I became interested in batik from my third year. I was interested in the process of silk painting itself. and I was also seduced by the fact that any blot could be played out without having to redo the work again. and a small nuance of batik: you don’t have to be a good artist, you can even not draw at all, but make, for example, a geometric abstraction, and it will still be beautiful.
I wanted to introduce you step by step guide to the so-called cold batik. It took me 4 hours to complete this work, including complete drying of the reserves. size A3, crepe-silk fabric, reserve compounds: gamma (gasoline), marabou (water). paints: marabou, javana.

Stage 1 consists of a sketch.

2. stretching the fabric onto a hoop of a certain size.

3. transfer of the drawing: the sketch is placed under the stretched hoop and transferred to the fabric with a pencil. then everything is outlined in reserve. I used colorless, blue, maroon, copper. let it dry for half an hour. The thicker the reserve layer, the longer it takes to dry! the undried reserve allows paint to pass through its contour.

4. preparation of the workplace. you will need brushes of different widths (I use brush No. 12 and in descending order. brushes: synthetic, brand: sonnet, gallery, rubleff, vernissage. if you want to seriously engage in batik, then buy different brushes. flat with sharp edges, flat with round edges , cone-shaped. Different brushes give different painting effects. As well as the speed of covering large surfaces.), a water jar, a palette (I use a regular tile), a rag and a sheet of whatman paper to cover the table with. and of course paints. I do not recommend keeping them open for a long time, because batik paints tend to evaporate.

5. So, painting. try to paint the fabric from left to right, because you can smear the paint with your hand (for those who operate with their right hand). When pouring a certain piece of fabric, remember that when it dries, the brightness and saturation will go away. and you can only do effects on a still damp area. pour carefully, any slight movement of the brush can lead to an unexpected result. not always pleasant for you.
I mainly use three types of effects: salt, pure water, mixing paints.
salt gives this effect:

water:


mixing colors in this segment produces streaks different colors. just don't overdo it. a color consisting of more than three colors is already dirt.

saturation is achieved by applying layers of paint that have previously dried.

6. Stretching the finished work. A white canvas is first stretched onto a stretcher. then the work itself is stretched. batik does not always need a frame. he looks great without it on certain jobs.

The cold batik fabric dyeing technique is a very creative and interesting process. You can create a picture of any complexity on fabric. It all depends on the skills and imagination of the artist. Now you will find out what you need for the job and become familiar with the process.

Materials for cold batik

Paints for cold batik

Reserve for cold batik

Brushes and sponges for batik

• Container with water for washing brushes
• Paper napkins for dry brushes
• Palette for mixing colors.

Cold batik making process

1. Select a pattern

2. Transferring the design to the fabric

3. Secure the fabric to the frame

4. Apply reserve to fabric

5. Painting batik with paints

6. Fixing the dye on batik

Elizaveta Rumyantseva

Nothing is impossible for diligence and art.

Content

There are several ways to decorate the material, one of the most popular is batik. This name means hand-painting on fabric using so-called reserve compounds. Drawings created with your own hands are not only beautiful, but also spectacular. Besides, this great way Take your free time and get carried away with real creativity.

What is batik

The term batik is a general name for various methods hand painted fabrics. The principle of redundancy is used as the basis of this technique, i.e. coating with a special composition those parts of the material that should remain unpainted in order to ultimately obtain the desired pattern. To obtain clear contours (borders), a special fixative called reserve is used, made on the basis of gasoline, paraffin, and water base.

The technique is based on the fact that rubber glue, paraffin and some types of resins and varnishes are applied to the material and do not allow the dye to pass through. As for the materials for which the batik technique is used, they are cotton, silk, wool and synthetics. To obtain garments with a painted surface, such as T-shirts, there are several types of batik.

Story

The island of Java (Indonesia) is considered the birthplace of hand-painted fabric using reserves. Translated from the Javanese technique, batik means “drop of wax.” This type of painting has long been known among the peoples of modern Indonesia and India. In general, humanity has been creating designs on fabric since time immemorial. Different methods of painting matter were known in Sumer, Japan, Peru, Indochina, Sri Lanka and some African countries.

Despite the fact that the creation of patterns on fabric was known in different regions of the world, Java is considered the birthplace of batik in the modern understanding of this technique. The masters of this Indonesian island were able to reach unprecedented heights and sophistication in terms of dyeing fabrics. They succeeded in short term make a whole art out of this craft. It could take craftsmen months, and even years, to create one canvas. This is due to the multi-stage preparation of the material: soaking, boiling, bleaching, a long dyeing process with waxing, painting, drying.

Due to the length of the process, initially only aristocrats wore clothes that were covered with patterns using batik. Craftsmen on the island of Java used cotton fabrics, passing on the secrets of the craft from generation to generation. Interesting feature is that the patterns of different families could differ significantly from each other. The patterns made had a variety of themes: from floral ornaments and geometric patterns to mythological subjects. On the northern coast of the island, lighter shades are used than in the central part.

It is reliably known that by the patterns on clothes it was possible to determine which caste a particular person belonged to. It was forbidden to repeat traditional royal ornaments. Each girl in her dowry had to have things decorated using the batik technique. For example, colorful fabrics, curtains, wall panels, wardrobe items. Even today, among the people of Java, hand-painted clothing is in great demand, often made for commercial purposes.

In the 17th century, when Java became a Dutch colony, batik began to arrive in European countries. Later it was invented by Europeans electrical appliance batik pin, with which wax could be stored in a molten state. In 1801, Jose-Marie Jacquard created automatic machine with special punched cards, thanks to which it became possible to produce canvases with drawings created by artists. Thanks to this, the batik technique switched to new level. It gained its greatest popularity in Europe only at the end of the 19th century.

Kinds

The technique of painting fabric is divided into several types depending on what materials are used and what stages must be overcome to obtain a surface with a spectacular pattern. The peculiarity of this or that type is that one option is ideal for synthetic fibers, the second for decorating silk, etc. You can learn more about their differences below:

• Hot batik. Wax is used as a reserve. To apply it, a special tool called chanting is used. Wax helps limit the spread of dye because... doesn't absorb it. This type of painting is called hot due to the fact that the wax used in it is necessarily melted. The paint is applied in several layers; upon completion of the work, the wax is carefully removed. This method is used for painting cotton fabric.
• Cold look. Ideal for decorating artificial materials, silk. In technology, paints made on the basis of aniline are used. The reserve is thick if it contains rubber components and thin when gasoline is the base. Rubber ones are applied from tubes, and gasoline ones are applied using glass tubes. In addition, both colored and colorless reserves can be used. The cold look implies a single-layer application of paint, and therefore the work requires greater accuracy from the performer compared to the hot technology.
• Free painting. Widely used on materials made of natural silk and synthetic fibers. For this, craftsmen often use oil paints and aniline dyes.
• Folding batik "shibori". The peculiarity of this type is that the master ties the material in a certain way, and only after that dyes it.
• Nodular appearance. In this case, first make many small knots on the fabric to be dyed, tying each of them with thread. After painting the surfaces, they are carefully removed.

Execution technique

First of all, paints are applied to the canvas so that at the junction of different shades there are clear and clear boundaries. For this purpose, a reserve is used, i.e. special fixative based on gasoline, paraffin, etc. – the composition varies depending on the chosen technique, material, paints. The main types of techniques are:

• cold;
• hot;
• free painting;
• free painting using saline solution.

