"Resist dyeing Resist dyeing (resist-dyeing) is a traditional method of dyeing textiles with patterns. Methods are used to ""resist"" or prevent the dye from reaching all the cloth, thereby creating a pattern and ground. The most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a chemical agent in a specific type of dye that will repel another type of dye printed over the top. The best-known varieties today include tie-dye and batik. Wax or paste: melted"
"be seen at various venues throughout the summer months. The company specializes in a process they call body marbling: a painting technique that applies droplets of paint to a fluid surface. This allows the colors to expand and contract naturally on the fluid. The colors can also be manipulated into different designs by pulling a needle or other thin object vertically through the surface. Lawrence's process differs from many traditional marbling styles, and uses only materials and compounds that are safe on skin and clothing. The varying tensions between each color keep the different hues separated, and the result is"
"temporary decoration of hands and faces for events such as festivals. Neon or ultraviolet reactive colours are typically used, and the paint is water-based and non-toxic. Paper marbling Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to an absorbent surface, such as paper or fabric. Through several centuries, people have applied marbled materials to a variety of surfaces. It is often employed as"
"Body marbling Body marbling is a painting process similar to paper marbling, in which paint is floated on water and transferred to a person's skin. Unlike the traditional oil-based technique for paper, neon or ultraviolet reactive colours are typically used, and the paint is water-based and non-toxic. The term ""body marbling"" was coined in 2011 by Brad Lawrence of Black Light Visuals. Body marbling has become popular at festivals. The skin is bathed in a salt water solution which allows the paint to adhere. The desired pattern is created by adding drops of paint to the water surface, and transferred"
"monotype. There are several methods for making marbled papers. A shallow tray is filled with water, and various kinds of ink or paint colors are carefully applied to the surface with an ink brush. Various additives or surfactant chemicals are used to help float the colors. A drop of ""negative"" color made of plain water with the addition of surfactant is used to drive the drop of color into a ring. The process is repeated until the surface of the water is covered with concentric rings. The floating colors are then carefully manipulated either by blowing on them directly or"
"still hot, may be further shaped by manipulating with graphite, wood, stainless steel, brass, tungsten or marble tools and paddles. This process is called marvering, originating from the French word ""marbrer"" which translates to ""marble"". It can also be pressed into a mold in its molten state. While still hot, or after re-heating, the surface of the bead may be decorated with fine rods of colored glass called stringers creating a type of lampwork bead. The drawing of glass is also very ancient. Evidence of large-scale drawn-glass beadmaking has been found by archeologists in India, at sites like Arekamedu dating"
"Paper marbling Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to an absorbent surface, such as paper or fabric. Through several centuries, people have applied marbled materials to a variety of surfaces. It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery. Part of its appeal is that each print is a unique"
"as lemon juice. However, a commonly marketed product called ""black henna"", is not safe to use because the product has been made by mixing natural henna with synthetic black dyes containing PPD, which can cause serious skin allergies, and should be avoided due to the substantial risk of serious injury. Another option is Jagua, a dark indigo plant-based dye that is safe to use on the skin and is approved for cosmetic use in the EU. Hands and faces can be marbled temporarily for events such as festivals, using a painting process similar to traditional paper marbling, in which paint"
"Warp printing Warp printing is a fabric production method which combines textile printing and weaving to create a distinctively patterned fabric, usually in silk. The warp threads of the fabric are printed before weaving to create a softly blurred, vague pastel-coloured pattern. It was particularly fashionable in the eighteenth century for summer wear. The silk and taffeta fabrics produced by this technique have a variety of names, including chiné, Pompadour taffeta (after Madame de Pompadour) and chiné à la branche. Chiné velvet was also possible, although the technique was very difficult and expensive and only made in a few places"
