CRACKLE IN BATIK
As the worker in Batik dyes his material, he finds that the wax on
the cloth will crack as it is handled. The dye will then penetrate
these cracks in fine lines. The Javanese worker considers these lines
undesirable and handles his goods with the greatest care to avoid
producing them. He cannot, however, avoid them entirely even with the
greatest care. He desires clear even edges no matter how fine and
complicated the pattern. By looking closely at the very finest specimens,
these fine cracks will always be found meandering through the pattern. To
the European this is part of the charm of Batik.
As the craft workers of this country began experimenting with Batik work,
they discovered the moss-like pattern produced by this crackling of the
wax. This gave a quick easy method of making an all-over pattern and was
immediately seized upon. At the present time, it is used to produce quick
pattern effects, or to soften the effect, by putting a fine “crackle” of
some harmonizing color over the whole pattern.
For instance, flowers have been left white, the background blue, and
leaves green. The flowers seem too white and stand out too strongly.
Crush the wax over the flower to produce fine lines of crackle in the wax
and dye in the blue of the background again. This brings the white into
harmony with the colors. Like many other processes it can be overdone
very easily.
To make a crackle piece, stretch the material on a frame tightly. Take a
broad bristle brush, No. 3 or 4, and cover all the surface to be crackled
evenly with wax. Hang the cloth on a waxed line to harden and also to
allow any superfluous wax to drip off. After the wax has stiffened, the
next step depends upon the weather. When it is so warm that the wax will
not become brittle in the air, it may be put in the refrigerator, or it
may be laid in cold water to chill. In some way the wax must be cooled
until it will crack when crushed in the hands. If a fine all over pattern
of crackle is wanted, crumple in the hands in such a way as to crack
the wax thoroughly in every direction in fine lines. If a heavy crackle
is wanted, wax and chill as before, then twist or wring the material in
such a way as to give deeper, heavier cracks. A little practice will
make these suggestions clear. It will sometimes be desirable to crackle
certain parts or spots in a design in both of these ways. After crackling
the wax, dye as in any Batik piece. Stir constantly to dye evenly in
every small crack. Rinse very thoroughly to remove all extra dye from the
cracks.
This process may be repeated with another color, so that the two sets
of crackle lines intermingle. This adapts itself well to borders of any
kind, blouses, table scarfs, and if patience allows, to all-over patterns
for bags, pillow tops, etc.
The play of color that can be secured with these crackle patterns is
charming, and has been used extensively as a part of the design.
[Illustration: _A modern Batik Wall Hanging, by Peter Mijer and Jean Paul
Slusser_]
In the decorative panel by Jean P. Slusser on page 45 the figures have
been treated with a rather light crackle and the background between the
tree trunks with a much heavier crackle. In the memorial panel on page
48 the semi-circular framing band and the ground below the figure have
been crackled carefully. Both of these uses of crackle suggested are
suggestive of desirable possibilities of the crackle forms. A similar use
of crackle to add variety to special plain surfaces is illustrated in the
framing panel of the drapery on page 43.
[Illustration]
[Illustration: _Two Javanese Batiks_
Courtesy of the Metropolitan Museum, New York.]
[Illustration: _A Javanese Batik design from the Metropolitan Museum, New
York_]
[Illustration: _A Batik Memorial Hanging, by Jean Paul Slusser_]
[Illustration: _An unusual piece of Samarang Batik in the American Museum
of Natural History, New York_]