hand block printing pranjali

Created By – Rizwan Rajik Qureshi

Project Report
On
Submitted by
Mrs. Pranjali C. Bandewar
(Bachelor of Textile Science, III Year)
Under the Guidance of
Mrs. Snehal Rohadkar
A Dissertation Submitted to R.T.M. Nagpur University
In Partial Fulfilment of the Requirement
For the Award of Degree Of
BACHELOR OF TEXTILE SCIENCE
MAHALAXMI JAGDAMBA COLLAGE OF LIBRARY & INFORMATION SCEINCE
RASHTRASANT TUKDOJI MAHARAJ NAGPUR UNVIVERSITY,
NAGPUR.2018-2019
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This is Certify that the dissertation entitled
Is a record of dissertation work
Carried out by
Mrs. Pranjali C. Bandewar
Submitted in the partial fulfilment of requirement
For the degree of Bachelor of Textile Science
Of R.T.M. Nagpur university.
MAHALAXMI JAGDAMBA COLLAGE OF LIBRARY & INFORMATION SCEINCE
RASHTRASANT TUKDOJI MAHARAJ NAGPUR UNVIVERSITY,
NAGPUR.2018-2019
Mrs. Snehal Rohadkar
Guide
Mrs. Rakshta Mankar
Principal
Mrs. Meghna Polkat
Head of
Department
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ACKNOWLEDGEMENT
Many individuals with whose cooperation and motivation I could complete this
research work should be thanked. Though not all of them directly helped me, they
stood by me in very trying times with numerous words of encouragement and much
needed moral support.
First and foremost, I would like to thank my Project guide Prof. Snehal Rohadkar,
whose valuable guidance, suggestions and constructive criticism has helped me bring
this project to its present form.
I am grateful to Mrs. Meghna Polkat H.O.D of textile, M.J. collage Nagpur from there
help, encouragement and other faculties extended while carrying out of the project.
I am thankful to Prof. Dilip Varma, in-charge MGIRI Lab, Wardha, Prof. Cinnur, MGIRI
Wardha, Who had helped and assisted me in completing my project.
Little room to write and so many people are there, I take this opportunity to thank all
faculty members and non-teaching staff members of M.J. collage, particularly during
the project work.
The support I received from all my family members and friends was valuable, without
their support it would not have been possible to come out with this project work. I am
thank full to them all.
Miss. Pranjali C. Bandewar
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CONTENTS
PRINTING
INTRODUCTION
1
01
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02
2
3
4
5
6
7
8
9
10
11
BASIC FLOW
CHART (PRINTING)
ESSENTIAL
INGRIDIENTS IN
PRINTING
STYLE OF
PRINTING
METHOD OF
PRINTING
BLOCK
PRINTING
BLOCK PRINTING
TECHNIQUE
PROCESSES
RUBBING FASTNESS
PROPERTY
AFTER
TREATMENT
CONCLUSION
03
-
05
06
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07
08
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10
11
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18
19
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22
23
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38
39
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44
45
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48
49
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52
53
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54
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P R I N T I N G
I N T R O D U C T I O N
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PRINTING INTRODUCTION
Printing, means of producing reproduction of written material or image in
multiple copies. There are four traditional types of printing: relief printing, screen
printing process, roller printing relief encompasses type, stereo type printing is a
form of rotary letterpress printing using flexible rubber plates and rapid-drying links..
In the process of printing color designs are developed on fabrics by printing
with dyes and pigment in paste form with spicily designed machine. Printing is used
to apply color only on localized area. Printed fabrics, usually have clear-cut edge in
the printed portion on the face of fabric. Printing allows flexibility in creating great
design, and enables the creation of relatively inexpensive, patterned fabric.
Design for a hand woodblock printed textile, showing the complexity of the
block used to make repeating patterns. Even lode by WILLAM MORRIS” 1833.
Textile printing is the process of applying color to fabric in definite patterns or
design in properly printed fabric the color is bonded with the fiber, so as to resist
washing and friction. Textile printing is related to dyeing but in dyeing properly the
whole fabric is uniformly covered with one color. Whereas in printing one or more
colors are applied to it in certain parts only, and in sharply design patterns.
In printing wooden block, stencils, engraved plates, rollers. Or silkscreen can
be used to place colors on the fabric. Colorants used in printing contain dyes
thickened to prevent the colors from spreading by capillary attraction beyond the
limits of the pattern odd design.
Printing is a processes for reproducing text and image using a master from or
temple. The earliest example include Cylinder Sea and other objects such as the
Cyrus cylinder and they cylinders of woodblock printing came from china dating to
before 220 AD. Later development. In printing include the movable type, first
developed by bi Shang in china Johannes Gutenberg introduced mechanical
movable type printing to Europe on the 15th century. His printing press played a key
role in the development of the Renaissance, Reformation, the age Enlightenment.
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B A S I C F L O W
CHART
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BASIC FLOW CHART IN PRINTING
GREY FABRIC
BRUSHING &
SHEARING
SINGEING DESIZING
SCOURINGBLEACHINGMERCERIZING
DYEING PRINTING FINISHING
MARKETING
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INFORMATION OF BASIC FLOW CHART
Flowchart are used in designing and documenting simple process in textile, likes
other types of diagram they help visualize what is going on and thereby help
understand a process, and other less-obvious feature within its processing step,
usually called activity, and denoted as a rectangular box.
Now i like to discuss shortly about the different terms of the flow chart fiber, yarn of
fabric which is also consider as raw materials for dyeing.
 GREY COMBING: Combing is method for preparation
Carded fiber for spinning combing is divided into linear and circular combing.The
process of combing is accompanied by gilling, have been straight and lie parallel to
each other. The circular comb used has long metal teeth, and only barely resemble
the comb used on hair.
 SINGEING: is the first step of pre-treatment. The process by which loose,
hairy and projecting fibers are removed is called singeing
.
 DESIZING: is the second step of pre-treatment. By this process gummy
materials are removed. Also size material removed by this process.
 SCOURING: is the third steps of pre-treatment. This process is performed for
removing impurities of the textile materials.
