferable.A further advantage of the hand-

painting approach is that of spontaneity,the ability to build and change certain

35

Painting selected unreserved areas withcolored, waterproof inks. Concentrateddyes may also be used. A variety of colorsmay be applied in the different isolatedislands of the exposed fabric. After thisfirst application of colors, the fabric isallowed to dry.

After a second waxing, which covers partsof the first colors applied, additionalcolored inks are brushed onto the stillexposed areas, creating deeper tones andvaried hues.

areas as the design develops, and toconstantly work, as the painter does, withchanging relationships and adjustmentsas the image emerges. The completelypreconceived work, traced from a carefullydone sketch, might very easily end upwith a tight sterile end product. Thevitality of most works of art results inpart from the momentary decisions aswell as the deliberations of the artist ashe changes the work in progress. Thestrength of the color, the length it remainsin the dye, the number of layers of inkapplied, all these sensitive smalladjustments are what make the work ofart the product of a creative person.Between making the sketch and completingthe work the artist inevitably grows; so

must the work. Do not attempt to makea batik look exactly like a pencil drawing,or watercolor, or a cut paper color sketchwhich you may use for the plan. Do nottry to translate an oil painting into thebatik technique. The medium does notlend itself to this kind of reproductionwith any degree of success. Evolve a stylewhich expresses the medium. This willcome if you approach batik freshly andexperimentally. Do several tests orsamples of the basic steps; wax in lines,or areas, dye or brush color onto the testpiece, add more wax, add another color.If the result is a brilliant new color youare already well on your way. If it is adisappointing muddy tone, you havelearned something about color. After

several sample runs you are ready toexperiment with your first piece. Tryingthe hand-painted technique might be thequickest way to learn.To proceed, follow the accompanying

sequence of illustrations of a work inprogress. The example illustrated wasdone in greens, blues, and purple on aturquoise colored fabric. After first waxreserving, yellow waterproof ink was usedto create a rich green color. After furtherwaxing and coloring with additions ofdarker green, blue, and purple inks, awide range of closely related hues wasachieved. Final treatment of crackleand a dye bath in dark purple was theonly step in which the entire fabric wasimmersed in dye.

36

Continue adding wax and painting in withdarker colors until the design iscompleted. This illustration shows thefinished design, with the wax removed,before the final treatment for crackleeffect.

To prepare for a unifying, allover crackleeffect, the entire surface of the fabricis covered with wax. After the wax hasbeen cooled to make it more brittle(this can be hastened by placing thewaxed fabric in the refrigerator), thefabric is crumpled.

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m*:&m&liHow the crackled wax looks before thefinal dyeing.

Dipping the fabric in a (lurk dye hath.The dye penetrates the fabric wherethe cracked wax exposes it to create anoverall pattern of dark veined lines.

Rt moving wax by rubbing the drii dfabric. This wax may be saved for futureuse.

The remaining wax is removed bypressing the fabric with a hot iron. Thefabric is protected by layers of newsprintor newspaper to absorb the tear.

38

The finished fabric, showing the crackle effect

Examples of Batiks Dyed by Direct Painting 89

Celebration banner waxed and brushdyed by a five-year-old. Lettering wasdone by the child's father.Courtesy, Prof. Maurice GrossmanPhoto: Balestrero

Detail of batik on unbleached muslin bycollege student.EWSC News Bureau

40

Using the Tjanting

Until very recently American batikartists were limited to brush techniquesand unable to do the fine, controlled linedrawing- possible with the tjanting,unless they had inherited the tool fromsomeone who had used it in the early1900'sthe period of batik's last greatvogue in Europe and the United States.Handmade tjantings, though simple in

concept, require the skill of a fine metalcraftsmen for their construction. Shapingthe cup, soldering the tube spout to it,and fashioning a handle with which tohold the hot tool require more thanamateur ability. Fortunately, however,the tool is now produced commercially.Craftools, Inc., of Woodridge, New Jersey,manufactures three sizes of tjantingswhich may be obtained directly from thecompany or found in many well-equippedart supply stores.The tjanting is used as a drawing tool,

