Batik Tecniques

Batik is historically the most expressive and subtle of the resist methods. the following pages show a few of the many ways you can experiment with the basic materials of wax and dye. This article will give you an insight into some of the many ingenious techniques used in batik. There are many surfaces that can take the wax and dye. Cotton is the most common, but as you will see, batik is also successful on silk, paper, wood, leather and ceramics. 1. BATIK ON COTTON : Cotton is the fabric most commonly used in batik. It is strong and versatile and lends itself to many different processes. After initial pencil drawing on white cotton lawn we use tiny cantings and small bristle brushes to wax the highlights, to catch the sparkle. We often use a kystka, a tool used for waxing eggs. New Balance 247 homme This tool is perfect for tiny dots and fine lines. Then was procion dyes across the fabric starting with the very palest of shades. As in water colour processes, wet on wet, we damp the fabric first with the fixative to enable the dyes to blend. The images are then slowly built up with successive waxing and dyeing. The spaces left between the waxed area are as important as the areas waxed. Although hand-paint regularly, dip-dyeing is crucial to work. asics gel lyte 5 donna It means that the colours are constantly changed, muted and transmuted by the immediacy of the dye bath. As the work progresses, often choose to boil the fabric. Doudoune Parajumpers Angie Master This removes all the wax and gives me the chance to rethink the colours and add variety of texture by over-waxing and over-dyeing. The result has something of the fluidity of water. The process is one of serendipity, of never knowing exactly how colours will react one with another and how the waxed areas will crack. The whole fabric is covered in wax except for the lines we have left around shapes which, when dyed in the last colour will help to add depth and definition.

Hasil gambar untuk batik on cotton

2. BATIK ON SILK : Wax can be used as a resist on silk as well as the more usual cotton. The wax can be applied using all kinds of tools such as brushes, cantings, kystkas, sponges, sticks, corks, homemade printing blocks, metal forks, cotton buds, rags, scrubbing brushes, or stencils. Both paraffin and beeswax can be used, and altering the mix of paraffin and beeswax in the wax pot can create different wax effects. For a smooth effect with no crackling use more beeswax but add more paraffin wax for the traditional crackle look. If the wax will not adhere to the silk more beeswax may be needed. The usual temperature for the wax is around 48C not so hot for the very fine silks and little hotter for silk crepes and velvets. Using the direct painting method means a huge variety of colours can be produced on silk. As silk dyes are transparent the colours produced and the colour combinations are endless. You can produce interesting textural effects by adding salt (coarse rock or fine table). preserving sugar can also be applied to the wet silk dyes to move the pigments of the dyes before they have been fixed into the fabric. louboutin soldes

Hasil gambar untuk batik on silk

3. BATIK ON PAPER : You can use any kind of paper which absorbs dye. Nike Air Max Homme Just experiment for yourself. Batik on paper has a number of advantages. It is cheap and a frame for stretching is not necessary. final fantasy gil Don’t use expensive watercolour-paper or handmade paper. Batik on paper is versatile. It can be used for a variety of purposes with a personal touch : framed on the wall or used as a book-cover, folder, greetings card, lampshade, gift-wrapping paper etc. Adidas Zx Flux Homme Rouge Always put a sheet of paper, like news-print, under the paper you’re going to work on. This is your base paper. Don’t remove your work from the base till it is finished and ironed. You might get an unexpected surprise print from your original work on it, which can be used as a starting point for a new work, adding collage etc.

Hasil gambar untuk batik on paper

4. BATIK ON EGGS : To create batik on eggs all you need is candle, a lump of beeswax, some vegetable dyes and a drawing tool called a kystka. The kystka is heated by moving it backwards and forwards through the candle flame, thus melting the beeswax inside the kystka. as the melted wax flows, lines can be drawn on to the egg (preferably white) just like drawing with a pen. The egg is put into jar of dye by lowering it into the dye on a spoon. The egg stays in the dye for about five minutes. It can then be taken out, mopped dry with paper towel and waxing can continue straight away. After a succession of waxing and dyeings in different colour dyes, the wax is removed by holding the egg in the flame of the candle and rubbing off the melted wax with a paper towel. Finally a paper towel soaked in white spirit will remove the last residues of wax.

Hasil gambar untuk batik on eggs

5. BATIK ON WOOD : It is possible to use most batik techniques on wood and veneers with care and some modifications. We advise you to dry the wood naturally because drying it quickly could cause splitting especially with veneers. When waxing it is helpful to have teh wax a little hotter than for fabric to allow a smoother flow. Lighter coloured woods like pine allow good colour take up, but darker wood such as beech, elm, yew produce some curious colours. The grain effects are always fascinating. Apply fibe-reactive dyes slowly and carefully, as the dye takes longer to penetrate the wood and can slide around the surface. new balance avis The best way to remove the final wax on curved surfaces is with a high temperature blowtorch, with two people working together for safety.

Hasil gambar untuk batik on wood

6. BATIK ON CERAMICS : The wax-resist process on ceramics and tiles known as “cuerda seca” (dry cord) goes back to the Babylonian empire of 600 BC. Nike Air Max 2018 homme From the fourteenth century on it was widely used in Spain and the Arabis world. Hot wax and ground manganese dioxide are drawn directly on the unglazed fired tile. Glazes are then applied by brush. The wax-manganese lines create a resistant barrier to the glaze allowing different coloured glazes to be used alongside each other. At the end of the firing, the manganese remains as a dark linr, the wax having burnt off.

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