CHAPTER VCRACKLE 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.

A modern Batik Wall Hanging, by Peter Mijer and Jean Paul Slusser

In the decorative panel by Jean P. Slusser onpage 45the 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 onpage 48the 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 onpage 43.

Two Javanese BatiksCourtesy of the Metropolitan Museum, New York.

Two Javanese Batiks

Courtesy of the Metropolitan Museum, New York.

A Javanese Batik design from the Metropolitan Museum, New York

A Batik Memorial Hanging, by Jean Paul Slusser

An unusual piece of Samarang Batik in the American Museum of Natural History, New York

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