depositing hot wax from the metal bowlthrough a thin tubular spout. The toolis loaded by dipping it into a pan of hotwax and filling the bowl half full. A fewpractice strokes should be made beforewaxing the fabric to get a consistent flowof wax. Very hot wax right out of thepan may flow too freely at first. When thewax becomes too sluggish during use,it may be reheated to the proper con-sistency by holding the bowl of thetjanting over an alcohol lamp. Avoidusing a candle flame, since great care mustbe taken not to carbonize the wax ordeposit soot on the spout. Soot smudgesare hard to remove from fabrics.The tjanting is used for lines, for

detailing, and for controlled outlining ofareas to be broadly filled in by the faster,though cruder, technique of applyingwax with a brush. With a little practice

Commercial tjantings available from Craftools, Inc., Woodridge, New Jersey.These tjantings came in three spout sizes: A (the smallest), B, and C.

Simple one-color batik with white lines hand drawn with the tjanting, by MichaelO'Connell. Courtesy, American Craftsmens Council

and control, the batiker is able todeposit regular lines of wax by barelytouching the cloth with the tip of thespout.

The commercial tjantings may be in-adequate for the craftsman interested ina wider range of effects. However, once

he has become familiar with the potentialsand limitations inherent in the tjanting,any craftsman could design his own tosuit his particular needs. Designs couldbe taken to a skilled metal worker whocould fabricate tjantings from copper andcopper tubing.

41

"Composition," wall hanging by MaudRydin. The light lines and dots werelaid in wax using a tjanting. The heavierblack lines are edges of areas waxedto resist the darkest dye used. They wereleft exposed to the action of the dye.

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Here the tjanting has been combined with.brush application. The lightest dotsand dashes were waxed before the firstdyeing, the darker ones after subsequentdyeings.Photo by Allen Deyo

Wax resist lines drawn with the tjantingmay be handsomely contrasted withlines scratched through wax. Here theartist uses a screwdriver as a scratchingtool, taking care not to gouge and tearthe fabric. Awls, mimeograph stenciltools, dental instruments, and otherpointed, but not sharp, tools are alsosuitable.

Photo by A. Malmberg

43

"Centaur," "Birds," and "Horse" byMaud Rydin. A variety of lines, dots, anddetails has been developed with thetjanting and by scratching through wax.The bold, large areas contrast with thedelicate, spidery lines. There are twokinds of lines: the controlled onesdeveloped with the tjanting and byscratching and the accidental onescharacteristic of crackling.Photos by A. Malmberg

* "11 M11M

44

Paper Batik

Batik is an extremely versatiletechnique. Once the basic principlethat certain media will repel othermedia is understood, it may be utilizedin an infinite variety of ways. One of themost rewarding applications of the resisttechnique is paper batik. It is simple andinexpensive to do and produces excitingresults with a wide range of effects.Paper batik is within the range of thevery young child, yet it is also a legitimategraphic technique important to themature artist. Some unusual contemporarydrawings, illustrations, and advertisingart incorporate aspects of the resisttechniques described here.The steps for making paper batiks are

similar to those for making cloth batiks,the main difference being that the papersare generally not immersed in dye baths.In paper batik the resist is usuallybrushed or drawn on the paper andcovered with another medium, whicheither rolls off or is scraped or washedoff the resist.

