The document discusses resist printing techniques, specifically focusing on batik printing. It provides background on batik, noting it originated in Egypt and was later practiced in other parts of Asia and Africa. The document describes the batik printing process, which involves applying wax resist to fabric before dyeing to create patterns. Different regions known for batik printing are highlighted, as well as the raw materials and techniques used. A brief overview of tie-dye printing is also provided.

1. RESIST PRINTING
Dr.S.YAMUNA DEVI
Department of Costume Design and Fashion
NIFT TEA College of Knitwear Fashion, Siddco,
Tirupur -641606.
drsyamunadevi@gmail.com

2. RESIST PRINTING - INTRODUCTION
⦿ In this method of printing the fabric is first
printed with a substance called a 'resist' which
will prevent the dye from being taken up in a
subsequent dyeing process.
⦿ The resist functions which mechanically
preventing the dye from reaching local areas of
the fabric or by chemically reacting with the dye
or the fiber, to prevent adsorption.

3. RESIST PRINT
⦿ In this type of prints, the fabric is printed in two steps.
❑In first step, pattern or design is printed on a white
fabric with a chemical (wax-like Resinous substance)
that will prevent or resist the penetration of dyes.
❑In second step, the fabric is dyed by piece dyeing
method.
⦿ It is performed as craft or hand printing rather than on
production basis.
⦿ Generally used for Batik prints, tie-dye prints and ikkat
prints.

4. TYPES OF RESIST PRINT
⦿ Batik prints
⦿ Tie-dye prints
⦿ Ikkat prints.

5. BATIK PRINTING

6. INTRODUCTION
⦿ The word batik actually means 'wax writing'.
⦿ It is a way of decorating cloth by covering a
part with a coat of wax and then dyeing the
cloth.
⦿ The waxed areas keep their original color and
when the wax is removed the contrast between
the dyed and undyed areas makes the pattern.

7. ⦿ Batik is made either by drawing dots and lines
of the resist with a spouted tool called a
canting.
⦿ The artisan allows to color selectively by
soaking the cloth in one color, removing the
wax with boiling water, and repeating if
multiple colors are desired.
⦿ A tradition of making batik is found in
various countries, including Indonesia,
Malaysia, Singapore, India, Sri Lanka,
Philippines and Nigeria.

8. HISTORY
⦿ The type of dyeing which is used in Batik is called using a way
resist.
⦿ This technique in fabric is an ancient art form.
⦿ This type of art has been discovered to trace all the way to Egypt
in the 4th century BCE.
⦿ Then it was used to wrap mummies; linen was soaked in wax, and
scratched using a sharp tool. Called as stylus.
⦿ It is an one of ancient writing implement, consisting of a small rod
with a pointed end for scratching letters on wax-covered tablets,
and a blunt end.
⦿ This technique was also practiced in China during the Tang
dynasty, (618–907 AD) and Japan during the Nara period, (645–
794 AD) in Africa by the Yoruba tribe in Nigeria, Soninke and
Wolof in Senegal.
⦿ In Africa they use cassava starch or rice paste, or mud as a resist
instead of beeswax .

9. ⦿ The art of batik is most highly developed in the island
of Java in Indonesia.
⦿ In Java, all the materials for the process are readily
available – cotton and beeswax and plants from which
different vegetable dyes are made.
⦿ G. P. Rouffaer argues that the technique might have
been introduced during the 6th or 7th century from India
or Sri Lanka.
⦿ The Dutch archaeologist J.L.A. Brandes and the
Indonesian archaeologist F.A. Sutjipto believe
Indonesian batik is a native tradition, since several
regions in Indonesia such as Toraja, Flores and
Halmahera which were not directly influenced by
Hinduism.

10. ⦿ Historians are not sure when Batik came into
existence, but evidence suggest many different
possibilities.
⦿ These possibilities extend to legends such as the
story that tells of Laksamana Hang Nadim who was
ordered by Malacca Kind, Sutlan Mahmud, to sail to
India to get 140 pieces of serasah cloth (batik) with
40 types of flowers depicted for each.
⦿ Unable to find any that fulfilled the requirements, he
made up his own.
⦿ On his return, his ship sank and he only managed to
bring four pieces, earning displeasure from the
Sultan.

