The Project Gutenberg eBook of First lessons in batik
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: First lessons in batik
        a handbook in batik, tie-dyeing and all pattern dyeing

Author: Gertrude Clayton Lewis

Release date: September 24, 2024 [eBook #74474]

Language: English

Original publication: Chicago: The Prang Company

Credits: Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)


*** START OF THE PROJECT GUTENBERG EBOOK FIRST LESSONS IN BATIK ***






FIRST LESSONS IN BATIK

[Illustration: A BATIK WALL HANGING. BY ANNA TYRELL. ART INSTITUTE OF
CHICAGO

By the Courtesy of Mrs. Caroline Kohl]




                                  FIRST
                             LESSONS IN BATIK

                     A HANDBOOK IN BATIK, TIE-DYEING
                          AND ALL PATTERN DYEING

                                    By
                          GERTRUDE CLAYTON LEWIS
            _Instructor in Art, Lindblom High School, Chicago_

                     [Illustration: A Javanese Motif]

                            THE PRANG COMPANY
                       1922 Calumet Avenue, Chicago
                        30 Irving Place, New York

                             Copyright, 1921
                           By THE PRANG COMPANY




THE PREFACE


The growing interest in “Batik” leads the author to believe that this
Handbook, describing the various processes and illustrating a number of
definite problems, will meet the need of many artists, teachers, and
craft workers who wish to try their hand at this new and fascinating
oriental art.

The book does not attempt to present a historical or critical study
of “Batik,” but to give detailed directions for doing the work under
American conditions. “Batik” presents many new and interesting problems
for art workers who have wearied of china painting, metal work,
embroidery, etc. It not only permits the worker to produce exquisite
gowns, scarfs, table covers, bags, curtains, and many other articles that
will express her own individuality, and be exactly suited to the color
scheme and design of their surroundings, but it also will enable the
worker to produce articles of commercial value which are readily salable.
As the beauty and value of “Batik” depends almost wholly upon the
personal touch and artistic taste of the worker who produces it, there is
little likelihood of its being commercialized or produced by mechanical
processes. This promises to keep it an individual craft.

While “Batik” offers large opportunities for home workers, it also
presents an interesting field for industrial art problems for students in
art schools, high schools, normal schools, and colleges. Many progressive
art teachers are offering courses in “Dyes and Dyeing” in connection with
their scientific study of “Color,” and relating them also to the work in
“Costume Design,” “Interior Decoration,” and “Domestic Art.”

“Bateeko Powder Dyes” are recommended for Batik work. These dyes can be
prepared and kept in bottles in strong solution, ready for immediate
use. It is not necessary to boil the goods in the dyes, as they work
successfully in tepid water and without constant stirring. These dyes are
recommended as unusually beautiful and brilliant, yet soft in tone.

Mr. Albert Buell Lewis, Assistant Curator of the Department of
Anthropology in the Field Museum, Chicago, has furnished interesting
historical data and supplied a number of illustrations from his private
collection of “Batiks.”

Photographs have been kindly loaned by the following: The Art Institute
of Chicago; Professor Albert W. Heckman of Teachers College, Columbia
University; the “Keramic Studio;” the “Industrial Arts Magazine;” Mrs.
Helen Reed of New York City; Mrs. Caroline Kohl; Miss Amy Swisher of
Miami University, Oxford, Ohio; Lieutenant Jean Paul Slusser of the U. S.
General Hospital, Fort McHenry, Ind.; Miss Rose Buhlig of the Lindblom
High School, Chicago; Miss Anna Tyrell.

The publishers are under special obligation to Miss Mary C. Scovel, Head
of the Normal Department of the Art Institute of Chicago, who prepared
the outline and first draft of this book, and gave many practical
suggestions.

They would be glad to receive suggestions or interesting photographs of
“Batik” suitable for use in connection with future editions of this book.




The Table of Contents


                                                PAGE

    The Preface                                    5

    Chapter I.    The History of Batik             7

    Chapter II.   The Method in Java              10

    Chapter III.  The Possibilities of Batik      20

    Chapter IV.   Processes of Batik Dyeing       36

    Chapter V.    Crackle in Batik                44

    Chapter VI.   Color and How to Use It         50

    Chapter VII.  “Tied and Dyed” Work            60

    Chapter VIII. Dyeing Suggestions              74

[Illustration: “THE CASTLE,” A BATIK WALL HANGING. BY WINOLD REISS

By courtesy of the Academy Art Shop, New York

Copyright, 1920, by the “Keramic Studio,” Syracuse, N. Y.]




FIRST LESSONS IN BATIK




CHAPTER I

THE HISTORY OF BATIK


The word “Batik” is Javanese, and means to paint or draw or design with
wax on textiles so that when placed in the dye the wax prevents the part
covered from taking the color. The wax is then removed by hot water or
gasoline, leaving the parts thus covered of the original color.

From early times and in many places designs have been made in this
manner on various kinds of objects, but the process reached its highest
development in its application to woven fabrics. Wax seems to have been
used in this manner in southern India and probably in some other parts of
southeastern Asia for centuries. Early Buddhistic books of the ninth or
tenth century refer to a wax painting process, and there are preserved in
Japan ancient Indian cloths which have been colored in this manner.

This process of wax painting, however, reached its highest development
in Java, where it was probably introduced about the twelfth century.
The earliest written record we have states that in 1518, there was a
flourishing industry of this sort at Cheribon, Java, which showed certain
remarkable resemblances to the processes employed on the Coromandel coast
of southern India. The work was done by men, and plant and animal motives
were largely used in the designs. At that time, that portion of the
island had not yet been Mohammedanized, as we see by the designs used.

After Mohammedanism spread over the island, the industry developed
rapidly, and many new and original patterns were added to those formerly
used. The highest development was in central Java, where “Batik”
flourished especially during the seventeenth and eighteenth centuries.
Here the work was carried on by women, especially by those of the leisure
class, who could give the time and care necessary to the production
of the finest work. Some designs were so elaborate and difficult that
only the nobility could afford them and a few designs were reserved
for the use of royalty. In these designs, indigoes or browns are the
predominating colors.

The first detailed account of Batik making was by Raffles in 1817. At
that time the “tjanting,” an instrument which will be explained later,
was in universal use. How long it had been used and when it superseded
the brush, which was doubtless used earlier, as it was in India, is not
known. About 1860, a new process was introduced by means of which the wax
was transferred to the cloth by a metal stamp dipped in the melted wax
and then pressed on the cloth. This stamping process is known as “tjap”
and is done by men, while in Batik work the designing and painting are
always done by women. It is doubtless an adaptation of the color printing
process of India to the wax process. In some cases after stamping, the
opposite side is Batiked, but this is not common. These tjap cloths are,
of course, much cheaper than true Batiks.

The designs used in Javanese Batik work show much variation in different
parts of the island, and certain designs are characteristic of particular
regions. The motives are of various origins. Some are old weaving
patterns, or adapted from basket or plaited designs. Some are evidently
of Indian origin, similar to those on the cotton prints of southern
India. It is interesting to find the same designs on some of the old
Buddhistic sculptures that are found on certain Batik pieces. Other
designs are of Chinese origin, and recently modern European designs are
being adopted. Most of the designs, however, are either modifications of
the old Indian plant and flower motives or geometric figures developed by
the Javanese themselves.

