Govt.

Women’s Polytechnic College

Sanganer, Jaipur

PROJECT REPORT
ON
“PATCHWORK WITH TIE-DYE & BATIK”

SESSION:- 2017-18

SUBMITTED BY:- SUBMITTED TO:-

KRATI BHARGAV Mrs.VISHAKHA SAINI
 INDEX
SR NO. TOPICS PAGE NO.

1. TIE & DYE 1-5

2. BATIK 6-15

3. PATCHWORK 16-20

4. ARTICLE DETAILS 21,22

5. TIE& DYEAND PATCHWORK ON 23,24

BEDSHEET/AC DOHAR

6. BATIK AND TIE&DYE ON CURTAIN 25,26

7. REFERENCES ANC CONCLUSION 27

 1. Tie-dye
Tie-dye is a modern term invented in the mid-1960s in the United States (but recorded in writing in an
earlier form in 1941 as "tied-and-dyed", and 1909 as "tied and dyed" by Charles E. Pellew) for a set of
ancient resist-dyeing techniques, and for the products of these processes. The process of tie-dye typically
consists of folding, twisting, pleating, or crumpling fabric or a garment and binding with string or rubber
bands, followed by application of dye(s). The manipulations of the fabric prior to application of dye are
called resists, as they partially or completely prevent the applied dye from coloring the fabric. More
sophisticated tie-dyes involve additional steps, including an initial application of dye prior to the resist,
multiple sequential dye and resist steps, and the use of other types of resists (stitching, stencils) and
discharge.

Unlike regular resist-dyeing techniques, tie-dye is characterized by the use of bright, saturated primary
colors and bold patterns. These patterns, including the spiral, mandala, and peace sign, and the use of
multiple bold colors, have become cliched since the peak popularity of tie-dye in the 1960s and 1970s. The
vast majority of currently produced tie-dyes use these designs, and many are mass-produced for wholesale
distribution. However, a new interest in more 'sophisticated' tie-dye is emerging in the fashion industry,
characterized by simple motifs, monochromatic color schemes, and a focus on fashionable garments and
fabrics other than cotton. A few artists continue to pursue tie-dye as an art form rather than a commodity.

Dyes, fabrics, and discharge agents

A variety of dyes can be used in tie-dyeing, including household, fiber reactive, acid, and vat dyes.[6] Most
early (1960s) tie-dyes were made with retail household dyes, particularly those made by Rit. In order to be
effective on different fibers, these dyes are composed of several different dyes, and thus are less effective,
and more likely to bleed and fade, than pure dyes designed for specific fibers. This is the basis for the
famous 'pink socks' phenomenon that occurs when fabrics dyed with mixed dyes are washed with other
garments. Most tie-dyes are now dyed with Procion MX fiber reactive dyes, a class of dyes effective on
cellulose fibers such as cotton, hemp, rayon, and linen. This class of dyes reacts with fibers at alkaline
(high) pH, forming a wash-fast, permanent bond. Soda ash (sodium carbonate) is the most common agent
used to raise the pH and initiate the reaction, and is either added directly to the dye, or in a solution of
water in which garments are soaked before dying. Procion dyes are relatively safe and simple to use, and
are the same dyes used commercially to color cellulosic fabrics.
Protein-based fibers such as silk, wool, and feathers, as well as the synthetic polyamide fiber, nylon, can be
dyed with acid dyes. As may be expected from the name, acid dyes are effective at acidic (low) pH, where
they form ionic bonds with the fiber. Acid dyes are also relatively safe (some are used as food dyes) and
simple to use. Vat dyes, including indigo, are a third class of dyes that are effective on cellulosic fibers and
silk. Vat dyes are insoluble in water in their unreduced form, and the vat dye must be chemically reduced
before they can be used to color fabric. This is accomplished by heating the dye in a strongly basic solution
of sodium hydroxide (lye) or sodium carbonate (caustic potash) containing a reducing agent such as
sodium hydrosulfite or thiourea dioxide. The fabric is immersed in the dye bath, and after removal the vat
dye oxidizes to its insoluble form, binding with high wash-fastness to the fiber. However, vat dyes, and
especially indigo, must be treated after

