STICK PRINTING, BLOCK PRINTING AND STENCIL DYEING
It has been seen how versatile the batik method is as a means of
illuminating fabrics, also how design is the controlling element in
all good batik work. In both the space and color relations the batik
worker has control of the entire surface subject only to the
limitations imposed by the mediums in which he is working.
[Illustration: {STENCIL DESIGN} {p. 123}]
It follows that a knowledge of the principles of design must underlie
good batik work as well as a knowledge of dyes.
In taking up the other ways in which school children are using dyes,
it is well to place emphasis upon the design elements involved. All
dyeing as done by craftsmen and in the schools involves design. Even
all-over dyeing is carried out with the idea of the dyed piece
becoming a part of some larger whole.
The earliest use of dyes in the schools is in stick printing, and here
begin the first lessons in pattern dyeing.
[Illustration: SUGGESTED USE OF BLOCK PRINTING FOR END PAPER
{p. 124}]
All shapes used in design resolve themselves into certain recognized
types. These type shapes are the square, oblong, triangle, circle,
ellipse and oval. There are also standards of color that have become
associated with these types. They are red, yellow, blue, orange, green
and violet. These shapes and colors are taught universally by teachers
who train children in the elementary concepts of design.
It is the adjustment of these shapes and colors in space that
constitutes design. It is the application of these shapes and colors
to definite materials for definite uses in the child's life that
constitutes applied design.
When the child prints a square on his paper it is a real square and
good in color. The next one will be a real duplicate, both in shape
and color. The problem is where to put the duplicate. That is the
essence of design, and both teacher and pupil are ready to take hold
of it. There is time for discussion and drill. Results must follow.
The child begins to sense and appreciate standards and to love
accuracy, neatness and orderliness. His interest is sustained and his
powers strengthened through satisfactory accomplishment. He plans,
invents, and executes, acquires independence of thought and
expression, and designs in accordance with his imagination and
experience.
Very early in the child's training, while the stick printing is
unfolding the elements of design to him, he applies his designs to
enrich his construction work. It is the time for the child to begin
through concrete efforts to get rooted into his thinking that designs
are made to be applied and that everything which contributes to his
comfort, happiness and well-being exists because a design has been
applied.
[Illustration: HINDU BLOCK PRINTED DESIGN {p. 126}]
Then is also the time for the child to see some printed textiles in
which the pattern is geometrical like his stick printing.
After the child has had sufficient experience with type shapes, he may
add block printing. With the knowledge and experience gained through
the use of sticks, he is enabled to modify the standard shapes. A wood
block veneered with linoleum that can be easily cut with a sharp knife
into any form desired, and which maintains a rigid printing surface,
brings this craft within his reach.
In beginning the print block work a square or rectangular surface may
be cut into a pleasing group of standard shapes involving straight
lines and then simple curves. There may follow at later intervals in
the course problems of increasing difficulty consistent with the
ability to think and execute. Continued observation of commercial
prints and, if possible, of fine handicraft is always in order.
In connection with block printing may well come an early lesson in
setting colors.
In color printing the color should be a part of the fiber of the goods
without the least injury or change in the texture. Any process which
gums the fiber or destroys the texture is not beautiful in its
results, and does not give true color printing.
[Illustration: PATTERNS FOR PRINT BLOCKS {p. 128}]
[Illustration: PRINT BLOCKS, PLAIN AND CUT. PRINT SHOWING INFLUENCE
OF STICK PRINTING AND BLOCK PRINTING {p. 129}]
Besides the method elsewhere referred to, the following will give
excellent results in block printing. A large tin cover into which a
thick piece of felt is fitted serves as a color pad. Pains should be
taken to have the right quantity of dye well spread on the pad. Too
much color makes the printing less clear. When a trial on a piece of
the goods is right a large number of imprints can then be made. The
secret of good work is a nice adjustment of the color pad and then
uniformity of pressure on the block, both in taking color from the pad
and in making the imprint. The printing is done on a flat surface with
a single layer of blotter beneath the textile. Some fabrics take the
imprint better if slightly dampened.