Before beginning any extensive projectinvolving much time, it is highlyrecommended that you experiment withyour materials on paper. Paper batikmaterials, like any others, have theirpotentials and limitations. A few

preliminary exercises in applying theresist and developing dye applicationtechniques will help you discover theseand set your goals accordingly.An important consideration in paper

batik is choosing the right kind of paperfor the texture or effect you wish toachieve. Although most kinds of paper aresuitable, some are not because they arestructurally weak. Since the batik processsubjects paper to considerable wear,only the sturdier papers should be used.Newsprint, although one of the mostpopular and available of all papers,should not be used because it will notwithstand hard rubbing with crayon orwax. It is therefore especially difficult tocontrol, particularly by young children.Beginners of any age should avoid fragilepapers, such as art tissue, as they requireunusual care throughout the batik process.Mimeograph bond and similar papers

are recommended for basic experiments.Construction paper, which is quite sturdy,stands up well under repeated rubbing,scrubbing, and wetting. Bristol and posterboards are good when smooth surfacesare desired, and they are easy to work on.For variations in texture, charcoal andrough watercolor paper are particularlyrewarding. The "tooth" of these papers

holds both resist and dye media well,and promotes interesting applicationtechniques. The wide variety of elegantOriental papers is suited to both modernand traditional approaches to batiking.Because these papers are interlaced withstraw or silk fibers, they stand upwell under rough treatment and areparticularly suitable forcrackling effects.

The color of the paper affects theappearance of the finished work, no matteiwhat resist or coloring media are usedover it. For the beginner white paper issuggested. Its surface acts as a reflectorfor the translucent crayons and givesa brilliance of contrast not possible withcolored papers. Colored papers, on theother hand, may be used to createunexpected color mixturesand subtletieswhich are desirable when brilliance orstrong contrast are not the mostimportant aspects of the work. Forexample, yellow crayon on white paper issunny and luminescent; the same crayonon blue paper achieves a greenish hue anda duller effect. Generally, light coloredcrayons that appear bright and clearagainst white are likely to be muddy anddrab on colored grounds.

Roll-off Techniques

The paper batik technique that mostclosely resembles fabric batiking is roll-off.In roll-off, the design is applied in wax,and the dye or pigment brushed ordabbed over the paper. The coloringmedium will be resisted by the wax androll off to stain only the unwaxed partsof the paper. Like fabric batiking, roll-offallows a great deal of versatility anduniqueness in approach. The artist maybuild up his paper batik in various stagesby separate waxing and dyeing, or he maycombine the numerous kinds and colorsof resist media and set them off by asingle dyeing.The most successful and easy to use

roll-off resist media are crayon andparaffin. Crayons come in a wide varietyof kinds, colors, and sizes, and a bit ofexperimentation is necessary to determinewhich are the most successful as resistmedia. Generally, the most effectivecrayons are the waxiest. Since a heavyapplication involving considerableamounts of crayon is necessaryunlessone is doing a finely detailed linearwork large kindergarten crayons arerecommended. These are cheap and coverwell. The recently developed oil crayons,which are more expensive than thekindergarten crayons, blend easily intoa wide variety of colors and effects andwill prove particularly rewarding for themature artist. Pressed crayons do notwork well as resists. They are too hardand do not deposit as waxy a residue asdo the softer crayons and oil crayons.

Paraffin is an excellent and inexpensiveresist material, if a colored resist is notdesired. It may be used in block formlike a crayon or melted and brushed on,as in fabric batiking. Candle stumps mayalso be used and are easier to handle

This first (/ruder used a variety ofcolored crayons on white paper, whichwere washed over with a thinned solutionof black poster paint.Photo by Peter Balestrero

than a block of paraffin. Either paraffinor candles on colored paper will protectthe original color of the paper and allowit to show through the dye media. Meltedparaffin will penetrate thin papers andprotect both sides, permitting immersionin a dye bath for the crackle effect.Since paraffin or candles serve littlepurpose in most finished batiks, themedium may be removed by placing thebatik between newsprint or otherabsorbent papers and pressing it with awarm iron. Sometimes, however, thestrength and luminosity that the waxgives is quite desirable in a finished work.For a translucent panel, such as a shojiscreen, the wax-impregnated papersare very effective.