 BLEACHING: is another important step which is used to reduce natural color
of the raw materials. Dyeing performance depend on it much more.
 MRECERIZING: is the special type of treatment. It performs if buyer wants. It
is an additional treatment. It increases the strength and luster of the materials.
 DYEING: is the main process where a white material becomes decorate by
different cools. We have to know about the depth of shade of the material.
 PRINTING: printing is called localized dyeing, different types of printing are
done for giving appertance on colored or white fabric.
 FINISHING: is the last treatment of wet processing. Different types of
properties can be added to the material by different finishing effects.
 MARKETING: is our main goal. If we done everything but there haven buyer
then everything is waste. So we should have a strong marketing department.
.SO, ALL OF THIS ABOUT “BASIC FLOW CHART” IS SEQUENCE....
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E S S E N T I A L
I N G R I D I E N T S
I N P R I N T I N G
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ESSENTIAL INGRIDIENTS IN PRINTING
PASTE
1 . Dye or printing
2. Solvent
3. Hygroscopic agent
4. Wetting agent
5. Thickner
6. Deforming agent
7. Oxidizing and reducing agent
8. Catalyze and oxygen carrier
9. Acid and alkali
10. Swelling agent.
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S T Y L E O F
P R I N T I N G
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STYLES OF PRINTING
Sometimes we use various of technique in different printing method to perform the
printing effect easily. This effect of printing is called style. Of printing mostly depends
on the behaviour of the dye and chemical to be printed. It can be divided into
following groups..
1 ) Direct printing
2) Vat printing
3) Discharge pigment
4) Azoic printing
5) Resist printing
6) Acrylic printing
7) Nylon printing
8) Soluble printing
1) DIRECT PRINTING
A style of printing in one or several colors where the dyes are applied and then fixed
by ageing or other appropriate means. The fabric is usually initially white but may
sometimes have previously dyed.
2 ) VAT PRINTING
Vat dyes are a class of dyes that are classified as such because of the method by
which they are applied. Vat dyeing is a process that refers to dyeing that takes place
in a bucket or vat. Fibers can be all dyed with vat dyes. The original vat dye is indigo
,once obtained from plants but now produced synthetically.
3 ) DISCHARGE PRINTING (POLYSTER PRINTING)
The classically discharge print obtain when a fully dye fabric is printed with an agent
which will chemically destroy the ground shade and produce a white discharge.
Discharge ink is a water based product that is formulated to reactive the dye used on
natural fabric.
4 ) PIGMENT PRINTING
The pigment stick on the fabric with help of binder. Pigment is insoluble in water
.there exit in the form of finely ground molecules, milled for garment dying
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purposeless. Into a pest. When anionic dispersing agent are added, a slightly
negative charge is present, thus the foundation for pigmnt dyeing is born.
5 ) AZOIC PRINTING
This dye cannot be applied directly on the fibers as dyes. Actually. These dyes are
produced within the fibers itself. For this production first the fiber is impugned. With
one commonest of these dyes and then the fiber is treated in another compound of
these dyes.
6 ) RESIST PRINTING
Resist style printing is a term for a number of traditional methods of dying. Methods
are used to resist or prevent the dye from reaching all the cloth, thereby creating a
pattern sand ground. The most common forms use wax, some type made from
starch or mud, or a mechanical resist that manipulates the cloth such as tying or
stitching.
7 ) ACRYLIC PRINING
The printing acrylic fabric more particularly, this invention related to such a process
where in an acrylic fabric substantial free of dye sites for acid dyes is dyed by
printing said fibers with a printing paste containing a special class of acid dyes.
There are two types of dye that can be used on acrylic. One is called disperse dye,
and the other is called basic dye (also known as containing dye ).
Disperse dye is safe enough too used, but it requires is large cooking pot, and it will
produce only pale to medium sheds.
8) NAYLON PRINTING
Nylon fiber is an incredibly strong and versatile material flexible when thin, but with
very high inter-layer adhesion, nylon lends itself well to things like living hinges and
other functional parts. Its low friction coefficient choice for things like printed gears.
9) SOLUBLE PRINTING
Any of a large class of water insoluble dyes, the dye is applied in a soluble reduced
form to impregnate the fiber and then oxidation in the fiber back to its original
insoluble form. Solubilised dye is very important cotton and cellulosic fiber. In their
soluble forms they behave like direct dye.
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M E T H O D O F
P R I N T I N G
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METHOD OF PRINTING
There are main methods of printing a fabric, these begin the block, roller, screen,
heat transfer and ink-jet methods. The heat transfer method different from the design
in that it involves the transfer of color from the design printed on paper through the
vapour phase into the fibres of the fabric. With the other methods the dye or pigment
is applied to the fabric surface through a print paste medium.
The printing process is a however is a comparatively recent innovation and is
referred to as a nonimpact method, because the print paste is fired on to the textile
from a jet which is not actually in contact with the fabric.
1) BLOCK PRINTING
2) SCREEN PRINTING(MANUALLY SCREEN PRINTING)
3) FLAT BED SCREEN PRINTING
4) ROLLER PRINTING
5) STENCILE PRINTING
6) BATIK PRINTING
7) ROTREY SCREEN PRINTING
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1) BLOCK PRINTING
Block printing is a slow, laborious process and is not suitable for high
volume commercial use. It is a method still practiced in the oriental countries
where markets exit for the types of printed fabrics produce.
Block printers, carvers and dyers are all traditionally part of the chhippa
cast in india. Like most craft in India the skill of block carving is passed down
from father to son. Open fronted shopes dotted along the road are filled
ceiling high with stacks of wood ready for carving. Chhippas squat at small
table with their traditional took kit of miniature chisel hammers and drills begin
carving intricate patterns in to the wood.
The surface used for printing is a sari length table that is padded with
many layers of cloth. The printer aligns the first block to the bottom left corner
of the fabric and with incredibly prices hand eye co-ordination that has been
developed over year of block printing, gives a sharp tap the realease the dadu
paste onto the cloth. This same process is repeated along the length and
width of the fabric.