"to the skin by dipping. The water for painting is mixed with a thickening agent such as guar gum. The skin is then dipped in a rinse bath and allowed to dry. The painting is temporary and can be removed by washing. Body marbling Body marbling is a painting process similar to paper marbling, in which paint is floated on water and transferred to a person's skin. Unlike the traditional oil-based technique for paper, neon or ultraviolet reactive colours are typically used, and the paint is water-based and non-toxic. The term ""body marbling"" was coined in 2011 by Brad Lawrence"
"through a straw, fanning the colors, or carefully using a human hair to stir the colors. In the 19th century, the Kyoto-based Japanese suminagashi master Tokutaro Yagi developed an alternative method that employed a split piece of bamboo to gently stir the colors, resulting in concentric spiral designs. A sheet of ""washi"" paper is then carefully laid onto the water surface to capture the floating design. The paper, which is often made of ""kozo"" (paper mulberry), must be unsized and strong enough to withstand being immersed in water without tearing. Another method of marbling more familiar to Europeans and Americans"
"There are two processes used to apply colour: Mechanical finishing Chemical finishing Bio-polishing removes the protruding fibers of a fabric through the action of an enzyme. Enzymes, such as cellulase for cotton, selectively remove protruding fibers. These enzymes may be deactivated by an increase in temperature. Mercerisation makes woven cotton fabric stronger, more lustrous, to have better dye affinity, and to be less abrasive. Raising lifts the surface fibers to improve the softness and warmth, as in flannelette. Peach Finish subjects the fabric (either cotton or its synthetic blends) to emery wheels, making the surface velvet-like. This is a special"
"Gambier Parry process The Gambier Parry process is a development of the classical technique of fresco for painting murals, named for Thomas Gambier Parry. True fresco is the technique of painting on fresh lime plaster whereby the pigments are fixed by the carbonatation of the lime (calcium hydroxide). The technique requires no other binding medium and the fixing process produces a durable crystalline paint layer. However, only a limited range of pigments are suitable for true frescoes and the technique requires careful application under controlled conditions, and relatively low humidity thereafter. In some environments, conventional fresco colours can rapidly accumulate"
"blends and combination fabrics commonly used for apparel and home furnishings. Cross dyeing is “a method of dyeing blender or combination fabrics to two or more shades by the use of dyes with different affinities for the different fibers”. The cross dyeing process can be used to create heather effects, and plaid, check, or striped fabrics. Cross dyed fabrics may be mistaken for fiber or yarn dyed materials as the fabric is not a solid color, a characteristic considered typical of piece dyed fabrics. It is not possible to visually differentiate between cross dyed fabrics and those dyed at the"
"applied several times in alternation, and patterns may be created by locally applying a resist before or between treatments. At every stage the treatment is stopped by washing and neutralizing the fabric. After acid treatment and washing, a heavy calender, sometimes heated, can be applied to the wet or dried fabric to vary its translucency. Parchmentising Parchmentising is a textile finishing treatment for cellulose fabric, mainly cotton and flax, which stiffens the fabric and imparts a degree of translucency. The process was described in 1850 by John Mercer, who treated cotton with solutions of 110–125°Tw sulfuric acid, at room temperature,"
"Encaustic painting Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid or paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used—some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure, powdered pigments can be used, though some mixtures use oil paints or other forms of pigment. Metal tools and special brushes can be used to"
"Ombré Ombré (literally ""shaded"" in French) is the gradual blending of one color hue to another, usually moving tints and shades from light to dark. It has become a popular feature for hair coloring, nail art, and even baking, in addition to its uses in home decorating and graphic design. Using shading or creating an ""ombré"" effect is ubiquitous. For instance, in fabric printing, using a special printing block called a ""rainbowed"" block, was used in the early 19th century to produce textiles with graduated color designs. ""Ombré"" as a textile treatment came back into fashion in around 1840 and"
