Dyed & Printed

7/29/2019 Dyed & Printed

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Daubed Textiles

As an expression of human

emotion and intellect ,we human

beings create images of colloquial

and special moments of life, invarious forms , mediums and

surfaces .

Prehistoric people created

images on walls on caves and

painted their primitive costumes

also on various subjects.

A region wise brief overview shows : Native American dress

material of buffalo-hide contained

crude paintings on sign-language

patterns as well as ceremonial

patterns.

One of the most striking of

all daubed textiles are theBogolanfinimud cloth of Mali.

These are decorated with geometric

patterns in white on a black

background. Mostly dyed cloths are

resisted by river mud patterns. The

exposed area is bleached with

natural bleaching agents to create

motifs.


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Painted Textiles

Painting on textiles is a stylemostly used to prepare pieces of

textiles for religious, educational,

documentation or publicity

purpose. Rarely this type of

fabric styling was used for dress

material traditionally.

The style of fabric paintingas a tradition is richest in India.

In Rajasthan painted textiles are

used as a backdrop and

supporting document for telling

folklores.

A Mata-ni-pachediis a

special decorative cloth for

temples in western India ,

depicting legends of Devi Durga.

Southern American

regions of Ecuador or Columbia

has heritage of painting textiles.

A painted bark cloth from Colum bia

A Mata-ni-pachedi from

Gujrat A Bhilw ara texti le pieceDepict ing Pabuji folklore.


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Pen Work (Kalamkari)

The Persian word kalamkari forthe pen-worked textiles from India

proves popular demand of these type

of textiles not only within India but at

abroad as well. These textiles were

exported as value added trade items

from south-east coast of India to

Persia and Europe since late 16th

century.

After Mughol empire and later

during European invasions this trade

was taken over by the foreigners.

A kalamkarifabric imported from India used

As persian prayer cloth with patterns inspiredBy Persian mythology.

An important event of Mahabharata depicted in a

Kalamkariwork from Andhra Pradesh


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Woodblock Printing

Taking impression of a natural

shape on the fabric surface with the

help of natural dyes, pigments or

mordant has been practiced all over

the world since early part of human

civilization.

Printing fabric with pre-curved

wooden blocks were mastered bycraftsmen in Indian subcontinent.

This is considered to be one of the

cheapest and quickest process of

fabric designing all over the world.

Though the traditional woodblock

printing has made way for mechanised

modern printing techniques , still in

parts of India and some pockets of

Africa , the process is still alive.

Bagh printing of Madhya Pradesh is

one such glorious wood block printing

heritage which is being rescued from

the brink of extinction by NIFT.

An woodblock printed yardage from Bagh, Madhya Pradesh

A piece of Adinkra cloth from Ghana


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Polychrome Woodblock

Printing

Basic art of woodblock printingwas developed in monochrome. Later

in various part of India and central Asia

the art of using multiple synchronised

blocks was mastered.

This multiple block technique

actually helped to introduce different

colours as can be seen in polychrome

woodblock printing.

This was one of the very few mass

production process successfully

developed in India until they were

overwhelmed by competition from

English and Scottish factories in the

18th and 19th centuries. Since then the

Indian woodblock printed cloth had

satisfied a global demand for cheap

printed cloth.


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Stenciling

Stenciling is a widespread techniqueused either to implant a design

directly, or to apply starch in the dye-

resist process.

The Japanese perfected this stenciling

technique as early as 8th century .

Their specialty of stenciling became

famous as katazome.This was the mother process of the

present day hugely popular screen-

printing process.

Some other parts of the world has also

seen some advent of this process, like

Afghanistan and India.


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Resist Printing

Resisting certain preselected

parts of the fabric from taking up

colour while rest of the fabric is

getting dyed and thus creating

patterns, is the basic principle of

resist printing.

This simple yet versatile

technique has fascinated human

imagination and has been widely

practiced all over the world.

To achieve desired resist

effect different types of

techniques are adopted at

different parts of the world; and

accordingly the processes are

known.

When certain portion of thefabric are tied by some kind of

thread or tape which wont allow

dye penetration while rest part of

the fabric is getting dyed is

known as tie and dye.

(continued)

A stenciled adire eleko, from Nigeria showing king George V & Queen

Mary

In 1935 when Silver Jubilee celebrations of their coronation took place all

over the world.