The Javanese women employ the “Batik” process largely for the decorations
of textiles used in their personal costume. This costume is simple,
consisting of an oblong piece of cloth about three to four and one-half
yards long by forty-two inches wide, generally called a “sarong.” It is
worn wrapped around the waist and tucked in the belt. This costume is
worn by both men and women.

A cotton scarf, generally about three yards long by eighteen inches,
is also worn, and is used by the women as a “carry-all.” Silk is
occasionally used by the nobility for scarfs.

The turban is made of a square piece of cloth twisted around the head in
a different fashion in each district.

Each district has its own characteristic color schemes. Djokjakarta and
Surakarta, which are semi-independent principalities in the interior, do
the finest work and use largely indigo and soga-brown dyes, which give a
range of color from cream through the yellow browns and blues to a very
dark color, practically black, made by dyeing strong blue over a strong
brown.

In certain places on the north coast of Java, notably Pekalongan and
Samarang, much gayer colors, such as red, blue, green, etc., are used,
and floral designs are common.

Prices in Java vary from one to twelve dollars, and even as much as
twenty-five dollars may be paid for a very fine piece. Two to four
dollars will buy an excellent turban square.

[Illustration: _Motifs from Javanese Batik in the Field Museum of Natural
History_]

[Illustration: _Designs from “tjap” stamps used in Java for repeating
units. The Field Museum of Natural History, of Chicago, has a collection
of these_]




CHAPTER II

THE METHOD IN JAVA


The work of Batik making is definitely divided, in Java, between the men
and the women. The women do the designing and waxing, while the men do
the dyeing.

In Java, in the earlier days, Batik was largely a home industry, but like
all such it is being taken out of the home and transferred to primitive
factories, where the workers come together to work, but continue the old
methods and technique. Even in that far-off land, machine imitations of
Batik are flooding the country, and it is difficult today to be sure
that a given piece is a genuine example of the hand process, unless the
individual history of the piece is known, since the old designs are still
used, and the native work is imitated in the printed cloths even to the
crackle and irregularity of the designs.

In former times they wove their own cloth, but now the cloth used is
largely muslin woven in England or Japan. Several qualities are used for
different grades of work. Practically all Batik work is done on muslin,
though occasionally a silk scarf may be colored in this way. The cloth is
prepared before using, first, by thorough washing to remove all starch
and filling; second, by soaking it in cocoanut oil, and third, removing
the oil with ashes. This removes the dead-white look and gives the
creamy color with which we are familiar in Batik pieces. Next, the cloth
is starched with a rice starch made by boiling rice in water until it
is a thin paste. The cloth is then dried and rolled up. In a primitive
fashion, it is then softened or ironed by pounding with a wooden pestle
until it is smooth. The cloth is now ready. The wax used is a mixture of
rosin, animal fat and beeswax. The proportion of each has been worked out
by long experience. A little iron pan or stone jar holds the melted wax.
The tjanting, which is the characteristic tool of Batik work, is used to
apply the wax. This is a little oval cup made of very thin copper with a
slender curved spout projecting from the base of the cup. For a handle,
a short piece of reed with a soft pith is used. Tjantings vary in the
size and number of spouts. A tjanting with a fine slender spout is used
for very narrow lines and small dots. Then comes a series of others, each
with a little larger spout for the purpose of covering more surface. One
kind is made with two spouts and is used to draw parallel lines. Others
have from three to six spouts to give the little groups of dots which are
quite an essential part of some designs. (See page 13.)

The remainder of the equipment consists of a wad of cotton tied to a
stick, a cocoanut-shell spoon, a copper basin for boiling out the wax,
a light upright frame for holding the cloth while it is being worked, a
straightedge of wood, and assorted basins and vats for dyes and dyeing.
These are of copper, pottery or wood.

After dyeing, the color is set, wax is boiled out and saved to be used
again. It is now waxed a second time for the next color, dyed and washed.
This process is repeated for each color desired.

[Illustration: _More tjap stamps giving Javanese Batik designs, from the
Field Museum of Natural History, Chicago_]

The use of the tjanting is the ideal method of making long even lines and
for outlining large spaces. Up to the present it has been difficult to
secure tjantings in America, but they will undoubtedly soon be available,
since Batik has firmly established itself as a beautiful and practical
art-craft for American workers.

[Illustration: _The design for this Batik Tray was done in wax and the
silk then dipped in an all-over dye_]

[Illustration: _Showing design for a Batik Bag with crackle_]

[Illustration: _Detail drawings of units taken from Batiks in the
possession of A. B. Lewis_]

[Illustration: _The native Javanese Tjantings, showing two sizes of
single spouts and one with double spouts_]

[Illustration: _Modern Tjantings, made by R. H. Earl, New York City_]

[Illustration: _Showing the use of the Tjanting. Courtesy of R. H. Earl,
New York City_]

[Illustration: _A detail of a rare Javanese Batik in the American Museum
of Natural History, New York_]

[Illustration: _Detail of a Javanese Sarong. Property of A. B. Lewis_]

Some means of keeping the wax hot must be produced. Anything that will
hold the wax at an even temperature will do, an electric stove, gas
burner, or alcohol burner. A bowl of wax may be set in the top of a
tea-kettle of boiling water and will remain hot enough to use for half
an hour without reheating the water. All danger of burning the wax is
eliminated by keeping the wax in a bowl set in a pan of water. If the
water is kept just below the boiling point, that will give sufficient
heat.

In covering a large space, it is sometimes better to begin waxing in the
center and working outward toward the edge.

When the woman is ready to start her work, she sketches in the main
outlines and more complicated parts of the design with charcoal; then she
hangs the cloth over the little upright frame and sits down on a little
mat before her work. She fills her tjanting with hot wax by means of the
cocoanut-shell spoon, and, holding the cloth in her left hand, draws the
design in with the tjanting by resting the tjanting lightly on the cloth
or moving it gently around the outline. The small parts of the design are
generally done without first drawing the design in charcoal. The cotton
swab is used as a brush to wax the larger places.

The more we study the designs of the Javanese the more we realize the
influence of their tools. The dots on leaves and flowers, the use of the
light outline, the kind of line, the beautiful line designs used—all have
been worked out with this characteristic tool and in certain ways are
suggested by it.

After one side of the cloth is waxed, a good piece will be turned over
and the design very carefully followed on the back. In doing this there
are generally small differences in design between the back and front,
which give one a means of determining whether a piece is real Batik or a
print. After waxing all parts of the design not to be dyed with the first
color, the piece of goods is ready to be dyed. This work is done by men.
The dye is, of course, used cold, and to render it permanent the cloth
must be left in the dye for several days; in the case of indigo often
as long as two weeks. When removed from the dye the cloth is first hung
out in the air until the color is oxidized or “fixed.” The wax is then
removed by steeping in hot water and is saved for use again.