Cold batik

Painting on batik fabric as a hobby is suitable mainly for patient people, because... this process is labor-intensive and time-consuming. One of the popular techniques is cold, which appeared much later than hot, with the development chemical industry. Her appearance simplified the work. The role of wax in cold technology is performed by special reserves that do not need to be heated, etched and reapplied.

To work you will need to create a separate workplace. The ideal option is a well-ventilated room, such as a balcony. This is due to the fact that the vapors of the reserve substance do not have a very good effect on health. If you are going to use painted material for use in the form of a tablecloth, scarf, etc., then keep in mind that you need to fix the paint: baking in the oven, steaming in a water bath without contact with condensation/water, or using an iron. If this is not done, then during the first wash all the work will be washed away. You will need:

• a simple pencil;
• reserve (black), glass tube for it;
• calanque brushes, aniline compounds;
• buttons, subframe;
• natural silk (crepe de Chine).

Decide on the choice of sketch; for it you will need a sheet of thin paper. If you want something spectacular, then give preference to colors. When applying elements to the canvas, try to draw them so that each of them has a closed contour. The reserve must be applied to the contours without delay, but also without haste. Sequencing:

1. First, wash the fabric, then stretch the pre-dried fabric onto the stretcher using the buttons.
2. Take a glass tube and fill it with reserve. Apply the composition to the contours of the elements.
3. To increase the number of shades, dilute the same paint with different amounts of water. Use yogurt jars and disposable cups.
4. Start painting the flowers (from light to dark tones) and the background.
5. Take salt, sprinkle it on the canvas and let it dry. Shake off the salt and after the material has dried, remove it from the stretcher.
6. After 24 hours, boil the fabric (about 3 hours), wash in warm soapy water.
7. Be sure to rinse the creation by adding a little vinegar to the water. Gently wring out the item and iron it while it is damp.
8. After completing the procedure, blow the reserve back into the container and rinse the glass tube in gasoline. Otherwise, the remaining composition will harden and the tool will become unsuitable for further use.

Hot

Batik on clothes looks beautiful and impressive. If you decide to join this hobby, pay attention to hot way. It is suitable for those who do not like to painstakingly paint over every piece of canvas, sitting for several hours at this task. Even without much effort, you can get a fabric from which exclusive skirts, scarves and even suits are sewn. This technique works with wax, stearin, paraffin or a mixture of them melted over a fire, so be careful. List of tools that may be needed when decorating a canvas:

• natural fabric, for example, cotton, wool, silk;
• cardboard stencil;
• dyes for painting on fabric;
• glass for water;
• wax, chanting;
• brushes, rubber gloves;
• cellophane, newspapers:
• hairdryer or iron.

For work, you better wear clothes that you won’t mind ruining, because... fabric paint practically does not wash off. Alternatively, wear a waterproof apron. Hot batik technology consists of the following steps:

1. To apply one of the listed solutions to the canvas, use a special tool - chanting. It looks like a watering can with a thin tip. Although, in Lately Brushes have become widely used, with the help of which strokes and dotted drops are applied to fabric. After this, you need to apply a layer of paint on top.
2. Next, you can reapply wax and another type of paint to some areas. To keep your patterns organized, use stamps that you dip into melted wax. You can use 2-3 tones or more.
3. Once the paint is dry, get rid of the wax. To do this, place newspaper on the fabric and iron it - it should absorb the melted substance. Then put new newspaper and repeat the procedure. This must be done until there is no wax left on the canvas.

Free painting

Thanks to this batik technique, you can show all your drawing abilities, because... here it is impossible to form a drawing according to a specific template. With the help of free painting, an individual and unique work is created. This type of technique is mainly practiced using oil paints with special solvents or aniline dyes. You can even experiment by adding a salt effect or a reserve composition somewhere, or using alcohol-containing substances to moisten the fabric. Methods of free painting in batik:

• paints, thickener from reserve liquid;
• using paints, saline solution;
• printing inks;
• oil paints;
• on silk, finishing with thickeners.

Free painting using saline solution

The essence of this technique is that the fabric stretched over a frame, depending on the specific design, is impregnated with an aqueous solution of salt (table salt) and after it dries, the canvas is painted. In some cases, it is carried out using paints made from basic dyes into which a salt solution has been introduced. This approach helps limit the spread of paint on the fabric and makes it possible to create designs with free strokes. In this case, you can vary both the shape and the degree of saturation with one color or another.

It should be added that free painting with paints containing a solution of table salt can be successfully combined with regular painting with cold batik. For this purpose, some fragments of the drawing are created with free painting and modified with a graphic design. In this case, background overlaps are carried out in areas that are limited by reserve. Instead of salt, gelatin or starch can be used as a primer. Having decided to delve deeper into this craft and try to create a spectacular drawing in this way, prepare the following tools and materials:

• aniline dyes:
• saline solution;
• a piece of silk fabric that is stretched over a frame;
• sketch future work;
• brushes for working with paints of different thicknesses, flute brushes for impregnating the material, synthetics;
• pipette for collecting paint, water for washing brushes;
• palette;
• soft pencil 8B.

To prepare a saline solution, take a couple of tablespoons of salt per glass of water. You need to dilute the salt in hot water in an enamel or glass container so that all the crystals dissolve. Depending on the task at hand, apply preliminary painting with a very soft pencil on stretched silk. Painting with salt solution consists of three stages:

1. Raw painting. Prepare the desired colors on the palette before the silk is soaked in the salt solution. Also, only use saline solution to thin your paints. While the silk is still damp, use broad strokes or brush strokes to work the colors into place. On very wet fabric, the paint will begin to spread in unexpected shapes.
2. Painting on semi-dry silk and applying background stains. As long as the silk is wet and salt crystals form on it, you can achieve painterly effects. The paint does not scatter uncontrollably in all directions, but the brush will leave a mark, which will subsequently blur a little. This is especially ideal for simulating natural textures.
3. Graphic drawing of details related to the first plan. Once the saline solution dries, the fabric will become crispy and the dye will barely bleed through it. Continue working on the details by applying short strokes or placing spots of different sizes.

Batik for beginners

By painting fabric, you will definitely feel your involvement in high art, especially when you begin to get spectacular patterns and designs on fabric. Over time, you will be able to develop your own design and style in which different items of your wardrobe will be designed. For beginners, it’s better to stick to the cold batik technique, because... the hot version is more complex and time-consuming. Strictly adhere to the technology so that the work done is of the required quality:

• First you will need to stretch the fabric over the frame so that it does not sag. Batik masters often stretch the wet fabric because... after drying it becomes more elastic.
• Prepare a sketch that is drawn with a pencil on paper.
• Next, the sketch is transferred to matter. For this purpose, the paper is secured under the fabric so that the lines of the pattern can be traced on the canvas with a soft pencil.
• Trace the contours using a reserve compound. To collect the reserve, lower the spout of the glass tube into a container with contour fluid, and insert a syringe (rubber) into the other end - with its help, the liquid will be sucked into the tube.
• Then check the circuit. After the reserve composition has completely dried, it is necessary to walk with a brush dipped in water over the entire drawing on one side of the contour, and after a while make sure that the water has not crossed the reserve line. If you find places where the contour is weak, then after the material has completely dried, go over these areas again with a reserve.
• In the sixth step, start painting the painting. Be extremely careful.
• At the end, remove the work from the frame and secure the batik by ironing, baking, or alternatively, you can steam it in a water bath.