"in France in the eighteenth century. Warp printing Warp printing is a fabric production method which combines textile printing and weaving to create a distinctively patterned fabric, usually in silk. The warp threads of the fabric are printed before weaving to create a softly blurred, vague pastel-coloured pattern. It was particularly fashionable in the eighteenth century for summer wear. The silk and taffeta fabrics produced by this technique have a variety of names, including chiné, Pompadour taffeta (after Madame de Pompadour) and chiné à la branche. Chiné velvet was also possible, although the technique was very difficult and expensive and"
"Parchmentising Parchmentising is a textile finishing treatment for cellulose fabric, mainly cotton and flax, which stiffens the fabric and imparts a degree of translucency. The process was described in 1850 by John Mercer, who treated cotton with solutions of 110–125°Tw sulfuric acid, at room temperature, followed by washing. Mercer observed that the treated fabric was soft like fine wool when treated at 110°Tw, shrank and stiffened at 114°Tw, or shrank, stiffened, and became semi-transparent from 116–125°Tw. In general, treating indefinitely with concentrations below 110°Tw (64%) only swells and shrinks the fabric, while higher concentrations produce the stiff, translucent parchment-like effect"
"expensive than traditional materials. Traditional materials, such as horsehair, fox fur, sheep's wool and rabbit hides, are used in the production of clothing. Preparation of the materials includes skinning, drying, and greasing the hides with a mixture of sour milk and flour. After four days, the skins are washed and soaked in a concentrated brine. After more drying, the underside of the hide is scraped with a skinning knife before being heated; this gives the skin its whitish color. The fur is then ready for dyeing in a variety of colors. Yellow dye is made from the crushed root of"
"Mandaya, Mansaka and T'boli are skilled in the art of dyeing abaca fiber. Abaca is a plant closely related to bananas, and its leaves are used to make fiber known as Manila hemp. The fiber is dyed by a method called ""ikat"". ""Ikat"" fiber are woven into cloth with geometric patterns depicting human, animal and plant themes. ""Kut-kut"", a technique combining ancient Oriental and European art process. Considered lost art and highly collectible art form. Very few known art pieces existed today. The technique was practiced by the indigenous people of Samar Island between early 1600 and late 1800 A.D."
"Devoré Devoré (also called burnout) is a fabric technique particularly used on velvets, where a mixed-fibre material undergoes a chemical process to dissolve the cellulose fibers to create a semi-transparent pattern against more solidly woven fabric. The same technique can also be applied to textiles other than velvet, such as lace or the fabrics in burnout t-shirts. Devoré comes from the French verb ""dévorer"", meaning literally to devour. Burnout fabrics are thought to have originated in France, possibly as a cheap alternative to lace that could be created using caustic paste on fabric. The commercial chemical process used in fashion"
"Painting with Fire Painting with Fire (PWF) is the name given to an immersion process for creating torch fired enamel jewelry. This process is the focal point of torch fired enamel jewelry workshops taught by Barbara A. Lewis, written about in her book, and discussed in ""Belle Armoire Jewelry"", ""Handcrafted Jewelry"", ""Bead Trends"", ""Stringing"" and ""Bead Unique"". Historically, enameling is the application of glass-on-metal (See vitreous enamel). Traditional enameling methods, such as Cloisonné and Grisaille, require expensive kilns and often years of training and experience. The torch firing of enamel, a process that requires a fuel source such as propane"
"work is done in watercolor and not in oil, beer grounds to act as a drier are mixed with the color; this sets it ready for varnishing. A patent graining machine, a sort of roller with a pattern upon it, is often used. Marbling is a faux finish imitating real marbles and granites, some of which are represented by splashing on the carefully prepared ground, which should have been painted and often rubbed and polished to obtain an even surface; others have to be painted in colors, and then well varnished. Plastering should never be painted until it is thoroughly"
"wax or some form of paste is applied to cloth before being dipped in dye. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colors are used, with a series of dyeing, drying and waxing steps. The wax may also be applied to another piece of cloth to make a stencil, which is then placed over the cloth, and dye applied to the assembly; this is known as resist printing. Stencils: a stencil is placed over the fabric where it is to be shielded from ink, similar to how screen prints are made. Mechanical:"