[Illustration: _A Batik Mural Decoration by Fall_]

[Illustration: _A decorative Wall Hanging of modern Batik_]

[Illustration: _A Javanese Batik Turban. Property of A. B. Lewis_]

[Illustration: _A corner of a Javanese Batik Turban. Property of A. B.
Lewis_]




CHAPTER III

THE POSSIBILITIES OF BATIK


At this time of industrial and artistic development Batik dyeing comes to
offer a new field for the Arts and Crafts worker.

Today the woman of leisure, as well as the artist, wishes her
individuality to be shown in both the furnishings of her home and in her
own personal belongings. Batik work helps to supply both these needs. In
the first wave of enthusiasm over this work, it seemed as though the need
of beautiful form as well as beautiful color was lost sight of. Beautiful
color can hardly be avoided with good dyes. The fascination of the color
and the dye is such that the need of beautiful shapes was somewhat
forgotten at first, and there was a tendency to splash on a design
without much regard to beauty of shape or of line and to depend upon the
color to make it attractive.

The wonderful possibilities inherent in the process were the only things
that saved it in this stage from the fate of stenciling, etc. Batik
will rank with the art processes that are always beautiful and in use
if the requirements mentioned above are adhered to. One of the chief
requirements for success in this craft is a willingness to take time for
careful and exact work. A successful piece of Batik must be carefully
executed to be of any permanent value. Good craftsmanship is as essential
in this as it is in making a good piece of embroidery or painting.

The present American method of Batik dyeing has varied somewhat from the
old Javanese. It has become simpler and more direct. Time is of very
little value in Java; therefore, the native artists worked without regard
for the time spent.

Specimens of Batik work were carried to Holland during the seventeenth
century by the Dutch East India Company as one of the interesting
products of Java. The work was neither understood nor appreciated at that
time, and the lack of appreciation discouraged any further importation.
Somewhat later the Dutch artists, Chris Lebeau, Eachet and Dysselhof,
appreciating the beauties of this craft, studied it themselves. By their
exquisite work they aroused an interest among artists. From Holland the
craft spread to France, and to the alert artists of these countries we
owe the increased appreciation. The work done in Europe has been applied
to interior decorations rather than to costumes. This side has been left
to the American designer and artist. The costumes illustrated in this
volume are beautiful examples of costume designing in its broadest sense.

Both in Europe and in America considerable experimenting has been done
with different kinds of tools. Various European modifications of the
tjanting have been tried, but none have been received with much favor.
They are, as a rule, heavy and awkward to use in comparison with the
Javanese instrument. Some of the leading workers of America and Holland
consider the Javanese tjanting the most desirable means of outlining,
dotting, etc.

[Illustration: _A Dress of velvet Batik by Ethel Wallace_]

[Illustration: _A Batik Silk Scarf, designed and executed by Helen R.
Reed, Van Dyck Studios, New York_]

[Illustration: _An interesting Batik Blouse, designed by Anna Tyrell, Art
Department, Art Institute of Chicago_]

[Illustration: _A simple, but beautiful Batik Blouse in two tones, by
Noank Studio, New York_]

[Illustration: _Two Batik Blouses, by Florence E. Schell, Lima, Ohio_]

[Illustration: _Batik Garment showing interesting treatment of tjanting
and brush combined, by Helen R. Reed, Van Dyck Studios, New York_]

[Illustration: _“An American Batik,” by Mary Tannahill, shown at the
exhibition of American textiles and costumes, held at the American Museum
of Natural History in New York. “The decoration on this graceful gown is
in the spirit of South Sea Island Art.”_]

[Illustration: _A Batik Robe, by the Noank Studio, New York_]

[Illustration: _One end of a Javanese Sarong. Property of A. B. Lewis_]

The brush is in much more general use than the tjanting and is preferred
by many who have experimented with both. A small red sable, No. 4, is
good for outlining. If it seems to carry too much wax or does not point
well, let the wax harden and trim off the projecting hairs. A No. 6 to a
No. 12 brush will fill in flat surfaces rapidly. With practice, beautiful
line work can be done with a small brush. In the beginning, it is safe
to wipe off a little of the wax on the side of the cup instead of trying
to carry to the cloth all the wax the brush will hold. It is so easy to
drop a bit of wax from an overloaded brush and so troublesome to get it
off that considerable caution pays. If a brush overloaded with hot wax
is set on the cloth, the wax will spread in a drop or blur at the point
where the brush touches the cloth, which will make the line irregular.
Of course, to have an even flow of wax from the brush, the temperature
of the wax must be kept the same. If the worker dips first into wax that
is hot and which sinks into the cloth easily and then into wax that is
so cool that it stays on top of the cloth and refuses to penetrate the
fiber, the finished work will be ragged and uneven about the edges.

While applying the wax the cloth may be held up, free from the table,
with the left hand. With small articles this is quite easy. A larger
piece can be managed in the same way, but this is not recommended as
the very best way. Instead, a wooden frame, adjustable in size at the
corners and faced with cloth, to which the material can be either basted
or pinned, is advised. With a Batik frame such as described the cloth
is held smoothly and firmly in place, making it easy to get good edges
and long smooth lines with either a tjanting or brush. If no frame is
used great care must be exercised to avoid letting the wax penetrate the
cloth and touch anything behind, as it will stick. In lifting it away
the wax covering will be torn from the back of the threads. If this is
not noticed before dyeing the dye will have a chance to penetrate these
fibers and so spoil the clearness of the pattern.

If, in applying, the wax spreads too far over the pattern, it is probably
too hot. To remove the overflow, it will probably be necessary to take
off a larger space than is exactly needed. This will leave ragged edges,
which will need re-waxing. If a drop is spilled in the wrong place while
carrying the brush or tjanting, it must be completely removed or the
finished product will be marred. This cannot be over-emphasized, as it
is usually incompletely done. To remove the wax from a spot or part of a
design, lay the spot over an absorbent pad of some kind, such as a soft
towel folded. Wet the spot with gasoline, benzine or carbona. Continue
wetting and very light rubbing until the wax is completely dissolved and
is either absorbed by the cloth with which you have been patting, or the
pad below.

[Illustration: _Design of a Javanese Sarong. Property of Fay Cooper
Cole_]

Do not pile on more wax in this case, as one may have a lump of wax on
top and the cloth still not be protected. Also the lumps often chip
off in dyeing, exposing the fiber. Take a knife or any edge and remove
the loose wax gently and re-wax. Wax that is too cool will not give a
smooth edge to the design. It is easy to tell by looking at the back of
the cloth whether the wax has penetrated. A thin silk will allow it to
penetrate so easily that the design will be just as clear and distinct on
the back as the front. Heavy cloth will need some retouching on the back,
probably where brush strokes do not quite meet. Sometimes a drop of wax
will seem to penetrate in the middle but will be loose at the edges. This
means that the wax is too cool. A little practice will make the right
temperature easy to estimate.

Some workers lay the cloth on a glass slab to which the wax will not
stick. This cools it before it really penetrates the cloth. Sometimes it
is desirable to follow the outline of the pattern with wax before filling
in the solid parts. To do this, hold the brush vertically as in drawing
any painted brush line. A No. 1 brush is good for very fine lines. In
covering a large space, it is sometimes better to begin waxing in the
center and work outward toward the edge.

