BATIK

The word "batik" comes from Java and means "printing in wax. This method of decorating has been practiced for centuries many Asian countries. The process involves using wax to resist the effect of fabric dye the parts of the cloth coated in wax remain the original colour. It is also a type of resist printing. Batik is a cloth that traditionally uses a manual wax-resist dyeingtechnique. Javanese traditional batik, especially from Yogyakarta and Surakarta, has notable meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahm, Visnu, and iva). This is related to the fact that natural dyes are most commonly available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing. Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch culture. In the colonial times pesisir batik was a favorite of the Peranakan Chinese, Dutch and Eurasians. UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage. Batik or fabrics with the traditional batik patterns are also found in several countries such as Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.

The Batik Process

Hot liquid wax is applied to fabric either drawn by hand or printed by hand using a pattern block. The fabric is then dipped into a dye solution the waxed areas protect the cloth and the dye can only penetrate the unprotected areas. Thats Batik put simply but the methods used in Indonesia are more elaborate with successive waxing, dying and re-waxing to achieve highly beautiful and intricate designs.

The canting
The Canting, Sometimes called a wax pen, is a small copper container with a small tube mounted on a bamboo handle. The copper container is filled with melted wax and the artist uses the canting to draw the wax onto the cloth. The spout can be as small as 1 mm in diameter for very fine detailed work. Larger spouts are used to fill in large areas also parallel lines and dots can be drawn with canting that have up to 9 spouts.

PROCESS

Step One first waxing Wax is applied to white or beige fabric over a penciled-in outline with the Canting

Step Two - first dying The fabric is dyed and the area of the cloth where the wax was applied will remain white.

Step Three second waxing The colour of the second waxing is a dark color to help distinguish it from the first waxing. The parts covered with this wax application will protect the colour of the first dying.

Step Four second dying The fabric is dyed with a second colour and areas that are not covered by wax will be dyed. At this point the fabric will have three colours the colour of the cloth, the first and the second dye colours.

Step Five removal of the wax. All the wax is removed by heating with hot water and scraping and sponging off. repeated as many times

These steps can be as the design requires.

SILK TIE-DYE PROCESS

DYES AND CHEMICALS ACID DYES+ACITIC ACID PROCEDURE Soak the cloth in water for 5 mins Dye solution is prepared 5gm/ltr dye 2ml/ltr acid Water and dye is mixed and boiled (not above 50-60degrees) Put acid in the mixture and stir Put the fabric Dye till 15 mins at 40 degrees After 15 mins raise the temperature to 60-70 degrees for 10-15 mins Then remove the cloth and rinse.

SHIBORI
Shibori is a Japanese term for several methods of dyeing cloth with a pattern by binding, stitching, folding, twisting, compressing it, or capping. Shibori is the Japanese word for a variety of ways of embellishing textiles by shaping cloth and securing it before dyeing. The word comes from the verb root shiboru, "to wring, squeeze, press." Although shibori is used to designatc a particular group of resist-dyed textiles, the verb root of the word emphasizes the action performed on cloth, the process of manipulating fabric. Rather than treating cloth as a two-dimensional surface, with shibori it is given a three-dimensional form by folding, crumpling, stitching, plaiting, or plucking and twisting. Cloth shaped by these methods is secured in a number of ways, such as binding and knotting. It is the pliancy of a textile and its potential for creating a multitude of shape-resisted designs that the Japanese concept of shibori recognizes and explores. The shibori family of techniques includes numerous resist processes practiced throughout the world. Shibori is used as an English word throughout this book because there is no English equivalent. In fact, most languages have no term that encompasses all the various shibori techniques, nor is there English terminology for individual methods, which often have been incorrectly lumped together as "tie-and-dye." Three terms for separate shibori methods have come into international usage: plangi, a Malay-lndonesian word for the process of gathering and binding cloth; bandy an Indian term for the same Process; and tritik, a Malay-lndonesian word for stitch-resist. However, these three terms represent only two ofthe major shibori techniques. In this context, the word shibori seems the most useful term for the entire group of shaped resist textiles. It is the hope of the authors that "shibori" will win acceptance in the international textile vocabulary. The special characteristic of shibori resist is a soft- or blurry-edged pattern. The effect is quite different from the sharp-edged resist obtained with stencil, paste, and wax. With shibori the dyer works in concert with the materials, not in an effort to overcome their limitations but to allow them full expression. And, an element of the unexpected is always present. There is an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for shibori, and each way results in very different patterns. Each method is used to achieve a certain result, but each method is also used to work in

harmony with the type of cloth used. Therefore, the technique used in shibori depends not only on the desired pattern, but the characteristics of the cloth being dyed. Also, different techniques can be used in conjunction with one another to achieve even more elaborate results. In Japan, the earliest known example of cloth dyed with a shibori technique dates from the 8th century; it is among the goods donated by the Emperor Shmu to the Tdai-ji in Nara. Until the 20th century, not many fabrics and dyes were in widespread use in Japan. The main fabrics were silk and hemp, and later cotton. The main dye was indigo and, to a lesser extent, madder andpurple root. Shibori and other textile arts, such as tsutsugaki, were applied to all of these fabrics and dyes.

FLORA
I have taken the theme flora because of its vibrant colours.the theme allows me to explore vast variations of colours and shapes. Floral patterns are evergreen and can be used in a variety of things. The term flora comes from Latin language Flora, the goddess of flowers in Roman mythology. Flowers have long been admired and used by humans, mainly to beautify their environment but also as a source of food and as a source of inspiration for mnay fashion designers. Many textile designers have also taken flora as there theme and created beautiful patterns.