"produced 58.8 million yards (53.8 million meters), of fabric in 2011. The net sales were €225 million, or $291.65 million. In 2014 all of its 70 million yards of fabric (about 64 million meters) are produced in the Netherlands. In 2014 Vlisco made a turnover of 300 million euros. The process to make wax print is originally influenced by batik, an Indonesian (Javanese) method of dyeing cloth by using wax-resist techniques. For batik, wax is melted and then patterned across the blank cloth. From there, the cloth is soaked in dye, which is prevented from covering the entire cloth by"
"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:"
"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"
"Batik Batik is a technique of wax-resist dyeing applied to whole cloth, made by hand manual and batik tools, this technique comes from Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a ""canting"", or by printing the resist with a copper stamp called a ""cap"". The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired. A tradition of making batik is found in various countries; the batik"
"fibres and leaving behind the protein-based fibres, which are not affected by the chemical. The chemical gel may be applied either by printing or by hand painting on the fabric. 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"
"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"
"by quality dry cleaners. Invisible mending is labour intensive and very time consuming and it may sometimes be cheaper to replace the garment. Menders were mostly women until the craft started to disappear. Initial article translated from . Invisible mending Invisible mending is a sophisticated weaving method consisting in rebuilding the fabric of a damaged garment or upholstery, following damage caused for example by a snag, burn, or accidental scissor cut. In such an incident, both the warp and the weft of fabric may have been damaged. Invisible mending is the reconstruction of both the warp and weft using a"
"backgrounds. Santa Cruz de Sallac is also well known for its revival of the ""watay"" (ikat) technique. In this dyeing technique, the weaver will prepare a special warp, where he or she tightly wraps up certain sections. The weaver then dyes this warp. The unwrapped sections of warp thread are dyed, but dye cannot enter the tightly wrapped sections which remain undyed. After dyeing, the weaver unwraps the sections of wrapped warp. When the weaver mounts this warp on her or his loom and weaves it as plain weave, the dyed and undyed sections form a design. Besides the Ccatcca"
"removed from the unpainted parts of the cloth by applying soap or bleach, rendering them white. After long use, the very dark brown color turns a variety of rich tones of brown, while the unpainted underside of the fabric retains a pale russet color. Around Mopti and Djenné, a simpler method is used by artists considered to be of inferior skill. The cloth is dyed yellow in ""wolo"" solution, made from the leaves of ""Terminalia avicennoides"", and then painted over with black designs. The yellow is either removed, producing a stark black and white design, or painted a deep orange"
"colors. In general, yarn dyeing provides adequate color absorption and penetration for most materials. Thick and highly twisted yarns may not have good dye penetration. This process is typically used when different colored yarns are used in the construction of fabrics (e.g. plaids, checks, iridescent fabrics). Fabric dyeing, also known as piece dyeing, is dyeing fabric after it has been constructed. It is economical and the most common method of dyeing solid colored fabrics. The decision regarding color can be made after the fabric has been manufactured. Thus, it is suitable for quick response orders. Dye penetration may not be"
"""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"
"Invisible mending Invisible mending is a sophisticated weaving method consisting in rebuilding the fabric of a damaged garment or upholstery, following damage caused for example by a snag, burn, or accidental scissor cut. In such an incident, both the warp and the weft of fabric may have been damaged. Invisible mending is the reconstruction of both the warp and weft using a long needle. The mender garners the material for the repair by picking all the necessary weft from the hem, and the warp from the extra fabric on the inside of longitudinal seams. The mender will reconstruct the warp"
"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"
"Katazome Katazome (型染め) is a Japanese method of dyeing fabrics using a resist paste applied through a stencil. With this kind of resist dyeing, a rice flour mixture is applied using a brush or a tool such as a palette knife. Pigment is added by hand-painting, immersion or both. Where the paste mixture covers and permeates the cloth, dye applied later will not penetrate. ""Katazome"" on thin fabrics shows a pattern through to the back; on thicker or more tightly woven fabrics, the reverse side is a solid color, usually indigo blue for cotton fabrics. Futon covers made from multiple"
"dyeing is usually not used for apparel fabrics. Filament fibers that are produced using the wet spinning method can be dyed while the fibers are still in the coagulating bath. The dye penetration at this stage is high, as the fibers are still soft. This method is known as gel dyeing. Stock dyeing, top dyeing, and tow dyeing are used to dye fibers at various stages of the manufacturing process prior to the fibers being spun into yarns. The names refer to the stage at which the fiber is when it is dyed. All three are included under the broad"
"plucking sections of the cloth. Then a thread is looped around each section twice. The thread is not knotted; tension is the only thing that holds the sections in place. The resulting dyed cloth is a water-like design. Because no knot is used, miura shibori is very easy to bind and unbind. Therefore, this technique is very often used. Kumo shibori is a pleated and bound resist. This technique involves pleating sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This specific design requires"
