Diversified Diversified TexturesTexturesof Wax inof Wax in

Contemporary Contemporary TextilesTextiles

Presented By:Presented By:Ms Monika SavlaMs Monika Savla

Weavers Studio, Weavers Studio, Kolkata, IndiaKolkata, India

AcknowledgementAcknowledgementI would like to express my sincere gratitude to

Ms. Darshan Shah. This Batik Presentation wouldn’t have been possible without her vision,

and constant guidance and support.

Also I would like to thank Ms. Syeda Ruby Ghaznavi for being our Guru in teaching us

Batik with natural dyes and helping me to broaden my view and knowledge.

My deepest appreciation and heartiest thanks to the entire family of Weaver’s Studio, Rangeen

and Veda for being a valuable part in accomplishing the task.

NonNon--Wearable Wearable

Art Art Textiles Textiles of Batikof Batik

History & OriginHistory & Origin

• Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool.

• In Asia, - in China during the T'angdynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE).

• In Africa - by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. In Sub Sahara Africa, Javanese batik was introduced in the 19th century by Dutch and English traders.

Wax resist dyeing technique in fabric is an ancient art form.

• Regions such as Toraja, Flores, Halmahera, and Papua- have an old age tradition of batik making.

• The Dutch - introduced new innovations and prints. Starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.

• Due to globalization and industrialization- new breeds of batik, known as batik cap and batik print emerged, and the hand written wax-resist dyeing technique is known now as batik tulis.

1717thth Century Sarasa PrintsCentury Sarasa Prints

Sarasa Printing ProcessSarasa Printing Process

Contemporaries of Sarasa PrintsContemporaries of Sarasa Prints

The Tales of Batik The Tales of Batik

Batik is a cloth that traditionally uses a manual wax-resist dyeing technique. Batik or fabrics with the

traditional batik patterns are found in:

• Indonesia, • Malaysia, • Japan, • China, • Azerbaijan,

• India, • Sri Lanka, • Egypt, • Nigeria, • Senegal, and • Singapore.

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.

Indian batikIndian batik

Santiniketan is a small town near Bolpur in the Birbhum district

of West Bengal, India, and

approximately 180 kilometers north of

Kolkata.

Rural artisans continue to do crafts like batik printed materials, the

most famous Santiniketan Leather bags,

earthen wares, batik paintings.

Noble laureate, poet, song writer, playwright, novelist, musician and painter, Rabindranath Tagore, founder of Vishwabharathi University in Shantiniketan in West Bengal, was instrumental in bringing batik back to Bengal.

Tagore’s brush with batik began during his visit to Java, where he saw beautiful pieces of intricate batik and returned to Bengal with various other handicrafts, batik fabrics and metal ‘caps’

Tagore and BatikTagore and Batik

Indian Shantiniketan BatikIndian Shantiniketan Batik

Contemporary ArtistsContemporary Artists––

The Batik Guild:

• The Batik Guild was first formed in 1986 by a small group of batik artists and has now grown into an organization of around 200 members. The majority are based in Britain and Ireland, but some members come from further afield. Members include professional artists, amateur artists, teachers, students and those that simply enjoy doing batik.

• Contemporary batik, is markedly different from the more traditional and formal styles. For example, the artist may use etching, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.

Rita Trefois

Jacques Coenye

The Process ofThe Process of BatikBatik

IngredientsIngredients

Wax

Tools

Dyes

Product line

Wax Wax –– the basic ingredient of Batikthe basic ingredient of BatikA traditional recipe for batik wax is a mix of beeswax and paraffin,

about 60%/40% respectively.

Beeswax is soft, pliable, and blocks completely: no cracking.

Paraffin is more brittle, and lets dye penetrate wherever cracks form.

Tools used for Contemporary BatikTools used for Contemporary Batik

Many blocks and materials are used interestingly to make it cost effective.Both skilled and non-skilled worker can work with these tools.

Designing is done in such a way that if a person has done any defect it can be made to look as an effect.

Brushes

Sponge

Shoe brush

Wooden Blocks

(design/solid)

Tjanting

Brass block

Wooden Spatula

Hues of Natural DyesHues of Natural DyesThe challenge to keep the use and beauty of Natural dyes

intact is the whole idea to create something different and contemporary to give it the social & economic status to let

Natural dyes be dyes used more often than just demonstrations or revival projects.