After the waxed lines or areas are putdown, the dye media are applied. Thesemedia may be watercolors, inks, fabric

dyes, or tempera paints. Watercolors,fabric dyes, and colored inks aretransparent and easily roll off waxedareas. Tempera, or poster, paints must bethinned; otherwise the pigment particlesand the binders used in the paints tendto cover the wax design. If adequatelythinned and quickly applied, temperarolls off easily too.An important aspect in applying the

paint or dye is the way in which youbrush it on. All media should be appliedwith soft watercolor brushes, pointedones for details and broad flat ones forwashes. Avoid stiff bristle brushes, sincethey are likely to scratch through theresist. Work quickly and smoothlywith little stroking or rubbing back andforth. The more you scrub with thebrush, the more likely the paint willcover the resist.

46

A fanciful landscape of trees created by 4pa six-year-old using colored wax crayonsivith a watercolor wash.Photo by Peter Balestrero

Sun rising on an Indian encampment by ajunior high school student (7th grade).The multicolored crayon drawing onwhite paper was covered with a black anda blue-green watercolor wash.Courtesy, Tucson Public Schools

t Photo by Peter Balestrero

A simple, direct statement in crayonresist. The multi-colored design of waxcrayons was boldly applied to white paper.Then the entire surface was coveredwith black poster paint, which rolled offthe waxed areas, texturing themsomewhat with small spots of paint.Rosemaric Mandarino, The Studio,Binney and Smith, Inc.

The train switchyard by a third-gradestudent. A red watercolor wash wasbrushed over the blue, yellow, and black-crayon drawing.Pliot a by Peter Balestrero

47

Color was applied to white paper withsoft oil crayons and blended by smearing.Black watercolor was then brushed onin selected areas to silhouette the forms.Much of the white paper is left exposed.

The roll-off technique using oil crayons.The drawing was made with yellow,green, and orange crayons on white paperWashes of blue and black watercolorwere applied in controlled areas toachieve a combined resist and watercolorquality.

Crayon resist by a seven-year-old. Boldlyapplied crayon in several colors wascovered with thinned opaque blackwatercolor, which rolled off the waxed

49

The star was firxt drawn in pencil onwhite paper. The shapes were colored withwax crayons and paraffin (to permit thewhite paper to show through). A bluewash was brushed over the design.

A geometric repeat pattern in crayonswith a black watercolor wash.Courtesy, Prang Textile Studio,American Crayon Company

50 Instead of drawing with crayons, theartist brushed melted wax over the paperbefore applying a dark watercolor wash.

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,

-i ti AjMiitii'in' i r : r' 1 1 v ha&Stripe designs in multi-colored crayonsover colored paper. A wash of bluewatercolor was brushed over certainareas, black over others.

Wax resist drawing works well forcreating high lights or modeling a form.To create this portrait, white crayonivas applied to colored construction paper.Black watercolor ivash was brushedover the crayon.

Rubbings

Rubbings involve transferring asurface texture onto paper. This is cloneby placing the paper over the texturedobject and lightly and repeated] rubbinguntil the pattern of the texture appears.The more prominent parts of the texturewill receive more rubbing and emerge asthe most dominant parts of the pattern.Rubbings may be easily made withcrayons or paraffin, and are greatlyenhanced by the batik technique.

Rubbings may be made from kitchengadgets, grainy wood, leaves, perforatedmetals, bas reliefs, and other man-madeor natural items. Anything whose textureforms an interesting pattern may be used,as long as the texture has definite contrast.

Only light, strong, fairly flexible papersshould be used in making a rubbing.Oriental papers are ideal, but goodquality rag content paper will do as well.Thick stiff papers will not follow thecontours of the texture, and no definiteimage can be produced. The crayon orparaffin must be carefully applied,broadside not point-end. Work gently,for rough textured objects are likely totear the paper if you rub too roughly.While rubbing, keep the paper and objectsteady. If either moves, the image will beblurred or smeared, rather than sharpand clear.