Block printing is the oldest simple method of prining .Whiteness of the
color produced by the method with still us of may count. The block used in
these method are made up of coverless layers of common timer which
together and the protection to the printed are carved. Color is the foam of the
thick paste is applied to the raised part of the block and the impression of the
design is obtain by stamping the block by hand an hummer on the cloth to be
printed sense. The has to be lifted and stamp on the cloth repit it size as well
as we should not be assuasive each press portion of the cloth......
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2) SCREEN PRINTING (MANUAL SCREEN PRINTING)
Screen printing required supplied space in house for no of table usually
the printing shade. Size is approximately in which table weight low, width will
wary according to the type of ( width of the fabric ) usually printed for printing
44” cloth the table shade be around.
Screen printing is also a stencil method of print making in which a
design is imposed on a screen of polyester or other fine mesh, with blank area
coated with an impermeable substrate, as the screen rebounds away from the
substrate the remains on the substrate.
There are various terms used for what is essentially the same
technique. Traditionally the process was called screen printing .or silksscreen
printing because silk was used in the process prior to the innovation of
polyester mesh.Currently synthetic thread is commonly used in the screen
printing process. The most popular mesh in general use in made of polyester.
There are special use mesh material of nylon and stainless steel
available to the screen printing . There are also different types of mesh size
which will determine the outcome and look of the finished design on the
material.
Screen printing is arguable the most versatile of all printing process.
Screen printing materials are so affordable and readily available; it has been
used frequently in underground.
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4) ROLLER PRINTING
Roller printing also called cylinder printing or maching printing.
In its simplest form the roller machine consists of a strong cast iron cylinder
mounted in adjustable bearings capable of sliding up and down slot in the
sides of the rigid iron framework bent this cylinder the engraved copper roller
rest in stationary bearing.
This machine consists of central pressure bowl suitably rap with a layer
of cloth calledlapping around with and endless blanket to be remove.
The cloth to be printing circulates in content with. Central figure bowl
and rubber blanket as share in the dye. The finisher roller is place in the color
trey. And its britsutes fix up the color paste kept in the color paste in the box.
Transfer the same on the engrave roller a sharp page strive bless,
called colour doctor less on the engraved roller on one side and lint doctor
reset on the side and lint doctor rise on the other side by suitable waist.
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5) STENCILE PRINTING
Stencil printing is the process of depositing solder paste on the
printed wiring boards to abolished electrical connection. It is
immediately followed by the component placement stage. The
equipment and material used in this stage are stencil, solder paste, and
the printer.
In order to achieve this kind of a solder joint, the component
needs to be in the right place. The right volume of solder paste need to
be applied, the paste need to well on the board.
The solder volume is a function of the stencil, the printing and
equipment, solder powder, and theology or the physical properties of
the paste good solder wetting is a function of the flux......
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6) BATIK PRINTING
Batik is an process of decorating cloth by covering a part
of it with a coat of wax and then dyeing the cloth process for napthol
fabric is used in batik printing. Batik printing is an art, from that is one
of the most beautiful batik printing is usually done of cotton and slik
fabric.
Another factor in its popularity of batik is the fact that is so
durable. The colours in batik are much resistance to wear than those of
printed fabric because the cloth is completely immersed in dye and the
area not protected by resist are allowed to the absorb hues to extent
that the colour will not easily fade.
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7) ROTAREY SCREEN PRINTING
The rotary screen printing machine resembles very much the automatic flat-
bed screen printing. In rotary screen printing perforated circular metal screen are
used for printing instead of the flat screens.
The squeegee lies inside the circular screen. Its is rod type or flexible blade
type activated by an electromagnet. The first rotary screen was introduce by stork of
in 1963 the heart and soult of this machine is the perforated thin shell of nickel
without a repeat joint.
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B L O C K
P R I N T I N G
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BLOCK PRINTING
Block printing is a slow, laborious process and is not suitable for high volume
commercial use. It is a method still practiced in the oriental countries where
markets exit for the types of printed fabrics produce.
Block printers, carvers and dyers are all traditionally part of the chhippa
cast in india. Like most craft in India the skill of block carving is passed down
from father to son. Open fronted shopes dotted along the road are filled
ceiling high with stacks of wood ready for carving. Chhippas squat at small
table with their traditional took kit of miniature chisel hammers and drills begin
carving intricate patterns in to the wood.
The surface used for printing is a sari length table that is padded with
many layers of cloth. The printer aligns the first block to the bottom left corner
of the fabric and with incredibly prices hand eye co-ordination that has been
developed over year of block printing, gives a sharp tap the realease the dadu
paste onto the cloth. This same process is repeated along the length and
width of the fabric.
Block printing is the oldest simple method of prining .Whiteness of the
color produced by the method with still us of may count. The block used in
these method are made up of coverless layers of common timer which
together and the protection to the printed are carved. Color is the foam of the
thick paste is applied to the raised part of the block and the impression of the
design is obtain by stamping the block by hand an hummer on the cloth to be
printed sense. The has to be lifted and stamp on the cloth repit it size as well
as we should not be assuasive each press portion of the cloth......
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BLOCK PRINTING HISTORY
Wood-block printing is a technique for printing text, image or patterns used
widely throughout EAST ASIA, and probably originating in china in antiquity
as a method of printing on textile and letter paper .As a method of printing on
cloth, the earliest surviving example from china date to before 220.
Textile printing was known in Europe via the lsiamic world , from about
the 12th century , and widely used. However , the European dyes tended to
liquefy , which restricted the use of printed patterns. Fairly laege and
ambitious design were printed for decorative purposes such as wall-hangings
and lectern-cloth, where this was less of problem as they did not need
washing. When paper become common, the technology was rapidly used on
that for woodcut prints superior cloth was also imported from Islamic counties
, but this was much more expensive.
The in case of peru, Chile and the Aztecs of Mexico also practiced
textile priting previous to the Spanish invasion in 1519; but owing to the lack
of records before that date, it is impossible to say whether they discovered the
art for themselves, or ,in some way, learned its principles from the Asiatic.
During the later half of the 17th century the French brought directly by
sea, from their colonies on the east coast of India, samples of India blue and
White resist prints, and long with them particulars of the processes by which
they had been produced, which produced washable fabrics.