Indigo Pomegranate RindMadder Catechu

TurmericMarigold FlowerTea LeavesEucalyptusMyrobalan

Base Fabric

The regular process for doing a layer of wax printing is:

First Layer of Wax Print

Placement Brushing with Natural Dye

Reprint Areas with Wax

Dye with Natural Dye

Reprint base with Wax

Re-Dye in Natural Dye & De-wax

The above details of the product/design and process are time tested as the organization –Weaver’s Studio –retails to its national and international

clients, designers and patrons for the last 18years.The export wing Veda Commercials Pvt Ltd has had good experiences of business with batik

textile products. Retails chain stores –Liberty London, designers of Japan, India, USA, & Europe have successfully enjoyed the batik heritage

technique in innovative patterns and wearable textiles.

Weavers Studio products include textiles in the form of Yardages, Fabric pcs, Saris, Stoles, Dupatta, Tunics, Shawls, and Non-wearable textiles in the

form of Art Textiles.

Product DesigningProduct DesigningIt is being explored in diversified ways for the purpose of creative printing and development of contemporary textiles that is unique and spreads to

many ends with its different results.

Fields of ColourThe expression of shades completes the composition as the moral fibers collects to give a subtleness to the valiant and flamboyant characters

Fabric used : Tussar silk

Technique:Multiple Application of wax resist

Colours used are:Catechu ,Indigo , Pomegranate ring, Marigold flowers Layering

Size: 200cms X 50cms

Reflecting Identities A vital truth of different qualities in a character gets heightened through the chapters of life.

Fabric used : Georgette

Technique:Multiple Application of wax resist

Colours used are:Catechu, Indigo, Myrobalan

Size: 200cms X 50cms

Collections…Weaver’s Studio 2011

• 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 (Brahmā, Visnu, and Śiva).

• 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.

Indonesia:Indonesia:

Parang RusakParang rusak: broken knives

An example of Parang design , in this case the ‘Parang barong’. Usually these design were only intended for court circles.

WeaverWeaver’’s Studio, Kolkatas Studio, KolkataHaving been in the field of textiles since the past 17 years, Weavers Studio has

established its position by setting up hand-block printing, handloom, hand embroidery units in the vicinity of Kolkata employing 250 plus crafts persons

directly and many more indirectly.

Various Textures of WaxVarious Textures of WaxBatik is practiced ,created and produced all

over the world-Indonesia, Malaysia, Japan, China, India, Sri Lanka, Egypt, Africa

and many more.

The challenge to keep the use of batik intact is the whole idea to create something

different and contemporary to give it the social and economic status to let batik be used apart from just demonstration or

revival projects.

Clear Batik Print:Clear Batik Print:--• Batik is a process of

decorating cloth by covering a part of it with a coat of wax and then dyeing the cloth.

• The waxed areas keep their original color and when the wax is removed the contrast between the dyed and undyed areas gives the pattern.

Wax print with Cracks:Wax print with Cracks:--

• Crackle is a characteristic batik effect, a scatter of thin dark wavy lines, a batik hallmark.

• The Batik effect is unique in that the wax cracks during handling, either intentionally or not.

• In each dye bath, the cracks in the wax allow the dye to reach the fabric creating the unique batik effect.

• Batik can be done on cottons, silks and other natural fabrics.

Wax texture in form of Fibred look:Wax texture in form of Fibred look:--• The fibred look is a look achieved by

using a block with no design like a solid square, triangle, and circle block.

• The blocks are then dipped in molten wax and then first printed on a paper and then directly on the cloth.

• In this process the excess wax is absorbed by the paper and the rest of the wax on the cloth create a grained fibred look.

• The cloth is then dyed in single, and then dewaxed to get the final effect.

Block print with Wax:Block print with Wax:--• It is a process where wax is applied onto

pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric.

• The invention of the copper block (cap) was developed by the Javanese in the 20th century which in return revolutionized batik production.

• By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a tjanting tool.

• It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.

Hand drawn forms and textures:Hand drawn forms and textures:--• This category of batik is works is made

by making use of the hand.

• Creation batik texture on the clothes is done by using a brush or any other medium by hand not just for making the textures but also making.

• By way of making it then it is a kind of batik clothing that have a value higher selling and more people are interested in using these types of batik clothes.

• The use and production of handmade batik clothes have been done long ago and preserved by generations.

Multicolored layering with batik:Multicolored layering with batik:--• Multicolour batik refer to the batik cloth

where there is more than two colours used in a single piece of cloth.

• The process is done by using layers of wax and natural dyes to create the effect of a multi-coloured look.

• The fabric needs to be first printed with wax, then placement brushing with natural dyes colours; after it dries it is again printed with a second layer of wax.

• Then the fabric is dyed in a single natural dye bath and then dewaxed to get the final effect of a multicolor look.