dyeing by 'soaping' to prevent the dye from rubbing (crocking) off.[9] Vat dyes can be used to
simultaneously dye the fabric and to remove underlying fiber-reactive dye (i.e., can dye a black cotton
fabric yellow) because of the bleaching action of the reducing bath (see below). The extra complexity and
safety issues (particularly when using strong bases such as lye) restrict use of vat dyes in tie-dye to experts.

Discharge agents are used to bleach color from previously-dyed fabrics, and can be used as a reverse tie-
dye, where application of the agent results in loss of color rather than its application. Household bleach
(sodium hypochlorite) can be used to discharge fiber reactive dyes on bleach-resistant fibers such as cotton
or hemp (but not on wool or silk), though the results are variable, as some fiber reactive dyes are more
resistant to bleach than others. It is important to bleach only as long as required to obtain the desired
shade (which will be lighter than observed on wet, unwashed fabric), and to neutralize the bleach with
agents such as sodium bisulfite, to prevent damage to the fibers. Thiourea dioxide is another commonly
used discharge agent that can be used on cotton, wool, or silk. A thiourea dioxide discharge bath is made
with hot water made mildly basic with sodium carbonate. The results of thiourea dioxide discharge differ
significantly from bleach discharge due to the nature of the reaction. Since thiourea dioxide only bleaches
in the absence of oxygen, and the fabric to be bleached retains oxygen, a fractal pattern of bleaching will
be observed. This is in distinct contrast with household bleach discharge, where the bleaching agent
penetrates fabric easily (particularly in bleach formulations containing detergent). For example, pleating
fabric multiple times and clamping on a resist will yield a clear design after outlining the resist with
household bleach, but discharge with reducing agents will only partially penetrate the resisted area.

In general, discharge techniques, particularly using household bleach, are a readily accessible way to tie-
dye without use of often messy and relatively expensive dyes. It is particularly easy to put design on cloth
using stencils and sprayed-on solutions of household bleach, but the intricate and unintended results of
discharge using reducing agents often surpasses the results of oxidizing discharge techniques.

Designs and patterns

Tie-dye can be used to create a wide variety of designs on fabric, from standard patterns such as the spiral,
peace sign, diamond, and the marble effect to beautiful works of art. Using techniques such as stencils (a la
screen printing using dyes or discharge pastes), clamped-on shaped blocks, and tritik (stitching and
gathering), tie-dye can produce almost any design desired.
 History

 Earliest examples:-
The earliest surviving examples of pre-Columbian tie-dye in Peru date from 500 to 810 AD. Their designs
include small circles and lines, with bright colors including red, yellow, blue, and green. Example of
Mudmee tie-dye, an art form originating in Thailand.

 Asia:-
Shibori includes a form of tie-dye that originated in Japan and Indonesia. It has been practiced there since
at least the 8th century. Shibori includes a number of labor-intensive resist techniques including stitching
elaborate patterns and tightly gathering the stitching before dying, forming intricate designs for kimonos.
Another shibori method is to wrap the fabric around a core of rope, wood or other material, and bind it
tightly with string or thread. The areas of the fabric that are against the core or under the binding would
remain undyed. In the 1941 book "Orphans of the Pacific", about Philippines, it was noted: "There are a
few thousand Bagobos, who wear highly decorated clothing made of hemp fiber, all tied-and-dyed into
fancy designs, and who further ornament themselves with big metal disks. "Plangi and tritik are Indonesian
words, derived from Japanese words, for methods related to tie-dye, and 'bandhna' a term from India,
giving rise to the Bandhani fabrics of Rajasthan. Ikat is a method of tie-dyeing the warp or weft before the
cloth is woven. Mudmee tie-dye originates in Thailand and neighboring part of Laos. It uses different
shapes and colors from other types of tie-dye, and the colors are, in general, more subdued. Another
difference is that the base color is black.
  Africa:-
A jau woman from the dyers' caste prepares a cotton band for tie-dye colouring, Sangha, Mali, 1980.