) i d


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a) Tie and Dye

The technique of resisting by tying

fabrics together in different patterns is

practiced all over the world in slightly

varying forms; giving rise to some

distinctive patterns of their own.

In (bandhni) India and (plangi)Indonesia the fabrics are gathered

around fingertips and tied where as in

(shibori)Japan vary delicate patterns

were produced by tying tiny bunches

with grains of rice inside the hold.

In west African region stones or sticks

were used to control shapes. By repeating tie & dye process a

number of times, using different dye

each time, a multi-coloured effect is

achieved. In Indonesia this is known as

plangi(rainbow).

Presently advent of information

spread and trade has seen techniquesbeing cross adapted all over the

places.

Indian Bandhnistyle of resist became

so popular that it has become

colloquial by the term bandanna,

which entered English language

dictionary as the word for spotted

kerchief.

A womans stole in tie-n-dye from

Tajikistan

A womans stole in tie-n-dye from

Rajasthan ( Bandhni)


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Stitched Resist

Stitched resist, like tie and dye,

prevents dye reaching parts of the

cloth. In Indonesia this techniqueis known as tritikand in Nigeria as

adire alabere. It is a commonly

used technique in Japan,

Indonesia and West African

countries of Senegal, Mali, the

Gambia, Sierra Leon, Burkina

Faso, Nigeria and Cameroon.

In some places of Indonesia

(Sumatra) effects are produced in

combination of some other resist

technique along with stitched

resist technique, the process is

called Selendangs.

A salendangfrom Sumatra, here the dot patterns have been

Tied but the egg shapes and the linear motifs are stitched.

An indigo resisted shirt from Cameroon, to produce such an

Elaborate pattern, the fabric has been embroidered with raphia

To resist the dye and the stitches then removed to exposeThe un dyed cloth.


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Leharia and Mothara

In the 19th and early 20th centuries,

the Marwaris , the dominant business

community of Rajasthan and India,

wore elaborately tied, brightlycoloured turbans as their

distinguishing mark. These turbans

were made by the leharia technique.

This process is continued to be

practiced in the dyeing quarters of

Jodhpur, Jaipur , Udaipur and

Nathdwara.

Long length or turban cloths are

folded first in usual width and across

fold . Then the folded fabric is rolled

diagonally, ties are placed at intervals

and the roll is dyed. This way wavy

resist lines are produced on the cloth,

known as leharia.

In case ofmothara the long turban

fabrics are folded diagonally from one

corner. Ties are placed at regular

intervals, dyed then unfolded and the

process is repeated from the opposite

corner, hence check patterns are

produced.

Mothara Leharia


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Starch-Resist

In Nigeria and Japan starch is usedas a resist medium for designs on cloth

to be dyed with Indigo.

In Nigeria the starch is applied by

hand. The starch is derived from

either cassava or cornflower and

known as lafun or eko. The starch is

applied on the whole cloth and after

drying the patterns are scrapped on

the surface of the fabric, then the

whole cloth is indigo died. Since the

starch applied is not completely

impermeable so the patterns assume

some amount of dye and the

appearance of the cloth is light blue

motifs on dark indigo background. Thetechnique has a similarity to

Indonesian batik because the motifs

are derived in negative.


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StarchResist

In Japan the starchresisting was very popular and the

application and patterning was

done either by hand or by

stenciling. The process is known

as tsutsugakiif the starch is

applied by hand . If the starch is

applied by stencil then the

process is known as katazome.

The starch used is made of rice

and known as tsutsu.

A Tsuts ugaki

A Katazome


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Wax Resist

The application of a wax-resist

before dyeing to form a pattern in

negative is most often referred to bythe Javanese word batik. Batik is

practiced in India, Srilanka, China,

South-East Asia, Turkey and West-

Africa, but in Indonesia, on the island

of Java, the craft has been brought to

an acme of refinement. Nowhere else

has wax-resist cloth been so finely

detailed.

The origins of batik are obscure, but

what is certain is that the Javanese

invention of the canting waxing

instrument enabled the finest hand

drawn batik to be produced.

In Java in the middle of the 19th

century a very new technique of waxresisting was evolved where engraved

copper plates in the line of early

European printing blocks were used to

create negative pattern before

resisting.

An Indonesian Batik

A Printed Wax Resist

From Java

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