What you need to prepare for your first lessons

Before you start mastering one of the batik techniques, prepare the appropriate supplies. Remember that the success of fixing colors also depends on the quality of the paints used. In any case, you need to wash clothes with batik in cool water with the addition of a small amount of vinegar. For the first lessons you will definitely need:

• Hoop or frame. If you plan to paint on a small area, then give preference to an embroidery hoop. If you are going to work with a large format, then prepare a special frame for batik - a regular stretcher will do just fine. You need to attach the fabric to the frame using the hooks that come with it. As for the stretcher, you can fasten the fabric to it with a thread and a needle, and do this so that the fabric does not come into contact with the frame. A simpler option is to secure the fabric with a furniture stapler (not suitable for silk) or with buttons.
• Paper. Prepare a sheet (or several) of thin paper to make a preliminary sketch. The size of the sheet should be equal to the area of ​​the pattern on the canvas.
• Textile. Thin natural fabrics such as silk, cambric, and double-thread are best suited. Dense material will not work, because... The reserve composition may not pass through thick fibers, resulting in an “explosion” of paint - one color will begin to transfer to the edges and zone of another. Beginning artists are recommended to choose cambric.
• Materials, tools. The standard batik kit includes a reserve, a glass tube for it and paints. Some kits contain contour liquid that is ready for application - poured into a tube with a thin tip. You can weld the reserve yourself, but this task is not only labor-intensive, but also a fire hazard.

Batik Patterns for Beginners

A relatively simple option for beginners is a drawing in the form of a composition of flowers. It looks great on children's and adult clothing, as well as on canvases used to decorate rooms. To have a whole bouquet on the fabric, follow these steps:

1. draw three ovals of different sizes;
2. in the center of each oval, draw a wavy flower core, and at the bottom - a stem;
3. draw a flower around each core;
4. draw a bud on the top right side of the flowers;
5. make the stems more voluminous, draw leaves on each of them;
6. draw the leaves and around the flowers;
7. at the end, carefully erase all the auxiliary circles.

Another equally interesting and quick option is a bouquet of roses. To get such a sketch, draw several circles on paper, then transform each of them into a blossoming multi-layered bud. Practice on paper so that in the future you will be able to draw roses in reserve on material the first time. You will have to draw bouquets of flowers on the canvas without any auxiliary lines.

Five minutes of black currant for the winter

If someone thinks that the most difficult thing in making batik is applying paint to the fabric, then they are mistaken - this is the easiest and most interesting of the entire process of making the work. And the whole process consists of several successive stages. And not all of them are very interesting. Judge for yourself.

Stage one. We stretch the fabric.

Framework. They come in a variety of sizes, from small to large, and even a simple embroidery hoop will work. There is only one principle: the fabric should be attached to the frame in such a way that the entire space for drawing is suspended. That is, the frame should have a profile, or, more simply, a border around the edges, as in the photo. And this side with the border will be the front side of the work.

I have several frames, the largest of them is 135x135 cm, I use it for painting clothes, others, which are smaller, I use for making scarves and pictures (50x100), for a scarf I stretch it in two steps and it turns out in finished form longer than a meter, and There are small ones for pictures.

Reusable frames!

We draw on them, but we do not realize the finished work on them, otherwise it will be very expensive. But more on that later, right now we’re just stretching the fabric.
If you are a beginner batik performer, then one frame is enough for you, or you can try it on a large hoop.
I use regular stationery buttons. They pierce the fabric and leave marks. Therefore, in those places where the fabric will not be cut later, you need to use clips. You will only need this if you are making a painting that exceeds the size of your frame. For example, when I paint a long circle skirt, it doesn’t even fit on my large frame 135 x 135 cm, and I paint it in parts in four steps, or in two steps, depending on the length of the product. I use simple paper clips. Special ones are also sold in stores for artists; they are probably very good and convenient, but I haven’t tried them.
With these simple buttons, I pin the fabric around the perimeter of the frame from the end, pushing the buttons in, or from the back, as you wish, but the fabric should be pulled tightly enough with your hands so that it does not sag on the frame.

Now the fabric.

All recommendations are written in defense of natural silk. This is right. Natural silk– beautiful expensive fabric, etc. I use it only for clothes and only to order!
I use any thin fabric! I like any synthetics, cotton, linen, satin, whatever you want, and whatever is inexpensive. Now the quality of synthetic fabrics is such that polyester, due to its properties, can be stored longer than natural silk. For clothing, of course, it does not have all the properties natural fibers, but it’s just right for pictures, and it’s perfect for scarves, and it’s also good for a skirt.
All fabrics perceive reserve and paint differently. On some it spreads instantly, on others you will be tortured by smearing, but any one can be decorated in the end. For beginners, I recommend a fabric called crepe. This best option, on which the reserve fits well and the paint spreads well to the contours. I recommend a fabric called crepe. This is the best option, in which the reserve fits well and the paint spreads well to the contours.

Stage two. Drawing.

So we got to the reserve. The fabric is stretched over a frame, and a design must be applied to it.
Remove the backing paper and set it aside, you may need it later.
Since all normal people are normal people, I do not recommend following my example and applying a drawing in reserve to fabric right away without first drawing with a pencil on paper.
Therefore, we take a sheet of paper of the size that we should get the finished drawing. And draw a picture with a pencil on this sheet. Then we put this design under the fabric so that it shines through it, secure it in several places with pins so that it does not move, and trace it along the contour. The pattern will shine through through crepe, chiffon, and other fabrics. And through thin cotton it will be. And dense fabrics are a little more difficult; for beginners it is better to try on thin ones. For specialists: place a directional light lamp under a frame with thick fabric and combine the drawing.
Now we have fabric with a pattern on the frame. And we will outline this drawing with a reserve.
Reserve- this is a composition that does not allow paint to spread over the fabric. We will make cold batik because it is easier and more accessible to everyone.
A small digression for information: There are several types of batik - hot, cold, knotted, free painting. What is the difference between cold batik and hot batik?

In technology Cold batik the role of the reserve is played by a special fixative called reserve (reservation composition, based on paraffin, gasoline. It can be prepared at home, but there are also ready-made reserves. There are both colored and colorless reserves. Cold reserve is applied either with special tools - glass tubes with reservoir, or reserves are used in tubes that are equipped with an elongated spout.
Wax is used as a reserve in hot batik. The wax is applied using a special tool called a chanting. Areas covered with wax do not absorb paint and also limit its spread. Hot batik is called hot because the wax is used in a “hot” molten form. This method is mainly used for dyeing cotton fabric. Upon completion of the work, the wax is removed from the surface of the fabric. The painting effect is achieved through layer-by-layer application of paint.
Nodular- this is when the fabric is dyed with aniline dyes, and before dyeing it is folded in a certain way, tied in knots.
Free painting- this is what anyone wants, whatever they want, and with dyes and reserves and oil paints all in a heap, the artists get wonderful, original, unique results.