Tie-dye techniques have also been used for centuries[citation needed] in the Hausa region of West Africa,
with renowned indigo dye pits located in and around Kano, Nigeria. The tie-dyed clothing is then richly
embroidered in traditional patterns. It has been suggested that these African techniques were the
inspiration for the tie-dyed garments identified with hippie fashion.

 Tie-dye in the Western world:-

Tie-dyeing was known in the US by 1909, when Professor Charles E. Pellow of Columbia University acquired
some samples of tie-dyed muslin and subsequently gave a lecture and live demonstration of the technique.
Although shibori and batik techniques were used occasionally in Western fashion before the 1960s,
modern psychedelic tie-dying did not become a fad until the late 1960s following the example set by rock
stars such as Janis Joplin and John Sebastian (who did his own dyeing).[13] The 2011 film documentary
Magic Trip, which shows amateur film footage taken during the 1964 cross-country bus journey of
countercultural icon Ken Kesey and his Merry Pranksters, shows the travelers developing a form of tie-dye
by taking LSD beside a pond and pouring enamel-based model airplane paint into it, before placing a white
T-shirt upon the surface of the water. Although the process is closer to paper marbling, in the
accompanying narrative, the travelers claim credit for inventing tie-dyeing. Tie-dying, particularly after the
introduction of affordable Rit dyes, became popular as a cheap and accessible way to customize
inexpensive T-shirts, singlets, dresses, jeans, army surplus clothing, and other garments into psychedelic
creations.Some of the leading names in tie-dye at this time were Water Baby Dye Works (run by Ann
Thomas and Maureen Mubeem), Bert Bliss, and Up Tied, the latter winning a Coty Award for "major
creativity in fabrics" in 1970. Up Tied created tie-dyed velvets and silk chiffons which were used for
exclusive one-of-a-kind garments by Halston, Donald Brooks, and Gayle Kirkpatrick, whilst another tie-dyer,
Smooth Tooth Inc. dyed garments for Dior and Jonathan Logan. In late 1960s London, Gordon Deighton
created tie-dyed shirts and trousers for young fashionable men which he sold through the Simpsons of
Piccadilly department store in London.
 2. BATIK

Batik is a technique of wax-resist dyeing applied to whole cloth, or cloth made using this technique
originated from Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool
called a canting or by printing the resist with a copper stamp called a cap.The applied wax resists dyes and
therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with
boiling water, and repeating if multiple colours are desired.

A tradition of making batik is found in various countries; the batik of Indonesia, however, may be the best-
known.Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns
influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the
quality of workmanship.In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral
and Intangible Heritage of Humanity.

Etymology

The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik
('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo').

The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It
is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek,
mbatik, batek and batik.

History

Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it
was used to wrap mummies; linen was soaked in wax, and scratched

using a stylus. In Asia, the technique was practised in China during the Tang Dynasty (618-907 AD), and in
India and Japan during the Nara Period (645-794 AD). In Africa it was originally practised by the Yoruba
tribe in Nigeria, Soninke and Wolof in Senegal.These African version however, uses cassava starch or rice
paste, or mud as a resist instead of beeswax.

The art of batik is most highly developed in the island of Java in Indonesia. In Java, all the materials for the
process are readily available — cotton and beeswax and plants from which different vegetable dyes are
made.Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been
introduced during the 6th or 7th century from India or Sri Lanka.On the other hand, the Dutch
archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a
native tradition, since other regions in Indonesia such as Toraja, Flores, Halmahera, and Papua, which were
not directly influenced by Hinduism, have an age-old tradition of batik making.

Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He
concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a
small reservoir of hot wax, and proposed that the canting was invented in Java around that time.[13] The
carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century
show

intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok
batik motif.The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This
evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java
or even earlier.

In Europe, the technique was described for the first time in the History of Java, published in London in
1817 by Stamford Raffles, who had been a British governor for Bengkulu, Sumatra. In 1873 the Dutch
merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic
museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the
Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in
the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to
mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik
impressed the public and artists.

In the 1920s, Javanese batik makers migrating to Malaya (now Malaysia) introduced the use of wax and
copper blocks to its east coast.

In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The
local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. In
the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as
their own craft.
 Technique

Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and later
redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant
resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument
called a canting is the most common. A tjanting is made from a small copper reservoir with a spout on a
wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it
moves. For larger patterns, a stiff brush may be used.Alternatively, a copper block stamp called a cap is
used to cover large areas more efficiently.

After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist
keep their original colour; when the resist is removed the contrast between the dyed and undyed areas
forms the pattern. This process is repeated as many times as the number of colours desired.

The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The
cloth needs to be drawn on both sides, and dipped in a dye bath three to four times. The whole process
may take up to a year; it yields considerably finer patterns than stamped batik.

CULTURE

 Indonesia:-
Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols
designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well
as their families.Some designs are reserved for royalties, and even banned to be worn by commoners.
Consequently, a person's rank could be determined by the pattern of the batik he or she wore.Further
study to the geometry of symbolism in Indonesian batik showed the applicability of fractal geometry in
traditional designs.

Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik
into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of
batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches
the earth for the first time.

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of
Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage.
The day, October 2, 2009 has been stated by Indonesian government as National Batik Day, as also at the
time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by
the Indonesian Ministry of Research and Technology.

 Popularity:-
The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it
was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in
the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious,
racial and cultural boundaries. It is also believed the motif made the batik famous.

The batik industry of Java flourished from the late 1800s to early 1900s, but declined during the Japanese
occupation of Indonesia.With increasing preference of western clothing, the batik industry further declined
following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century,
through the efforts of Indonesian fashion designers to innovate batik by incorporating new colours, fabrics,
and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses,
or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional
batik sarongs are still used in many occasions. After the UNESCO recognition for Indonesian batik on 2
October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing
batik every Friday has been encouraged in government offices and private companies ever since.2 October
is also celebrated as National Batik Day in Indonesia.[30] Batik had helped improve the small business local
economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from
Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3
million in 2010. Batik is also popular in the neighbouring countries of Singapore and Malaysia. It is
produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Prior to
UNESCO's recognition and following the 2009 Pendet controversy, Indonesia and Malaysia disputed the
ownership of batik culture. However, Dr Fiona Kerlogue of the Horniman museum argued that the
Malaysian printed wax textiles, made for about a century, were quite a different tradition from the "very
fine" traditional Indonesian batiks produced for many centuries. Batik is featured in the national airline
uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore
Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight
attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.

 Terminology:-
Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it
around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single
pattern or divided into several sections. Certain patterns are only used in certain sections of the cloth. For
example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called
dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the
body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or
the body.The head is a rectangular section of the cloth which is worn at the front. The head section can be
at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to
determine whether the cloth is kain panjang or sarong.The body is the main part of the cloth, and is filled
with a wide variety of patterns. The body can be divided into two alternating patterns and colours called
pagi-sore ('dawn-dusk'). Brighter pattern are shown during the day, while darker pattern are shown in the
evening. The alternating colours give the impression of two batik sets.Margins are often plain, but floral
and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.

