“THE CAPTURE”
The [frontispiece] is worthy of special study.
The material was white pussy willow silk, 40 x 72 inches.
A sketch of the design, 6½ x 10 inches, was made in water colors.
“A TABLE BEFORE ME,” BY IDA STRAWN BAKER
The fabric was freed from sizing and dyed a pale yellow.
It was then stretched in a frame and the three “thunder birds,” the clouds, and a few flowers in the foreground were painted in wax. The bills, eyes and legs of the birds were painted in with orange dye.
The roadway, parts of the rocks, drapery on the Indian maiden, some of her decoration, and parts of the foliage, were painted directly on the silk with yellow or orange dye.
The remaining foliage, more decoration worn by the maiden, the grass, leaves on the flowers and the stems were painted green.
These shapes were stopped out with wax. Much painting in of shapes was done with wax. This gave a finish and jewel-like quality to the work as it progressed.
Before the material was dyed it was soaked in warm water the same temperature as the dye-bath. The piece was then dyed in a bath of blue. It was worked constantly for about ten minutes. It was removed from the dye and rinsed in clear warm water.
After rinsing, the material was placed flat between layers of bath towels and much of the moisture removed. The drying was finished by hanging over a waxed line.
The sky and the blue of the border were next stopped out, leaving for the next bath the pony, the remainder of the Indian maiden, the tree trunks and other shapes in the foreground.
DETAILS FROM OLD SARONGS
The frame was placed in an upright position after [!-- original location of illustration --] the custom of Javanese workers. While waxing, the light shone through and every uncovered spot was easily seen. A medium sized soft brush was used for stopping out the large spaces.
Great care was taken to drain the excess wax from the brush. This is more necessary when the work is erect, as it prevents the wax from running down the goods.
The third dye-bath was prepared with red and a little yellow. A piece of the fabric dyed with the last dipping was dyed in this bath to test the color. The material when dyed in this bath was a rich, red-purple.
After partly drying with bath towels the piece was stretched on the frame to finish drying.
When thoroughly dry the entire surface was waxed except the mane and tail of the horse, the hair of the maiden, a few of the jewels, some details in the foreground, and the ground of the border.
All the broken places in the wax were carefully mended for the final dipping. The colors for the bath were dark green and black. The piece was finished by rinsing in warm water, then in cold, and finally by a gasoline bath.
The work extended over a period of two weeks.
It is a finished piece, rare and beautiful in its illumination.
CHAPTER V
DYEING FOR PLAYS AND PAGEANTS
THE play bases its claim in the school curriculum on the very essence of human nature. The art of being someone or something else in thought and action under a setting of conditions and through a flow of events is practiced by all of us. It is the eternal expression of playful and imitative childhood, and, though restraints enter with maturity, it never leaves us. Witness the audience we give to the stage.
This has been recognized in the study of the play in literature and in the production of the school play. The application of the art training of the school in giving the play its setting and costumes is of the greatest value. The life of a school finds expression, through co-operation of all departments, in its own community theater.
Dyeing is an important consideration in a dramatic production. Colorful costumes and properties have a large part in making a play.
MINIATURE STAGES, PLAIN AND DECORATED BY CHILDREN
STAGE SCENES IN MINIATURE
The possibilities of continuous play without scene shifting, by drawing unobtrusive curtains alternately [!-- original location of illustration --] [!-- original location of illustration --] to the right and to the left—creating atmosphere by the merest suggestion—is simple when dyes and dyeing enter into the plans of the setting. The old heavy painted scenery is not a part of the new drama.
The ground cloth and colored lights also offer opportunities for the service of the dyer.
Costumes are more easily created when soft old materials are dyed, and it requires but little experience to discover how the beauty and effectiveness of a play are enhanced thereby.
The proscenium arch takes its place in the illusion, when the imagination is stimulated by color decoration.
There should be an intimate co-operation between the community of little theater and craft workers.
