Dyeing

After the initial rise has been applied, the artifact is primed for the first colour bath. Traditionally ending was finished in earthenware tubs. Today most batik factories use super concrete vats. Above the vats are ropes with pulleys that the artifact is draped over after it has been unfit into the colour bath.

The waxed artifact is immersed in the colour bath of the first color. The amount of time it is mitt in the bath determines the hue of the color; darker colours order longer periods or numerous immersions. The artifact is then put into a algid water bath to accustom the wax. When the desirable colouration has been achieved and the artifact has dried, rise is reapplied over the areas that the artificer wishes to maintain the first colour colouration or another colouration at a after stage in the ending process.

When an Atlantic that has been awninged with rise previously needs to be exposed so that it can be dyed, the practical rise is scraped away with a small knife. The Atlantic is then sponged with hot water and resized with rice polyose before it is re-immersed in the ensuant colour bath.

If a marble gist is desired, the rise is designedly cracked before being settled in the colour bath. The colour seeps into the tiny cracks that create the fine lines that are symptomatic of batik. Traditionally, cracks were a clew of base textile especially on indigo colouration batik. On brown batik, however, the marble gist was accepted.

The number of colours in batik represents how many times it was immersed in the colour bath and how many times rise had to be practical and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous colour processes are usually echolike in the toll of the cloth. Nowadays, chemical dyes have pretty much replaced tralatitious dyes, so colours are long and much more generously used.