"prone to stains and it will last longer. However, digital textile printing fabric will fade out with repeated washings, so it should be labeled as dry cleaning only, and the best way is washing by hand with cold water or using washing machine with gentle cycle and use mild detergent. An alternative which does not require expensive equipment and dyes is Inkjet Fabric Printing which uses a standard inkjet printer (e.g. HP, Epson, Canon, Lexmark) and specially treated, paper-backed fabric sheets. Inkjet fabric sheets are currently available in cotton, bamboo and silk on Amazon and other websites. The removable paper"
"of rubber plate and sleeve materials to produce a print ready surface without the use of photography or chemicals. With this process there is no integral ablation mask as with direct photopolymer laser imaging (see below). Instead a high-power carbon dioxide laser head burns away, or ablates, unwanted material. The aim is to form sharp, relief images with steep first relief and contoured shoulder supported edges to give a high standard of process color reproduction. A short water wash and dry cycle follows, which is a lot less involved than in the post-processing stages for direct laser imaging or conventional"
"and bleaching. Scouring is the first process carried out with or without chemicals, at room temperature or at suitable higher temperatures with the addition of suitable wetting agents, alkali and so on. Scouring removes all the waxes, pectins and makes the textile material hydrophilic or water absorbent. See also scouring wool. The next process of decolorization of greige material into a suitable material for next processing is called bleaching. Bleaching of textiles can be classified into oxidative bleaching and reductive bleaching. Generally oxidative bleachings are carried out using sodium hypochlorite, sodium chlorite or sulfuric acid. Natural fibres like cotton, ramie,"
"Color wash A color wash is a popular technique in faux painting using paint thinned out with glaze to create a subtle wash of color over walls or other surfaces. Color washing is an easy and forgiving form of faux finishing often used by beginners, but perfected by professional finishers. It was historically created with oil-based products because of the long drying time, but today's environmental and health conscious companies are producing user-friendly water based glazes. Color washing can be done in any color of paint and is generally applied with brushes over a solid paint color, using long sweeping"
"is also completely insoluble in water, meaning that it cannot be applied to clothes directly. It is instead reduced to indigo white (sometimes Leucoindigo), which is water-soluble but colorless. When a submerged fabric is removed from a dyebath of white indigo the dye quickly combines with oxygen in the air and reverts to the insoluble, intensely colored indigo. The reduction step is typically achieved with sodium dithionite, hydroxyacetone and hydrogen, or by electrochemical methods. The spiro form of an oxazine is a colorless leuco dye; the conjugated system of the oxazine and another aromatic part of the molecule is separated"
"English in the Encyclopædia Britannica of 1880, in which it is spelled ""battik"". It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: ""mbatek"", ""mbatik"", ""batek"" and ""batik"". Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practised in China during the Tang Dynasty (618-907 AD), and in India and Japan during the Nara Period (645-794 AD). In Africa it was originally"
"materials. Carboxymethyl cellulose (CMC) and Poly vinyl alcohol (PVA) are often used as sizing materials. Scouring is a chemical washing process carried out on cotton fabric to remove natural wax and non-fibrous impurities (e.g. the remains of seed fragments) from the fibers and any added soiling or dirt. Scouring is usually carried in iron vessels called kiers. The fabric is boiled in an alkali, which forms a soap with free fatty acids (saponification). A kier is usually enclosed, so the solution of sodium hydroxide can be boiled under pressure, excluding oxygen which would degrade the cellulose in the fiber. If"
"fiber with both diazoic and coupling components. With suitable adjustment of dyebath conditions the two components react to produce the required insoluble azo dye. This technique of dyeing is unique, in that the final color is controlled by the choice of the diazoic and coupling components. This method of dyeing cotton is declining in importance due to the toxic nature of the chemicals used. Sulfur dyes are inexpensive dyes used to dye cotton with dark colors. Dyeing is effected by heating the fabric in a solution of an organic compound, typically a nitrophenol derivative, and sulfide or polysulfide. The organic"
"method that does not use heat. Processes include sandblasting, cutting, sawing, chiseling, bonding and gluing. Glass can be decorated by sandblasting the surface of a piece in order to remove a layer of glass, thereby making a design stand out. Items that are sandblasted are usually thick slabs of glass into which a design has been carved by means of high pressure sandblasting. This technique provides a three-dimensional effect but is not suitable for toughened glass as the process could shatter it. The technique of using copperfoil is mainly used in the construction of smaller pieces such as Tiffany style"
"resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired. The most traditional type of batik, called batik ""tulis"" (written batik), is drawn using only the ""canting"". The cloth needs to be drawn on both sides, and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik."