The relation of the little theater to those who do handicraft is stated by Mr. George Somnes, Director of the Little Theater of Indianapolis, as follows:
“Too much stress cannot be laid upon the importance of all-over dyeing, batiks, and other pattern dyeing, and their application in the work of the little theater.
“Preeminently the little theater stands for the giving of the theater back to the artist, be he producer, musician, scene designer, costume designer, dancer or author. There is the endeavor to establish each little theater group as a means of community expression. The use of color in its relation to the play and lights, as scenery and in costumes, is so obvious and necessary that it needs scarcely more than mention. As experimentation is necessary and desirable, there must be at [!-- original location of illustration --] the bottom an actual foundation and knowledge upon which to experiment and build.
MINIATURE STAGECRAFT
“School plays and pageants could be improved many hundred percent if the knowledge of color and its application were made more general. Not only would children be taught that green and red go together, but they would be taught just what greens and reds form the various combinations—they could find out under what lights certain colors react best.
“Give us more artists and craftsmen and we will have a real theater; give us local artists and craftsmen and we will have a Community Theater.”
In the following item from “The Workshop,” the magazine issued by the Little Theater Society of Indiana, the editor writes to the community of the dyed costumes used in “Dierdre of the Sorrows.”
“The Little Theater Society feels it very significant that they are able to call attention to the use of color in the present production and to mention that its application in this play is the work of local artists. The Waldcraft Studios have generously given time, service and experience to help make this production complete. Does not that sound hopeful for our development, and by example, are there not more people in other fields who can give their time, knowledge and experience to the development of something which when it is completed as an institution will belong to you?”
MINIATURE STAGE, PLAIN AND DRAPED WITH BATIKED HANGINGS
The illustrations shown in this chapter are, (1) a plain miniature stage constructed of pasteboard and upon which the study of the decoration for a school play may well begin, (2) two stages that have been thus decorated, (3) two scenes in a play with miniature [!-- original location of illustration --] jointed dolls wearing real dyed costumes made by children, (4) several children at work designing and constructing for plays, (5) a group of scenes from a play given in a backyard, for which the costumes were especially dyed, (6) another miniature stage made of wood, shown plain and decorated with dyed hangings for a play, and (7) some character parts from the Little Theater of Indianapolis, for which special dyeing was done.
The miniature pasteboard stages, page [98], were decorated with opaque water colors by school children. These illustrate the preliminary step in decorating a stage with dyed textiles. They would reproduce in batiks.
The first decorated stage is planned to play “Treasure Island.” The decoration over the proscenium arch is “The little ship that is headed south-west,” and the border,
“Fifteen men on a dead man’s chest,
Yo-ho-ho and a bottle of rum.”
The background colors are blue and black, the ship white and the fifteen men red and white.
The other stage is planned for a patriotic entertainment. The colors for this occasion are conventional.
The miniature stage in wood (page [103]) and the ensemble pictured suggests dyeing of stage properties.
SCENES FROM AN OUT-OF-DOOR PLAY
The proscenium arch of this little stage was decorated for the study of the play “Restoring the Mourners.” The dramatic story tells of the exile of the Miami Indians from Indiana to Kansas. When [!-- original location of illustration --] this event took place there were seventeen states in the Union. The Indians called these states the “Seventeen Fires” (Council Fires). These “fires” were treated symbolically in the border at the top of the proscenium arch.
The fires, realistic in color, were painted in and stopped out with wax. The panels were dyed blue. The spaces back of the fires and the council were stopped out with wax and the whole dyed a deep purple. This stage construction is suitable for the end of a room or hall where there is no balcony or for out-of-doors.
The curtain, seen through the proscenium arch and enlarged on page [108], is an interesting batik dyed in values of red, blue and purple.
The decoration was painted realistically on the white silk and covered with wax.
The bottom of the piece for about four or five inches was kept in the dye-bath until most of the color was exhausted. A small amount of red was added to the bath and little by little the material was immersed in the bath until about two-thirds of the goods were dyed.
The top of the material was dyed blue in like manner.