Types

As each region has its own traditional pattern, batiks are commonly distinguished by the region they
originated in, such as batik Solo, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished
by their general pattern and colours into batik pedalaman (inland batik) or batik pesisir (coastal batik).
Batiks which do not fall neatly into one of these two categories are only referred to by their region. A
mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural
assimilation within batik designs.
  Javanese Batik:-

 Inland Batik:-

Inland batik or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland
batik has earthy colour such as black, indigo, brown, and sogan (brown-yellow colour made from the tree
Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are
mostly free from outside influence. Certain patterns are reserved for royalty, while other are worn on
specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of
the ceremony.Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the
centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan
and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta
Sultanate and Pakualaman Court.
  Coastal Batik:-

Coastal batik is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal
batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime
trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks.Noted
coastal batiks are produced in

Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry. A notable
sub-type of coastal batik called Jawa Hokokai is not attributed to a particular region. During the Japanese
occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The
workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa
Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and
chrysanthemums.Another coastal batik called tiga negeri (batik of three lands) is attributed to three
regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes
respectively. As of 1980, batik tiga negeri was only produced in one city.

 Sundanese Batik:-
Sundanese or Priangan Batik is the term for batik from the Priangan region of West Java and Banten. that
ancient West Java was once a major producer of natural indigo. Noted Priangan batik is produced in
Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon,
Although Priangan batiks can use a wide range of colours, a preference for indigo is seen in some of its
variants.

Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum
has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests batik Banten that
developed quite independently, and an older tradition of batik Baduy. Batik Banten employs bright pastel
colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through
archaeological work during 2002–2004.

Twelve motifs from locations such as Surosowan and several other places have been identified. Batik
Baduy only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn
as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency,
Banten.
  Sumatran Batik:-
Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the
13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat
from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan
district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian
batik.The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as
dye for the fabric. The fabric is immersed in clay for more than 1 day and later designed with motifs of
animal and flora.The Batik from Bengkulu, a city on west coast of Sumatra, is called Batik Besurek, which
literary means "batik with letters" as they draw inspiration from Arabic calligraphy.

 Balinese Batik:-
Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired
by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such
as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben
processions or religious and mythological creatures such as barong, kala and winged lion are common.
Modern batik artists express themselves freely in a wide range of subjects.Contemporary batik is not
limited to traditional or ritual wearing in Bali. Some designers promote batik Bali as elegant fabric that can
be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social
status.

 Malaysia:-
Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was
ordered by Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of serasah cloth (batik) with 40
types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he
made up his own. On his return unfortunately his ship sank and he only managed to bring four pieces,
earning displeasure from the Sultan.The method of Malaysian batik making is different from those of
Indonesian Javanese batik, the pattern being larger and simpler with only occasional use of the canting to
create intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also
tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves
and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and
animal images as idolatry, in accordance with local Islamic doctrine.However, the butterfly theme is a
common exception.

 India:-
Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back
2000 years. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was
made only for dresses and tailored garments, but modern batik is applied in numerous items, such as
murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns.
Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in
Indian Sign Language and also work in other vocational programs.
  Sri Lanka:-
Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik
industry is a small scale industry which can employ individual design talent and mainly deals with foreign
customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and
small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along
Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.

 China:-
Batik is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a
dye resist method for their traditional costumes. The traditional costumes are made up of decorative
fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and
cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels
on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism,
the patterns include the dragon, phoenix, and flowers.

 Africa:-
In Africa, where batik was originally imported by Dutch merchants from Indonesia (then the Netherlands
East Indies), paste made from starch or mud is used as a resist instead of wax. The most developed resist-
dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are
used: adire eleso which involves tied and stitched designs and adire eleko that uses starch paste. The paste
is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth
thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in
Senegal uses rice paste. The Bamana people of Mali use mud as a resist.
GALLERY
 Patchwork

Patchwork or "pieced work" is a form of needlework that involves sewing together pieces of fabric into a
larger design. The larger design is usually based on repeating patterns built up with different fabric shapes
(which can be different colors). These shapes are carefully measured and cut, basic geometric shapes
making them easy to piece together.

