Another advantage of such a frame is the ease with which the piece is laid aside without injury during the intervals of work. This is especially valuable where class problems are being conducted. It also permits of the work being done in any position—horizontal, inclined or upright.
When dyeing the material more than once the wax must be carefully mended after each dyeing, or soon the first spaces covered with the resist are lost or badly obscured. The material should always be dry before applying the wax.
COLORS PAINTED WITHOUT WAX OUTLINES
Some workers use pure beeswax. It does not break easily when worked in a warm dye-bath. It melts at a high temperature. Resin mixed with beeswax melts at a still higher temperature. There are special [!-- original location of illustration --] batik waxes that have all the desired qualities of toughness and resistance. These mixed waxes are similar to those used by industrial works in Java. Paraffin and beeswax are also used.
The best container for molten wax is a double boiler, the common kitchen utensil, as it is possible to keep the wax hot through a class period without having the heater in the class room. As means of heating, an electric toaster, gas plate, canned heat, etc., are suggested.
The wax must be applied hot. The brush, while waxing, should be kept hot to insure good penetration of the wax. To accomplish this, each time the brush is dipped into the molten wax it should be held there sufficiently long to remelt any wax that may have congealed in or on the brush.
To apply the wax, some use a tjanting. Others prefer the simpler method of a good sable or camel’s hair brush. The brush gives a broader and more varied treatment. A broad brush is best for covering large surfaces. Brushes used for painting in oils or water colors are used for painting in wax and dyes.
Those who are interested further in the possibilities of the tjanting are referred to Pieter Mijer’s excellent treatment of this subject.