The bottom is a brilliant red, the top a bright blue and the center different values of purple and pale lavender.
The pictures of Mr. George Somnes and Mrs. Eugene Fife as Naisi and Dierdre, in “Dierdre of the Sorrows,” page [107], illustrate some of the hand-dyed costumes for this play.
HAND DYED COSTUMES FROM THE LITTLE THEATER
Mrs. Fife’s cloak was a beautiful clear blue; her dress a dark red; the tie-dyed veil a deep purple; the design an intense yellow-gold.
There was no attempt to show batik in the decoration. The wax resist was the easiest means of decorating the costume.
Mr. Somnes’ cloak was a purple gray with symbolic designs painted in wax. His boots were dyed brown.
These costumes were made of old material. All of the costumes were dyed to suggest contact with the elements.
A SCENE CURTAIN
CHAPTER VI
TIE-DYED WORK
THIS beautiful and fascinating art of textile decoration, applied to draperies and articles of dress, has been practiced in many countries for centuries. Old pieces have been found in South America, in Peru and Bolivia. In the Philippines and in provinces of India the work may still be seen, the art having been handed down from generations unknown.
The essential process consists in dyeing the cloth in a dye-bath after having wound parts of it more or less tightly with string or cord, which serves as a resist to prevent the color from reaching those parts of the fabric. The result is a white or, if the cloth has been previously dyed, a light colored pattern on a darker background.
The method is capable of more elaborate work. There may be several dyeings, beginning with lighter colors and passing to those of darker values, and between the dyeings additional tying or untying or both.
PORTION OF A CHUNDRI SHOWING TIE-DYED WORK DONE IN INDIA
For example, a cloth is dyed light gray, then a [!-- original location of illustration --] pattern tied into it, after which it is put through a light blue dye-bath. This gives a light gray design upon a grayed blue background. But suppose now that a part only of the tying is removed, some additional tying done in the grayed blue field, and a third dye-bath used, this time a light red. The background becomes a grayed purple and in the design are gray, grayed blue and grayed red.
There may be a great variety of designs, depending upon the manner of tying the individual unit and the spacing of these units with relation to each other.
The Oriental work is characterized by very small individual ties and the arrangement of many of these into some geometrical or pictorial pattern. The grouping of these little ties accurately and uniformly into lines and design clusters challenges wonder and admiration. But even with the dexterity acquired by these people the process is slow and laborious.
The illustration (page [110]) shows a piece of tie-dyed work from India. The material is cotton. Careful examination shows it to have been done in the following manner: The cloth, which is very thin, was folded to form four thicknesses. Then at each point where a tie was desired the four thicknesses were pressed or drawn up and wound very tightly with string, the very tip of the fabric being left exposed to take the dye like the background. After dyeing and removing the ties the cloth was unfolded, showing the four repeats. The upper left quadrant was uppermost in the tying, and shows the dark centers very distinctly. Then came in order the upper right showing small dark centers, the lower right showing few dark centers, and the lower left showing none at all.
A TIE-DYED PATTERN BY HIGH SCHOOL PUPIL
PORTION OF A TIE-DYED SILK SCARF
As with other crafts that have come to us from the East, we have not chosen to imitate their marvelous perfections of detail. It has rather been to our liking to work out space and color adjustments in a manner more in keeping with our national temperament. And it is not without its measure of success in artistic and pleasing results.
The illustration on page [112] is the work of a school boy. The material was cotton, dyed old rose before the tying was done. After the tying it was dyed deep blue. The space relations are very good.
The work upon such a piece should proceed in the following manner. First the cloth should be prepared for dyeing in the manner indicated in the chapter on dyeing. The centers of the ties should next be located. Sometimes the cloth is merely gathered at each center and tied, but with larger patterns it is often folded in some definite way. The border in this piece was made by gathering across the entire piece and tying.
If the tying is very tight the outlines will be sharp. With a little looseness in the ties the color will creep in, the results of which are often very beautiful. A tie that is too loose, however, is in danger either of coming off in the dye-bath, or it may allow the color to penetrate to the extent of destroying the design.