11. ⦿ The history of Indian batik can be traced as far back as 2000
years.
⦿ Indians were conversant with the resist method of printing
designs on cotton fabrics long before any other nation had
even tried it.
⦿ Rice starch and wax were initially used for printing on fabrics.
⦿ It is believed that after initial popularity of batik in the past,
the tedious process of dyeing and waxing caused the decline
of batik in India till recent times.
⦿ Batik is very often considered a craft like ceramics, pottery or
even needlework.
⦿ Although it is a household word all over the world, it is still
overlooked by art critics who do not consider it an art form.
⦿ There are several countries known for their batik creations,
starting with India where it originated.

12. REGIONS
⦿ The revival of batik in India began in the
20th century when it was introduced as a
subject at the famous University of
Shantiniketan in Kolkata.
⦿ In the south, near Chennai, the well-known
artist's village of Chola-Mandal is where
batik gets an artistic touch.
⦿ Batik that is produced in Chennai is known
for its original and vibrant designs.

13. Batik printing is done in:
• Gujarat: Block and Hand Batik
• Rajasthan: Block and Hand Batik
• Kolkata
• Andhra Pradesh: Kalamkari Batik
• Maharashtra
• Madhya Pradesh Batik printing can be done
anywhere but each area and region has its own
specialty in designs and colors.

14. RAW MATERIAL USED
i) Cotton or silk cloth is used for batik
(synthetic materials are generally not
used).
ii) Beeswax or Paraffin wax is used in the
process. sometimes mixed with
plant resins.
iii) Dyes -Napthol, Direct and Vat dyes are
all used in the dyeing process
iv) Firewood and kerosene for heating the
wax.

15. TYPES
⦿ Inland Batik - Black, Indigo, Brown,
and Sogan (brown-yellow color made from the
tree Peltophorum pterocarpum, sometimes
against a white background.

16. ⦿ Coastal Batik - Red, blue, and sogan dye.
In contrast, a typical coastal batik has vibrant
colours with patterns drawn from numerous
cultures (kain panjang with lotus motifs from
Semarang, 1880).

17. ⦿ Sundanese Batik
⦿ Sumatran Batik
⦿ Balinese Batik
⦿ Malaysia
⦿ India
⦿ Sri Lanka
⦿ China
⦿ Africa

18. CUT FABRIC AND DRAW

19. Apply the First Layer of Wax

20. The tjanting needles to “draw” with
liquid wax directly on the muslin.

21. ⦿ Step 1: Pre-wash your fabric to remove any
impurities that might interfere with dyeing.
Synthrapol.
Step 2: Pre-dye a few of your fabrics in some
different base colors.

23. Step 3: Start melting your premixed Batik Wax in the
little melting pot, or for bigger projects, in a double
boiler, electric wax pot, or old electric frying pan set at
about 220-230°F.

24. ⦿ Step 4: Stretch the fabric on a Frame or Hoop, that will
keep the fabric flat and horizontal or you can work on
some newsprint paper or a piece of cardboard if you
don't have a frame. This is often easier with larger
pieces of fabric.
⦿ Step 5: Start applying your wax with tools of your
choice.

26. ⦿ Step 6: First using the lightest or
brightest color that will be on the
piece and will mix well with
successive colors, for example
yellow; then the next dye bath
could be turquoise, which would
actually mix with the yellow to
dye the fabric green in all the un-
waxed areas. Remember, after
Soda Ash has been added to the
dyebath, don't leave your waxed
fabric in for more than 30
minutes more, as soda ash eats
away the wax eventually,
exposing areas to unwanted dye.

27. ⦿ Step 7: Rinse and gently hand wash the
fabric in Synthrapol and allow to dry. Use
lukewarm water so as not to melt your wax!
⦿ Step 8: Repeat steps 2-6 above for each color
you plan for your batik, waxing areas after
each dye bath that you want to remain that
most recent color, and re-waxing any areas
that look eroded from the Soda Ash. Tub dye
your darkest areas last.
⦿ Step 9: If one wants more patterns and
colors, reprinting could be done with wax and
the whole process is repeated again.

28. Step 9: Remove the Wax using one of these
methods:
⦿ Boil the wax out: Choose a pot to become
your official wax pot that will comfortably
hold your fabric and fill with water and a dash
of Synthrapol, or other liquid detergent, to get
the wax and any excess dye away from the
fabric.
⦿ Bring this to a simmer and add fabric.
⦿ Stir the fabric around in the boiling water
keeping it submerged.
⦿ After a few minutes the wax will melt out of
the fabric and float to the top.

