Natchana Nuanyang, Nawatthakorn Umasin, Tawan Tonyalae and Noptchanok Kwansanga
Abstract :
This project on “Creation of patterns for batik block printing and batik dyeing using indigo-seawater technique” involves preparation of natural dyes from indigo using the indigo-seawater technique. As native indigo plants are abundant in Songkhla Province and nearby areas in southern Thailand, these indigo plants were used in the experiment of extraction of dyes and preparation of indigo vats based on a recipe developed by the authors. In addition, other plants readily available in the local were used in combination of indigo plants in order to create a range of hues. The objectives of this project were as follows.1) To create patterns for batik block printing that represent Songkhla Old Town’s identity 2) To create indigo-dyed batik products using the indigo-seawater technique with the goal of conserving and advancing local wisdom and culture.
3) To utilize indigo plants found in Songkhla Province and the southern region to the maximum benefit. In this project, the sustainability theory was used to develop sustainable solutions to mitigate long-term environmental impacts for future generations. This approach, coupled with the strategic framework of the BCG model, which integrates bioeconomy (B), circular economy (C), and green economy (G) principles resulted in the creation of unique local works and innovations through the use of local raw materials, plants, as well as local lifestyles, arts, culture, and wisdom through valuable creative development. Additionally, by utilizing the art and science of design and textiles for societal, social, and environmental purposes, the creation of indigo-dyed fabric products using the indigo-seawater technique in this project captures the allure of the South. It incorporates the ideas of a new generation designers to produce problem-solving pieces that value cultural capital and wisdom. The focus is on developing learning and practical skills that lead to income-generating works.
In order to develop products that represent the cultural traditions of Songkhla Old Town tourism, block printing patterns were used in combination with the Culture Smart City: Songkhla Old Town initiative. This was accomplished by examining cuisine, desserts, architecture, arts and culture, traditions, textiles, and clothing in Songkhla Old Town using data from entrepreneurs, stakeholders, scholars, and visitors. A questionnaire and semi-structured interviews were used to gather the data and develop the design patterns that represent Songkhla Old Town’s identity.
Objectives :
- To create patterns for batik block printing that represent Songkhla Old Town’s identity.
- To create indigo-dyed batik products using the indigo-seawater technique with the goal of conserving and advancing local wisdom and culture.
- To utilize indigo plants found in Songkhla Province and the southern region to the maximum benefit.
Conceptual Framework :
1) Study the basic information including concepts and theories relating to Songkhla Old Town’s identity, wisdom in batik producing, indigo-seawater dyeing technique, and appropriate product development guidelines; develop tools and conduct preliminary field surveys; and interview with stakeholders to facilitate product creation.
2) Analyze the design trends of appropriate indigo-dyed batik fabric products using the indigo-seawater technique, incorporating the analysis of fabric product entrepreneur groups for product development and collaborative product design.
3) Create a prototype of indigo-dyed fabric with the indigo-seawater technique using the following steps: 1) Pattern design and batik printing block creation; 2) Indigo dye extraction and indigo vat preparation; 3) Indigo dyeing of batik fabric using indigo-seawater technique; 4) Maintenance of indigo vat and routine environmental control.
4) The Output/Outcome of the design process of patterns for batik block printing and indigo dyeing are indigo-dyed batik products, using the indigo-seawater technique, with distinctive patterns that capture the Songkhla Old Town’s identity.
5) The creations in this project were developed by integrating knowledge in the subjects of Wisdom for Fashion Design, Concept and Innovation, and other subjects under the Fashion and Textile Design Program, Faculty of Architecture, Rajamangala University of Technology Srivijaya.
6) Summary of discussion and suggestions for further development.
Process / Methodology :
The wax printing in this project involved dipping pattern blocks inspired by Songkhla Old Town’s identity in liquid wax or batik wax to prevent the color from seeping into the printed area, resulting in beautiful and sharp patterns. This process, which required meticulousness and expertise, consisted of the following steps: 1) Washing a 100 x 120 cm cotton satin fabric to improve dye adhesion; 2) Laying the washed fabric on a table with smooth surface; 3) Wax stamping, which involved stamping the desired pattern onto the fabric after dipping a printing tool (like a Chanting) in hot wax (a mixture of paraffin and beeswax). The wax would permeate the fabric, preventing the color from becoming embedded there.
Preparation of the Indigo Vat: Fresh indigo leaves can also be used for indigo dyeing, but because they retain less pigment, the color tone may not be as strong as when wetting the indigo mass and then preparing the indigo vat. In order to prepare a dye solution for effective dyeing of fabric and fibers, the indigo vat must be appropriately prepared. The preparation of indigo vat consisted of the following steps.
Step 1: Prepare a suitable container, such as an earthen jar or a wide-mouthed bucket with a tight-fitting lid to prevent dirt or insects from entering the indigo vat.
Step 2: Thoroughly mix the filtered lye water from the ashes of local plants found in Songkhla Province with the red lime and wet indigo by stirring and pour the mixture into the indigo vat.
Step 4: Add tamarind or other sour fruits into the indigo vat (star fruit, garcinia cambogia, or seasonal sour fruits are used to prepare the indigo dye recipe).
