DYEING SUGGESTIONS
In the past, in dyeing under our American conditions, very little
attention has been paid to the durability of the dyes. Unless the dye is
specially prepared to be used with the cold process which is necessary
to keep the wax from melting, the colors will not be fast and the work
therefore only transient. This lack of durability has often discouraged
careful work. For this reason, great care should be used in the choice of
dyes.
The requirements for good Batik dyes are—
1. They must be easily applied.
2. They must be used cold, as the wax melts at 128° Fahrenheit
or 60° Centigrade.
3. The colors must be sufficiently fast to allow the wax to be
removed without injury to the color.
4. The colors must not fade in light or in sun.
Many commercial dyes that are prepared to be used hot can be used
somewhat successfully cold. There will be more or less loss of brilliancy
and fastness of color, however. These dyes should be used in a much
stronger solution than indicated by the directions on the packages.
The most satisfactory results, however, are obtained by using colors
prepared especially for the cold process, such as the “Bateeko Dyes.”
They are exceedingly strong and for that reason exact directions for
mixing from the powdered form are impossible, as a tiny speck of the
powder will modify the color mixed. For exact measurements it is
recommended that each package of the Prang Bateeko Dyes be dissolved in
1½ cups of water; that is, about 20 tablespoonfuls, and that the amount
of each color used in mixing be taken with measuring spoons from this
solution. A pint fruit jar is good to hold the mixture.
The extensive use of dyeing as a means of printing textiles dates from
the 19th century, when the modern chemical dyes were discovered. There
is still a prejudice among some people against the use of chemical dyes
for art work. 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 dyes. 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 methods. 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 used.
Some brands of dyes are completely dissolved by stirring in hot water.
Some need to be boiled and strained to be perfectly clear from specks.
They must be thoroughly dissolved. Most dyes are used with either salt,
vinegar or acid. Use whichever is recommended by the makers of the dyes
used. For Batik the acid is generally added to the water in which the
cloth is to be dipped. Dyes will all work a trifle better in lukewarm
than in cold water. Several dippings in a weak dye will give a more
permanent color than one dyeing in a strong color.
[Illustration: _A decorative Batik Hanging by Jean Paul Slusser, using
the Javanese “Tree of Life” motif_]
[Illustration: _A Javanese Batik, showing the Tree of Life and Bird of
Paradise. Courtesy of American Museum of Natural History, New York_]
Dyes vary in their tendency to dye evenly or in spots, and if the worker
finds herself using a color having a tendency to streak, this can be
overcome by especial care in keeping the piece continually moving while
in that color.
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 wet, so that it is necessary to have a vessel large enough to
keep the cloth entirely under the water and moving freely.
In using any metal pan one should not let dye containing acids stand in
it, as the metal will corrode. An enamel pan with a flaw will allow the
acid to eat a hole in it in two weeks’ time (as the writer found). Dye
need never be thrown away. If it dries to a powder or crystal on the
bottom of the pan, set the pan away, and when the color is wanted again
add warm water as at first and dissolve again. Sometimes as the dye
stands in a pan day after day, if it is in constant use, 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 noticed. Simply strain the dye into a
clean vessel and continue to use it as long as any color remains.
When the worker can produce a piece of Batik or tied-and-dyed with a dye
that will last, there is no excuse for careless work. And a piece of
the work should receive the time and care in making that its beautiful
possibilities deserve.
Batik dye cannot be used hot as the wax would melt. If used very cold the
wax tends to crack and the color will creep under the wax. If too hot,
that is, over 128 degrees Fahrenheit, the wax melts and the design is
blurred or lost. The best temperature for the dye bath is between 90 and
110 degrees Fahrenheit. As 98 degrees is blood heat, if no thermometer
is convenient, water that feels the temperature of the wrist will be all
right. Use plenty of water to float the cloth. Allow it to move freely
without crowding in the basin. Put only enough dye in the water to color
the water distinctly. The cloth will absorb the dye color from the water
and leave the water clear, if only enough dye has been used. If much dye
remains in the water after the work is finished it shows that more dye
was used than was necessary. If more dye is to be added, remove the cloth
from the water and add in small quantities. Mairet’s “Vegetable Dyes”
will give all the formulas necessary for experimenting in that line if
any readers are interested.
It is not only waste of dye to use a strong solution, 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
cloth. This union cannot be obtained in a few minutes sufficiently to
stand much rough usage. “Make haste slowly” must be the motto of the
dyer who wishes a permanent color. Remember the time required in the old
indigo and turkey red processes.
[Illustration: _Batik by Ilonka Karasz. Courtesy Academy Art Shop, New
York_]
[Illustration: _Batik by Winold Reiss. Courtesy Academy Art Shop, New
York_]
Therefore, it is better to allow at the very least twenty minutes for the
dyeing. An hour is better for a slow color like black. Some colors, such
as black, brown and yellow, unite with the fiber of the cloth more slowly
than others, so that more time must be allowed for these. Blue dyes very
quickly and easily, but must be given time to set in the fiber to become
thoroughly permanent. These time suggestions are for the “Bateeko Dyes”
in powder form.
There is also a great difference in materials used, as to the rapidity
with which they will absorb the dye. Wool and silk absorb the dye easily
and quickly, cotton, linen and hemp much more slowly. Therefore, the time
allowed for dyeing must be increased to get deep colors in cotton, linen
and hemp.
The closeness of the weave and the hardness of the twill must also be
considered. A very loose porous silk or cotton crepe will dye in a few
minutes, while a firm muslin will require perhaps half an hour to an hour
to produce a strong fast color.