29. ⦿ When the wax seems completely removed
from the fabric, remove from heat and allow
the water to cool.
⦿ Be sure that the fabric sits on the bottom of
the pan, avoiding the floating wax residue.
⦿ You can weigh it down with rocks or
something heavy.
⦿ Allow to cool, then peel the hardened wax
off the surface and remove the fabric.

31. ⦿ Iron the wax out: Sandwich your fabric
between layers of absorbent paper and iron, to
melt the wax out.
⦿ This process often leaves a wax residue that
looks like a grease spot and won't come out, so
it is not our favorite.

33. TIE-DYE PRINTS
⦿ Tie & Dye or tie-dyeing process and ancient
techniques.
⦿ It consists of knotting, binding, folding or
sewing certain parts of the cloth in such a way
that when it is dyed the dye cannot penetrate
into these areas which are resisted.
⦿ It is a hand process by which intricate and
attractive patterns can be produced.

34. ⦿ In India, the tie and dyeing method is generally a
cottage industry and is known as Bandhani or
Bandhej.
⦿ It is often used for T-shirts, dresses, skirts, and
other garments and also in furnishings like pillow
covers, table cloths, bed sheets etc.

35. History of Asia and Africa
⦿ The earliest examples of tie-dye in Peru date from 500
to 810 AD. Their designs had small circles and lines,
with bright colors such as red, yellow, blue, and green.
⦿ The oldest known tie-dye tradition that is still practiced
in Asian traditions, used to be called Bandhani, which
involves tying small nips of thread and dip-dying,
resulting in designs featuring small dots.
⦿ Another form of tie-dye is Shibori which originated in
Japan and Indonesia.
⦿ It includes a number of complicated techniques, like
stitching intricate patterns and tightly gathering the
stitching before dyeing.
⦿ Tie-dye techniques have also been used for centuries in
the Hausa region of West Africa, with the well-known
indigo dye.
⦿ This dye can be found in and around Kano, Nigeria.
⦿ The tie-dyed clothing is then embroidered in traditional
patterns.

36. Tie Dye history of Western World
⦿ In late 1960‟s London, Gordon
Deighton created tie-dyed shirts and
trousers for young fashionable men,
which he sold through the Simpsons
of Piccadilly department store in
London
⦿ On that same year tie-dye was
brought to America through the
hippie movement, a youth
movement that encouraged the
revolution, patterned rock and
protested the Vietnam War.

37. Historical Perspective
⦿ The tie and dye technique of creating attractive
designs on fabrics has been practised from very
early times in many parts of the world.
⦿ The fresco paintings in Ajanta caves in north
Maharashtra in India (6th – 7th century A.D.)
depict people wearing clothes with beautiful tie
and dye designs.

38. FRESCO PAINTING

39. ⦿ There is evidence that tie-dye technique was
practiced in China during the Tang dynasty (618-
906) from where it moved to Japan in the Nara
period.
⦿ The tie and dye or bandhani textiles have had a
continuous history in India, as shown by their
recurrence in written and visual documents at
intervals over the centuries particularly from the
12th century onwards.

40. ⦿ Jain manuscripts and paintings from western India
illustrate many garments with dotted patterns which
seem to be tie-dyed, several with the tribundi
patterns (group of three dots) popular in Gujarat up
to quite recently.
⦿ It is difficult to trace the origins of this craft to any
particular area in India.
⦿ According to some references it first developed in
Jaipur in the form of leheriya.

41. ⦿ But it is widely believed that it was brought to Kutch
from Sindh by Muslim Khatris who are still the
largest community involved in the craft.
⦿ Bandhani was introduced in Jamnagar when the city
was founded 400 years ago.
⦿ This city has now become one of the principal
centers of bandhani, creating new patterns and
experimenting with colors.
⦿ A bandhani garment was considered auspicious for
the bride.
⦿ The Ajanta wall paintings created almost 1500 years
ago, wearing blouses of tie and dye patterns.

42. ⦿ Tie and Dye is a village craft carried on mostly
by women in villages of India.
⦿ The workers are known as Bandhanaris who
always grow the nails of their thumbs or fore
fingers for tying the knots on cloth.
⦿ Designs can be tied in different ways. They are
set in stylized floral pattern or motifs of lotus
flowers, dancing women and elephants or smart
geometrical patterns.