Step 5: Thoroughly stir all the ingredients and then scoop up the indigo dye solution and pour it into the vat multiple times (Joke) in order to introduce additional oxygen to the indigo vat. Close the lid and set the vat aside. Following the preparation of the indigo vat, the indigo dye solution must be scooped up and poured down each morning and evening, and the vat must be closely observed for any changes. The supernatant of the indigo dye solution must be a clear tea hue, while the bottom must be a dark turmeric-yellow mud with an indigo scent and shiny, blue bubbles that do not collapse. This process takes approximately one week or more, depending on factors including weather conditions, raw materials, indigo quality, and lye concentration.
Techniques and Materials :
Techniques
Indigo-Seawater Dyeing Process: The fabric must be washed and cleaned before starting the indigo dyeing process. This involved soaking the fabric in seawater (mordanting) and then rinsing it two or three times with clean water in order to remove dirt and unnecessary dyes. The fabric was then hung outside to fully dry. The dyeing process involved the following steps:
Step 1: Wash and completely dry the fabric, and then print the wax pattern representing the Songkhla Old Town’s identity.
Step 2: Wet the wax-printed fabric with clean water. The water acts as a binder and helps the fabric absorb the dye evenly by ensuring the dye can penetrate the un-waxed areas, preventing air bubbles and creating a more uniform color.
Step 3: Carefully immerse the wax-printed fabric into the indigo vat, allowing it to dye until the desired shade is reached. Ensure the fabric is turned and agitated gently in the vat to help the dye penetrate evenly. To get a darker shade, repeat the dipping multiple times, as each dip allows the fabric to absorb more indigo dye. but avoid touching the bottom of the vat.
Step 4: When the desired shade is reached, lift the fabric into the air. When the indigo dye reacted with the air, it turned either dark blue or indigo. The fabric was then let to dry in the shade. The wax may melt if the fabric is exposed to sunshine, shattering the wax lines and making it more difficult to remove by boiling.
Step 5: Boil the indigo-dyed fabric to remove the wax.
Step 6: Wash the fabric 4 to 5 times to complete the indigo dyeing process. After indigo dyeing, a post-mordanting was performed by soaking the fabric in seawater to set the color and make it more durable.
Materials
In the creation of prototypes based on different aspects of Songkhla Old Town’s identity according to the creativity frameworks and concepts and the development of batik products using the indigo-seawater technique in this project, the following materials and equipment were used.
1) 100×120 cm cotton satin fabric: Cotton satin is a natural fiber fabric known for breathability and durability, but it has better color absorption capacity compared to synthetic fibers.
2) Batik tools including wooden frames for stretching the fabric during drawing and painting, batik wax for drawing or printing patterns on fabric to prevent the color from seeping into waxed areas, and batik pens (Chanting).
3) Natural dyeing tools including a thermometer for measuring the temperature of the dye solution, pH test paper or litmus paper for checking the acidity or alkalinity of the dye solution, a thin cloth for filtering the dye solution, a boiler, gas, a basin, etc.
4) Mordants, modifiers such as salt, mud, lime, locally available fruits)
5) Raw materials used in preparation of indigo vat included wet indigo dye mass, alkaline water (for increasing the alkalinity (pH) in the indigo vat, red lime (for increasing the alkali concentration), brown sugar, tamarind juice, Garcinia cambogia, and sea water. These raw materials are important in creating batik products, and in this project, local raw materials were used in order to maximize the value and worth of raw materials in the community.
Result / Conclusion :
This project on “Creation of patterns for batik block printing and batik dyeing using indigo-seawater technique” involves studying and analyzing data from relevant documents, literature, and studies, with the aim to develop batik products. The results of this project can be summarized into two main parts as follows: 1) Design of patterns for batik block printing inspired by Songkhla Old Town’s identity. Due to its proximity to port cities on the Malay Peninsula, Songkhla Old Town is a multicultural city with elements of Thai, Chinese, and Muslim cultures. The identity of Songkhla Old Town is reflected in the way of life, vent patterns, houses, tiles, porcelain, clothing, embossed metal decorations, food and desserts, and dessert molds. The analysis revealed that that these patterns share a common characteristic, namely natural vine patterns. Shophouses, on the other hand, have terracotta tile roofs and are designed in the ancient Chinese style. The promotion of Songkhla Old Town as a World Heritage Site has made it a popular destination for historical and cultural tourists. 2) The development of batik products using indigo-seawater technique. In this project, batik products were developed using indigo plants found in the southern region and the extraction of natural dyes using local raw materials in order to minimize costs and to maximize the benefits of locally available materials in the development of natural dyeing products from indigo.
As the survey revealed that native indigo plants are abundant in southern Thailand, these indigo plants were used in the experiment of extraction of dye and preparation of indigo vat based on a recipe developed by the authors. In addition, other plants readily available in the local were used in combination of indigo in order to create a range of hues. The objectives of this project were as follows. A range of theories and ideas were incorporated into the creation process, resulting in data that could be explored and further developed for both national and international exhibitions. It is considered an exchange of ideas and processes for further development of creative batik products.
We genuinely hope that students, entrepreneurs, and anyone interested in this topic will find this project on indigo-seawater dyeing technique and wonders of natural hues useful. We would like to express our gratitude to everyone who helped to successfully complete this artistic endeavor.
References :
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