Let's continue. There are both colored and colorless reserves. They are easier to buy than to prepare. It was once Soviet times, and there was a terrible shortage of everything, and we mixed gasoline with paraffin. And now everything is simple - I went and bought a jar of colorless reserve for 40 - 50 rubles. If you want colored, please do too, although I make color reserves by adding a small amount of oil paint to the colorless one. You can get any color, if it turns out thick, then dilute it with gasoline purified(for lighters). But this is my whim, because there is a large selection of all colors on sale. They are sold in jars and tubes.

From jars they are applied to the fabric using a pen - glass tubes with a reservoir; from tubes they are simply squeezed directly onto the fabric. The reserve is applied in a continuous line. The principle is this: Better several times in one place than never! If this is your first time, then take a tinted or colored reserve; it is easier to see than a colorless one.
For pictures you can use any reserves. And for clothes, the ones in jars are better, because beautiful voluminous reserves from tubes can peel off when washing the product. In addition, those applied with a drawing pen are liquid, penetrate the fabric well, and the likelihood of further paint leakage is minimal. And from a tube, the reserve is usually voluminous and beautiful, it is easier to apply, but it is more difficult to control the through penetration of the fabric. There are, of course, ways: for example, you can check with a soap solution, but for beginners I recommend applying a contour with a liquid reserve, and, if you want, with a volumetric one from a tube, trace the contours at the end of the work, on top of the applied paint.

The contours of the drawing must be closed!

The paint will spread from reserve to reserve, and it will fill the entire surface enclosed for it. If the contour is not closed, then the paint will flow further wherever it wants, and it will be very difficult to catch it.
We applied the outline and set it to dry. It usually takes an hour for the liquid reserve to dry completely, and three to five hours for the thick one from the tubes. But there is no need to rush, leave the work until tomorrow and rest assured, it will definitely dry overnight.
And then take batik paints, a palette in the form of a plate or molds from boxes of candy, and decorate your batik to your liking, as you like.

If you are in doubt about how to decorate it, then take out the paper with the design that you have set aside, take watercolors or other paints for the paper and decorate the paper first. Look. If you like it, we also decorate the fabric. The technique of decorating is simple: you drop paint with a brush and it flows down to the contours. This is on crepe, on others it flows worse, but it will still spread in the end. The main thing is not to let the brush go beyond the outline into places where paint should not be.
About paints. They are also different. There are some that need to be steamed, they are best used for hot batik, but you can also use them for cold batik in pictures, which no one will ever wash or wet. And there are those labeled acrylic, they are steamed with an iron. These are very convenient to use for painting clothes. They are a little more expensive, but there is a variety!!! Even if you have never been able to and do not know how and are not going to learn how to mix paints, you can get any color ready-made for your money. There are 10 jars in my palette and this is quite a lot even with my endless experiments.
That's it, the most enjoyable part of the job is over. The drawing is completed and dries on a frame with buttons...

The drawing is completed and dries on a frame with buttons. Dries quickly. If you did not want to apply a contour from the volumetric reserve in tubes, or some other volumetric contour, on top of your picture, then in a couple of hours your batik will dry. If you applied some kind of lining, then, accordingly, it will take longer to dry.
When the drawing has dried, remove it from the frame and iron it very well to fix the paint. The temperature is selected according to the maximum temperature for a given type of fabric. I then iron it through wet gauze to make sure it steams well. If you used a volumetric contour, then the product is ironed only from the inside out; these contours do not like temperature at all, they melt and can stick to the board, so good luck with ironing.

Now you have secured it, and now it all depends on how you were going to use this product further. Is this a head scarf? skirt hem? window curtain? A painting for the wall? It is clear that further processing and design of the product depends on this. Here I will describe the most difficult option - the option of painting on the wall. Why is it the most difficult for me? Yes, because it begins like this: We persuaded my husband for two days to make a frame! You can persuade him for three days. For the skirt or curtain there are no problems, I sat down and sewed it, but for the frame... They persuaded me.

So he takes a beam of suitable cross-section and length and makes a frame for batik from it. A suitable cross-section is one that is as small as possible, but the finished frame would not vibrate, but would be held rigidly. To do it this way: We cut the timber into four parts: on the sides of the frame, and we cut the ends at an angle of 45 degrees, these joints will now be glued together. For gluing, prepare a table of such a size that the frame lies completely on it. Apply glue to the ends and press.

For gluing, prepare a table of such a size that the frame lies completely on it. Apply glue to the ends and press.

Be sure to align the corners so that all corners of the frame are straight. The photo shows a simple and accessible tool for leveling corners - a disc box.

When the corners have dried a little, cut out the corners from thick cardboard and glue them onto the corners, securing them in this way.

And now we dry the frame. The frame takes five to ten hours to dry on this table, quite a lot, so that everything sticks well and secures itself. And the next day, I usually do it this way, we stretch the fabric with the finished pattern onto the finished frame. This is done simply: spread glue on one side and pin the fabric with buttons, then the opposite side, and then the rest. If the product is large, then we begin pinning the first side from the corner, and the subsequent ones from the center to the edges. Now let's dry it again. And again we dry it for at least five hours, and preferably 24 hours. Now the buttons can be removed.

We have a batik painting on a frame, ready to be framed with a baguette.

The art of painting fabrics gave the world sundresses from Russia, painted fabrics and saris from India, and extraordinary kimonos from Japan. Many years ago, one of the methods of hand-painting fabric appeared on the islands of Indonesia - batik.

History of batik

The batik technique goes back hundreds of years, during which it became increasingly more complex and improved. This is a very ancient artistic craft. IN different countries The batik technique, or applying a pattern to fabric, has its own characteristics, but in any case they use water and wax.
Areas of fabric coated with wax do not absorb paint. Wax is also combined with rice paste and clay. They are applied manually using cone-shaped paper bags, “chanting”, and to repeat the design they use wooden or copper stamps, stencils made of wood or high-quality paper.
The concept of "batik" first appears in Dutch texts of the 17th century. The Javanese call batik "ambatik", which means drawing and writing. Although artistic images from India show clothing with designs reminiscent of batik painting, no early examples of such fabrics have been found. The most ancient samples were found in Egypt, they date back to the 5th century AD. e.
Other finds dating back to ancient times include Japanese screens from the Nara period (646 - 794). It is believed that they were painted either by Chinese artists who emigrated to Japan or in their homeland.
The art of batik is very ancient. The earliest references to the use of textile dyes can be found in Chinese texts dating back to around 2500 AD. e. The invention of silk is also attributed to the Chinese (although there is an opinion that back in the 1st millennium BC it could well have been produced in India). BUT the fact that batik was used in China during the Sui Dynasty (710 - 794) is absolutely known. In any case, history firmly connects this art with China, because it was from there that it spread throughout the world - along with silk. Delicate, light material was then worth its weight in gold and was exported from China to Japan, Central Asia, and from there to the Middle East and India. That is why this trade route was called the Great Silk Road. There is evidence that by 1677 the silk trade from India had spread to the island. Java and Persia.
During the Chinese Sui (581 – 618) and Tang (618 – 907) dynasties, Japan was greatly influenced by China, so it is possible that batik from China was exported to Japan at that time. This is also evidenced by screens dating back to the Nara period (646–794). In Japan in the 8th century, batik was widespread. Everyone knows that this country has always been famous for its beautifully decorated kimonos.
In the old days, the Japanese spent a lot of time sitting cross-legged, so they needed clothes that did not restrict movement. In addition, in this country, as indeed elsewhere in the East, it was not customary to show off your figure. But social status had to be somehow indicated, so decorating clothes became commonplace for the Japanese.