Rubbings made from veined leaves anda collapsible metal vegetable basket.The impression is created by placingfairly thin paper over the textured objectand rubbing crayons or uncolored waxover it. The black watercolor wash whichwas applied to the paper rolled off thewaxed impression.

32 A black India ink drawing was made onheavy tracing paper. Crayons in a varietyof colors were used to fill in the figuresand the background. The entire surfacewas then covered with a wash of blackposter paint. The crayon areas wereuncovered by scraping through the washand rubbed for added luster.Alexandra Henn, The Studio, Binneyand Smith, Inc.

Scrape-off

For strong contrast between waxed anddyed areas, undiluted poster paints orIndia ink may be used. These media,however, do not roll off the wax. Theystick and obliterate the image. Therefore,after they have dried, they must bescraped off the waxed areas.

If you plan to use the scrapingtechnique, make sure you apply enoughcrayon or paraffin to the paper so that

you won't scrape straight through tothe paper. Scraping is particularlyeffective on rough-textured papers. With arazor blade you may skim over the mostprominent parts of the paper, and leaveinteresting little valleys of paint or ink.When the scraping technique is used onsmooth papers, the result resembles ablock print. In fact, some artists who workin block printing make preliminarysketches with this resist technique.

Over an India ink drawing on heavytracing paper, the artist applied flat areaswith colored wax crayons. A texturedeffect was achieved by placing the paperover wire screening and veined leaves.The entire surface was covered with awash of black poster paint. Finally, thesurface was scraped to reveal the crayonand burnished with a wad of cotton.Rosemarie Mandarino, The Studio,Binney and Smith, Inc.

ir/aw c h-' - -.

Wash-off Techniques53

Wash-off techniques are variations of theclassical paste resist on fabric explainedin Chapter I. In both modern and classicalmethods, a water soluble resist is coveredby a non-water soluble dye or othercoloring agent. This dye covers both paperor fabric and resist, but penetrates onlythe former. When the waterproof agenthas set, the resist is washed off with water.Modern wash-off paste resists include

library paste, wheat paste, flour pastes,and corn starch. Poster paint, undiluted,is quite effective and appropriate forschool use. Gum arabic applied thethickness of heavy cream will give unusualeffects. These resists may be used bythemselves or in combination with otherwater-soluble resists.The steps in all wash-off resist methods

are similar. First the water-solubleresist is applied quite thick. It shouldalmost form little mounds on the paper.After it has dried, waterproof inks arecarefully brushed on. Care should betaken not to rub these back and forthover the resist, as the resist may smear orrun. Allow the ink to penetrate completelythe fibers of the paper, dry, and set.After it has set, gently wash away theresist. Do not scrub the paper; it isn'tnecessary.

White poster paint was applied in a thickpaste consistency to colored constructionpaper. When it was thoroughly dry,waterproof color was brushed over it inselected areas of the composition. Whenthe color was dry, the entire painting waswashed under the tap. The color washedoff the thickly painted white areas.

54 Rub-off Techniques

Several kinds of substances may beapplied to paper, painted over, and thenpicked up, leaving unpainted the areasthey formerly covered. These resistmaterials fall into two broad categories-liquid adherents and masking papers.The best liquid resist for the rub-off

technique is rubber cement. Rubbercement may be brushed, dripped from thecontainer, or dripped from the brush inmuch the same way as the action painterdribbles oil paint onto his canvas. Thismedium and its method of application donot allow the control possible with otherresist techniques. However, excitingaccidental results and a spontaneousquality can produce very handsome works.When the rubber cement has dried,

watercolor, thinned poster paint, or inksmay be applied over it. The cement willresist the colors, which will penetrate onlythe uncovered areas. After the paintsor inks have dried, the cement may beremoved by rubbing it off with the fingers.Masking papers include frisket paper

and gummed papers and masking tapes.These are temporarily stuck onto paperand later removed by peeling them off.Since both papers and tapes must be cut toshape, very little free-form design oraccidental effects will result. The use ofthese materials must be deliberate andwell planned. The most effectiveapplication of masking papers is probablyin advertising art. Letters, words,symbols, simple geometric forms, andlarge areas may be reserved.High quality, hard finish papers must

be used for both rubber cement andmasking papers in the rub-off technique.Soft, fibrous, or fuzzy papers will tear upwith the resist materials when they areremoved. Rubber cement may be used ongood bond paper; gummed papers andtapes should always be used on veryheavy papers or on boards.

