"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:"
"of manufacturing. The so-called ""fancy fabrics"" are produced in a printing procedure. Costly designs are printed digitally. Fancy fabrics in general are cheap, industrially produced imitations of the wax prints and are based on industry print. Fancy fabrics are also called imiwax, Java print, roller print, le fancy or le légos. These fabrics are produced for mass consumption and stand for ephemerality and caducity. Fancy Fabrics are more intense and rich in colors than wax prints and are printed on only one side. As for wax prints, producer, product name and registration number of the design are printed on the"
"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"
"on the cloth is done by a traditional batik technique. These are known as wax prints and the design is equally as bright and detailed on the obverse side of the fabric. These days Wax prints are commercially made and are almost completely roller printed. Fancy prints are roller printed with the designs being less colorful or detailed on the obverse side. Many of the designs have a meaning. A large variety of religious and political designs are found as well as traditional tribal patterns. The cloth is used as material for dresses, blouses and pants as well. Chitenges can"
"selvage. Even the fancy fabrics vary with a certain fashion. The fabrics are limited to amount and design and are sometimes exclusively sold in own shops. At first the Fancy Prints were made with engraved metal rollers but more recently they are produced using rotary screen-printing process. The production of these imitation wax print fabrics, allow those who cannot afford the European imported wax prints to be able to purchase these. The fancy print designs often mimic or copy the designs of existing wax print designs but as they are cheaper to make, manufacturers tend to take risks and experiment"
"Textile printing Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fibre, 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 colour, whereas in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns. In printing, wooden blocks, stencils, engraved plates, rollers, or silkscreens can be used to place colours on the fabric. Colourants used in printing contain dyes thickened"
"intensity helps with the determination of the (front) right and (back) wrong side of the fabric. Ankara print fabrics are most often sold in 12 yards as ""full piece"" or 6 yards as ""half piece"". The fabric company/producer, The type of fabric/product and registration number is printed on the selvage of the fabric, to notify people of the quality and to protect the designs from imitators. The wax fabric can be sorted into categories of quality due to the processes of manufacturing. The colors comply with the local preferences of the costumers. Some wax prints can be named after personalities,"
"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"
"for celebrations is made out of these. The wax prints are part of a nonverbal way of communication among African women, and hereby they carry their message out into the world. Some wax prints can be named after personalities, cities, building, sayings or occasions. The producer, name of the product and registration number of the design is printed on the selvage, protecting the design and allowing reading the quality of the fabric. The wax fabrics constitute capital goods for the African women. Therefore, they are collected depending on the financial possibilities. The design of the wax print fabrics already has"
"allowing the designer to dye color upon color. These dyes are intended mostly for silk scarf dyeing. They also dye bamboo, rayon, linen, and some other natural fabrics like hemp and wool to a lesser extent, but do not set on cotton. Textile printing Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fibre, 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 colour, whereas in printing one"
"3-D printer, and wax screening. Each technique aims to create hydrophobic physical barriers on hydrophilic paper that passively transport aqueous solutions. Biological and chemical reagents must then be deposited selectively along the device by either dipping the substrate into a reagent solution or locally spotting a reagent onto the substrate. Wax printing uses a simple printer to pattern wax on paper in a desired design. The wax is then melted with a hotplate to create channels. This technique is fast and low cost, but has relatively low resolution due to the isotropy of the melted wax. Inkjet printing requires coating"
"in the United States as a quilting fabric. Shweshwe is manufactured with an acid discharge and roller printing technique on pure cotton calico. It is printed in widths of 90 cm, in all-over patterns and A-shaped skirt panels printed side by side. The fabric is manufactured in various colours including the original indigo, chocolate brown and red, in a large variety of designs including florals, stripes, and diamond, square and circular geometric patterns. The intricate designs are made using picotage, a pinning fabric printing technique rarely used by contemporary fabric manufacturers due to its complexity and expense, although the design"
"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"