[Illustration: _Examples of Batik, done by the students of the Design
Department, Art Institute of Chicago_]

Some means of keeping the wax hot must be provided. It is quite desirable
also to be able to regulate the heat, so gas or alcohol, with suitable
burners, are really best. A bowl of wax may be set in the top of a tea
kettle of boiling water and will hold a good temperature for half an
hour without reheating the water. Wax will smoke over a direct heat and
will, of course, burn. The bristles of a brush will also burn if left in
contact with the bottom of the pan over a direct fire. All bother of this
kind is overcome by having the wax in a bowl set in a pan of hot water.
Once some small girls who were starting this work allowed the water to
splash into the inner bowl. This was afterwards set over the direct
flame. There was a grand explosion and spattering of hot wax.

[Illustration: _Center panel of a Javanese Sarong. Property of A. B.
Lewis_]

Various wax mixtures have been used successfully. A suitable wax must
not scale off, must not get so hard as to crack too freely, and must not
be affected by whatever chemicals are found in the dyes or are used as
mordants. A beeswax and resin mixture, wax with mastic, paraffin with
lard, paraffin and beeswax in varying proportions have all been used
successfully. Paraffin alone is rather brittle and produces too much
“crackle” in cold weather. Beeswax alone is rather too soft to use in
warm weather and not brittle enough if any crackle is desired. Therefore,
mixtures of these various substances suggested give a wax that will
crackle somewhat but not too much. For the beginner it is safe to buy
one of the prepared mixtures on the market and experiment later with
the various possible combinations suggested, after becoming thoroughly
familiar with the result wanted.

The design must, in some way, be got on the cloth. This is a place where
careless work may spoil a beautiful design. The lines on the cloth must
be so carefully and clearly made that the brush can follow them without
the slightest hesitation. All corrections should be made before the
tracing is considered finished and the waxing started. If a mistake
is made with the pencil lines, “Carbona” or gasoline will remove the
wrong marks. A Conte pencil, No. 2, trimmed to a sharp point, is very
satisfactory, especially if the piece is to be dyed several times, as the
marks will not brush off as charcoal or chalk lines will. For a simple
one-process piece, charcoal sharpened carefully will serve satisfactorily.

If the material to be used is thin, which is desirable for first pieces,
the cloth can be pinned carefully on top of the drawing and traced as
just explained. If the cloth is too heavy for the lines of the drawing
to be seen clearly, the back of the design can be rubbed with charcoal,
the design laid carefully in place, charcoal side down. Then with a sharp
hard pencil the lines of the drawing may be traced on the right side.
When the paper is removed, the design will be on the cloth in charcoal
lines. If it is to be dyed in several colors later it will be better
to go over the pattern now with the Conte No. 2 very carefully, as the
charcoal dusts off easily. Use the pencil lightly but clearly with even
lines. The cloth must be pinned or thumb-tacked so firmly that it does
not slide over the design. It is a little harder to fasten exceedingly
thin material like georgette or voile firmly enough to get a good
tracing, so about the weight of medium china silk or thin crepe is the
easiest material to begin with.

[Illustration: _“The Sheep and the Goats.” A modern Batik Wall Hanging,
by Helen R. Reed, the Van Dyck Studios, New York_]

If a design is to be repeated several times, as would be needed for the
border of a curtain, the charcoal rubbing may be the most convenient.
The design can be pricked with a pin and powdered charcoal dusted on the
smooth upper side of the pattern. The danger in this is that too small
a number of points will be pricked to give the design clearly. A better
means of doing this is to follow the pattern with a sewing machine after
removing the thread and presser foot so that the paper can be turned
freely.

Some Batik workers make their design on thin paper which is pinned to the
back of the cloth and the latter placed on a frame set against a window
at about an angle of 45 degrees. This is somewhat on the principle of the
photographers’ retouching frame.

[Illustration: _The end of a Table Cover done in one color Batik, the
white design being done in wax, and the entire piece then dipped_]

[Illustration: _“The Sorceress.” A Batik Wall Hanging, by Arthur Crisp
and Peter Mijer_]

[Illustration: _Detail of a rare Javanese Batik in the American Museum of
Natural History, New York_]




CHAPTER IV

PROCESSES OF BATIK DYEING


The intricacy of the design is the determining factor in the number of
_processes_ necessary for any given piece of Batik. The more colors
desired, the more often will the fabric have to be immersed in the dye
bath. The simplest and therefore first process for the beginner is that
of dyeing the material one color with the pattern left in the original
color of the cloth. For convenience, this will be referred to as the
first or elementary process.

The blouse shown on page 23 was made on silk. The design was drawn out
carefully on paper and then traced on the silk. The design was then
waxed and dyed in a basin containing about two quarts of water, one-half
teaspoon of 36% acetic acid and a teaspoon of imperial blue dye solution.
It was kept gently moving in the dye for fifteen minutes, rinsed
thoroughly, dried and pressed between clean old newspapers or blotting
paper and ironed dry. The ironing melts the wax out. If traces of the
wax or pencil marks still adhere, the goods can be washed in gasoline or
benzine. When the wax was removed, the result was a piece of two-tone
Batik work of deep blue with a white design. For most Batik work, light
colored fabrics are used, as designs can be successfully darkened, but
cannot be made lighter on dark goods. But, on the whole, a delicate color
is better as a foundation than white, because the white will often be a
little out of harmony with the colors.

The designs for the two charming sashes on page 37 illustrate additional
steps in more elaborate designs. The right-hand scarf was dyed first so
that the ground was not white. For such a sash one-half teaspoon of dye
solution in four quarts of water, with one teaspoon of 36% acetic acid,
would be used for the background, with perhaps a ten-minute immersion.
After it was dyed it should be rinsed thoroughly in cool water to remove
all excess acid and any loose color. Rinse until the water is practically
clear. Hang it up so that it will dry smoothly. When dry, wax the
flowers, the connecting lines, and the broad light bands. Prepare the
second dye. An agreeable color scheme is pink for the lightest, made by
using scarlet dye in a weak solution, a deeper pink for the second color,
and lavender for the last. If the color scheme suggested were to be used,
the same dye would be used for the deeper pink and the material immersed
a second time with the addition of another teaspoon of the scarlet dye
solution to the basin. After the second dyeing, all the superfluous color
was rinsed out, it was dried, and the parts to remain the deep pink were
waxed. That left the heavy bands alone exposed to this last dye bath. For
this a green solution was used which on the pink gives a beautiful grey
lavender.

A color scheme of, first, orange dye; second, brown dye, and third, navy
blue dye, is attractive. Some silks will ravel so as to make a good
fringe; in that case a pattern for the fringe would be dyed in before
raveling. With a purchased fringe the tied and dyed method will give
charming bands.

[Illustration: _Two sashes done in Batik by the students of the Art
Institute of Chicago_]

The interesting sash shown on the left of the previous page is also a
three-process piece in which greater contrast has been kept between the
colors.

