Textile Printing in India – Traditional Approach

India is a country of diversities. It is rich in various embroidery techniques and printing techniques. Indian tradition is even rich in paintings and we can see that from the paintings of Ajanta murals and miniature paintings. In ancient times, the art of weaving and dyeing on cotton had been well developed, but it developed on silk later. In the fifth century, floral and geometric designs were popular in India and we can find that from the trade between India and Egypt. India is the first one who introduced the art of dyeing and printing with fast natural colors for the first time. For foreign travelers, indigo dyeing was a mysterious process because when the fabric is dipped in indigo bath, there is no color observed. Only when the fabric gets exposure to open air, the colors develop.

The purpose of printing is for the adornment of the textile. Correct co-ordination between human skills and printing machinery is required. Many kind of printing techniques are there, among which screen printing is important one.

Earlier, screen printing was known as silk printing. In that, silk gauge was being used as a screen for printing, so it was known as the silk printing. The design was engraved on the silk gauge and then the color was spread on that. The main benefit of screen printing is that it is cost-effective and large-scale production is possible with it. Screen printing is more advantageous than dye sublimation and inkjet printing. It is normally used for banners and flags. The pioneer of screen printing is Guy Mc Roy.

Printing groups

Hand-block printing is a reputed art and it has been handed down through generations. Ahmedabad in Gujarat is a very important centre for trade of this kind of printed textiles. The South region also has several centers which are well known for prints on cotton. Printing and dyeing were earlier developed in Rajasthan. In Gujarat, wooden block printing was more common. Block printing is rich in vibrant colors, so it became more popular. The processes of creating colors were very simple. A very surprising thing is that the same motif can be used in different forms. Madhya Pradesh also has a different style of printing, which reflects its culture.

The main centers of traditional printing in India are as follows:

Bhuj, Jamnagar and Ahmedabad in Gujarat.
Udaipur, Jodhpur, Ajmer, Kota, Bagru, Sanganer and Barmer in Rajsthan.
Indore, Bagh, Ratlam, Gwalior, Mandsore, Neemach and Ujjain in Madhya Pradesh.
Varansi, Lucknow, Farukhabad, Kasipur, Kannuaj, Kanpur, Mathura, Mirzapur and Fatehpur in Uttar Pradesh.
Nasik, Nagpur, Khandesh and Mumbai in Maharasthra.
Bangalore, Manglore and some parts of north in Karnataka.
Vijaywada, Chirala, Machalipattanam and Srikalahasti in Andhra Pradesh.
Kumbarnam, Tanjore, Tuni, Kodalikaruppur and Chennai in Tamil Nadu.
Sreerampur, Murshidabad and Kolkata in west Bengal.
Bastar in chattisgarh.

Traditional Printing styles

Each region has a different style and method of printing which is an identity of that region. These printing styles are broadly as following:

Direct style of printing:
In this style, printing is done with pastel or white colored background by any method.

Discharge style of printing:
In white discharge style, the print is created by removing the color from the dyed material. When the color is removed and the print is created by the color, that style is known as color discharge style.

Resist Style of printing:
In this, the color resistant material is used for the printing. First, the color resistant material is applied on the fabric and then the fabric is dyed then the color resistant material is removed and the material which is not dyed is filled with different colors. Mud and wax are being used as color resistant materials.

The printing style in which mud is used is known as Dabu style and that in which wax is being used is known as Batik style. Liquid wax is applied on the fabric with pen, brush or block on the images.

Some other specific printing styles are as followings:

Block Printing
This technique was originally developed by China. First of all, the original wooden block is developed and then with the help of ink, the duplicate is produced by the craftsmen. Highly skilled people are needed for this.

Ink- jet printing
In this method, ink drops are used which are basically dye liquids. The print is created by small ink drops on the intended image.

Hand printing
Hand printing is one of the traditional techniques of tie-and-dye and it is used for decorative values of textiles.

Spray printing
The gun is used in this technique. The color is sprayed with force from gun on screen and electro coating is used.

Tie-and-dye
This technique includes tying of both wrap and weft threads. Normally, bright colors are used in this.

Kalamkari
Kalamkari work is done with kalam, from which it derived its name. kalam means pen and Kari means work. Thus, the work done with pen is called Kalamkari. It is a very ancient work of India.

Batik
Batik is a dyeing process in which first, color resistant material is applied on the fabric and then the fabric is dyed. After dyeing, the color resistant substance is removed. So the fabric attains its original color at those places.

Printing groups with categorical identity

Each and every region has some special styles and they use the material which is locally available. The craftsmen use a blend of locally available and traditional material and when they do not have traditional material, they borrow it from other regions. Each region has its different style of patterns, designs, color combination, motifs and arrangement and presentation. Sometimes, some similarities are also found because of the nearness of the regions. The prints of Ahmedabad, Farukhabad, Pethapur, Sanganer and Bagru are quite similar because Gujarat and Rajasthan are neighbor states. It is very difficult to differentiate between Saganeri and Bagru prints and careful observation is needed for that. Bagru prints always have a light background while Sangaaneri prints are always on a white background. In Madhya Pradesh, flat blocks are being used and known as Gudd printing. In Rajasthan, raised blocks are being used for designs. Farukhabad is well known for its artistic representation of designs. In Bangalore, blocks which suit silk fabrics are used, along with very rich colors, up to seven color blends.