As early as the 1630s, the east India company was bringing in printed
and plane cotton for the English market. By the British printers and dyers were
making their own printed cotton to sell at home, printing single colors on plane
background; less colour full than the imported prints, but more to the taste of
the British. Design were also sent of India for their craftspeople to copy for
export back to England. There were many dye houses in England in the latter
half of the 17th century, Lancaster being one area on the River lea near
London another. Plain cloth was put through a prolonged bleaching process
which preapardthe material to receive and hold applied colour; this process
vastly improved the colour durability of English calicoes and required a great
deal of water from nearby rivers. One day house was started by john makings,
a London Quaker who lived inn-cripple gate. When he died, he passed his
day house to is son-in-law Benjamin olive, citizen and dyer, who moved the
dye-works to Bbromlry hall where it remained in the family until 1823, knows
as Benjamin olive and company ,olive & foster. Samples of their fabric and
design can be found in the Victoria and Albert Museum in London and the
Smithsonian copper-Hewett in New York.
On the continent of Europe the commercial importance of calico
printing seems to have been almost immediately recognized, and in
consequence it spread and developed their much more rapidly than in
England, where it was neglected for nearly ninety years after its introduction.
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During the last two decades of the 17th century and the earlier ones of the 18th
new day works were started in France, Germany, Switzerland, and austrila. It
was only in 1738 that calico printing was first,practiced in Scotland, and not
until twenty-six year later that Messer Clayton of Bomber Bride, near Preston,
established in 1764 the first print-works in Lancashire, and thus laid the
foundation of the industry.
From an artistic point on view most of the pioneer work in calico
printing wasdone by the French. From the early days of the industry down to
the latter half of the 20th century. The production of the French printers in
Joey, Beauvais, Rouen, and in Alsace-Lorraine, were looked upon as
representing all that was best in artistic calico printing....
A printing is a mechanical device for applying to an inked surface
reacting upon a medium (such as paper or cloth), thereby transferring an
image.. the system involved were first assemble in Germany by the goldsmith
Johannes Gutenberg in the mid-15th century.
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B L O C K
P R I N T I N G
T E C H N I Q U E
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BLOCK PRINTING TECHNIQUE
How to make wooden Block (Material)
There are so many methods around today that we can use to print a picture. Though
the majority of them are quicker and more efficient, some of us find fullness,
tranquillity, and artistic expression in the ancient art of hand printing that is
unmatched by any other media. With this tutorial, you'll learn the technique for
carving and printing your very own woodblock.
Supplies
 Sheet of drawing paper.
 Lead pencil.
 Block of wood.
 Curved burnisher or bone fold.
 Set of wood carving gouges.
 Rubber or non-slip mat (optional).I
cut mine from an old place mat.
 Glass surface (like the glass from a
frame).
 Water-based block printing ink.
 Putty knife.
 Rubber brayer.
 Block printing paper like Kozo or mulberry.
 Rice spoon.
The best wood to use as a beginner is birch plywood. It is cheap, but still has a nice
surface to work with. Regular birch, pine and poplar are also great for block printing.
I like to use poplar because it's soft and I love the look of its porous surface.
You may also need sharpening tools for your carving gouges. Such tools include a
strip of tooling leather, a Slipstrop, or a sharpening stone. To sharpen your knives,
follow the instructions included with the tool or do a search for "how to sharpen a
gouge knife".
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1. Draw Your Image
Step 1
Sketch your design on a piece of plain white paper using lead pencil.
Step 2
If you're not into drawing an original design, you could print an image from the
computer and cover the areas you want to print in lead pencil. If you're using an
image that is not your own, make sure you have the rights to use it.
Try out some images from photo dune or graphicriver. I bought this image from
photodune and used it as a reference while I free-handed it in pencil. Again, even if
you are purchasing an image, you need to read the fine print and make sure you are
using it legally.
2. Transfer Your Drawing
Step 1
Turn your drawing face down onto the wood you want to carve. Take your burnisher
or bone fold and firmly rub the back of the drawing. The pencil will transfer to the
wood.
Step 2
Carefully lift up a corner of your paper to check that your image is completely
transferred.
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Step 3
Go over the illustration with a pen so it's easier to see.
3. Start Carving
Step 1
Place your wood on top of the rubber mat so that it doesn't slip.
Begin to carve out your design.
Here are some pointers to follow:
 The wood can be bigger than the carving. I have extra wood surface at the
bottom of my image which gives my wrist somewhere to sit and a dry surface
to hold when printing.
 Cut away from your body.
 Keep all body parts away from the direction your knives are cutting. Be aware
of where your free hand is at all times. You might think it's easier to carve with
one hand out front to hold your wood, but it's not worth it!
 You don't need to carve too deeply. A simple scratch on the surface of the
wood can show up in your print. I tend to carve deeply, but that's a personal
preference.
 Use the V-shaped gouge to carve against the grain of the wood and to draw
out detail.
Step 2
Use the U-shaped gouges to carve with the grain of the wood.
Step 3
Use the small U-shaped gouge to carve detail.
Step 4
Do not cut straight down into the wood. If you do, your carving will be weak and
break apart. Cut at a shallow angle.
If you are having trouble getting a clean cut, you may need to sharpen your knives
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4. Proof Your Block
Step 1
Once you have your image carved out, it's a good idea to proof your block. It is not
easy to tell what your print will look like just from looking at the carving.
Apply a line of ink to your sheet of glass.
Step 2
Work the ink with your putty knife until the ink is mixed and smooth.
Step 3
Make an even line of ink with the putty knife and use your rubber brayer to roll out an
even surface of ink.
If you have the right amount of ink, you will hear a quiet hissing sound while rolling
the brayer. If you have too much ink, the hissing will be louder and sound more like
Velcro. If this happens, scoop up all the ink with the putty knife and try again with
less ink.
Step 4
Roll the brayer onto the block moving from all four directions. Each time you roll the
ink on, you will have to "charge" the brayer by rolling more ink onto it. You do not
need to push down on to the block when inking it. Just roll the ink along the surface
and make sure it is evenly covered.
Step 5
At this point, you might see some areas that are picking up ink that you don't like.