Such a place as the wing and crown of the bird figured on the velvet bag
shown on page 30 could well be painted in with a brush. A blending of the
colors found in some of the tropical birds—yellow, orange and blue, for
instance—would be gorgeous.

The process of cleaning and finishing velvet is long and requires skill
to do it successfully. The craft worker is advised to send a piece of
velvet Batik to a professional if possible, rather than risk spoiling it
herself.

An abbreviated outline of the process is as follows: First, remove all
waxing with benzine, using several baths; second, raise the nap with
dry steam, that is, steam carrying as little water as possible. Avoid
touching the nap while steaming and do not crease or fold while damp.
After the nap is raised by the steam, brush it gently in the direction of
the nap with a bristle clothes brush.

For more elaborate work, where a combination of colors is desired in the
design, the painting process may be used. As in the previous cases, the
material is stretched on the Batik frame and the design outlined and then
waxed in. If a combination of colors is to be used, it is best to have
the design _in colors_ on paper as a guide. It is very easy to become
confused as to colors to be used on the various sections of the pattern,
and mistakes in painting with dyes are serious, as the color can only be
removed with a solution of ammonia or washing soda.

With the colored design before one, the dyes are mixed and tried on a
scrap of the material.

This method of applying color with a brush is desirable only for small
spots or surfaces. It is not possible to cover large surfaces evenly
with a brush, as the color will be stronger in the spot first touched
by the brush. In dyeing one color over another the result is a modified
color which seldom harmonizes with spots of color that are painted in. In
addition, the color is not as fast when applied in this way, as it does
not have the chance to penetrate the fiber of the cloth as in dyeing.

This use of the brush is a convenient method of inserting small spots
of a contrasting color that would otherwise require a re-waxing of the
whole piece of goods, but is not recommended as a substitute for dipping
process.

[Illustration: _The center panel of a Javanese Batik_]

[Illustration: _A Table Runner, by Gertrude Dandiliken, Design
Department, Art Institute of Chicago_]

[Illustration: _A design motif from a Javanese Sarong. Courtesy of
American Museum of Natural History, New York_]

[Illustration: _A group of Batik articles, done by the students in the
Winnetka, Ill., High School_]

[Illustration: _A modern Batik Hanging_]




CHAPTER V

CRACKLE 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.

[Illustration: _A modern Batik Wall Hanging, by Peter Mijer and Jean Paul
Slusser_]

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

[Illustration]

[Illustration: _Two Javanese Batiks_

Courtesy of the Metropolitan Museum, New York.]

[Illustration: _A Javanese Batik design from the Metropolitan Museum, New
York_]

[Illustration: _A Batik Memorial Hanging, by Jean Paul Slusser_]

[Illustration: _An unusual piece of Samarang Batik in the American Museum
of Natural History, New York_]




CHAPTER VI

COLOR AND HOW TO USE IT


For those who have not had an opportunity of studying color, the
following explanation of the theory of mixing colors may not be amiss.

Yellow, red, and blue are called the standard or primary colors. From
these we make the three binary or secondary colors, orange, green, and
violet.

Orange is produced by mixing red and yellow.

Green is produced by mixing blue and yellow.

Violet is produced by mixing red and blue.

These primary and binary colors are thought of as though they were
arranged in a circle.

Divide the circumference of a circle in six equal parts. Draw three
diameters through the points found. Begin at the top with yellow.
One-sixth of the distance to the left, we place orange, at the next
diameter’s end place red. At the bottom of the circle opposite yellow
is violet. Passing upward toward the right blue is opposite orange, and
continuing upward, green is opposite red. The colors at opposite ends of
the three diameters are called complements.

Yellow is the complement of violet and violet of yellow.

Orange is the complement of blue and blue of orange.

Red is the complement of green and green of red.

The outside of the circle in the cut represents the full strength of
the pure color. The addition of different amounts of white and black
is indicated by the inner circles, the center standing for pure white
or pure black. The circle may be subdivided to suggest many gradations
from the full color through the tints to white and by the addition of
black through the shades to black. This system of gradation is a help
in determining the contrast of tints, but is more useful in helping to
determine related harmonies up and down the scale from black to the pure
color and then through the tints to white.

Red, with one part of white added, would be indicated by the second
circle. Its complement would be the green found on the second circle,
which has an equal amount of white mixed with it, producing a _tint_. The
same arrangement holds true with regard to black. Each circle represents
also one portion of black added to the standard color, producing a
_shade_. There is an almost indefinite number of these tints and shades,
depending upon their location within the color circle.

It is found that equal parts of the primary colors red, yellow, and blue
make neutral grey. Any binary color plus a primary color makes grey. For
instance, a binary green, which is made of the two primaries yellow and
blue, added to a primary red produces grey.

In the same way, a binary orange, which is a combination of primary red
and yellow, added to blue makes grey.

[Illustration: COLOR CIRCLE

_For explanation of this “Color Circle” see page 50_]

A binary violet, which is primary red and blue, added to yellow makes
grey.

Colors may be softened or greyed by adding a little black or brown dye
or by adding the complementary color. A bright green, for instance, is
softened either by adding a little black or brown or the complement of
green, which is red.

Dyes are mixed in much the same manner as paints and it is necessary to
know the action of one color upon another. Especially must one know how
grey is produced so as not to produce this effect when such a result is
undesirable and yet avoid too vivid combinations. In mixing dyes both
brown and black are valuable to tone down the clear colors. There need be
no fear of producing a muddy color by adding black or brown dye to the
colors, as is produced by adding black paint, because the black dye is
made up of particles of other colors.

Valuable help in reproducing color combinations is found in keeping a
record of the amounts and colors used, the weight or size of material
dyed, and the length of time the goods is in the dye bath.

If commercial dyes are used, follow the directions given exactly as on
the package.

“Top dyeing” means to dye over another color.

The material may be a light blue. Over this or on top of this, a green is
dyed, giving a blue green result.

In dyeing one color over another the result naturally depends upon the
strength of the first as well as upon that of the succeeding dyes. As
yellow is nearest white in value, it is wise to dye yellow first if other
colors are to be added. If the yellow is weak the other dyes will be very
little affected by it as they are much stronger. If a strong yellow has
been used first, the following modifications may be expected:


COLOR TABLE FOR TOP DYEING

    Orange over yellow will give orange yellow.
    Red over yellow will give red orange.
    Blue over yellow will give green.
    Green over yellow will give yellow green.
    Violet or magenta over yellow will give grey.
    Brown over yellow will give yellow brown.
    Black over yellow will give grey.

If a blue dye is to be used first, the following suggestions may help.
Accordingly as the blue used is strong or weak, it will appear in the
resulting combination strongly or weakly. The top dye used over it will
equally of course count in the resulting combination according as it is
strong or weak. Having these two points in mind we can say:

    Red over blue will give purple.
    Violet over blue will give blue violet.
    Green over blue will give blue green.
    Yellow over blue will give green.
    Brown over blue will give dark brown.
    Black over blue will give blue black.