Development of Traditional Printing Designs

The main source of the designs is surroundings. In textile printing also, mainly motifs derived from nature and man-made objects which are part of the near environment of the artist are used. With the help of color blend and changes in width and length, the artist creates optical illusions. In hand block printing, repetition is needed. So, good skill of the artist in uniform repeat is a most-needed thing.

The repeats in different styles make different designs like in line or in circle. With a creative approach, an artist can produce a number of designs with a single block.

Every region has a different and typical style of printing and they follow their particular pattern of design making.

In Bagh, designs are produced by arranging blocks in square, rectangular and diamond shapes. In Nandana prints, lines are produced by using blocks in series. In Batik, the use of blocks is in a free hand manner and generally geometrical and floral designs are produced.

Motifs of Traditional Printing Designs

The cave paintings also became a source of inspiration for the motifs. Birds, animals and surroundings are also a good source of inspiration for designs. In India, temple architecture also influences the motifs and design patterns. The mango motif (kairi) is available in 1000 modified forms. Small flower motifs like chameli, mango leaf and chilly motifs are also very popular. In Nandana prints, the mango motif and leaf are arranged in different ways and printed in indigo colors. Other geometrical structures like pyramid, pentagonal, triangles and circular buti are also seen in Nandana prints. This sometimes gives the effect of woven borders.

Generally it is believed that these kinds of flowers, geometrical and bird motifs are suitable only on coarse fabric and traditional ones like Lugda. The National workshop organized by Central Silk Technological Research Institute (CSTRI) has shown the use of the same motifs on chiffon, crepe, georgette and dupion and has also shown that this is fit for running fashion and present day trends.

Mordants for natural Dyes of Traditional Printing

Mordants are fixing agents. They give a strong bond between textile material and colorants. Metallic compounds like Copper sulphate, Aluminium sulphate and ferrous sulphate are normally used as mordants. Some metallic materials affect the final products, like ferrous sulphate that leaves a blackish shade on the final fabric while alum improves washing and makes it fast.

Alum:
Alum is a colorless, commonly used mordant which is used since ancient times.

Chrome:
Sodium dichromate and bichromate of potash or potassium are common chrome mordants and are used for dyeing of cotton.

Copper:
Copper sulphate which is known as blue vitriol is also used for dyeing since long. It is poisonous, so extra care is needed while using it.

Iron:
Iron is used in the form of ferrous sulphate. This is the easiest form in which iron is available. It affects the final color of the fabric. Earlier, it was used to produce black and grey in combination, but now it is used as a post-mordant.

Tannic acid:
When tannic acid is used with ferrous sulphate, it gives blue or black color. It is commonly used as a mordant for cellulose fibers.

Tin:
Tin is available from tin crystals, stannous chloride, murate of tin and tin salts. It is used with other agents as a modifying agent and brightens the dye colors. Extra caution is needed when used because it is poisonous.

Natural Dyes for Traditional Printing

The main source of natural dyes is plants, animals and minerals. Till the discovery of synthetic dyes, it was the only thing which was available to dye clothes. Normally, all the regions use primary colors like yellow, blue and red and the combination colors of those like brown, green and orange.

The common sources of some colors and the parts from which they are obtained are as follows:

Red color is obtained from Manjistha (Rubia cordifolia) from its bark.
Brown is obtained from Kachha katha (Acacia catechu) from its extract, from Acroth (juglansregia) from its bark, from Babul (Acacia arabica) from its seed.
Yellow orange from Lal Chandan (Adenanthera pavonina) from its bark.
Beige from Fuel wood (Dipterocarpus turbinatus) from its saw dust.
Mustard form Marigold (Tagels erecta) from its petals.
Golden from Henna (Lawsonia inermis) from its leaves.

Traditional Printing Process

The color is evenly spread out in a tray and then the block is dipped in the color. Then the blocks are applied on the fabric. Then strokes are given on the wooden block so that good impression is created. On the outer side of the block, a mark is there which gives a guideline for the printer as to when to repeat. When the printer wants to do a multiple color design, he can dip his block in the second color. The printer has to be careful about the fact that both the colors should not give some other color. A single color design can be produced faster.

The fabric needs pre and post processing. Complete processing of the fabric needs 3 to 4 weeks. Castor oil is used to give softness to the grey fabric.

A wash is needed after every treatment. Every color needs a different time to develop. Basic colors like red and black take 7 to 10 days for developing. After developing of the color, one wash is required.

Scope of Traditional Printing

All the regions do not give much attention to final finishing. There is a greater need to give attention to the final product.

In hand block printing, flowing water is needed. The use of alternative sources can save the environment and labor too.

If proper attention is given to this art, it can give employment to many people and can even preserve the local folk and traditions. It is a good prospect for export market also.