This is the time to fix it with additional carving. If you do this, wash your brayer and
glass with water before the ink dries.
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5. Print Your Block
Step 1
Once you think you've got the image carved the way you like, it's time to print.
Cut your paper to the preferred size. If you're planning on framing the piece, keep
standard frame sizes in mind. Other than that, you can make the paper size
whatever you want.
If you are just starting out, it might be wise to cut out some practice paper if you don't
want to waste the good stuff. Newsprint or printer paper can be good for this. Just
remember that the print may look different depending on the paper you use.
Step 2
Apply a line of ink, roll it out with the brayer, and ink your block as demonstrated in
Step 4 (proofing your block).
Step 3
Once your carving is coated with ink, carefully place your paper face down onto the
block. If you are using Kozo paper, the face side is bumpy and the back side is
smooth.
Step 4
Starting from the centre, lightly press down on the back of the paper with the bottom
of your rice spoon. Be very careful to keep your paper from sliding around.
Professional printers would normally use a baren for this and it is great to get even
pressure over the whole block, but a rice spoon or some other flat, smooth surface
works just fine.
Step 5
Do another pass with the rice spoon, starting from the centre again, but press a little
harder. Keep rubbing the entire image. You will start to see the ink show through the
paper. Don't try to make the process faster by rubbing hard. You might make your
print blurry or even rip the paper.
Step 6
Slowly lift the paper from the block. Make sure your hands are clean! After all that
work, I'm sure you don't want to see any fingerprints.
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6. Allow to Dry
Step 1
Your print is complete. Lay it out or hang it to dry.
You may want to make changes to the block again and that's totally okay! Just make
sure your block is dry so your knife does not slip while carving.
Is your print too blotchy? Print again with less ink on the block. Is your print too light?
Roll on more ink. If you are going to print multiples, you should keep count of how
many times you rolled ink onto your block. You could even write that number on the
back of the block to remember for future printing.
Advertisement
Step 2
Clean up with water. Since you used water-based ink, you don't need to use any
cleaning products. Just try to use as little water as possible to not be wasteful. You
don't have to clean the woodblock, but if you want to, you can use a little water and
lightly scrub with a soft brush or cloth. Be careful, though, not to scrape or scratch
the surface.
Frame Your
Nice work! Now that you've got it down, keep going. The more you carve, the better
you will get. You can even get experimental and use other tools like screwdrivers or
dremel tips to work the surface of the wood. Try printing on fabric or other types of
paper. Both the block and the prints can be given as gifts, or you can even construct
a library of stamps for your own printing lab.
Have you made woodblock prints before? What was your experience like? Any tips
or questions? Let us know in the comments section below!
I don’t know what started my slight obsession (let’s just blame Pinterest) though
despite my adoration, up until a month or so ago, I didn’t actually own anything block
printed (let’s just blame procrastination).
A few years back (yes, years) I started looking around for some block printed fabrics
and other ready-made items, like quilt covers and throw cushions, though most of
what I came across was either too pricey or just not quite right.
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So, I decided to have a go at making my own! This way, not only could I completely
customise my design in terms of colour, scale and pattern, I could also choose my
fabric and it would be an easy, fun, affordable and rewarding DIY.
When I first starting looking for wood blocks a few years ago, finding them was a little
tricky (even suitable rubber stamps were elusive). They have become much more
prolific of late though and can now be found in loads of places for really great
prices. Initially, I went on a mad online search, eventually narrowing down eBay as a
good source. It’s funny though. At the time (around four years back) I saved a heap
of wood blocks to my ‘Watch List’ though never actually bought any. It took stumbling
across some at a local home wares store recently to finally prompt me. Sometimes
there’s just something about buying stuff in person.
Anyhow, let’s do this thing.
You will need…
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BLOCK PRINTING
2ND
TECHNIQUE
1 Fabric.
I’m totally cheating and using a ready-made plain cushion cover I found on sale ($6
from Spotlight – Ikea has some great ones too!). Of course, you can use whatever
you like. From fabric off the bolt, which you can then make something from, to
numerous other pre-made items, like; bed sheets, curtains, lamp shades, throw rugs,
dish towels and so on.
Note: Remember, your fabric doesn’t need to be light or neutral. You can stamp onto
dark or vibrant colours if you use a contrasting toned paint.
2 Acrylic paint.
Any good quality water-based paint will suffice. I just used some left-over craft paints
I already had to mix up a custom colour.
Note: You could use specialty fabric paint or ink instead (you then wouldn’t require
any textile medium). I personally prefer using standard acrylics because they are
more affordable, easier to find and come in a wider variety of colours.
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3 Textile medium.
This magic stuff is what makes regular acrylic paint washable. There are heaps of
different brands. I used Jo Sonja’s Textile Medium ($20 from Spotlight) because it
was the first one I came across. This stuff isn’t super cheap though you only need a
really small amount (around one part medium to two parts paint).
Note: As touched-on above, if you use specialty fabric paint or ink you don’t need to
use any textile medium.
4 Wood blocks (or rubber stamps).
These come in all different sizes and designs. The one I used for this project
measures around 7cm x 5cm (3″ x 2″) and has a simple paisley design ($6 from a
local homewares store). Although I stumbled upon mine in a store, they are also
easy to find online. A quick Google search will reveal loads (eBay and Etsy are two
good sources).
5 Kitchen sponge.
This forms your “inkpad”. You can use anything which is slightly squishy and
absorbent.
Note: Alternatively, you can use a foam roller or a small portion of sponge to
manually apply paint to the stamp.
6 Paint brush.
This is just for mixing-up your paint and spreading it onto your sponge.
7 Iron.
To heat set your paint and make it washable.
The process…
STEP 1 Launder and iron fabric.
This isn’t entirely necessary though it does provide a nice clean starting point. Pre-
washing your fabric ensures any factory coatings or chemicals are removed and also
allows for any shrinkage. Ironing just makes your fabric neat, smooth and ready for
stamping.
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STEP 2 Mix acrylic paint with textile medium.
Pour your paint into a dish. If, like me, you’re creating a custom colour (I used black,
white, cobalt and cadmium to achieve a deep green-grey) ensure the paint is well
combined and that you have enough for your entire stamping project. Mix your
acrylic paint with the textile medium as per directed (mine was at least two parts
paint to one part medium).