The illustration of block printing is a specimen of Hindu work.
The sticks will find continued use in printing connecting spots and
for the introduction of additional color so often needed for
enrichment.
The manufactured textile here illustrated was designed by using stick
printing and block printing.
When the attainment reached with sticks and print blocks is sufficient
to call for larger and more varied design, it is time for the craft to
broaden and include stenciling.
Stenciling is the most exacting master of simplicity. It teaches one
how to sweep away all that is trivial and unnecessary in design. It
shows the value of broad, flat tones combined with accurate drawing,
and proves conclusively the vital importance of good composition.
The stenciling process has been described so many times that
directions for the work are not needed. An elementary lesson in
all-over dyeing can very appropriately be given in connection with
advanced block printing or stenciling. This might well be the waxing
over of the printed or stenciled pattern, followed by a dipping for
the ground color.
[Illustration: STENCIL DESIGNS. APPLIED STENCIL PATTERN {p. 131}]
The example of stenciling illustrated is a table cover. The material
is natural colored linen. The colors were liquid dyes blown on with an
atomizer. The bodies, heads and legs of the cranes are orange; the
wings and tails blue. The flowers and spots are purple, the leaves and
stems blue.
Spraying liquid dye with an atomizer permits not only of the usual
direct coloring of the design areas, but also of resist stenciling, in
which a light design is produced on a dark background. A small dark
design on a large light background is stringy and thin. The light
seems to eat into the edge of the design and minimize its importance.
On the other hand, a small light design on a large dark background is
magnified in importance. While for proper control in either case we
must adjust the space relations of the design and background areas,
yet it is equally important that one be able to adjust the color
relations of the design and background areas.
The process for "resist" stenciling is as follows: The stencil is laid
upon the surface to be decorated, and the open pattern is carefully
covered with a thin layer of library paste or paste made from flour
and salt water. Flour added to a solution of salt in water is the best
preparation we have found. A palette knife, or a case knife may be
used to spread this paste. The stencil is at once lifted and the color
desired for the background is sprayed in a flat tone over the entire
surface. The paste acts as a resist, preventing the penetration of the
color. The entire surface is immediately wet with cold water and the
resist washed off. The stencil is carefully and thoroughly cleaned in
the same way and then pressed and dried.
[Illustration: STENCIL DESIGNS {p. 133}]
This is especially suitable for book covers and end paper designs, or
mats, where the pattern does not partake of the nature of a repeat, as
it is better to remove the resist while wet.
It is interesting to stencil the open pattern in one or more colors,
then apply the resist and give another color to the background.
Most interesting stenciling has been done with two or more stencils.
To make these, a stencil should be cut for each color. Use the
original design sheet for one color. Transfer other color areas to new
sheets. Make all sheets, including the tracing paper, the same size.
Before tracing lay sheets and tracing paper together and punch
coinciding holes in the upper corners. Keep these holes coincident
during the process of tracing. By means of these holes the respective
stencils are easily applied so that the color scheme is accurately
reproduced.
It must not be overlooked by those who are stenciling that only part
of the color applied becomes incorporated into the fiber of the goods.
The other part is outside the fiber, adherent to the goods. This
adherent color should be removed. It corresponds to the excess color
in dyeing, which we take pains to remove by rinsing. The very purpose
of the steaming, or other "setting" process, is to incorporate the dye
into the fiber. This is never perfectly accomplished. There is always
some excess adherent color to be removed.
[Illustration: OLD JAPANESE STENCILS {p. 135}]
How often we meet the following experience: A craft worker in
decorating a fabric applies color until the eye is pleased, takes
little or no pains to incorporate the color into the fiber, and
ignores altogether the fact that some of the color is only adherent.