These examples slww the distinct character of the flow of therubber cement. The thin cement is applied by dripping from thebrush or brushing directly on the paper. When it is dry, watercoloror ink run be brushed over it. After the color wash has dried, thecement is rubbed off, leaving exposed the paper it liad covered.

Traditional Batiks

GALLERY OF EXAMPLES

Batik (rem India, incorporating writingand figurative designs in a lively overallpattern.

Courtesy, Standard Oil Co. (N. J.)

{. Parang Kusumo (fifth variation) batikpattern from Java.

-V Courtesy, Republic of Indonesia

Parang Rusak selen batik design fromJava.Courtesy, Republic of Indonesia

Parang Klitik Garuda design of Java,showing the sun bird of Hindu mythology.A traditional pattern to be worn onlyby the sultans.Courtesy, Standard Oil Co. (N. J.)

Tulis batik, hand waxed with the tjanting,from Java.Photo: Archives of the Kon Inst, v/dTropen

Traditional paste resist batik design from China.

Batik on leather from Japan

Stencil print batik for Kimono fromJapan.

59

Oldest known form of batik, a single colorketan-rice (paste) resist. The "paste wasprobably applied with a bamboo stickor the fingers. The edges of the figures arenot sharply defined, probably becauseof the coarse weave of the fabric and themeans of application.Photo: Archives of the Kon Inst.v/d Tropen

Adire cloth, an example of Indigo pasteresist fabric from Nigeria.Courtesy, Art Department, OhioUniversity

60

Contemporary Batiks

Wall hanging of a garden, showingdecorative stylization of trees and grass,by Sylvia Steiner. Several colors onwhite cotton.

61

fa"^ .-.55 %' v "A?V

Two-color design on white fabric fromJugoslavia, showing spontaneous use ofthe brush in waxing.

"Island City" by Joseph Almyda. Anarchitectural theme conceived in flat,geometric patterns using several colors onwhite fabric.

62

....- -

#1 i

Circus clown by Joseph Almyda. Theseveral color dyeings and meticulouswaxing required for this figurative wallhanging had to be planned carefully inadvance.

Modern designs by Vaki of Mexico, basedupon ancient Mexican mural and reliefart. Several colors on white fabric withadded crackle effect.MMHH1

63

Spontaneous handling of geometricdesign, using three colors on white fabric,enlivened by crackle texture.

"Totem," detail of a silk wall hanging byHelen Frick Jones. The black lineswere left exposed for the final, darkestdyeing. Brush marks left by the waxingare easily observed.

64

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A-,* ty^ViDetail of a wall hanging by Mary A.Dumas. The subtle value contrast createdby several dye colors on white fabricproduces the effect of low relief.Courtesy, American Craftsmen's Council

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-

"Sunburst," (SO" x 30") by AdrienneKraut. A three-dye batik using yellowochre, orange, and brown on white fabric.Photo by Peter Balestrero

66

V-

c

r"'^*J\..%**%Batik on burlap (28" x 40") by OpalFleckenstein. The design is the resultof two dyeings, green and brown, on thetan fabric. The burlap required waxingon both sides.Photo by Peter Balestrero

Square silk scarf showing the use of freelybrushed areas of waxing, subtle colorshading, and a fine use of crackle as aunifying device.