"patterns. More recently, new types of Baandha depicting portrait, landscape and flower pods are being designed. Baandha fabric is created using a tie-dye technique. The yarns are tied according to the desired patterns to prevent absorption of dyes, and then dyed. The yarns or set of yarns so produced is called 'Baandha'. The unique feature of this form of designing is that the designs are reflected almost identically on both side of the fabric.Once the frabic is dyed it can never be belached in to other colour. This versatile technique enables a craftsman to weave colourful designs, patterns and images"
"and then repeating. The final product had little resemblance to fabric, but instead had a glossy, enamel-like finish. With a properly prepared canvas, the painter will find that each subsequent layer of color glides on in a ""buttery"" manner, and that with the proper consistency of application (fat over lean technique), a painting entirely devoid of brushstrokes can be achieved. A warm iron is applied over a piece of wet cotton to flatten the wrinkles. Canvas can also be printed on using offset or specialist digital printers to create canvas prints. This process of digital inkjet printing is popularly referred"
"archival qualities. Older dye destruction processes included Utocolor (early 1900s) and Gasparcolor (1930s). Dye destruction Dye destruction or dye bleach is a photographic printing process, in which dyes embedded in the paper are bleached (destroyed) in processing. Because the dyes are fully formed in the paper prior to processing, they may be formulated with few constraints, compared with the complex dye couplers that must react in chromogenic processing. This has allowed the use of richly colored, highly stable dyes. It is a reversal process, meaning that it is used in printing transparencies (diapositives). Ilfochrome (originally Cibachrome) is currently the only"
"prevent the dye from penetrating the fabric they cover. Shibori Shibori (しぼり / 絞り) is a Japanese manual resist dyeing technique, which produces patterns on fabric. In Japan, the earliest known example of cloth dyed with a shibori technique dates from the 8th century; it is among the goods donated by the Emperor Shōmu to the Tōdai-ji in Nara. Until the 20th century, not many fabrics and dyes were in widespread use in Japan. The main fabrics were silk and hemp, and later cotton. The main dye was indigo and, to a lesser extent, madder and purple root. ""Shibori"" and"
"is produced directly onto or within the fiber. This is achieved by treating a fiber with both diazoic and coupling components. With suitable adjustment of dyebath conditions the two components react to produce the required insoluble azo dye. This technique of dyeing is unique, in that the final color is controlled by the choice of the diazoic and coupling components. This method of dyeing cotton is declining in importance due to the toxic nature of the chemicals used. Sulfur dyes are two part ""developed"" dyes used to dye cotton with dark colors. The initial bath imparts a yellow or pale"
"submerged in a dye material, such as red steel dye, and placed under vacuum. This allows the dye to flow underneath the component and into any cracks or defects. The dye is then dried in an oven (preferably overnight) to prevent smearing during separation, which could lead to false results. The part of interest is mechanically separated from the printed circuit board (PCB) and inspected for the presence of dye. Any fracture surface or interface will have dye present, indicating the presence of cracks or open circuits. IPC-TM-650 Method 2.4.53 specifies a process for dye-n-pry. Dye-n-Pry is a useful failure"
"bright. Tack cloth Tack cloth (tack rag; tac cloth) is a specialized type of wiping cloth that is treated with a tacky material. It is designed to remove loose particles of dust, dirt and lint that would contaminate a surface that is to be painted, coated, laminated, photo-etched, or otherwise finished. The tack component is typically a kind of resinous material, often a petroleum derivative. The resin system may be solvent-based, water-based, or (more commonly in North America) a hot-melt. Different tack treatment materials, formulations and systems present different advantages or disadvantages. Concerns with different tack treatments may be seen"