[Illustration: _“Spring.” A Batik Wall Hanging, by C. Bertram Hartman and
Peter Mijer_]

With red as the basic color, and with the strength of color in mind as
suggested before, we find that

    Orange over red will give orange red.
    Yellow over red will give orange.
    Green over red will give dark grey, green or red.
    Blue over red will give violet.
    Violet over red will give red violet.
    Brown over red will give red brown.
    Black over red will give grey red.

The following mixtures of dyes are valuable:

    Yellow, orange and blue with yellow predominating make gold.
    Orange and green with orange predominating give russet shades.
    Orange, green and red give orange brown.
    Orange, blue and magenta give bronze.

In studying out the color scheme of any piece it is desirable to refer to
the Color Chart for contrasts, related colors and combinations that are
not familiar.

If a perfect balance of contrast of any tint of a color is desired,
the contrasting tint must show the same proportion of white in its
make-up; but the contrast may be made more decided by choosing a lighter
contrasting tint.

Yellow has the tendency to come nearer the observer and it adds warmth
and brilliancy to all its combinations with other colors. Red is less
brilliant than yellow, but it is the most intense and positive of all
the colors. Blue is the retreating cold color. It shows its quality best
by daylight. Blue and white are the strongest color contrasts excepting
black and white.

Green, composed of the primaries yellow and blue, is capable of great
variation from cool to warm according to the amount of either blue or
yellow entering into it. Its contrast is red.

Orange is the most brilliant of the secondary colors. It is most useful
when toned down to old gold and russet.

Violet is the darkest of the secondary colors. As it contains much blue
it has a tendency to fade into a neutral brownish color by artificial
light.

The tertiary colors russet, olive, and citrine are most valuable.

Russet is made up of orange and violet, which again are composed of
yellow, blue, and red. Red being in both of these colors, russet
evidently belongs to the red group of colors, and contains a smaller
proportion of both yellow and blue. The contrast to russet is from deep
green to blue grey for a very orange shade.

Olive is dominantly a blue color as it is made from green and violet,
both of which contain blue. The contrast of olive is deep orange.

[Illustration: _A Scarf tied in bands across the ends. Designed by Helen
R. Reed_]

[Illustration: _A Scarf, showing a combination of tied squares, circles
and stripes. Designed by Helen R. Reed_]

Citrine is a combination of orange and green, and therefore is made up of
the primaries, two parts yellow, one red, and one blue. Yellow is in the
largest amounts, red next, and blue least.

These three colors are exceedingly valuable to the decorator as each one
has an enormous range of tints and shades and the whole group is very
pleasing to the eye. There are a few other colors that are so generally
used that they deserve special note.

First, brown, theoretically produced by a mixture of citrine and olive or
red, blue and yellow. Practically several shades require the addition of
black dye to produce brown. A bluish or purplish color according to its
shade is its contrast.

Maroon is a red and brown whose contrast is shades of green.

Tints and shades of any full color also give harmonious combinations.
The nearer the shade approaches black and the tint approaches white, the
greater the contrast. The more closely related the two are the less the
contrast.

In considering color combinations we also have the related or analogous
group, from which to choose our color schemes. These are in every way
more easily handled in dyeing work and are of greater use especially to
the beginner.

A tint is secured in dyeing by reducing with water the full strength of
the dye and also shortening the time of immersion.

A shade is secured by adding black. Between the full strength of the dye
and white, however, lies the range of tints most easily used. Refer to
the Color Chart for the complements of the tints and shades. These vary
in the case of crimson, for instance, from deep crimson through rose
to the palest pink tints. Each decided color step in this scale gives
related tints that may safely be combined. If they are not far removed
from each other in intensity, they give very little contrast, but may be
at the same time a very pleasing combination. Considerable contrast may
be secured by using tints that are considerably removed from each other
in the color scale.

Still another group of color harmonies must be considered. This is the
harmony of related colors. By this is meant the harmony of all colors of
which blue, for example, forms a part. This group runs all the way from
the purplish blues formed by adding red through all the different blues
to blue greens made by adding yellow.

This grouping is especially useful in dyeing, as we can dye in one such
group very effectively, starting with the yellow found in the blue green
and working toward the red found in the violet blues.

For dyeing purposes we can really make just two color groups—the blue
just given and the red. The red group starts with the red violets, which
contain, of course, red and blue, and goes through the red group into the
orange, which is red and yellow.

[Illustration: _A center panel of a Javanese Batik_]


PLEASING COLOR COMBINATIONS

The following table of harmonizing colors is inserted as a guide for
those who do not have a scientific knowledge of Color and its many
harmonies:

    Black harmonizes with crimson, lemon, yellow.
    Black harmonizes with scarlet, blue, green.
    Black harmonizes with citrine.
    Black harmonizes with olive.
    Black harmonizes with salmon.
    Black harmonizes with primrose.
    Black harmonizes with corn color.
    Black harmonizes with orange.
    Black harmonizes with gold.
    Black harmonizes with white.
    White harmonizes with cerise.
    White harmonizes with scarlet.
    White harmonizes with orange.
    Violet harmonizes with scarlet, blue, orange.
    Violet harmonizes with scarlet, gold.
    Violet harmonizes with corn color.
    Violet harmonizes with gold.
    Violet harmonizes with citrines.
    Violet harmonizes with yellow.
    Orange harmonizes with violet.
    Orange harmonizes with blue, scarlet, green.
    Orange harmonizes with purple, scarlet.
    Orange harmonizes with crimson, blue.
    Orange harmonizes with brown.
    Orange harmonizes with violet.
    Orange harmonizes with blue.
    Dark Green harmonizes with crimson, blue, gold.
    Dark Green harmonizes with gold.
    Blue Green harmonizes with orange.
    Green harmonizes with russet.
    Green harmonizes with scarlet.
    Green harmonizes with red.
    Yellow harmonizes with violet, scarlet, blue.
    Yellow harmonizes with brown.
    Yellow harmonizes with deep crimson.
    Yellow harmonizes with blue.
    Yellow harmonizes with violet.
    Crimson harmonizes with black.
    Crimson harmonizes with violet.
    Crimson harmonizes with corn color.
    Crimson harmonizes with orange.
    Crimson harmonizes with gold.
    Crimson harmonizes with yellow, green.
    Scarlet harmonizes with blue, grey.
    Scarlet harmonizes with violet.
    Scarlet harmonizes with blue.
    Scarlet harmonizes with blue, green.
    Red harmonizes with white.
    Red harmonizes with grey.
    Red harmonizes with blue.
    Red harmonizes with gold.
    Red harmonizes with green.
    Blue harmonizes with brown, crimson, gold.
    Blue harmonizes with orange, green.
    Blue harmonizes with orange, black.
    Blue harmonizes with black.
    Blue harmonizes with white.
    Blue harmonizes with chocolate brown.
    Blue harmonizes with neutral grey.
    Blue harmonizes with salmon.
    Blue harmonizes with straw.
    Blue harmonizes with corn color.
    Blue harmonizes with gold.
    Blue harmonizes with orange.