43. Important Centers of Tie and
Dye in India
⦿ Coarse Bandhani work is carried out in Madhya Pradesh.
⦿ The centers for fine work, as well as for much of the
simpler work are in Kutch and Saurashtra.
⦿ Bhuj is a town with great many Bandhani workers.
⦿ In the port of Mandavi, some of the finest Bandhani in
India is tied.
⦿ The art of Tie-Dye is practiced at many places, which
have good river water available like Porbander,
Ahemdabad, Morvi, Rajkot, Bikaner.
⦿ Rajasthan and Gujarat are known for their Bandhani
productions, which is very fine and prolific.

44. ⦿ The finest Bandhani works of Rajasthan come from
Jaipur, Jodhpur, Barmer, Plai, Udaipur and
Nathdwara.
⦿ Rajasthan is well known for leheriya pattern, literally
meaning waves.
⦿ A well-known pattern consists of harmoniously
arranged diagonal stripes, which were originally
dyed in the auspicious colors of yellow and red.
⦿ Pochampalli is also one of the three main traditional
yarn dyeing canters in the country.
⦿ The process of making Bandhani varies in Gujarat
and Rajasthan.
⦿ Even the patterns, designs and craftsmanship vary in
these regions.

45. Different types of dyes and their
characteristics

46. Natural Dyes
• Vegetable Dyes
• Animal Dyes
• Mineral Dyes
⦿ Are obtained from sources like flowers, leaves,
spices, insects, bark roots etc. They are not freely
available and have a lot of extraction processes.
The majority of natural dyes are taken from plant
sources :- beetroots, berries, bark, leaves,
turmeric, red cabbages, and wood.

47. Dyes Used for Dyeing
⦿ The dyes used in good old days
were vegetable dyes like madder,
saffron, weld, Persian berries and
Indigo.
⦿ The wide range of dyes was
originally from the ancestry of
Morinda Cardifobia, in
combination with a double sulphate
of Aluminium and Potash for the
fast (pakka) Red, Kasum from the
petals of sunflower, Carthamus
Tintorius for Kutch Red, hatuber of
Curcuma Domestica with chhach
for yellow and Gali Indigo from the
leaves of Indigo Fera Tintria for
blue.

48. Synthetic Dyes
e up of chemical compounds. Some of the

49. ⦿ Today modern synthetic dyes are better
suited to our fabrics.
⦿ The patterns and designs created with
these dyes on the present day fabrics
have visual excitement and tactile
appeal.
⦿ The dyes of all types of Bandhani work
used today are almost always artificial.
⦿ Dyeing always starts with lighter
shades and the darkest shades are
always at the end.
⦿ After each successive dyeing, the cloth
is untied and dried.

50. Materials Needs for Tie-Dye
⦿ Dyes – buy them at the craft store
⦿ White T-shirt or cotton material
⦿ Rubber bands
⦿ Plastic Bag
⦿ Plastic Tubs

51. The Process of Tie-Dyeing
⦿ Wash the fabric, dry it and then iron it.
⦿ Prepare the cloth for tie-dyeing by knotting, binding, folding,
sewing, etc. or a combination of these, always keeping one
side (say right side) on the outside of the bundle.
⦿ Prepare dye and test for colour.
⦿ Wet sample, if necessary and place it in the dye bath for the
required length of time.
⦿ Remove the fabric from the dye bath and squeeze out surplus
dye.
⦿ Rinse the dyed fabric in water and keep on rinsing till the
water is clear.
⦿ Squeeze out surplus water and hang up to dry.

52. ⦿ When a second or third colour is to be dyed, tie up
the sample again or add more binding where the
previous colour is to be preserved.
⦿ Repeat the dyeing process for each subsequent
colour.
⦿ After the final dyeing and rinsing, the fabric should
be dried quickly.
⦿ Untie the sample.
⦿ Rinse again, if necessary and partially dry.
⦿ Iron the fabric while still damp.
⦿ Collect and tie together any lengths of threads which
can be used again.
⦿ Keep coarse and fine binding threads separately.

53. Tie and Dye -Techniques
⦿ Twisting & Coiling
⦿ Folding Method
⦿ Binding Method
⦿ Sewing Method
⦿ Marbelling Method
⦿ Knotting Method

54. Twisting & Coiling
1. First make the pleat out
2. of fabric.
3. Then handle it from
two ends then start
twisting the fabric.
4. Twist it till it became
half the length then tie
it at intervals.

