CHAPTER VIIIDYEING 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.

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.

A decorative Batik Hanging by Jean Paul Slusser, using the Javanese “Tree of Life” motif

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.

Batik by Ilonka Karasz. Courtesy Academy Art Shop, New York

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.

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

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 onpage 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 usedhot. 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 bestirred 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.

A section from a Javanese Batik from Metropolitan Museum, New York

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.

Tied and dyed pattern done in stripes

A Scarf showing application of concentric circles. Designed by Helen R. Reed

A pattern from a Javanese Batik. Courtesy of Metropolitan Museum, N. Y.

An Indian Saree. Courtesy of the Metropolitan Museum, N. Y.

A pattern from a Javanese Batik. Courtesy of the Metropolitan Museum, New York

A pattern from a Javanese Batik. Courtesy of Metropolitan Museum, N. Y.

Batik Scarf. Designed and executed by Miss Robiccheck. Courtesy of Academy Art Shop

Batik Scarf. Designed and executed by Conrad Kramer. Courtesy of Academy Art Shop

A Javanese Batik pattern. Courtesy of Adelaide A. Robineau

A modern Batik wall hanging

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