Uses
Patchwork is most often used to make quilts, but it can also be used to make bags, wall-hangings, warm
jackets, cushion covers, skirts, waistcoats and other items of clothing. Some textile artists work with
patchwork, often combining it with embroidery and other forms of stitchery.When used to make a quilt,
this larger patchwork or pieced design becomes the "top" of a three-layered quilt, the middle layer being
the batting, and the bottom layer the backing. To keep the batting from shifting, a patchwork or pieced
quilt is often quilted by hand or machine using a running stitch in order to outline the individual shapes
that make up the pieced top, or the quilting stitches may be random or highly ordered overall patterns that
contrast with the patchwork composition.
 History
Evidence of patchwork—piecing small pieces of fabric together to create a larger piece and quilting layers
of textile fabrics together—has been found throughout history. The earliest examples have been located in
Egyptian tombs and also in early age of China about 5000 years ago. Further finds have been dated from
the early Middle Ages, where layers of quilted fabric were used in the construction of armor—this kept the
soldiers warm and protected. Japanese armor was made in a similar fashion.

Using this technique, quilts began to appear in households of the 11th to 13th centuries.As the European
climate became colder around this time, the incidence of the use of bed quilts rose, and so developed the
practice of embellishing a simple cloth through the creation of pattern and design, alongside the
development of decorative quilting. The tradition of making quilts in this fashion was taken to America by
the Pilgrims.

 Americans:-
Patchwork enjoyed a widespread revival during the Great Depression as a way to recycle worn clothing
into warm quilts.

Even very small and worn pieces of material are suitable for use in patchwork, although crafters today
more often use new 100% cotton fabrics as the basis for their designs. In the US, patchwork declined after
World War II, but was again revived during the American bicentennial.

In the past, hand quilting was often done in a group around a frame. Instead of quilting, the layers are
sometimes tied together at regular intervals with pieces of yarn, a practice known as tying or knotting, and
which produces a "comforter".

 Popularity:-
The 2003 Quilting in America survey estimated that the total value of the American quilting industry was
$2.7 billion. International quilting exhibitions attract thousands of visitors, while countless smaller
exhibitions are held every weekend in local regions. Active cyber-quilting communities abound on the web;
books and magazines on the subject are published in the hundreds every year; and there are many active
local quilting guilds and shops in different countries. "Quilt Art" is established as a legitimate artistic
medium, with quilted works of art selling for thousands of dollars to corporate buyers and galleries.

Quilt historians and quilt appraisers are re-evaluating the heritage of traditional quilting and antique quilts,
while superb examples of antique quilts are purchased for large sums by collectors and museums. The
American Quilt Study Group is active in promotion of research on the history of quilting.
  Asia:-
In Indian stitching blanket using different small pieces of cloth is an art. It is popularly known as Kaudhi in
Karnataka. Such blankets are given as gifts to newborn babies in some parts of Karnataka. Lambani tribes
wear skirts with such art.

Patchwork is also done in various parts of Pakistan especially in the Sindh region, where they call it ralli.
Pakistani ralli quilts are famous all over the subcontinent even in the west. These quilts are a part of their
tradition and are made by women. Now these are gaining international recognition all though they have
been making this hundreds and thousands of years.

Structure
There are three traditional structures used to construct a patchwork or pieced composition: 1) the block, 2)
overall, and 3) strip piecing. Traditional patchwork has identifying names based on the arrangement of
colors and shapes.

 Blocks:-
Patchwork blocks are pieced squares made up of colored shapes that repeat specific shapes to create
patterns within the square or block, of, say, light and dark, or contrasting colors (motif). The blocks can all
repeat the same pattern, or blocks can have several different patterns. The patchwork blocks are typically
around 8–10" square (20 cm to 25 cm). They are sewn together in stacked rows to make a larger
composition. Often strips of contrasting fabric forming a lattice separate the patchwork blocks from each
other. Some common patchwork block names are Log Cabin, Drunkard's Path, Bear's Paw, Tulip, and Nine
Patch.