STEP 3 Spread paint mixture onto sponge.
Using a paint brush, spread a generous amount of your paint mixture onto your
sponge. You now have a custom “inkpad”.
Note: As mentioned above, you could instead use a foam roller or small portion of
sponge to manually coat your block – I just find the inkpad method cleaner and
easier.
It is tempting to forgo this step and simply dip your block straight into some paint
though in my experience this produces uneven results, even when excess paint is
blotted on a paper towel.
If needed, place a piece of card, wood or plastic beneath your sponge to avoid paint
penetrating any underlying surface.
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STEP 4 Coat block and print onto fabric.
First, lay your fabric on a nice, even surface which isn’t too hard. If needed, use an
old dropcloth (or similar) to provide a little bit of cushioning (some give is needed to
produce even prints – particularly if you are using a hard wood block as opposed to a
soft rubber stamp).
At this stage, think about the general look you’re going for
(placement/spacing/position of prints) and, if desired, measure and mark your fabric.
I simply eyed mine.
Dab your stamp on the “inkpad”, ensuring thorough and even coverage, then press it
down firmly in place on your fabric – you can even give it a bang – before carefully
lifting.
Continue with your design, re-dabbing the stamp before each new application to
ensure consistent prints.
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Don’t forget to re-coat your “inkpad” as required too.
Allow to dry thoroughly (my textile medium directions recommended 24 hours).
Note: I recommend doing a trial stamp first on a scrap of identical or similar fabric to
gauge how much paint and pressure is needed.
STEP 5 Press with an iron to heat set paint.
Follow the directions on your textile medium to heat set the paint. I believe
the general idea is to use as hot an iron as your particular fabric will take and press
your prints for a minute or so until the paint changes slightly in tone. Depending on
the delicacy of your fabric you may want to use a thin cloth as a heat buffer.
Note: Although your item should be hardy enough to withstand normal laundering, I
like the idea of using a gentle cycle – just in case.
And, it’s as simple as that!
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As suspected, it really was easy, fun, affordable and
rewarding. I may be slightly addicted! And as mentioned
earlier, I was also able to completely customise my
design. On one side of my cushion I created a sparsest
pattern…
On the other I experimented with something fuller…
This fuller pattern was designed to make my cushion appear as though it had
actually been made from a block-printed fabric, rather than having been post-printed,
so I applied some partial stamps at the edges to create the illusion of a continuous
pattern which had been cut through.
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Stamping over the edges did produce some patchy prints due to uneven contact
where there were seams and hems. This is something worth keeping in mind though
it didn’t bother me one bit.
In fact, I think any imperfections and little nuances communicate that this is a lovingly
hand-made item, and make it all the more charming!
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BLOCK PRINTING
SAMPLES
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P R O C E S S E S
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PROCESSES
PRINTING OF DIRECT DYE
A style of printing in one several colour where the dyes are applied and then
fixed by ageing or other appropriate means. The fabric is usually intitially white but
may sometimes have previously dyed.
RECIPE
Direct dye = 5 to 20 gm
Water = 310 to 355 gm
Glycerin = 50 gm
(Tri-sodium = 10 to 20 gm
Phosphate).
Starch pest =500 gm
Total = 1 kg
PROCESS OF DIRECT
 The direct printing can be applied in cotton material. The printing recipe is as above.
 After printing with above capable the material is dried and fabric is send for steaming
in the steamer chamber.
 The duration of fabric is inside the steamer chambershould be around 10-15 min.
 The temperature inside the chamber should be around 95-100c.
 After the steaming the goods are washed in running water to remove unfixed dyestuff
and the starch material.
 After washing the goods are washing to the tank through which the dye fixing agent is
present.
 The concentration of dye fixing agent in the tank should be around 10 M/Lit.
 After passing through dye fixing agent the material is sent for drying.
PREACUATION
 All chemical should be measured very carefully.
 Temperature should be increased very carefully.
 Water should be added very carefully.
 Time and temperature should be maintained very sincerely.
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VAT PRINTING
Vat dyes are a class of dyes that are classified as such because of the method by
which they are applied. Vat dyeing is a process that refers to dyeing that takes place in
a bucket or vat. Fibers can be all dyed with vat dyes. The original vat dye is indigo,
once obtained from plants but now produced synthetically.
RECIPE;
PROCESS OF VAT PRINTING
 For printing vat dye on cellulosic material pest brands. Are specially developed for
used in printing.
 In these case rangolite-C is used as reducing agent.
 Potassium carbonate is used as alkali. Glycerin is used as an humectants solution.
 Salt ‘B’ helps in dissolving the dye speedily.
 The fabric is printing with above recipe. After the printing the fabric is dried properly.
(It should not be over dried. By over drying- high temperature the rongolite
decomposition may short.)
 Printed dried fabric is sent for steaming. The steaming is carried out in a continues
steamer larger m/c.
 Steaming is a most important and critical operation in the vat printing.
 As soon as the printing dried cloth enters the steamer. The steamer condenses into
water which is absorbed by the hygroscopic agent present in the thickener film, a
soluble compound like potassium carbonate, rangolite. Etc....
 This process can be continuing gets dissolved by the moisture provided in the mean
time the temp of the fabric rise. Further as the onset the rangolite split up reducing
into formaldehyde and formation of sodium sulphoxilate. Which along with the vat
dye present in the pest and converts, the dye into leuco form This leuco form of the
dye gets transformed from the thickener film, into the fabric surface, all this operation
takes place in 3 to 5 mints at a temp 100 to 102c for producing even result the steamer
should have sufficient quality of saturated steam due to which consistent result are
obtains.
Vat dye (pest form) = 100 to 200 gm.
Glycerine = 50 to 70 gm
Salt B = 30 gm
Starch pest (50%) =500 gm
Potassium
Carbonate = 80 to 120 gm
Rangolite-C = 60 to 100 gm
(sodium sulphoxilate
Formaldehyde)
Total = 1 kg.