"to the computer controlled paper printers used for office applications. In addition, heat-transfer printing is another popular printing method to be used in the textile design. Patterns are often designed in repeat to maintain a balanced design even when fabric is made into yardage. Repeat size is the distance directly across or down from any motif in a design to the next place that same motif occurs. The size of the repeat is determined by the production method. For example, printed repeat patterns must fit within particular screen sizes while woven repeat patterns must fit within certain loom sizes. There"
"Woodblock printing on textiles Woodblock printing on textiles is the process of printing patterns on textiles, usually of linen, cotton or silk, by means of incised wooden blocks. It is the earliest, simplest and slowest of all methods of textile printing. Block printing by hand is a slow process. It is, however, capable of yielding highly artistic results, some of which are unobtainable by any other method. Printing patterns on textiles is so closely related in its ornamental effects to other different methods of similar intention, such as by painting and by processes of dyeing and weaving, that it is"
"is applied on warp yarn with a warp sizing machine. After the weaving process the fabric is desized (washed). Sizing may be done by hand, or in a sizing machine. Sizing Sizing or size is any one of numerous substances that is applied to, or incorporated into, other materials — especially papers and textiles — to act as a protective filler or glaze. Sizing is used in papermaking and textile manufacturing to change the absorption and wear characteristics of those materials. Sizing is used for oil-based surface preparation for gilding (also known as ""mordant"" in this context). It is used"
"are several different types of layouts for repeated patterns. Some of the most common repeats are straight and half drop. Often, the same design is produced in many different colored versions, which are called colorways. Once a pattern is complete, the design process shifts to choosing the proper fabrics to get the design printed on or woven into the fabric Designers might want to use the method of dyeing or printing to create their design. There are many printing methods. Textile design Textile design is essentially the process of creating designs for woven, knitted or printed fabrics or surface ornamented"
"product. The wax is easily taken to a fine finish in the end using a bit of nylon stocking or steel wool. After the wax product is finished, it may be molded or used in the lost wax casting process to create a final cast product. There are a wide variety of wax types used in the lost wax casting process. Generally they fall into three main types, soft, hard and injection waxes. Injection waxes are made and intended to be used for injecting wax under pressure into rubber or other types of molds. They can be carved and worked"
"where the different coloured objects are placed at some small distance apart, and that, therefore, it is of but limited application. Woodblock printing on textiles Woodblock printing on textiles is the process of printing patterns on textiles, usually of linen, cotton or silk, by means of incised wooden blocks. It is the earliest, simplest and slowest of all methods of textile printing. Block printing by hand is a slow process. It is, however, capable of yielding highly artistic results, some of which are unobtainable by any other method. Printing patterns on textiles is so closely related in its ornamental effects"
"the physical change. This immediacy bonds the released chemicals to the polyester fibers. Unlike screen printing and direct-to-garment digital printing, this is not digital. Instead, the dye is absorbed by the fabric for a fantastic soft-to-the-touch feel and breathability. The design is printed on 100% polyester material. Often, this is done on a white garment only as this base colour allows for the best applicability. The types of garments available are T-shirts, hoodies, sweaters, socks, bags, and much more. “""A Systems and Methods for the Printing of Pre-Constructed Clothing Articles and Clothing Article so Printed.” is a patented process under"
"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"
"tawnies. In China, Japan, India, Pakistan, Nigeria, Gambia, and other parts of West Africa and southeast Asia, patterned silk and cotton fabrics were produced using resist dyeing techniques in which the cloth is printed or stenciled with starch or wax, or tied in various ways to prevent even penetration of the dye when the cloth is piece-dyed. The Chinese ""ladao"" process is dated to the 10th century; other traditional techniques include tie-dye, batik, Rōketsuzome, katazome, bandhani and leheria. The mordants used in dyeing and many dyestuffs themselves give off strong and unpleasant odors, and the actual process of dyeing requires"
"Carol Wax Carol Wax (born June 17, 1953) is an American artist and author whom the ""New York Times"" called ""a virtuoso printmaker and art historian"" for her work in mezzotint and her writings on the history and technique of that medium. She has described her work: My images of commonplace objects reflect my personal experience of the ordinary as extraordinary. Most people rarely think about the ""stuff"" in our lives but, to me, even the most ordinary items seem magical. I often depict old instruments, mechanical devices, and fabric because their repetitive patterns create rhythms of light, shadow, and"