[Illustration: _“The Madonna.” A Batik Wall Hanging, by Helen R. Reed,
Van Dyck Studios, New York_]




CHAPTER VII

“TIED AND DYED” WORK


Another new-old process that has been revived recently is “Tie-Dyeing.”
Its artistic possibilities are as yet hardly realized in this country.
This is partly due to the difficulty that has been experienced in dyeing
with a cold process and at the same time securing a strong fast color.
This difficulty has now been met. The new “Bateeko Dyes” prepared for
Batik work can be used on wool and silk in cold or tepid water. The dyes
will wash so that permanent effects can now be secured. If the tying is
firmly done, the goods can be dyed by boiling, so that ordinary dyes,
that require boiling to set them, can be also used successfully.

This Tied and Dyed work is found among many primitive conditions and
peoples. In old colonial days our grandmothers made their shaded wool by
this method. They wrapped their skeins of woolen thread with corn husks
and wound these around tightly with cord to give the necessary pressure.
The portions covered with the husks retained the original color of the
wool, while those exposed became the color of the dye bath into which
they were dipped. Legend says that the ancient Greeks tied the borders of
their robes to produce waving lines.

Two main variations in method of Tie-Dyeing are: First, the pattern is
developed by tying the threads of warp or woof or both before weaving.

Second, parts of the goods are tied before dyeing in such a way as to
protect spots of the cloth from the action of the dyes.

The first method is found in ancient Peruvian work, in central India, and
in parts of the Philippines. It is a complicated process and requires a
high degree of skill on the part of the weaver.

The second method was used to a large extent in central India, and a few
examples are also known from Peru. Sir George Watt, in his “Indian Art of
Delhi,” gives such a clear description of Indian Tie-Dyeing, Knot-Dyeing,
or Bandana work that it is worth quoting:

“The once famous Bandana handkerchiefs may be given as the best known
example of Tie-Dyeing. The process is simple, but so laborious that it
could only have been invented or practiced in a country where food was
cheap and consequently human labor valued at an abnormally low figure.
Tie-Dyeing may be described briefly as follows: The fabric is folded
several times into half until reduced to a square or rectangular piece
perhaps not more than one foot by a foot and a half in length and two
or three folds in thickness. It is then dampened and pressed over a
block which consists of a piece of wood with a mass of nails or pins
fastened all over it in elaboration of some design. It is then taken off
the block and given to a girl (the Bandhani) who purposely allows her
thumb and forefinger nails to grow long with a view to their becoming
an indispensable pair of pincers, by means of which minute particles of
the cloth may be laid hold of readily. The raised up portions indicated
by the block are seized and deftly tied by a string that may or may not
have been coated with a resist paste. Great skill is needed not only to
securely grasp all the layers of cloth at once, but to so seize each
portion that it may crinkle in a particular manner while being securely
wound around and tied. Moreover, the thread is not cut into separate
pieces at each tied point. It is carried from the one to the other and is
merely held in position by the turn upon itself that is given just before
being carried to the next point. In consequence, when the operation of
dyeing has been completed, the thread may be readily unwound and used
again and again.

[Illustration: _An example of Japanese tied and dyed work_]

[Illustration: _A tied and dyed Jacket_]

“The Bandhani having finished her task, the fabric is given to the
dyer, who begins by immersing the folded up and compactly tied cloth
in the lightest shade that it is intended to be given, say yellow.
When finished, it is handed to the Bandhani, who now impresses it upon
a second pattern block, and proceeds to tie a still further series of
raised up points. It is again dyed the next shade, say red, and if the
pattern and scheme of color desired be thus completed, the threads are
unwound and the fabric opened out, when it will be found to have a red
field with a pattern in white and yellow points, repeated several times
all over it.

“Instead of stopping with a red, a third series of points may be tied,
and the fabric dyed black, when the pattern will appear in points of
white, yellow and red on a black (or black brown) field. But should a
still more elaborate design be contemplated, the tying and dyeing may be
repeated indefinitely. For example, the first points tied may have been
very large and the cloth so folded that when they are opened out they
form perfectly circular white spots, squares, or star-shaped patches
upon the first ground color. These may now be dealt with separately and
be tied and retied until the circles, the squares, or the stars become
variegated by concentric bands of color, or a final special spot may be
given in the center of each by uncovering the tips so as to allow these
portions of the tied up spaces to receive the desired tint; in fact, such
exposed portions may be specially colored by means of a brush. But since
the tying of points can never be absolutely complete, the very center of
each bears the tiniest speck of the final field color.

“Instead of using a block to raise up the cloth at the desired points,
the Bandhani may simply proceed to tie up portions according to a pattern
that she has practiced until it has become second nature. In this way she
will work rapidly and outline a bird, a horseman or a flower, and pass
over certain points in the design that require to be tied at subsequent
stages, while carrying on a heated controversy with her neighbor or
attending to her infant child. And she will return again and again to the
further elaborations of one piece after another with the certainty of
action that speaks of intuition rather than training.

“But instead of circular, square or star-shaped spots, it may be desired
to produce transverse bands or zigzag lines of one color or another. This
is accomplished by folding the cloth lengthwise into, say, four folds,
then tying at intervals by a series of patches of the desired breadth. If
then dyed and subsequently opened out, it will be found to have a ground
color with zigzag transverse bands of white. Having obtained this result,
the ordinary point tying may next be resorted to, with the result of
producing a limitless series of effects.”

[Illustration: _A Cupboard Curtain in Batik. Designed by soldiers in
U. S. General Hospital No. 2, under direction of Lieutenant Jean Paul
Slusser_]

[Illustration: _Filipino tied and dyed work. Courtesy of American Museum
of Natural History_]

This old process, although impossible as a manufacturing method under
modern industrial condition, is full of suggestions for the art worker.
The simplicity of the process is part of its charm. There is no long
process of tracing around edges or smoothing curves. The whole thought
goes to planning the shapes, spacing, and arrangement of the spots
produced by the tying.

In working with a piece of cloth, all sorts of interesting design
possibilities will develop.

In starting to experiment with this work, it is a good plan to take
some soft cord, dip it first in any convenient wax, such as paraffin,
and cool it, then take a few old pieces of soft cotton cloth and try
arranging the folding and wrapping to find by actual experience how to
make different shapes. To produce a “tied” square fold a piece of cloth
on what is intended to be the two diagonals of the square. Fold on the
first diagonal and then on the second, and then holding one end of the
cord with the thumb of the left hand begin at the tip and wrap backward
to the desired depth.

To make a circle, pick up a point of cloth and crease away from the point
as evenly as possible. A shot or marble tied in the center will give a
colored center with a light ring or border—square or round, as desired.
If the cord is waxed, a single twist at the bottom of the tied spot will
hold it firmly. One layer of waxed cord wrapping smoothly done will
protect the cloth below perfectly.

In working with semi-transparent material the design can be first blocked
in with charcoal on paper. Distances from edges, centers, etc., should be
carefully measured with a ruler, tape line, or yard stick. The size of
the spots to be protected should be planned carefully, then, laying the
cloth over the plan, with either blue tailor’s chalk or charcoal, mark
the centers of squares and circles and lines for oblongs. With heavier
material, after the piece has been planned on paper, draw the foundation
lines that give the spacing directly on the cloth as before explained.