55. Folding Method
1. Fold the fabric lengthwise.
2. Make wide pleats out of the fabric.
3. Then tie the fabric from middle
leaving the space from both of the
side.

56. 1. Make wide pleats out of the
fabric.
2. Then make a triangular fold from
one end repeat the folding till
another end of the fabric.
3. Tie the fabric tightly using thread.

57. Binding Method
1. Pick the fabric from the center and
make rope out of it.
2. Tie the rope half way from top.
3. Then dye the fabric in the colour.

58. 1. Pick the fabric from the center and
make rope out of it.
2. Tie the rope criss cross at intervals.
3. Then dye the fabric in the colour.

59. 1. Tie a coin in the center of the fabric.
2. Then make a line on the remaining
fabric and gather it with the
3. running stitch.
4. Then tie the remaining fabric

60. Sewing Method
1. Mark the line t similar intervals on
the fabric.
2. Then gathers the line with running
stitch.
3. Tie the threads tightly.

62. Marbelling Method
1. The fabric is bunched up into a
ball and tied with a thread and
string to prevent it from
opening.
2. This bunch of fabric is than
dyed.

63. Knotting Method
1. First fold the square piece of
fabric in triangle.
2. Then tie to knots at the
opposite side.
3. Tie one knot on the
remaining side of the
triangle.

65. IKKAT PRINTING
⦿ IkKat is a dyeing technique used to pattern textiles
that employs resist dyeing on the yarns prior to
dyeing and weaving the fabric.
⦿ In ikkat the resist is formed by binding individual
yarns or bundles of yarns with a tight wrapping
applied in the desired pattern. The yarns are then
dyed.
⦿ The bindings may then be altered to create a new
pattern and the yarns dyed again with another color.
⦿ This process may be repeated multiple times to
produce elaborate, multicolored patterns.

66. ⦿ When the dyeing is finished all the bindings are
removed and the yarns are woven into cloth.
⦿ A characteristic of ikkat textiles is an apparent
"blurriness" to the design.
⦿ The blurriness is a result of the extreme difficulty
the weaver has lining up the dyed yarns so that
the pattern comes out perfectly in the finished
cloth.
⦿ The blurriness can be reduced by using finer
yarns or by the skill of the craftsperson.
⦿ Ikkats with little blurriness, multiple colors and
complicated patterns are more difficult to create
and so it is more expensive.

67. HISTORY
⦿ The technique of making Ikat,
known as „Ikkat‟ has its
origins from around the world,
including South East Asia,
South America and West
Africa.
⦿ It‟s an ancient art that was
derived from the Malay word,
„Mengikkat‟ which means to
tie.
⦿ 19th & 20th-century evidence
indicates that circa 200 years
ago, Asia started producing
high-quality ikkat textiles.

68. ⦿ Indonesian language word Ikat can be
said to mean a cord, thread, knot or to
bind or tie. There are mainly 4 types of
Ikat:
●Warp Ikat
●Weft Ikat
●Double Ikat
●Oshima Ikat

69. Warp Ikkat
1. In this method only the warp
threads are dyed.
2. Fabrics used: cotton, silk and
wool. South American and
Indonesian Ikat is known for its
highly warp alignment.
PROCESS
1. Yarns are wound onto a frame.
2. Then they are tied in the burdens ( can
be covered with wax)
3. Then the yarns are tied tightly with
thread.
4. Then the process is repeated to achieve
the wanted colors
5. Then the dyes yarns are send to the
loom to get weaved.

70. Weft Ikat
1. It is more difficult to do. In this technique the weft threads are dyed
and then woven.
2. Japanese weavers produce very accurate indigo and white weft Ikkat
with small scale motifs.
3. Whereas, in Odisha, India have replicated fine urdu script in weft
ikkat.

71. Double Ikkat
⮚In this technique both the weft and warp yarns are dyed.
⮚ It is very difficult and hence expensive.
⮚It is mainly done in India and Indonesia.
⮚In this mainly done in India and Indonesia.
⮚Before the final weaving is done.
⮚Before the final weaving is done a manual winding is supposed to be done.
⮚It takes at least 5 hrs per saree.
⮚In 1999, Malluham made a machine which does manual winding.

72. Oshima Ikkat
In this type of Ikkat both warp and weft ikkat threads are used as warp to weave stiff
fabric upon which the thread for Ikat is spot dyed.
The Oshima ikkat process is duplicated by Java and Bali, and is reserved for the
ruling royalty.

74. Thank you