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OXIDATION;
The cloth leaving the steamer contains the leuco vat dye. Which has to be
subsequently converted into vat dye by oxidation?
Incomplete oxidation of leuco, vat dye leads to the production of uneven prints.
Generally the oxidation is carried out by passing the goods though a tank containing 4
gm/lit, of hydrogen peroxide solution the temp should be maintains around 65-70c,
the duration should be around 1 to 2, mints.
. The leuco absorbed by fiber is oxygenated and change into the insoluble vat dye.
SOAPING : The stable shade and good colour fastness would come out via soaping.
. For removal of residual chemical & producing right tone of the print there
soaping is essential.
. The soaping is carried out in open with the cond. The concentration of the
soap should be around 3 to 4 gm ,canonic soap along with 3gm/lit, soda ash/
. The temp of the both should be kept around 65-70c ,generally the soaping is
carried out on a soaker m/c,
. After the soaping the goods are wash, in same continues, by passing the
printed goods. Through the tank containing Hot water, cold water, cold water,
so as to removal all the residual chemical from the fabric surface followed by
drying.
. The goods by pass in through the drying cylinder.
VAT PRINTING USES
. Vat dye is used in cotton dying high wash and boils fastness required.
. Because of the high alkali concentrate in the dye bath pure vat dyes cannot
be used on animal fibers (wool, nature silk, various hairs)
. Soluble vat dyes not requiring the pressures of alkali can be used for dying
on animal fiber.
. Bright red is absent in vat dye range because they are dyed at low
Temperature they are used in Indonesian batik dying for green shade.
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DISCHARGE PRINTING (POLYSTER PRINTING)
The classically discharge print obtain when a fully dye fabrib is printed with an agent
which will chemically destroyed the ground shade and produce a white discharge .Discharge
ink is a water based product that is formuled to reactive the dye used on natural fabric.
RECIPE:
Printing pest = 15 to 20 %
Potassium = 10 %
Gumpest = 60%
Remaining Water
Total = 1 Kg
PROCESS DISCHARGE PRINTING
. The fabric is printed with above recipe .
. Printing and drying the goods are send us for straming .
. The printing is carried out on disperse dyed ground which is dischargeble
After the drying the good for streaming.
. The steaming temp will depend upon on steamer used continuous steamer or
HTHP steamer.
. After the steaming the goods are washed on printer washer.
. The washing sequence is as follows.
. Cold wash hot wash-hot water soap-hot wash-cold wash, ready for drying.
PRECAUTION;
. Discharge print are always sharp in outline, bright in appearance and give
perfect and sparking whites due to the bleaching effect of the discharge agent.
. Since, the fabric to be discharge is fully dyed, drastic chemical action is
required to destroy the colour.
. The cost of discharge printing pest is higher and the ingredients have to be
selected carefully to facilitate complete destruction of colour.
. This method is applicable only to those colour which can be discharge and
has limitation also it is generally difficult to get reproducible result in all
operation.
. In these method the percentage of reject is higher as compared to the resist
method.
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PROCEDURE;
. The colour paste is spread of the woollen cloth the block is colourfully
placed on the wooden cloth.
. And pressure various or more so that it bis picks up a uniform layer of paste
it is the spam on the cloth on the table. By given below or striking with a small
burs heavy hammer, to anchor cloth reptile stamping on the cloth.
The process is reptile until all the color on the separately applied on the cloth
is printed.
It is the remove drive and give appreciate after treatment.
ADVANTAGE OF BLOCK PRINTING
. The method is simple to operate and does not required expansion
Equipment.
. Block printing passive richness, furlimesi and purity of colour.
. There is no limiting factor in respect of size of repeat.
.The print produce by this methods are of great decorative value.
. It can add a simple yet intriguing effect to your item.
. It is a simple way of transferring text, patterns or image to you item.
DISADVANTAGE OF BLOCK PRINTING.
. The method is slow. And there for a slow output and it cost is high.
. It is not possible to obtained fine sharp outline.
. It is difficult to join up. Each impartation are repeat perfectly with the other
Implication resulting is an in perfect joining.
. The method involved manual works it is there for quite laborious block
Printing.
. The carving of the pattern on to the wood can be difficult, as it requires a lot
Skill and steady hand.
. It can get extremely messy with the use of paint
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R U B B I N G
FA S T N E S S
P R O P E RT Y
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RUBBING FASTNESS PROPERTIES
In dude and printing textile material the unfixed dye particles are mechanically held on the
surface and these particles are mechanically head on the surface and these particles are
rubbed off easily on the were skin or any other cloth of contact.
. So it is necessary to determine the rubbing fastness of dyed or printed textile material.
. Rubbing is the transference of colour from colored textile material to other surface
principle by rubbing fastness can be determined by using an instrument called crock meter
and it works on the principle of abrasion. When the crock meter finger with test fabric siles.
Over the specimen due to the abrasion the deep dyed fibers break in to micro fibrils and
stick onto the crocking cloth permanently.
. Rubbing can occur under dry and wet . In dry rubbing, initially the periphery of the colored
specimen get ruptured, so that the lossely or unfixed dye particles are removed and
adhered to the concentration of the dye stuff is more, so more standing occurs and there
are more surface fibers in the crocking cloth than can hold dye or pigment particle.
. As the rubbing cycle continue due to abrasion the surface fiber are removed as deep dyed
micro fibrils in dark shade.
. In wet rubbing, unfixed dyes will dissolve in water and then it is transferred to the test
fabric, hence ruling in poor wet rubbing fastness.
. Inwet crocking both color and the colored short fiber slandered crock meter about 9N of
lode is applied with a finger diameter of 16 mm which slides over the track length of 104
mm which slides about 10 cycles per 10 sec.
ALWAYS CHECK
1 ) Quality construction
2 ) Colour
3 ) Depth of the colour
4 ) End use of the product
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LIGHT FASSTNESS PROPERTIES
. Is the resistance of dyes and pigment to the effect energy? Sun
electromagnetic spectrum consists of two radio weave..
. Out of that the radiation ranging from UV to IR reaches the earth
surface.
. Is light fastness is the resistance of dyed and pigment to the effect
of sun electromagnetic spectrum consist of weave.
