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By Nik Krevitsky

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1 -i, -i ti AjMiitii'in' : i r r ' 1 1 v ha& Stripe designs in multi-colored crayons over colored paper. A wash of blue watercolor was brushed over certain areas, black over others. Wax resist drawing works well for creating high lights or modeling a form. To create this portrait, white crayon ivas applied to colored construction paper. Black watercolor ivash was brushed over the crayon. Rubbings Rubbings involve transferring a surface texture onto paper. This is clone by placing the paper over the textured object and lightly and repeated] rubbing until the pattern of the texture appears.

30 8. Fourth dyeing in black THIRD WAXING After the fabric has been dried for the second time, areas to remain the color of the second dye are covered with wax as before. At this stage the fabric has wax , over the white, yellow, and orange areas. The remaining, unwaxed areas will be dyed the next color— chestnut brown. FOURTH WAXING AND FINAL DYEING DYEING THE THIRD COLOR The fabric is immersed in the third After the fabric is dry following the brown are The remaining exposed areas color (in the demonstration, chestnut third dyeing, areas to remain brown) following the usual procedure.

Bristol and poster boards are good when smooth surfaces are desired, and they are easy to work on. For variations in texture, charcoal and rough watercolor paper are particularly rewarding. The "tooth" of these papers holds both resist and dye media well, and promotes interesting application techniques. The wide variety of elegant Oriental papers is suited to both modern and traditional approaches to batiking. Because these papers are interlaced with straw or silk fibers, they stand up well under rough treatment and are particularly suitable for crackling effects.

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Batik - Art and Craft by Nik Krevitsky

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