The material should be free from starch or sizing of any kind before it
is put into the dye.
After the goods has been stirred in the bath for five to ten minutes,
more dye can be added if necessary. Be sure to remove the material from
the dye bath before adding more dye. As color always seems darker when
it is wet, it is difficult to tell exactly when you have as deep a color
as you desire, but holding the material up to the light gives a fairly
good idea of the way the color will look when dry. To get a deep shade of
a special color it is always better to work up to the color desired by
steps, that is, to dye a light tone of the color desired, examine this
and if it is the desired shade continue until the desired depth of color
is reached.
After dyeing, rinse thoroughly in cold water, drain the water out on an
old towel or sheet and hang it on a waxed line or cord to dry. It is best
to wax the line so that the line does not tear off the wax on the cloth
where it is pinned up.
The remaining problem of dyeing is the most interesting of all, viz.: the
effect of one dye on another, and of dyeing one color over or on top of
the preceding color.
In this “top dyeing,” 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 added. If we have a brilliant yellow scarf, we cannot dye it a
blue unless in some way we can remove the yellow, but we can dye it any
color of which yellow forms a part, such as orange, orange red, mahogany,
green of all kinds, browns, greys, and black. All these colors contain
yellow and can be dyed over yellow by adding the other colors which make
the desired combination. A pale yellow can be neutralized by dyeing with
weak magenta and then dyeing blue.
[Illustration: _A Window Curtain decorated in Batik. Designed and
executed by soldiers in the Commercial Art Class at U. S. General
Hospital No. 2, under the direction of Lieutenant Jean Paul Slusser_]
[Illustration: _Javanese Batiks. Courtesy of the Metropolitan Museum, New
York_]
For instance, to make a medium grey green over a yellow, both blue and
red must be added, the blue making green when dyed over yellow and a
little red making the color grey. In dyeing a strong color over a weak
and greyish color the original color will seem to have very little effect.
The amount of each color used depends upon the result desired. Therefore,
analyze the color you wish to produce. Decide what proportion of
each color there seems to be in the shade desired, and mix the dyes
accordingly. Dye the light colors first, and the darkest last. Remember
a color may be darkened or modified, but cannot be lightened, except by
removing the dye with ammonia or washing soda.
In dyeing for Batik, the safe thing is, of course, to depend upon several
weak dye baths of rather clear colors, 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 combinations. If at all
uncertain of the result of a color combination, dye a piece as a trial
first.
In dyeing, to secure a red and green in the same piece, the colors of
the “blue group” discussed in the previous chapter should be dyed first
entirely. Then with washing soda or ammonia the color on the spots where
the red group of colors is desired can be removed. This bleaching process
had better be reserved for advanced work, and in the beginning stages
color combinations not requiring it should be used. The soda and ammonia
both affect the wax and after using them the waxing should be looked over
carefully and ragged edges re-waxed.
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 42, the method of removing
the color by ammonia is the one to use.
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 colors. With heavy
cloth or velvet, the wax could not be so completely removed by this
method that the next dyeing would be satisfactory. Gasoline is the best
method of removing the wax in such a case. Every particle must be removed
in order to have the next dye bath satisfactory.
For that reason it is best to remove all the wax possible in the first
gasoline bath and rinse in clean gasoline before dyeing again.
In dyeing textiles in large quantities with the “Bateeko” Powder Dyes as
is required for costumes, draperies, etc., the directions as to size of
receptacle, time of dyeing, stirring, etc., are the same as for smaller
work.
While these dyes are very rapid in their action when used in only tepid
water, they are naturally still more rapid when used _hot_. The user,
therefore, has the choice of the hot or cold process, according to
her convenience. If the dye is used hot the material must be _stirred
constantly_. 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 streaks.
Always rinse out all the loose color thoroughly in cold water before
hanging up to dry. Hang the pieces so they do not touch anything.
[Illustration: _A section from a Javanese Batik from Metropolitan Museum,
New York_]
[Illustration: _An all-over design in Batik that was practically
improvised as the work was done. By Jean Paul Slusser_]
If working constantly with dyes, rubber gloves are a convenience.
However, even with gloves one sometimes stains the hands. Ammonia or
washing soda will help remove the stain.
Practically any container that is large enough can be used. The best is
perhaps a copper tub; enamel ware is excellent. Wooden tubs are used by
professional dyers somewhat. Galvanized iron is all right, unless the dye
containing acid stays in it so long that the acid affects the iron.
[Illustration: _Tied and dyed pattern done in stripes_]
[Illustration: _A Scarf showing application of concentric circles.
Designed by Helen R. Reed_]
[Illustration: _A pattern from a Javanese Batik. Courtesy of Metropolitan
Museum, N. Y._]
[Illustration: _An Indian Saree. Courtesy of the Metropolitan Museum, N.
Y._]
[Illustration: _A pattern from a Javanese Batik. Courtesy of the
Metropolitan Museum, New York_]
[Illustration: _A pattern from a Javanese Batik. Courtesy of Metropolitan
Museum, N. Y._]
[Illustration: _Batik Scarf. Designed and executed by Miss Robiccheck.
Courtesy of Academy Art Shop_]
[Illustration: _Batik Scarf. Designed and executed by Conrad Kramer.
Courtesy of Academy Art Shop_]
[Illustration: _A Javanese Batik pattern. Courtesy of Adelaide A.
Robineau_]
[Illustration: _A modern Batik wall hanging_]
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