Wax painting on fabric in Japan was often combined with other painting techniques, such as knot technique, allowing you to create very complex patterns.
IN early XIX century Miyazaki Yuzen (according to other sources Miyazani Yuzen) created his own style, using both stencils and dyeing with a protective composition. His works are immediately recognizable: magnificent drawings are located within clearly defined areas.
Batik has gained particular popularity on the island. Java, where specialists in this matter have reached unprecedented heights of skill. Yojakarta, Solo, Cirebon, Pekalongan, Tegal, Taximalaya, Indramayu, Garut, Lezam and Semarang are the sonorous “names” of the major batik production centers on the island. Clothes made from fabrics with patterns made using the batik technique were initially worn only by aristocrats. They devoted their free time to painting fabrics. Gradually, servants began to be involved in this delicate and very labor-intensive work.
On about. Java traditional patterns and the technique of applying them were passed down from generation to generation, and in each family they were called differently. For example, cheplokan (with repeating patterns) or kavung (with circular elements). In Central Java, darker colors are used than on the northern coast of the island, where fabrics are painted mainly for the purpose of sale.
North Java was often visited by Arab and Chinese merchants arriving from overseas. Traditional motives here have changed somewhat to suit the tastes of potential buyers. In addition, the bright colors of pink, yellow and blue, which skillfully depict birds and flowers, clearly show the influence of China.
Islam prohibits depicting people and animals, so when it spread to the island of Java, images on fabric became more stylized, and the green color, sacred to Muslims, began to predominate among the colors. At the same time, Dutch merchants preferred European motifs - they were attracted by bouquets, butterflies and birds. Interest in batik in Europe was also stimulated by a book on its history, written by Governor General Fr. Java by Thomas Raffles.
In 1835, the first batik factory was opened in the Dutch city of Leiden. Following her, such enterprises appeared in Rotterdam, Apeldoorn, Helmund and Haarlem. For getting highest profit was developed to cost-effectively reproduce complex Javanese patterns new technology. To train workers, the Dutch did not skimp on hiring Indonesian craftsmen. Returning to Java, these specialists, in turn, established batik production in their homeland. At that time, wax was applied using printing stamps, which significantly reduced the cost and made it possible to obtain very complex patterns. For fabrics with a repeat pattern, the stamps were adjusted to each other.
Field of the sharp collapse of the world economy in the 1920s batik from industrial production again became a solitary craft. A batik school opened in Holland, and it turned into an applied art. The often intricate and stylized designs of batik greatly influenced Art Nouveau and artists such as Madame Pangone, Chris LeBeau and Charles Rennie Mackintosh.

Materials and tools

Textile - made from natural silk (crepe de Chine, chiffon, toile, crepe georgette), but you can also use cotton fabrics (cambric, staple, thin poplin, voile). The fabric can be purchased by the meter and in the form of ready-made scarves, ties or scarves.
Paints – The choice of paints for painting on silk is quite large. Some paints are diluted only with alcohol, others are also diluted with water. They also differ in the method of fastening - ironing, hot air, moisture or steam, and each of them has both its advantages and disadvantages. And yet, experts give undeniable preference to high-quality paints from the French company Lefrans & Bourgeois, fixed by steaming. You can use aniline dyes of both domestic and imported origin. High-quality paints from the Italian company “Maimeri” and “Maimeri idea” are fixed with an iron. Paint for painting marabu fabric from Deagle Design (silk, textill). Today there are many similar dyes on the market. Among the domestic dyes, a set for painting fabrics “Batik” and “Apprentice” from the company “Gamma” is easy to use. Of course, it is inferior to imported dyes, but for beginners it is a great option.
Contour composition – A specific contour composition is suitable for each paint; usually a company that produces textile paints also produces a contour composition suitable for it. As a rule, the reserve composition has a transparent color; in order to make the composition of a certain color, a gold, silver or colored outline is added.
Wooden frame – You can buy it in a store or make it to order in a framing workshop. There are special professional frames for batik with nuts, which makes it possible to adjust it to any size.
Palette and pipettes – make it easier to take paint from bottles and mix them. The palette must have indentations and must be white.
Glass tubes or plastic bottle with a pipette at the end - are used for drawing thin lines using the cold batik technique. Glass tubes can be found in a specialized store or in a kit for working with batik. You can use glass drawing pens, medical droppers with thin tips bent at 135 degrees. The plastic bottle at the end has a metal cap-nozzle with a hollow needle or narrow hole. Chanting is a metal tool for drawing contours.
Adhesive tape – needed for gluing the top side of the frame before starting work, thanks to this the wood will not be able to absorb the paint and will not stain your next work.
Hairdryer – speeds up the drying process of paints. It also helps to create wonderful pictorial effects using the free-form painting technique.
Buttons –(stationery) for stretching fabric. It is better to use three-pronged buttons or pins, since removing them will only leave small punctures. You can use a stapler.
Brushes –(squirrel or kolinsky) If you decide to get serious about batik, you will need professional brushes:

1. Wide squirrel brush;
2. Fan brush;
3. Squirrel brush “Petit Gris pur” international number 11;
4. Red marten hair brush Extra – international number 5;
5. Polyamide brush – international number 4;

Tracing paper and aluminum foil – Tracing paper is used to wrap a painted product while fixing the paints over steam. Foil is placed on top of the pressure cooker when fixing the paints. It prevents condensing moisture from getting into your work.

Alcohol - To make the surface of the fabric dry faster after dyeing, you can add a drop of alcohol to paints diluted with water.

Salt - it is sprinkled on painted and still wet areas. Having the property of absorbing moisture, salt binds and dissolves coloring substances - pigments - in water. The result is original patterns. Try working with salt of different grinds. There is also a special salt for obtaining original stains; it can be found in specialized stores.

Distilled water - necessary for diluting and lightening paints. Do not use tap water for these purposes - even a slight content of lime in it can cause unsightly changes in the pattern over time.

Cocktail straw – In a simple way you can achieve an amazing effect: blow through a straw onto a drop of paint applied to silk.

Iron - will be needed to fix the paint layer or remove wax from a product using the hot batik technique.

Pencil - preferably very soft, used to transfer the motif to the fabric. Or a tailor's pen that washes off with water.

Threads – useful for working in knotting technology.

Wax– universal wax for batik is sold in the store. There are special recipes for making wax.

Fabric dyeing tray– you can use a deep tray, either plastic or metal. Any bath will do, since the fabric must be completely straightened when dyeing.

Crucible with thermostatic control will allow you to heat the wax to a certain temperature and maintain it at the same level. But you can successfully melt the wax in a water bath. It is best to use a small single-burner stove or gas burner.

Batik technique

All the many existing batik techniques can be divided into two main groups.
Hot batik – technique using molten wax as a reserve composition.
Cold batik – technique where it is used as a separating and drawing composition.