Too prolonged treatment in the dye-bath, or dyeing at too high a temperature, may cause too much penetration of color into the tied spaces.
A TIE-DYED BORDER
PORTION OF A TIE-DYED SCARF
On page [113] is shown a portion of a silk scarf. In this case the white cloth was gathered at the respective centers, without any definite plan of folding, and tied rather tightly with a few winds of string [!-- original location of illustration --] about an inch or more from the center. The piece was then dyed a soft gray yellow. Then more winding was done so as to leave only the tips exposed. The next dye-bath was a soft blue somewhat stronger than the yellow. The color qualities are beautiful. The border shows the penetration of the blue color in a very happy manner.
The border design on page [115] shows the result of a definite manner of folding the cloth before tying.
The portion of a scarf illustrated on page [115] shows one large pattern beginning at the center of the scarf. The scarf was gathered or folded from the center and tied at intervals. The color is delicate old rose, especially beautiful for evening wear.
Sometimes small objects, such as marbles or glass beads, are placed at the center of the tied spots and the cloth tied around them.
A very interesting development of tie-dyed work and one which greatly increases the variety of designs is what we may term stick tying, i.e., tying over sticks.
The sticks for this purpose are those commonly used by school children in stick printing. These are sold by all the leading school art supply houses. These sticks are treated so they will not absorb color, which makes them especially suitable for tie-dyed work. They are of different shapes, squares, circles, triangles, oblongs, etc. On these shapes the cloth may be folded in different ways, giving an element of geometrical symmetry, which, however, is always softened in the dye-bath as the color makes its little incursions into the tied spots.
EXAMPLES OF STICK TYING
STICK TIED PATTERNS
Stick tying is not only a good craft problem but also splendid for the school room for both boys and girls.
It is best to lay out the design on the cloth by stick printing with a very light tint of the color to be used in the first dyeing, and using, of course, the end of the stick over which the cloth is to be tied. This insures a proper direction of the axes of the tied spots.
On page [117] are shown a number of tyings over the different sticks, and also some dyed spots resulting from tying in several ways. Any school boy can devise other stick ties, and he will be delighted with some of the effects produced by his inventions.
We also show (page [119]) a silk scarf tied over sticks, with a border at each end, ready for the dye-bath. On page [120] is this same scarf after dyeing. The work was carried out in the following manner: The stick used was a flat oblong one-eighth inch thick, five-eighths inch wide and one inch long. The cloth was stick printed with light yellow to locate the centers for the ties. The end of the stick was placed at the center, the cloth folded equally on the two sides, and the tying done as shown on the first stick (page [117]).
The entire scarf was dipped in warm water before dyeing. This conformed to our directions for dyeing and also caused the ties to tighten. The piece was first dyed yellow, then without any change in the tying it was dyed green.
A PIECE OF STICK TYING READY FOR THE DYE-BATH
UNITS OF THE PATTERN FROM THE ABOVE TYING
A SILK DRAPERY DECORATED BY STICK TYING
A STICK-TIED LINING FOR JACKET
After a thorough rinsing the two yellow green bands around the stick were protected by additional tying and the upper and lower ties removed, exposing [!-- original location of illustration --] [!-- original location of illustration --] [!-- original location of illustration --] two white bands. Then followed a red dyeing, another rinsing, the removal of all ties, and a final dyeing in a very dilute golden yellow.
The result is a ground color of rich, beautiful brown. In the tied spots are bands of gold, of orange-red, of yellow-green and of brown, also a brown center. Along the edges of these bands the colors have crept in, one here and another there, to produce a beautiful iridescence. The same colors are repeated in the borders.
The lining of the jacket, page [121], is a beautiful piece of stick tying on pongee silk. The colors here are yellow, green and grayed purple, as well as the original color of the pongee. These were three dye-baths, yellow, blue and red.