Later this adherent color comes off (not out) in the wash. There is
then disappointment and complaint against methods, colors, etc., when
the real fault is one of workmanship. Adherent color is never
dependable.
The Japanese have been the masters of the art of stenciling. The
technique and beauty of their designs have not been equalled by any
other craftsmen. For centuries these people have been making imprints
on fabrics.
The old stencils are more simple and the paper of better quality.
These old stencils are always darkened by time.
The stencils shown in the illustration were collected by Ernest
Fenollosa, an authority on Japanese art.
Little has been written about these stencils but many museums and
school art departments have collections.
In cutting stencils the Japanese use a number of tools. Some of these
tools are of the nature of punches, being the shape of the cut out
place. There is no drawing on the stencil paper, the workman looks at
the design and cuts the pattern free hand. The paper, before cutting,
is treated with oil and a kind of lacquer.
The old stencils were strengthened by a net work of human hair placed
between two stencils cut at the same time. These stencils were then
pasted together with rice paste. This net work of hair serves as ties
in the stencil and permits a larger freedom of design than is
otherwise possible.
The Japanese use two methods for stenciling, the direct coloring
method, in which the dye is brushed on the material through the
stencil, and the resist method, in which a paste is rubbed through the
stencil on the white goods and the fabric dyed in an all-over bath.
The color is set by steaming and the paste washed out. This leaves a
white pattern on a colored background.
[Illustration: {STENCIL DESIGN} {p. 137}]
THE INDEX
Page
Acid colors 46
All-over dyeing 35-42
Basic colors 46
Block printing 126-130
Characteristics of batiks 14-22
Colors, mixing of 49-53
Costumes, decoration of 79-85
Crackle 14
Designs, old batik 23-34
Direct colors 45-46
Direct coloring, method of 43-44
Discharge process 43-44
Dye-baths, preparation of 37-39
Dyeing over old color 36, 52-53
Dyeing, shaded 41
Dyes 45-49
Dyes, setting of 44
End papers 77
Fabrics, drying of 41-42
Fabrics, dyeing of 35-53
Fabrics, preparation of 35-37
Frame, batik 55, 57-58
Graying of colors 47-50
High school, batiks in 65-74
History of batiks 11-22
Holland, batiks in 12, 21
Interiors, decoration of 86-96
Japan, batiks in 21
Japan, stenciling in 136-137
Java, batiks in 11-20
Javanese costumes 16-18
Jewelry, costume 77-79
Linings 82
Pattern dyeing 42-45
Petroplast ornaments 77-79, 81
Plays and pageants 97-108
Principles of dyeing 35-53
Resist processes 43-45, 54-74
Sarongs 13, 16
Sizing 36
Stages, miniature 98-106
Stencil dyeing 130-137
Stenciling, Japanese 136-137
Stenciling, resist 132-134, 137
Stick printing 123-127
Stick tying 45, 116-122
Sulphur colors 46
Theater, The Little, Dyeing for 97-108
Tie-dyed work 109-122
Tjanting 18, 60
Tjap 18-20
Vat dyes 46
Vegetable colors 48-49
Wax, batik 14, 58-60
Wax resist processes 54-74
Wood, decoration of 54-56
Transcriber's Note
Minor punctuation errors have been repaired.
Inconsistent hyphenation is preserved as printed.
Assuming typographic errors, the following amendments have been made:
Page 12--fibre amended to fiber--... women and girls seated upon
fiber mats ...
Page 44--practised amended to practiced--... is the commonly
practiced method ...
Page 79--insized amended to incised--... and the bird, flowers
and pedestals were incised ...
Page 100--or amended to of--... between the community of little
theater and craft workers.
Page 102--give amended to given--The Waldcraft Studios have
generously given time, ...
Page 139--Theatre amended to Theater--Theater, The Little,
Dyeing for ...
Illustrations have been moved where necessary so that they are not in
the middle of a paragraph.
Page number references and illustration captions in {braces} have been
added by the transcriber for the convenience of the reader.