"tension. This requires the yarn used for warp ends, or individual warp threads, to be made of spun and plied fibre. Traditionally wool, linen, alpaca, and silk were used. However, improvements in spinning technology during the Industrial Revolution created cotton yarn of sufficient strength to be used in mechanized weaving. Later, artificial or man-made fibres such as nylon or rayon were employed. While most weaving is weft-faced, warp-faced textiles are created using densely arranged warp threads. In these the design is in the warp, requiring all colors to be decided upon and placed during the first part of the weaving"
"body, large eye and a sharp point is required. The outlines of the design to be worked are often screen printed onto the fabric or can be transferred to plain fabric using modern transfer pens, containing water-soluble ink or air-soluble ink, using a lightbox and a permanent pen, or iron-on designs applied using transfer sheets. The old-fashioned ""pinprick and chalk"" or ""prick and pounce"" methods also work well. The prick and pounce method involves transferring the design outlines - printed on paper - by pricking the outline with a needle to produce perforations along the lines. Powdered chalk or pounce"
"of the fabric also needs attention, for example whether it is woven, non-woven or knitted. Polyester fabric is printed mostly with dye-sub or disperse direct ink, although UV and solvent inks (including HP’s latex formulation) can also be used. The great benefit of sublimation ink is the fact that the colorants will bond with the fibre during sublimation or fixation. The colours are ‘inside’ the media and don’t stay within the coating and on top of the media, as it is the case with UV-curable formulations. Even latex inks on porous textiles can suffer from crocking issues or ‘rub-off’. Low"
"summer, when the material is naturally at a warmer temperature. Then, in small sections, wax is warmed, placed on the material, and rubbed into it with a soft cloth. Once fully applied, the material should be gently warmed to allow the wax to penetrate and evenly cover it. Waxed cotton Waxed cotton is cotton impregnated with a paraffin or natural beeswax based wax, woven into or applied to the cloth. The main drawback is that waxed fabric is not very breathable. Early mariners noticed that wet sails were more efficient than dry sails, but their added weight slowed the vessels."
"in dyeing proper the whole fabric is uniformly covered with one color, in printing one or more colors are applied to it in certain parts only, and in sharply defined patterns. In printing, wooden blocks, stencils, engraved plates, rollers, or silkscreens can be used to place colors on the fabric. Colorants used in printing contain dyes thickened to prevent the color from spreading by capillary attraction beyond the limits of the pattern or design. Textile finishing is the term used for a series of processes to which all bleached, dyed, printed and certain greige fabrics are subjected before they are"
"acceptable in quality, the printouts from these printers cannot compare with modern inkjet printers and color laser printers. Currently, this type of printer is rarely used for full-page printing, but is now employed for industrial label printing due to its waterfastness and speed. These printers are considered highly reliable due to their small number of moving parts. Printouts from color thermal printers using wax are sensitive to abrasion, as the wax ink can be scraped, rubbed off, or smeared. However, wax-resin compounds and full resins can be used on materials such as polypropylene or polyester in order to increase durability."
"water-based ink (known as dye-sublimation or disperse direct ink) have made it possible to print directly onto polyester fabric. This is mainly related to visual communication in retail and brand promotion (flags, banners and other point of sales applications). Printing onto nylon and silk can be done by using an acid ink. Reactive ink is used for cellulose based fibers such as cotton and linen. Inkjet technology in digital textile printing allows for single pieces, mid-run production and even long-run alternatives to screen printed fabric. Although most work is executed throughout by one or another of the seven distinct processes"
"is then transferred to a two-dimensional (flat) surface by means of ink (or another form of pigmentation). Except in the case of a monotype, the same matrix can be used to produce many examples of the print. Historically, the major techniques (also called media) involved are woodcut, line engraving, etching, lithography, and screenprinting (serigraphy, silkscreening) but there are many others, including modern digital techniques. Normally, the print is printed on paper, but other mediums range from cloth and vellum to more modern materials. Major printmaking traditions include that of Japan (""ukiyo-e""). Prints in the Western tradition produced before about 1830"
"pattern or motif is drawn on the graph paper to provide the weaver with the exact picture of each thread making up the design in the process of weaving. The designs and patterns are then transferred from the graph paper on a wooden frame and are referred to as the naqsha. The naqsha that is made with cotton threads is a smaller sample of the actual design, which is to be woven on the loom. The warp is then taken for the weaving process, which is carried out, on various looms such as the pit loom, jacquard loom and power"