Hot batik technique

The hot batik method differs from the cold batik method in that wax (paraffin, stearin or a mixture of both) is used as a reserve substance. Using a bristle brush or a special copper watering can, hot wax is applied to the areas of the fabric that should remain white (the wax stain should be transparent and dark, not white and dull). Then the entire surface of the fabric is filled with highly diluted dye solutions. After the fabric has dried, cover with wax those areas that should remain light-colored, and the rest of the space is painted in darker colors. The cycle: reservation - dyeing - drying is repeated several times and ends with the application of black paint.
For hot batik you will need melted wax; a white household candle can serve as wax. There are special wax recipes for hot batik:

Chanting wax:

6 parts pine resin;
4 parts paraffin;
1 part beeswax;
0.25 parts dammar resin;
0.25 parts fat.
Wax for covering large areas:
2 parts beeswax;
1 part pine resin;
0.5 parts dammar resin;
0.5 parts paraffin;
0.1 parts fat.

Crackle wax:

5 parts paraffin;
5 parts pine resin;
1 part dammar resin;
0.2 parts fat.

With hot wax you can not only separate color from color, but also leave large spots unpainted, because... Paint does not stick to hardened wax.

Stages of working in the hot batik technique:

Stage 1: transfer the design to fabric.
Stage 2: those places in the drawing that need to be left unpainted are covered with a brush with hot melted wax.
Stage 3: after drying, paint the fabric according to the drawing in light colors.
Stage 4: wait until the painting dries and cover the darker color spots with wax and so on until the darkest places in the drawing.
Stage 5: remove wax from the design using an iron and newspapers, placing fabrics between them. After removing the wax, the fabric acquires its original plastic properties.
Stage 6: additional texture is obtained by re-coating the entire surface with wax.
Stage 7: remove the wax from the finished drawing again using an iron and newspapers.

Also applies to hot batik Crackle technique. It consists of the following: fabric, painted with a layer of paint or clean, is covered with wax in several layers, then it is removed from the frame and breaks, creating various cracks on the wax surface. Then the fabric is stretched over the frame again, degreased with alcohol, and then the resulting cracks are filled with any dark color of paint. We wait until it dries completely. Using a hot iron with a lot of newspaper or paper, remove the wax from the surface of the fabric. At the junction of the surface of colored and white spots, a bizarre texture is formed.

“Stamp” technique

Stages of work using the “Stamp” technique:
Stage 1: create a composition of the drawing from simple shapes, preferably geometric ones.
Stage 2: cut out a stamp from a sponge with a cutter or knife. For greater convenience, glue a piece of plastic or a simple handle to the sponge.
Stage 3: heat the wax and apply the wax to the fabric using a sponge or foam rubber stamp. Then you can dye the fabric and continue experimenting. If you come up with a variety of stamps from different materials, the effect can be the most unexpected.

Cold batik technique

The cold batik technique is more diverse:

Free painting technique on fabric is very similar to working with watercolors on wet paper. It is also called watercolor technique.

Free painting on fabrics presupposes the absence of any reserve substances that limit the spreading of dyes over the fabric. Since it is difficult to obtain a clear pattern without them, as a rule, the fabric is primed before free painting using a concentrated solution of table salt, solutions and emulsions of high molecular weight compounds (starch, PVA, CMC, solvetose, gelatin, analgin, etc.). For the “batik hobby” set, CMC, sold in stores as wallpaper glue, is best suited. CMC powder is diluted well in warm water, liquid glue is applied to the fabric with a bristle brush, the fabric is dried and then you can work on it as if watercolor paper. Another free painting method is presented below.

Stages of working in the free-form painting technique:

Stage 1: the fabric stretched over the frame is evenly moistened with water, but so that there are no puddles, it is better to do this with a sponge.
Stage 2: applying paint with a wide flute to the damp surface of the fabric in accordance with the pattern (color stretches from light to dark and from warm to cold).
Stage 3: applying the image on a slightly damp cloth in a dark color with large strokes.
Stage 4: working out the details of the design on dry fabric with small strokes.
Stage 5: additional effects are created by drops of paint blown through a straw (for a cocktail). These drops can be turned into fancy outlines of trees, bushes, etc.

Knot technique. Unexpected and always different effects arise when working with this technique.

Stages of work in the knot technique:

Stage 1: free painting on the background.
Stage 2: the dried fabric is removed from the frame and, using pebbles or other similar things, with threads according to the drawing, several knots are tied on the fabric.
Stage 3: the entire piece of fabric is twisted on both sides very tightly and folded into two or three layers, tightly tied with thread again (the density of twisting and tying significantly affects the future pattern).
Stage 4: the tied fabric is dipped into a container with paint.
Stage 5: carefully remove the fabric from the solution, let it drain, untie the threads and dry it.

Gutta technique

This technique was developed at the beginning of the last century by Russian artists working in silk painting. The technique using contour composition guarantees success even for beginners.

Stages of work in the Gutta technique:

Salt technique

Or an etching technique using salt. The bizarre patterns and amazing structures that arise as a result of using salt when painting paintings, scarves, and clothes using this technique are literally mesmerizing. The reason for this is the hygroscopic properties of salt: it absorbs moisture. The result depends on the size of the salt crystals.

Stages of work in salt technology:

Stage 1: salt is sprinkled onto damp fabric painted using a free-form technique.
Stage 2: it is important not to overdo it; salt is sprinkled where the color spot needs to be enriched with an interesting texture.
Step 3: After the paints have completely dried, carefully remove the salt crystals.

Fabric monotype technique

The technique is rich in effects, but the difficulty is that it is impossible to predict what will happen in the end. It is impossible to repeat your favorite episode.

Stages of working in the monotype technique on fabric:

Stage 1: applying paint to a dry fabric surface with a foam sponge in random order.
Stage 2: when the fabric dries a LITTLE, remove it from the frame and put several large and small folds on it in various directions and iron with an iron, repeat several times until the desired effect is obtained.
Stage 3: smooth out the fabric completely. When ironing damp fabric, peculiar color transitions from dark to light are obtained in the folds, forming an interesting textured pattern.
Stage 4: You can additionally print any texture on top with ink, for example a leaf of wood.

Stencil painting technique

Very similar to the “Stamp” technique in hot batik.

Stages of work in the stencil painting technique:

Stage 1: paint the background using the free-form painting technique in bright and light colors.
Stage 2: apply a template cut from paper or cardboard onto the dried surface of the fabric (you can also use pieces of tulle, lace or other similar materials). The template holes are covered with textill marabu paint with salt (the top paint layer does not mix with the bottom).

Multi-layer painting technique

Stages of work in this technique:

Stage 1: free painting of fabric with bright and light colors.
Stage 2: drawing the outline of the drawing.
Stage 3: painting individual places with dark or contrasting colors to the background to complicate the color palette.
Stage 4: drawing a new outline to work out the details of the drawing.

Stained glass technique

The technique gets its name from the strong similarity of color perception to stained glass. The only difference is the material used.

Stages of work in stained glass technique:

Stage 1: applying a black, gold or silver outline to a white fabric according to the drawing.
Stage 2: after drying the outline, fill the image with various colored spots (the outline will separate color from color, preventing the paints from mixing).

Offset technique

This technique can be called impressionism in silk.

Stages of work in the displacement technique:

Step 1: Immerse the silk fabric in lukewarm water, then wring the fabric well. Silk can be easily twisted, as the creases that form give an additional interesting effect.
Stage 2: spread a well-moistened cloth onto glass or plastic film.
Stage 3: Move the fabric so that some folds lie on top of others. And spray them on top with your chosen paints from a spray bottle or using an airbrush.
Stage 4: before each new spray, change the position of the folds, moving the fabric. And each new stage must dry out.
Stage 5: having applied the darkest paints, just a little bit of them is needed for the depth of the drawing, you need to let the silk dry completely.
Stage 6: before fixing the painting, iron the fabric well.