The necessary equipment includes jars for the dye, enamel pans,
preferably, as acid corrodes metal pans in time, plenty of string, a cake
of paraffin wax, and marbles, shot, etc.

The list of articles for which Tie-Dyeing is a suitable decoration is
long: Pillow tops, scarfs, bags, table and bureau covers, curtains,
bed-spreads, blouses, lamp shades, middy ties, collars, aprons, etc.

A charming lamp shade can be made of a square piece of cotton crepe dyed
gold first without tying, then tied to give a suitable group of orange
brown spots and borders.

[Illustration: _Tied and dyed work in diagonal stripes_]

[Illustration: _Figure 8 shows how to tie a small square or circle;
Figure 9, for larger circles, and Figure 10, for concentric circles_]

[Illustration: _Showing a method of tie-dyeing used in Peru. Courtesy of
the American Museum of Natural History, New York_]

[Illustration: _An example of modern tie-dyeing, by Amy Swisher, Athens,
Ohio_]

[Illustration: _An example of tie-dyeing from an old Peruvian tomb.
Courtesy of American Museum of Natural History, New York_]

[Illustration: _A Javanese Batik design. Courtesy of the Metropolitan
Museum, New York_]

[Illustration: _Showing cloth tied in itself, ready for dyeing_]

[Illustration: _The end of a Scarf tied with string ready for dyeing_]

[Illustration: _Showing intricate tjanting work on a Javanese Batik_

Courtesy of Metropolitan Museum, N. Y.]

[Illustration: _A border from a Javanese Batik_

Courtesy of Metropolitan Museum, N. Y.]

[Illustration: _Javanese Batiks. Metropolitan Museum_]

[Illustration: _Javanese Batiks. Metropolitan Museum_]

[Illustration: _“The Queen.” A Batik hanging by Ilonka Karasz. Courtesy
of Academy Art Shop and “Keramic Studio”_]

[Illustration: _“The King.” A Batik hanging by Ilonka Karasz. Courtesy of
Academy Art Shop and “Keramic Studio”_]




CHAPTER VIII

DYEING 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.

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.

[Illustration: _A decorative Batik Hanging by Jean Paul Slusser, using
the Javanese “Tree of Life” motif_]

[Illustration: _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.

[Illustration: _Batik by Ilonka Karasz. Courtesy Academy Art Shop, New
York_]

[Illustration: _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.

[Illustration: _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_]

[Illustration: _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 on page 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 used _hot_. 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 be _stirred
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.

[Illustration: _A section from a Javanese Batik from Metropolitan Museum,
New York_]

[Illustration: _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.

[Illustration: _Tied and dyed pattern done in stripes_]

[Illustration: _A Scarf showing application of concentric circles.
Designed by Helen R. Reed_]

[Illustration: _A pattern from a Javanese Batik. Courtesy of Metropolitan
Museum, N. Y._]

[Illustration: _An Indian Saree. Courtesy of the Metropolitan Museum, N.
Y._]

[Illustration: _A pattern from a Javanese Batik. Courtesy of the
Metropolitan Museum, New York_]

[Illustration: _A pattern from a Javanese Batik. Courtesy of Metropolitan
Museum, N. Y._]

[Illustration: _Batik Scarf. Designed and executed by Miss Robiccheck.
Courtesy of Academy Art Shop_]

[Illustration: _Batik Scarf. Designed and executed by Conrad Kramer.
Courtesy of Academy Art Shop_]

[Illustration: _A Javanese Batik pattern. Courtesy of Adelaide A.
Robineau_]

[Illustration: _A modern Batik wall hanging_]




PRANG “QUARTO ART BOOKS”


“THE THEORY AND PRACTICE OF COLOR”

By BONNIE E. SNOW and HUGO B. FROEHLICH

The most authoritative work on “Color” issued in this country.
Illustrated with hand-painted “Color Charts” of great value. Large
quarto, price, $4.00; by mail, $4.25.


“ART SIMPLIFIED” (Revised Edition)

By PEDRO J. LEMOS and JOHN T. LEMOS

A book of practical instruction in Art for advertisers, commercial
artists, teachers and students. Twenty-two full-page plates, 175 pages.
Price, $4.00; by mail, $4.25.


“LETTERING”

By THOMAS WOOD STEVENS, of Carnegie Institute, Pittsburgh

The standard work on the subject for students and artists. One hundred
ten full-page plates. Large quarto, price $3.00; by mail, $3.25.


“CARTOONIST’S ART”

By J. CAMPBELL CORY

The secret of the art told by a successful cartoonist, with many examples
of the work of other prominent artists. Price, $2.00; by mail, $2.25.


“CONSTRUCTIVE ANATOMY”

By GEORGE B. BRIDGEMAN

Teachers in Anatomy in Art Schools, Colleges, Normal Schools and High
Schools will find this book invaluable as a Text Book on the subject.
Price, $7.50; by mail, $7.75.


“PENCIL SKETCHING PORTFOLIOS”

By GEORGE W. KOCH

These “Pencil Sketching Portfolios,” Nos. 1 and 2, contain drawings which
have been specially designed for students of pencil technique. Each
Portfolio contains 15 plates. Price, each, $1.00; by mail, $1.25.


“TWELVE GREAT PAINTINGS”

By HENRY TURNER BAILEY, Director Cleveland School of Art

Interpretations which cannot fail to stimulate interest in the world’s
masterpieces. Large quarto, price, $3.00; by mail, $3.25.


“WITH PEN AND INK”

By JAMES HALL

Complete instructions for work in this medium, with 21 full-page plates
and 21 problems. Large quarto, price, $3.00; by mail, $3.25.


“A SHORT HISTORY OF ART”

By DE FOREST and CAFFIN

The most comprehensive single volume on the subject, comprising 758 pages
with 289 illustrations. Price, $4.00; by mail, $4.25.


“EXERCISES IN DESIGN”

By ELIZABETH G. BRANCH

Suggestions to teachers accompany each of the 70 full-page plates, 7×11
inches in size. Quarto, price, $3.00; by mail, $3.25.


“FIRST LESSONS IN BATIK”

By GERTRUDE C. LEWIS

A practical handbook, giving full information for “Batik” dyeing and
“tie-dyeing” on various fabrics. Beautifully illustrated. Price, $1.50;
by mail, $1.60.


“PERMODELLO MODELING”

By BONNIE E. SNOW and HUGO B. FROEHLICH

Gives full directions for innumerable uses of “Permodello,” the permanent
Modeling Clay, which sets like concrete without firing. Beautifully
illustrated. Price, $1.50; by mail, $1.60.


             THE PRANG COMPANY, Publishers, NEW YORK, CHICAGO





*** END OF THE PROJECT GUTENBERG EBOOK FIRST LESSONS IN BATIK ***


    

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever. You may copy it, give it away or re-use it under the terms
    of the Project Gutenberg License included with this eBook or online
    at www.gutenberg.org. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • You provide, in accordance with paragraph 1.F.3, a full refund of
        any money paid for a work or a replacement copy, if a defect in the
        electronic work is discovered and reported to you within 90 days of
        receipt of the work.
    
    • You comply with all other terms of this agreement for free
        distribution of Project Gutenberg™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.