CHAPTER VII
STICK PRINTING, BLOCK PRINTING AND STENCIL DYEING
IT has been seen how versatile the batik method is as a means of illuminating fabrics, also how design is the controlling element in all good batik work. In both the space and color relations the batik worker has control of the entire surface subject only to the limitations imposed by the mediums in which he is working.
It follows that a knowledge of the principles of design must underlie good batik work as well as a knowledge of dyes.
In taking up the other ways in which school children are using dyes, it is well to place emphasis upon the design elements involved. All dyeing as done by craftsmen and in the schools involves design. Even all-over dyeing is carried out with the idea of the dyed piece becoming a part of some larger whole.
The earliest use of dyes in the schools is in stick printing, and here begin the first lessons in pattern dyeing.
SUGGESTED USE OF BLOCK PRINTING FOR END PAPER
All shapes used in design resolve themselves into certain recognized types. These type shapes are the square, oblong, triangle, circle, ellipse and oval. There are also standards of color that have become associated with these types. They are red, yellow, blue, orange, green and violet. These shapes and colors are taught universally by teachers who train children in the elementary concepts of design.
It is the adjustment of these shapes and colors in space that constitutes design. It is the application of these shapes and colors to definite materials for definite uses in the child’s life that constitutes applied design.
When the child prints a square on his paper it is a real square and good in color. The next one will be a real duplicate, both in shape and color. The problem is where to put the duplicate. That is the essence of design, and both teacher and pupil are ready to take hold of it. There is time for discussion and drill. Results must follow. The child begins to sense and appreciate standards and to love accuracy, neatness and orderliness. His interest is sustained and his powers strengthened through satisfactory accomplishment. He plans, invents, and executes, acquires independence of thought and expression, and designs in accordance with his imagination and experience.
Very early in the child’s training, while the stick printing is unfolding the elements of design to him, he applies his designs to enrich his construction work. It is the time for the child to begin through concrete efforts to get rooted into his thinking that designs are made to be applied and that everything [!-- original location of illustration --] which contributes to his comfort, happiness and well-being exists because a design has been applied.
HINDU BLOCK PRINTED DESIGN
Then is also the time for the child to see some printed textiles in which the pattern is geometrical like his stick printing.
After the child has had sufficient experience with type shapes, he may add block printing. With the knowledge and experience gained through the use of sticks, he is enabled to modify the standard shapes. A wood block veneered with linoleum that can be easily cut with a sharp knife into any form desired, and which maintains a rigid printing surface, brings this craft within his reach.
In beginning the print block work a square or rectangular surface may be cut into a pleasing group of standard shapes involving straight lines and then simple curves. There may follow at later intervals in the course problems of increasing difficulty consistent with the ability to think and execute. Continued observation of commercial prints and, if possible, of fine handicraft is always in order.
In connection with block printing may well come an early lesson in setting colors.
In color printing the color should be a part of the fiber of the goods without the least injury or change in the texture. Any process which gums the fiber or destroys the texture is not beautiful in its results, and does not give true color printing.
PATTERNS FOR PRINT BLOCKS
PRINT BLOCKS, PLAIN AND CUT. PRINT SHOWING INFLUENCE OF STICK PRINTING AND BLOCK PRINTING
Besides the method elsewhere referred to, the following will give excellent results in block printing. A large tin cover into which a thick piece of felt is fitted serves as a color pad. Pains should be taken [!-- original location of illustration --] [!-- original location of illustration --] to have the right quantity of dye well spread on the pad. Too much color makes the printing less clear. When a trial on a piece of the goods is right a large number of imprints can then be made. The secret of good work is a nice adjustment of the color pad and then uniformity of pressure on the block, both in taking color from the pad and in making the imprint. The printing is done on a flat surface with a single layer of blotter beneath the textile. Some fabrics take the imprint better if slightly dampened.
The illustration of block printing is a specimen of Hindu work.
The sticks will find continued use in printing connecting spots and for the introduction of additional color so often needed for enrichment.
The manufactured textile here illustrated was designed by using stick printing and block printing.