A unique form of patchwork quilt is the crazy quilt. Crazy quilting was popular during the Victorian era
(mid–late 19th century). The crazy quilt is made up of random shapes of luxurious fabric such as velvets,
silks, and brocades and buttons, lace, and other embellishments left over from the gowns they had made
for themselves. The patchwork pieces are stitched together forming "crazy" or non-repeat, asymmetric
compositions. Fancy embroidery embellishes the seam lines between the individual, pieced shapes. The
crazy quilt was a status symbol, as only well-to-do women had a staff to do all the household work, and
had the time to sew their crazy quilt. Traditionally, the top was left without lining or batting. Many
surviving crazy quilts still have the newspaper and other foundation papers used for piecing.
  Overall:-
Overall patchwork designs are incrementally pieced geometric shapes stitched together to form a larger
random or composed design. The colored shapes can be randomly pieced or follow a strict order to create
a specific effect, e.g. value (light to dark) progressions, or checkerboard effects. Names such as Hit or Miss,
Clamshell, back-stitch, needle weave, criss-cross and Starburst identify some overall patchwork structures.

 Strip piecing:-
Strip piecing involves stitching together pieces of fabric in repeat patterns into long strips and then
stitching the strips together lengthwise. The patchwork strips can be alternated with strips of contrasting
colors. A typical strip patchwork quilt is the Four Patch pattern.

 Jelly Rolls and other pre-cuts:-

Pre-cut fabrics come in many varieties and can be used to make various styles of quilts. Pre-cuts include
"Jelly Rolls", which were brought onto the market by the fabric company Moda Fabrics. Jelly Roll's consists
of many fabric strips measuring 2 ½" wide by 44" or the full width of the fabric. The bundles come in
varying qualities usually 20 to 40 strips and come in most styles and themes. Other manufactures including,
Anthology Fabrics, Free Spirit Fabrics, Hoffman Fabrics, Island Batik, Riley Blake Fabrics, Robert Kaufman,
and Timeless Treasures have each brought similar bundles to market.
 Forms
Specialised forms of patchwork include:
 Cathedral window
 Scrap piecework
 Foundation piecework or the closely related
 English paper piecework
 Seminole patchwork
 Hawaiian piecework (primarily applique)
 Stained glass window patchwork, used simulate the effect of stained glass in church windows. Satin
fabrics simulate the colored glass, and black bias binding tape simulates the lead.

Trends
Today, many things are quilted using a longarm quilting system. The system consists of a frame and a
sewing machine. The patchwork, batting and backing are loaded onto the frame and in some systems each
layer can be tensioned independently. No basting is usually necessary. The frames can be up to 14' long
which is big enough for a king-size quilt to be tensioned ready for quilting. The sewing machine known as
the longarm machine has an extended throat space, up to 36", and it can be moved on a two-axis rail
system—left and right, forwards and backwards, enabling a 360-degree movement over the surface of the
quilt.Until recently, most longarm machines were hand-guided which meant the operator had to
synchronise the speed of their hands with that of the machine motor. Fast hands and slow motor meant
big stitches. Slow hands and fast motor meant small stitches. Since just after the turn of the century, most
longarm machines are now sold with stitch-regulation, which means that the operator no longer has to
synchronize hand speed with that of the motor. Electronics in the machine ensure the stitch length
remains constant. More recently, fully computerized machines are being sold. Fully computerized
machines have been available for over 12 years. They were invented by Paul Statler but have only recently
become popular. These machines use specialised machine-driver software and CAD-type drawing packages
to enable pattern digitisation and automatic quilting. An operator is still required to mind the machine and
set the pattern onto the quilt.It is thought that over 10,000 longarm quilting machines are in use today. In
the US, there are many brands available and many places to obtain training and few distributors and
trainers in other countries where business quilters are more likely to travel to the States for ongoing
longarm training.
 ARTICLE DETAILS
 BEDSHEET (Tie & dye and patch work)

 CURTAIN (Batik and tie &dye)

 AC DOHAR (Tie & dye and patch work).