"less risky to dye the material a darker shade, with black often being the easiest or last option. Dyeing Dyeing is the application of dyes or pigments on textile materials such as fibers, yarns, and fabrics with the objective of achieving color with desired fastness. Dyeing is normally done in a special solution containing dyes and particular chemical material. Dye molecules are fixed to the fiber by absorption, diffusion, or bonding with temperature and time being key controlling factors. The bond between dye molecule and fiber may be strong or weak, depending on the dye used. Dyeing and printing are"
"blue, which imitates the color of the highly-prized lapis lazuli. Gold and brown glazes are used for the animal images. The borders and rosettes are glazed in black, white, and gold. It is believed that the glaze recipe used plant ash, sandstone conglomerates, and pebbles for silicates. This combination was repeatedly melted, cooled, and then pulverized. This mixture of silica and fluxes is called a frit. Color-producing minerals, such as cobalt, were added in the final glaze formulations. This was then painted onto the bisque-fired bricks and fired to a higher temperature in a glaze firing. After the glaze firing,"
"functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a ""canting"" (, sometimes spelled with old Dutch orthography ""tjanting"") is the most common. A ""tjanting"" is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a ""cap"" (; old spelling ""tjap"") is used to cover large areas more efficiently. After the cloth is dry, the"
"with the most common technique being the ikat method, sometimes called “amarrado” (lit. stingy) In the most traditional work, thread is dyed with natural colors, with colors such as black, blue, red, purple and green but synthetic dyes are now often used. The patterns of the garment are determined by a sequence of colors dyed into the thread, with color changes made similar to tie-dying. Groups of threads are tied together tightly at intervals so that the dye cannot enter some areas. After dying, the knots are cut off. The weaving begins by cutting the warp threads to the length"
"calamanco manufacture. Calamanco is the name of a mare in Great Britain born around 1990; several of her offspring won races in the early 2000s. Calamanco Calamanco (also calimanco, callimanco, or kalamink) is fabric with a glazed surface that was popular in the United Kingdom and the United States in the 18th and 19th centuries. It was typically made of linsey-woolsey (a linen-wool mix), and the glazing was achieved by calendaring (pressing the cloth between hot rollers), by surface-rubbing with a stone, or by applying wax to the surface. The name comes from a Spanish term for worsted wool. Calamanco"
"Marouflage Marouflage is a technique for affixing a painted canvas to a wall to be used as a mural, using an adhesive that hardens as it dries such as plaster or cement. A French word originally referring to sticky, partly hardened scraps of paint, marouflage is a 3,000-year-old technique. Historically, artists used several types of adhesives including a rabbit-skin glue. White lead ore was used in the 19th and 20th centuries in the mixture to help it dry. A thin coat of the adhesive is applied to both the wall and the canvas. Once the canvas is mounted to the"
"""wajan"" (wok) heated upon small stove. The batik craftsperson sometimes blow the spout tip of ""canting"" to allow the liquid wax to flow smoothly and to avoid clogging, then they draw the line or dot upon the cloth, applying the liquid wax, following the patterns and images that previously had been drawn using pencil. A pattern is then drawn with hot wax called ""malam"" using ""canting"". The wax functions as a dye-resist. After this, the cloth is dipped in a dye bath containing the first colour. After the cloth is dry, the wax is removed by scraping or boiling the"
"Marble cheese Marble cheese is a name given to cheeses with marbled patterns. These are produced by combining either two different colored curds, cheese curds or processed cheeses. Marble cheese originates from England. They are usually hard, processed cow's milk cheeses like Colby-Jack which combines Colby cheese and Monterey Jack and is most popular in the United States. Others are produced from a combination of the curds of white and orange cheddars (for ""Marbled Cheddar""), or similar. The marbling is usually not achieved with artificial additives, though cheeses such as Red Windsor and Sage Derby contain colourings such as Chlorophyll"