When the attainment reached with sticks and print blocks is sufficient to call for larger and more varied design, it is time for the craft to broaden and include stenciling.
Stenciling is the most exacting master of simplicity. It teaches one how to sweep away all that is trivial and unnecessary in design. It shows the value of broad, flat tones combined with accurate drawing, and proves conclusively the vital importance of good composition.
The stenciling process has been described so many times that directions for the work are not needed. An elementary lesson in all-over dyeing can very appropriately be given in connection with advanced block printing or stenciling. This might well be [!-- original location of illustration --] the waxing over of the printed or stenciled pattern, followed by a dipping for the ground color.
STENCIL DESIGNS. APPLIED STENCIL PATTERN
The example of stenciling illustrated is a table cover. The material is natural colored linen. The colors were liquid dyes blown on with an atomizer. The bodies, heads and legs of the cranes are orange; the wings and tails blue. The flowers and spots are purple, the leaves and stems blue.
Spraying liquid dye with an atomizer permits not only of the usual direct coloring of the design areas, but also of resist stenciling, in which a light design is produced on a dark background. A small dark design on a large light background is stringy and thin. The light seems to eat into the edge of the design and minimize its importance. On the other hand, a small light design on a large dark background is magnified in importance. While for proper control in either case we must adjust the space relations of the design and background areas, yet it is equally important that one be able to adjust the color relations of the design and background areas.
The process for “resist” stenciling is as follows: The stencil is laid upon the surface to be decorated, and the open pattern is carefully covered with a thin layer of library paste or paste made from flour and salt water. Flour added to a solution of salt in water is the best preparation we have found. A palette knife, or a case knife may be used to spread this paste. The stencil is at once lifted and the color desired for the background is sprayed in a flat tone over the entire surface. The paste acts as a resist, preventing the penetration of the color. The entire surface is immediately wet with cold water and the [!-- original location of illustration --] resist washed off. The stencil is carefully and thoroughly cleaned in the same way and then pressed and dried.
STENCIL DESIGNS
This is especially suitable for book covers and end paper designs, or mats, where the pattern does not partake of the nature of a repeat, as it is better to remove the resist while wet.
It is interesting to stencil the open pattern in one or more colors, then apply the resist and give another color to the background.
Most interesting stenciling has been done with two or more stencils. To make these, a stencil should be cut for each color. Use the original design sheet for one color. Transfer other color areas to new sheets. Make all sheets, including the tracing paper, the same size. Before tracing lay sheets and tracing paper together and punch coinciding holes in the upper corners. Keep these holes coincident during the process of tracing. By means of these holes the respective stencils are easily applied so that the color scheme is accurately reproduced.
It must not be overlooked by those who are stenciling that only part of the color applied becomes incorporated into the fiber of the goods. The other part is outside the fiber, adherent to the goods. This adherent color should be removed. It corresponds to the excess color in dyeing, which we take pains to remove by rinsing. The very purpose of the steaming, or other “setting” process, is to incorporate the dye into the fiber. This is never perfectly accomplished. There is always some excess adherent color to be removed.
OLD JAPANESE STENCILS
How often we meet the following experience: A [!-- original location of illustration --] craft worker in decorating a fabric applies color until the eye is pleased, takes little or no pains to incorporate the color into the fiber, and ignores altogether the fact that some of the color is only adherent. Later this adherent color comes off (not out) in the wash. There is then disappointment and complaint against methods, colors, etc., when the real fault is one of workmanship. Adherent color is never dependable.
The Japanese have been the masters of the art of stenciling. The technique and beauty of their designs have not been equalled by any other craftsmen. For centuries these people have been making imprints on fabrics.
The old stencils are more simple and the paper of better quality. These old stencils are always darkened by time.
The stencils shown in the illustration were collected by Ernest Fenollosa, an authority on Japanese art.
Little has been written about these stencils but many museums and school art departments have collections.
In cutting stencils the Japanese use a number of tools. Some of these tools are of the nature of punches, being the shape of the cut out place. There is no drawing on the stencil paper, the workman looks at the design and cuts the pattern free hand. The paper, before cutting, is treated with oil and a kind of lacquer.