Batik Printed Kantha Baseswith Natural Dyes

ISEND 2011, EuropeISEND 2011, Europe

Poster Presentation on:Poster Presentation on:

““Layers of Natural Dyes with the Layers of Natural Dyes with the help of Batikhelp of Batik””

Isend 2011 posterIsend 2011 poster“Layers of Natural Dyes with

the help of Batik”

Batik is a traditional manual wax-resist dyeing technique which was

used primarily in Indonesia and also in many parts of the world. It is

now being explored in several different ways for the purpose of

creative printing and the development of contemporary

textiles.

The poster presented at Isend 2011, Paris, showcased the use of

Natural dyes and wax resist or Batik to create a form that is

unique, and spreads to many ends with it’s different results.

Certificate for participation in poster presentation Certificate for participation in poster presentation at Isend 2011, Paris, Europeat Isend 2011, Paris, Europe

Contemporary Contemporary InnovationsInnovations

Old Textiles of Batik Old Textiles of Batik CollectionCollection

Owned by :Owned by :WeaverWeaver’’s Studio Resource Centres Studio Resource Centre

( Study Centre)( Study Centre)

Collection owned by Weaver’s Studio Resource Centre, Kolkata

Collection owned by Weaver’s Studio Resource Centre, Kolkata

Old Old

Batik Batik

Textile Textile

CollectionsCollectionsCollection owned by Weaver’s Studio

Resource Centre, Kolkata

Collection owned by Weaver’s Studio Resource Centre, Kolkata

Collection owned by Weaver’s Studio Resource Centre, Kolkata

Batik Art Textiles

Products – stoles and scarves

Inspiration from Indonesian batik

Monika Savla E-mail: savlamonika@gmail.comMobile : +91-9831283202

DOB : 22.11.1970Nationality : IndianLanguages: English, Hindi

Native & Regional Dialect Design and Production Head of :Rangeen I (Hand-loom Weaving Unit) and Rangeen II (Hand block Printing Unit) of Weavers Studio, Kolkata, India.

My journey of textiles started 18 yrs back with the sole guidance and encouragement of Ms. Darshan Shah with her dream of creating a dyeing and printing unit which could revive the age old traditions of natural dyes, design patterns and to give work to as many hands as possible.

Textile Experience:

•Training of Mud resist (Dabu) in Jaipur by master crafts person –Late Raghunatha Nama, Kaladera – Jaipur.•Trained in Natural dyeing & printing with Mrs. Sayyeda Ruby Ghuznavi – Dhaka, Bangladesh.

•Visited various production centers of Natural dye & hand block printing & hand block making at Pedana & Polavaram – Machalipatnam.•Exposure to the western countries ,their arts ,culture and trends.•Knowledge in multicolor wax resist in natural dyes, Shibori, Bandhni, Leheria in natural dyeing•Yarn dyeing, wrap printing, warp tieing, inlaying in the weaving looms.•Creating saris, dupattas, scarfs, stoles, and art pcs. from various dyes.Designing and producing contemporary products for the in-house store and export market.

Work Shops & Seminars:

1. Poster & Art Textile Exhibition in ISEND 2011 conference on Natural Dyes with Batik – La Rochelle Paris- April 2011.

2. Sutra Conference in Kolkata on Conservation & Preservation of Old Textiles – 2010.

3. Received award for the Best use of Colour in Scarf Festival in Australia – 2010.

4. Participation in the Jury Textile Exhibition in Minneapolis, USA - 2009.

5.Participated in International Folk Art Market, Santa Fe , Mexico – 2008.

6.International Natural Dye conference Hyderabad- 2007.

7.Visited – Okinawa islands of Japan for meeting the master weavers working with the banana fiber –Basho, how this is extracted, made into yarn & then tie dyed to make Kasuri (Japanese tie & dye) Kimono fabric - Japan-2006 .

8.Surface Design Conference – Kansas – USA – 2005.

9.World Batik Conference – Boston – USA – 2005.

10.Weft Forum – Kuching – Malaysia – 2003.

11.Natural Dye Conference at Iowa – USA – 2002.

12.Sutra Conference in Kolkata on Traded Textiles – 2002.

13.Formal training for Shibori & Natural Indigo dyeing at the Kyoto University under professor Hiroyuki Shindo – Kyoto – Japan – 2000.

14.World Shibori Symposium at The National Institute of Design – Ahmedabad – 1997.

15.Natural dye conference at the Anna University Chennai – 1995.

16.Participated in international fairs in Germany, Japan, USA and India.

17.Participated in Indian crafts council exhibitions in Delhi, Chennai, Hyderabad, Bangalore.

The journey of 18years has been an experience of learning, understanding, sharing of Ideas & Views with masters, pioneers, and the entire team of co-workers.