Thermal batik technique

The easiest way to get patterns on fabric.

Stages of work in the thermal batik technique:

Stage 1: Pre-soak the fabric.
Stage 2: Place on a surface resistant to moisture and high temperatures (wooden or metal), fold in small folds and apply diluted dye solutions with a brush.
Stage 3: The fabric is covered with tracing paper, and a hot iron is placed on top, carefully moving it from one section of the fabric to another until the product is completely dry.
Stage 4: Afterwards, the fabric is unrolled and ironed from the back and face. Without steaming, the product is washed with water and washed with soap.

Additional decorative effects:

We have already become familiar with such decorative effects as “crackle” and “salt technique,” ​​but there are many others that you can create yourself. And here are those that already exist: Light areas on the fabric can be obtained using grains of urea (urea fertilizer); graphic elements can be obtained by mixing a dye solution with CMC glue and applying the thickened dye solution to a dry fabric with a thin brush. The reserve composition can be made not only colorless, but also colored. To do this, squeeze a small amount of oil paint onto paper and leave for 2 hours, and then mix with a colorless reserve.
For the final stage, it is very important to properly secure the product and wash it. First we wash with cold water, then with hot water and wash by hand with soap. After washing, natural silk fabric is treated at room temperature in a vinegar solution (2 tablespoons of 9% vinegar per liter of water) for 10 minutes. After hand washing, items made of cotton, viscose or linen should be boiled 2 times for 5 minutes in a solution of washing powder intended for washing colored laundry. The products should be ironed while still wet, first from the inside and then from the face.

1. Organization of the association's work;
2. Educational and material base;
3. Are common guidelines:
4. Safety precautions;
5. Approximate thematic plan of the association " Artistic painting on fabric";
6. Lesson plans and notes for the classes of the association “Artistic painting on fabric.”

Organization of the association's work

The association “Artistic painting on fabric” can be created at various creativity centers, schools, clubs, summer camps, etc.
Junior and senior children can participate in the association school age, since it is not recommended for children of primary school age to work with aniline dyes and hot wax, as well as with reserves that have a specific odor.
The unification program is designed for 72 teaching hours per year, 2 hours per lesson once a week.
Recruitment of students should be carried out at the end of the summer holidays and at the beginning of the school year. Before recruitment begins, preliminary work should be carried out to attract schoolchildren to the association; for this purpose, posters and announcements are distributed with an invitation to enroll in the association and a brief summary of its content.
In the room where registration for the association will take place, you need to set up a display case or stand with the work of the circle members. When registering schoolchildren for the association, it is necessary to conduct an introductory conversation; when compiling a list of candidates for the association, indicate basic data: Last name, first name, age, school, class, home telephone number and address. Students who have enrolled in the association are given a memo indicating the name of the circle, class schedule, place and time of the first lesson.
It is recommended to include no more than 15 people in one group. In each group, a leader is elected, who is an assistant to the leader, he appoints people on duty, and keeps order. At the end of the lesson, he makes sure that the students put their workspaces in order.

Educational and methodological base of the association

Premises and equipment. Work should be carried out in a well-ventilated area with exhaust ventilation. Lighting should be placed on the left side and in front, and falling shadows should not interfere with work.
Work tables must be wide enough to accommodate not only a frame with stretched fabric, but also tools, fixtures, and paints. Conventionally, the desktop is divided into three zones. In the center there is a frame, to the left of it are tools and devices, to the right are jars with paints and a reserve compound. There should be an electric stove, a fan or hair dryer and an iron on a separate table.
The office should have a wall board for performing graphic work and hanging flat visual aids.

Visual aids. Visual aids are shown when explaining a task or during a conversation. The main types of visual aids used when working on batik include:

Tables with a graphic representation of the sequence of performing a particular painting technique;
Samples of painting on fabric, made in various techniques; samples with various types of defects;
Various illustrative and photographic materials that usually accompany a story or conversation about artistic painting on fabric, its history, and decorative and applied arts.
Previously completed work by students in the association can serve as a good visual aid.

Materials, tools, devices. The best fabrics for painting are fabrics made from natural silk - crepe de chine, chiffon, toile, crepe georgette, but you can also use cotton fabrics - cambric, staple, thin poplin, voile. For painting, the fabric is stretched onto a frame and hoop. To apply a design to fabric using the cold batik method, glass tubes of various diameters are used. But for this purpose, you can use glass drawing pens and medical droppers with thin tips bent at 135 degrees. Tools for working in the hot batik technique are very diverse. These are funnels, brushes, stamps, rollers, tubes, etc.
In painting fabrics using the batik method, aniline dyes of both domestic and imported origin, both dry and diluted, can be used. Some dyes are fixed in steam or a water bath, while others simply need to be ironed with a hot iron.
The reserve composition can be used ready-made, or you can prepare it yourself. The program provides for the production of a backup composition. Using the cold batik technique, to make it you will need: paraffin, rubber glue, gasoline, rosin. For hot: paraffin, beeswax, technical petroleum jelly.
Brushes may be needed in different sizes, both squirrel and hard bristle. In addition to all of the above, there must be an iron available - for evaporating wax from the fabric; rubber gloves - the colors are intense and if they come into contact with the skin they are difficult to wash off; buttons - for securing the fabric to the frame; newspapers - for evaporating wax using hot equipment.

Depending on the assigned tasks in the classroom, they use various methods training (verbal, visual, practical), most often combining them.
Each lesson on the topics of the program, as a rule, includes a theoretical part (10-20 minutes) and practical implementation of the task. Theoretical information is an explanation of new material, information of an educational nature.
The main place in the classes is given to practical work, which includes making sketches, preparing the necessary materials for painting (reserving composition, making the frame itself, painting itself).
It is necessary to think through the content and course of each lesson so that the practical part is a natural continuation and consolidation of the theoretical knowledge acquired by students. So when passing each new technology painting, first you need to introduce children to the history of the origin of this technique, then teach students to correctly and consistently stretch the fabric onto the frame, transfer the image from the sketch to the fabric and instruct students in the sequence of painting itself. Only after this can you start working on the product.
When explaining new material or a task, frontal work methods are mainly used. A frontal display is a demonstration of tables, drawings, visual material, as well as various technical techniques. An explanation of theoretical material and practical tasks is accompanied by a demonstration of various kinds of visual materials and the implementation of graphic work on the board. Demonstration of the sequence of performing a certain task gives the most complete picture of the process of working on the product and its appearance.
The completion of a task in a group of students usually proceeds unevenly: some are in the middle of the work, others are just starting, so individual work is very important. Summing up the results of the work, analyzing and evaluating it is of great educational importance. We must remember that just one critical remark deprives the child of joy and can cause reluctance to continue working, so you need to be extremely careful when criticizing work or a teacher. Students should know that the task should be completed independently if possible, preferably according to an individual sketch or it should be a well-made copy of the sample.
The most appropriate form of evaluation is an organized review of completed product samples. So the viewing can be arranged as a temporary exhibition. Collective viewings will teach you to objectively evaluate your own and others’ work, and rejoice not only in your own, but also in everyone’s success.