Figurative batik by Jodi Robbin usingtwo dye colors on a light fabric. A richcrackle texture unifies the design, whichis derived from an Eskimo sealskin print.Photo by Peter Balestrero

Mixed Media

Batik on terry cloth (20" x 40") by OpalFleckenstein. The texture of the fabricgives a rich effect to the dyed areas.The three dye colors are orange, red, anddeep brown on white.Photo by Peter Balestrero

67

"Thorn Thicket," detail, by J. Arnoldcombines a free batik technique withregular overprinting of a sharp silkscreen stencil. The contrast in value anddefinition produces a pleasing surfacedesign.

W., Vfc^

This richly textured batik by EdStachofsky was achieved by combiningthe techniques of batik and tie and dyeon Turkish toweling.EWSC News Bureau Photo

68

The batik technique used to decorateEaster eggs. These are examples oftraditional pysanky Ukranian Eastereggs, showing the variety of symmetricaldesigns used; no two psyanky eggs areever identical. Only uncooked eggs,washed in a warm solution of water andvinegar, are suitable. Wax should beapplied with a thin brush or a tjanting.The eggs can be dyed in ordinaryhousehold or Easter egg dyes. Eachdarker value is achieved by a progressive

reserving and dyeing.

A batik on cotton by Berni Gorski, usingyelloiv, orange, and red dyes. Stitchedand applied yarns in pink, magenta, andred are applied to the finished batik.

Photo by Skip Vaughn

About the author

Nik Krevitsky, artist and educator, isDirector of Art of the Tucson PublicSchools. An active designer-craftsman aswell as painter he has exhibitedthroughout the United States. Hiswritings and illustrations have appearedin several periodicals including

Craft Horizons, Art News, Theatre Arts,Dance Observer and Impulse.

Nik Krevitsky taught textile design(including batik) and art education atColumbia University, where he receivedhis Doctoral degree. He also taught inthe Chicago public schools, at UCLA andSan Francisco State College beforeassuming his present post.

The author has been a leader in Americanart education through participation inprofessional organizations as councilmember and associate of the NationalCommittee on Art Education, councilmember of the Pacific Arts Association,president of the Arizona Art EducationAssociation, and president of theArizona Designer-Craftsmen.

In 1962 Dr. Krevitsky represented theUnited States at a UNESCO Institute forEducation in Hamburg, Germany, andlater that year was supervisor of the arts

and crafts exhibition in the United Statespavilion at the International Trade Fairin Zagreb, Yugoslavia.

Reinhold Publishing Corporation / New York

an Art Horizons book

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Art Horizon SeriesA new series of art instructional books designed for modern people.The most important techniques and media in the arts and crafts arebeing explored by outstanding practicing artists who are also teachers.Each book has concise, imaginatively presented references. Thehistory of the subject and its aesthetic criteria are explored in textand pictures with appropriate explanations of subject, approach andtechnical development.

READY NOWCERAMIC SCULPTURE by Betty Davenport Ford

Step-by-step procedure and detailed visualizationsof the construction of animal, human, plant, andabstract formsfrom simple to advanced. Infor-mation on clays, firing procedures, and finishes.96 pp., over 150 black-and-white illustrations,2 pp. in full color, 8x8$5.50

PRESENTING MARIONETTES by Susan FrenchCovers in detail every step in making and pre-senting marionettes: casting heads; cutting outand assembling bodies; animating unusual forms;stringing and controlling; costumes, scenery,theatre.S6 pp., over 170 photographs and diagrams, 8x8$5.50

BATIK: ART AND CRAFT by Nik KrevitskyComprehensive introduction to traditional andcontemporary wax-and-dye techniques for decorat-ing fabric and paper.68 pp., 110 black-and-white illustrations, 2 pp. infull color, 8x8$5.50

COLLAGE AND FOUND ART by Dona Meilachand Elvie Ten HoorA series of fascinating projects using torn andcut papers, magazine cutouts and prints, textiles,mixed media, applied and built-up relief, and"found" objects.68 pp., over 100 black-and-white illustrations,2 pp. in full color, 8x8$5.50

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