The old stencils were strengthened by a net work of human hair placed between two stencils cut at the same time. These stencils were then pasted together with rice paste. This net work of hair serves as ties in the stencil and permits a larger freedom of design than is otherwise possible.
The Japanese use two methods for stenciling, the direct coloring method, in which the dye is brushed on the material through the stencil, and the resist method, in which a paste is rubbed through the stencil on the white goods and the fabric dyed in an all-over bath. The color is set by steaming and the paste washed out. This leaves a white pattern on a colored background.
THE INDEX
| Page | |
| Acid colors | [46] |
| All-over dyeing | [35-42] |
| Basic colors | [46] |
| Block printing | [126-130] |
| Characteristics of batiks | [14-22] |
| Colors, mixing of | [49-53] |
| Costumes, decoration of | [79-85] |
| Crackle | [14] |
| Designs, old batik | [23-34] |
| Direct colors | [45-46] |
| Direct coloring, method of | [43-44] |
| Discharge process | [43-44] |
| Dye-baths, preparation of | [37-39] |
| Dyeing over old color | [36], [52-53] |
| Dyeing, shaded | [41] |
| Dyes | [45-49] |
| Dyes, setting of | [44] |
| End papers | [77] |
| Fabrics, drying of | [41-42] |
| Fabrics, dyeing of | [35-53] |
| Fabrics, preparation of | [35-37] |
| Frame, batik | [55], [57-58] |
| Graying of colors | [47-50] |
| High school, batiks in | [65-74] |
| History of batiks | [11-22] |
| Holland, batiks in | [12], [21] |
| Interiors, decoration of | [86-96] |
| Japan, batiks in | [21] |
| Japan, stenciling in | [136-137] |
| Java, batiks in | [11-20] |
| Javanese costumes | [16-18] |
| Jewelry, costume | [77-79] |
| Linings | [82] |
| Pattern dyeing | [42-45] |
| Petroplast ornaments | [77-79], [81] |
| Plays and pageants | [97-108] |
| Principles of dyeing | [35-53] |
| Resist processes | [43-45], [54-74] |
| Sarongs | [13], [16] |
| Sizing | [36] |
| Stages, miniature | [98-106] |
| Stencil dyeing | [130-137] |
| Stenciling, Japanese | [136-137] |
| Stenciling, resist | [132-134], [137] |
| Stick printing | [123-127] |
| Stick tying | [45], [116-122] |
| Sulphur colors | [46] |
| Theater, The Little, Dyeing for | [97-108] |
| Tie-dyed work | [109-122] |
| Tjanting | [18], [60] |
| Tjap | [18-20] |
| Vat dyes | [46] |
| Vegetable colors | [48-49] |
| Wax, batik | [14], [58-60] |
| Wax resist processes | [54-74] |
| Wood, decoration of | [54-56] |
Now what I want to do is to put definitely before you a cause for which to strive. That cause is the Democracy of Art, the ennobling of daily and common work, which will one day put hope and pleasure in the place of fear and pain as the forces which move men to labor and keep the world a-going.
·····William Morris
Transcriber’s Note
Minor punctuation errors have been repaired.
Inconsistent hyphenation is preserved as printed.
Assuming typographic errors, the following amendments have been made:
Page [12]—fibre amended to fiber—... women and girls seated upon fiber mats ...
Page [44]—practised amended to practiced—... is the commonly practiced method ...
Page [79]—insized amended to incised—... and the bird, flowers and pedestals were incised ...
Page [100]—or amended to of—... between the community of little theater and craft workers.
Page [102]—give amended to given—The Waldcraft Studios have generously given time, ...
Page [139]—Theatre amended to Theater—Theater, The Little, Dyeing for ...
Illustrations have been moved where necessary so that they are not in the middle of a paragraph.
Omitted page numbers indicate the original position of full page illustrations which have been moved in this ebook.