Approximate thematic plan for the association “Artistic painting on fabric” ( for 1 year)

Lesson plans-summaries of the association “Artistic painting on fabric”

Lesson topic: Making and applying a reserve composition using the cold batik technique (continuation of work).

Target: study the features of the cold batik technique, master the method of applying a reserve composition to the fabric.

Tasks:

• Develop students' interest in this species creativity, contribute to the development of aesthetic and artistic taste.
• Cultivate patience, accuracy, diligence.
• Introduce the possibilities of the reserve composition and study various additional effects in the cold batik technique.

Equipment and materials. Silk and cotton fabric, hoops, squirrel tassels, glass tubes, samples of work, coarse salt, urea, aniline dyes, soda, distilled water.

Lesson plan:

1. Organizational moment (3 min.)
2. Explanation of new material. (15-20 min.)
3. Practical work. Applying reserve to fabric. (30 min.)
4. Physical minute. (5 minutes.)
5. Show the supervisor additional decorative effects. (15 minutes.)
6. End of the lesson. Independent use of decorative effects in your works. (15 minutes.)
7. Summing up, analysis of work. (7 min.)

Progress of the lesson.

1. - Hello guys! Today in class we continue to study painting on fabric. Let's review and remember what we learned in the last lesson. Here is a small crossword puzzle that will help us with this. ( Appendix 6 ).
– you are not yet familiar with the last word number 3 vertically, let’s leave it until the end of today’s lesson, and when we get acquainted with this concept, we’ll write it down in the crossword puzzle.
2. – In the last lesson, we made a sketch for the cold batik technique, let’s proceed to the next stage of our work and stretch the fabric onto the frame. Take a look at the "Stretching Fabric on a Frame" poster to help you do it correctly, but before we start stretching the fabric, let's take a closer look at another "Safety" poster. ( Appendix 5 ) (Comments and answers to questions).
– The next thing we need to do after stretching the fabric is to transfer the sketch onto the fabric. Look how I will do it. We turn the fabric on the frame so that the fabric fits tightly to the sketch, so we can clearly see the entire sketch in full size and it is convenient for us to transfer it using a simple soft pencil to the surface of the fabric.
– The drawing has been transferred and is on the fabric, now we can use a glass tube to apply the reserve composition along the pencil line so that the line is not interrupted. It is very important that the reserve is applied to the fabric continuously, otherwise the paint will run out of the design.
3. – Look at how to correctly draw the reserve into a glass tube; it is best to do this using a rubber bulb. We remember the content of the “Safety” poster; another very important point is that so that the reserve does not run out of the tube, when you do not lead it along the pencil line, hold the tube with its spout up.
– It is important to remember not only that the outline of the drawing should be closed, but also that if you hold the tube in one place for a long time without moving along the line, a puddle will form. You need to work quickly with the tube. To make the line uniform.
– After you have traced the entire drawing, hold it up to the light, so you can see where gaps or too thin lines have formed. It’s best to turn the work over to the reverse side and work on the drawing in reserve on the left side. Once you have verified the integrity of the circuit, you need to let the reserve dry. In the meantime, we will rest. Let's go out into the corridor, have a physical minute, and in the meantime the office will be ventilated.
4. Physical exercise.
5. To make your work interesting and unusual, I want to introduce you to additional decorative effects. For decorative effects, the salt technique, the “Crackle” effect, and the effects obtained by applying urea to damp fabric are used. When using the latter, be very careful to wash your hands with soap, as urea is a fertilizer and can be poisonous. (Show).
6. Practical work. Students work with aniline dyes directly on their sketches, using the knowledge they have just acquired.
7. We summarize the work done. Discussion of successful moments, resulting decorative effects and mistakes made. We are removing jobs.

Lesson topic : Painting on fabric using a colorless reserve composition while working on the composition “Fairytale Flowers” ​​using the cold batik technique (continuation of work).

Purpose of the lesson: creating the composition “Fairytale Flowers” ​​using the cold batik technique.

Tasks:

• Cultivating interest in this type of art.
• Development of creative abilities and artistic taste.
• Formation of skills in painting on fabric.

Equipment and materials: aniline dyes, squirrel brushes, water jar, paper, pencil, eraser, samples of work, glass tube, reserve.

Lesson plan:

1. Organizational moment (5 min.)
2. Explanation of new material (15 min.)
3. Practical work (30 min.)
4. Physical exercise (7 min.)
5. Continuation of practical work (30 min.)
6. Summing up (3 min.)

Progress of the lesson

1. - Hello guys! Let's check your workspaces and get your sketches.

2. In the last lesson, we worked on creating a sketch for a product using the cold batik technique. Today you must paint the product yourself, based on previously acquired knowledge. Let's repeat the sequence of work using the cold batik technique.

Stage 1: washed silk, dried, and well ironed, stretch it onto the frame. First cover the frame with masking tape.
Stage 2: then transfer the drawing from the sketch with a soft, not sharp pencil.
Stage 3: the next thing you must do is, using a reserve, draw a line for the end of the pattern along the entire perimeter of the fabric, the line must be closed, then the paint will not go beyond its limits.
Stage 4: outline the pencil drawing with a reserve composition; here it is also very important to remember that all lines must be closed.
Stage 5: after the reserve has completely dried, paint the design using aniline dyes diluted to the desired tone.
Stage 6: after the paints have dried, they need to be fixed. This can be done with an iron or by applying wax and then ironing it through several layers of newspaper.

When painting this composition, we will use aniline dyes from the Gamma company, a ready-made set for painting “Batik - Student” fabric. These dyes are very concentrated and require dilution with soda solution. Using pipettes, you can take the required amount of paint and dilute it in the cells of the palette until the desired tone is obtained. Now let's start painting. Every beginner needs to know the basic rule: go from light areas to dark ones; in this case, any accidentally placed spot can be painted over with the darker paint that follows. Dip the brush into the paint about halfway and then move the tip of the brush over the fabric freely, without pressure. The fabric itself “takes” the paint from the brush, so magical colored stains appear without much effort on your part. You can fill the reserved areas with water, and then paint them with paints. With this method of filling, you should remember that the colors will become less saturated, but it will turn out smooth transition from darker to lighter tone. (The entire story is accompanied by a show).

Soft color transitions can be created by brushing the area filled with paint with a brush dipped in alcohol. After this, in some places the paint will lose its saturation, in other places it will become brighter and the transitions from one to another will become smooth. Additional decorative effects can be used. After finishing the painting, you need to dry it.

3. Practical activities is being carried out in line individual work specifically with each student.

4. Physical exercise should divide practical work into two parts. Since painting requires painstaking and perseverance. To unload the spine and eyes, a warm-up is performed.

5. Practical work continues after the physical minute.

6. At the end of the practical work, the results are summed up, students present their compositions and collectively discuss what was successful and where mistakes were made.

Bibliography:

1. Allakhverdova E.E. Batik. Clay. Tree. Homemade crafts. – M.: Astrel Publishing House LLC; AST Publishing House LLC, 2004
2. Stoke Susie. Batik. Practical guide./Trans. from English – M.: Publishing House"Niola 21st Century", 2005
3. Magazine: "Valentina". Silk painting. – M.: Publishing house “OVA-PRESS”. No. 1; 1995