Front side

Back side
 TIE & DYE AND PATCHWORK ON
BEDSHEET/AC DOHAR :-
MATERIAL USED:- Market Price
 DIRECT DYES COLOURS (approx 22Box) Rs. 10 per Box
 AYCRAFIX (COLOUR FIXER)(approx 6 bottles) Rs. 24 per Bottle
 WHITE THREADS Available at Home
 SALT Rs. 18 per packet
 SEWING MACHINE Available at Home
 BLACK LACE (2 Laces) Rs. 150 per lace
 Fabric Pieces (12.5meter) Rs. 50 per meter
 Fabric used inside Dohar Rs. 650 per Length
TOTAL = Rs. 2540 approx

PROCEDURE:-
 White or any light coloured fabric is washed with cold water to remove starch and
other impurities (before tieing).
 After drying fabric it is tied with the help of rubber band or white thread to get
different diferent designs.
 For preparing design we can use many things like coins, sticks, pencil, pulses and
many more things.
 After tieing, water is kept for boiling in a container and some salt is added to it.
 After this dye is mixed in a boiling water and tied fabrics are kept in hot dyed water
for 20-25 mins.
 We should regularly keep on stirring it with a steel rod or woden stick for 20-25 min.
to get proper colour to a fabric.
 After this we take cold water in a bucket and add some aycra fix (colour fixer) in cold
water.
 Then take the dyed fabric from the hot container and put them in a cold water bucket
for 5-10 mins.
 After this we will take the fabric from cold water and keep it for drying.
 After drying we will open the tied fabric.
 This will result in getting different design on pattern in different different dyed fabric
pieces.
 After this all the different different dyed fabric are stitched together to make it a
single fabric of a patchwork for front side.
 (for AC Dohar)Then thin fabric is taken exactly of same size single fabric.
 Then tie and dye a single fabric for back side of dohar.
 Stitch the front center and back side fabric from all four corners and put black lace for
finishing.

Dye Color+Salt in hot water Cold Water + Fixer Dye Color Aycra Fix Salt

Tied fabric fabric during dying

Sample Tie & Dye Design

 BATIK AND TIE-DYE ON CURTAIN :-

MATERIALS USED: Market Price

 PARAFIN WAX Rs. 50

 B WAX Rs. 50
 CAUSTIC SODA Rs. 20
 ORANGE BATIK COLOR Rs. 10 per packet
 YELLOW G.C. SALT BATIK COLOR Rs. 10 per packet
 BRUSH
 SPOON
 CONTAINER
 WOODEN STIRING STICK
 DYING COLOR (2 Bottles approx) Rs.10 per Bottle
 AYCRAFIX COLOR FIXER(1 Bottle approx) Rs. 24 per Bottle
 FABRIC (2.5Meter) Rs. 50 per Meter
TOTAL= Rs. 500 approx

PROCEDURE:

 Firstly white fabric is washed and dried to remove starch and other impurities.
 Then we take paraffin wax and B wax, mix them together and put them in a container
for melting.
 Then pour the molten wax on the fabric according to the design or pattern.
 After this put the fabric in Yellow G.C. Salt Batik color and then in Orange batik color
to get the color to the fabric.
 After drying, the fabric is tied and dyed in green color dye.
 After this, dyed fabric is dried in air.
  Then excess wax is removed by ironing or by putting detergent in hot boiling water.
 This results in A Green color Dyed fabric for curtain with Batik Effect.

Yellow G.C. Salt Caustic Soda Color Orange Color Wax

 REFERENCES
 Wikipedia
 Google
 Books
 Fashion magzines

CONCLUSION

 Learnt how to do tie and dye

 Learnt batik work
 Learnt patchwork during this session of
this project.