. Light fastness is a properties of a pigment or paint that describe to
light striking a painted surface can alter or break the chemical bonds
of the pigment causing the colour to bleach or change in a process
know as materials that resist this effect are said to be light fastness.
WASHING FASTNESS PROPERTIES
. In the test, change in colour of the textile and also staining of colour
on the adjacent fabric are assessed.
. The coloured fabric is taken and is between two adjacent and
titched,
. The adjacent fabric are washed are specified as different types of
washing are specified as different washing methods.
. The solution for washing should be prepared to the required
temperature of washing the liquor material ratio is 50:1.
. After sopping treatment, remove the specimen, rinse twice in cold
water and then in running cold water under a tap.
. Squeeze it and air at a temperature not exceeding 60c the change in
colour and staining is evaluated with the help of gery scales.
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CONCLUSION
OF
(RUBBING, WASHING, LIGHT)
. Fatness properties to light plays a vital role in maintain the aesthetic value of garments
during its usage.
. Even the use of UV absorbers and antioxidant can improve the light fastness only up
one grade. Hence care should be taken care while.
. Selection of dye like natural or direct or vat reactive or indigo etc....
.Selection of depth of the shade with dark shade or light shade.
. Maintating proper process para during dyeing.
. Use of suitable chemical during finishing.
. Drying and storage during the actual use.
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A F T E R
T R E AT M E N T
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AFTER-TREATMENT OF PRINTED GOODS
FINISHING OF PRINTING
AGEING AND STEAMING
EXPLANATION:
Aging as well as steaming cutting thermo fixing and treatment with
chemicals are process which are mainly used for fixation of colour, cotton
goods printed with direct dye, reactive dye, vat dye, soluble vat dye, are
steamed for fixing the colour. Super-heated steam at 180c for fixing the
colour stemming is, therefore, an important after treatment.
PROCEDURE:
. In this process the printed goods after drying are exposed to air a long
period. For 1 to 6 dyes. Alternatively, they may be exposed to prolonged
action of steam at atmospheric pressure to assist diffusion and fixation of
colour.
. An ageing chambr in loops from a series of wooden bars....
. Heat is supplied from live steam pipes fixed at the bottom of the chamber.
If the time of aging is to reduced the goods should be steamed in a steamer
called Rapid ager.
. Agre and steamer are use in the printing for fixation of colour on fabric
surface.
. The basic purple in walt is the printed cloth (properly fixed brand inside the
steamer chamber)
. The steamer chamber has steam generating arrangement.
. The temperature of the cloth is at recon temperature.
. When it is the entered in the machine due to which when the increasing
fabric is subject to the swim is gets condensed on the fabric surface there by
dissolved the dye which present on the fabric surface.
. The dissolved because of the water formation and along with chemical
present in the printing paste into the fabric further raised and riches up to
bundled degree cellulose 10c. Colour fixation process goes to completion.
. The steam is generated inside the chamber
. The printing of water is done with the help of steam.
. The generated stem move upward and provided moisture and
temperature. To the fabric.
. The duration of the cloth inside the steamer chamber various from
depending upon the material is subject for printing and steaming.
. The success of printing is depend upon good quality of steaming.
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POLLYMARIZING
EXPLANATION:
Polymerization the process of converting a monomer or a mixture of
monomers in to a polymer. Machine in dry heat providing required dry
heated for fabric surface.
PROCEDURE:
. The polymerizing machine or chamber is used for providing required
dry heat or fabric surface for very specific time duration.
. Due to heated provided the rewired chemical reaction take placed
on the fabric before.
. The polymerizing machine issued for curtained fabric finishing
treatment wells used for colour fixation of some of the dyes on cotton
fabric.
. The machine has chamber has double wall and insulation on all the
external wall of the machine or chamber.
. A heating coil is placed through which het oil is circulated blower fan
is transfer the heat from the oil into the chamber and on the moving
fabric.
. The fabric move on guide roller which are placed at different levels
the movement of the fabric.
. Over the guild roller is done with the help of mechanical means.
. The fabric entrails through the hot chamber front a slit provided at
the top end the fabric leave the machine on an another end.
. After compition of required fine the duration of the cloth inside the
chamber can be increase or decrease is treated.
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ADVANTAGE OF PRINTING
. If subjected to heat treatment it has a high retention and persistence.
. If Victoria patterns with a few colour will be used it is cheap.
. It is produced at responsible cost except for expenses such as mold, film,
transportation.
. Different types of paints can be used.
. It allows you to take air to the extent the select fabric permits.
. It is designed for single printing.
. It also has the ability to print on cotton fabrics and on dark backgrounds.
. It can be applied on many home decoration and ceramic mugs apart from fabrics.
. It has an easy application technique.
. It allows to do custom manufacturing.
DISADVANTAGE OF PRINTING
Ahead fabric structure is obtained.
. It does allow skin to take air.
. There is a requirement to make a mold for each volour piece separately. Printing
cost for units less than 50 piece increases.
. It cannot print multi-peaces in a short time like molded printing.
. As it is suitable for single-piece printing, mass production cannot be made.
. Itis not very common in turkey.
. It can only be printed on white polyester t-shirt, white polyester football uniforms.
. It can never be applied on cotton surface.
. It can irritate the skin as polyester is used.
. Polyester causes bed odors..
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C O N C L U S I O N
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CONCLUSION
 Now, days printing are an essential part of modern Textile. The desire to use
textile fabrics as a carrier of designs for decoration or identification has
existed for many centuries.
 The development of modern equipment and colorant technology has enable
textile manufacturers to be able to reproduced highly colored textile designs
with excellent colourfastness.
 This can be performed on a wide variety of fibers and fabrics construction
employing cost effective processes.
 However, as good as textile-printing technology is today new technology and
new development in existing methods promise to continues the expansion of
the capability of textile printing well into the future.
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BIBILOGRAPHY
 . Download images from its respective sites.
 We are taken information from Wikipedia, & its respective sites.
 Levice search (1983) fabric of society; A Century of people and their cloth
1770-1870 cargo;Laura Ashley press ISBNO. Cites use degenerated
parameter couathars.(Help)
.
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