Lesson 3: As Mr. Miyagi Says, "Wax On"

About Batik Waxes:

There are many different types of wax, each with their own pluses and minuses. My favorite by far is natural, high quality (strained) beeswax. I bought several pounds of inferior beeswax at a garage sale once, and while it works, it has a much coarser, stiffer structure that seems determined to cling to the fabric despite numerous removal attempts. Beeswax has a lower melting temperature than some types of waxes. One of the very beautiful characteristics of batik though is the lines of crackle that appear after the final dye bath. Beeswax is a very soft wax, and by itself, will only produce very fine lines of crackle or even none at all.

A premixed Batik wax can be purchased online and sometimes locally in an art or craft store. This mixture is a combination of beeswax and paraffin. Paraffin has a higher melting point and is more brittle when cool. The more paraffin used, the more the wax will crackle, giving you that "batik" look.

Soy wax... I wouldn't bother unless you are vegan. Much like beeswax, it has a low melting temperature. However, it is not a very hardy wax and can weaken or melt out if washed in warm water.

The wax mixture should be melted in an electric wax pot or crockpot with a HIGH setting. (220°F-240°F) (CAREFUL! If you overheat the wax, it can burst into flames!) Work with hot wax in a well-ventilated area (it gives off fumes), and never leave hot wax unattended!! In case of emergency, you can douse the flames with baking soda, NOT water.

Sketch your image onto the fabric using a pencil.

Stretch the fabric on a Frame or Hoop. This will keep the fabric taught, raised off of your work surface and away from any contaminants or spreading of dyes as you paint.

Applying Wax:

A Tjanting (canting) tool is a Japanese instrument for applying hot wax to fabric, consisting of a small thin copper (or metal) reservoir with one or more capillary spouts, and a handle of reed or bamboo.

Let the metal end of the tjanting sit in the wax pot to warm up to the same temperature as the wax. This prevents the wax from cooling too quickly in the reservoir and allows for a more continuous, clean line.

Use a folded paper towel under the tjanting when transferring it from the wax pot to the fabric. This prevents stray drips of wax from falling on your work. Once wax is on the fabric, it is very difficult to remove without starting all over again. Don’t worry. Sometimes these accidents become a happy part of the design or can be later fixed with magic markers or overdying.

Practice using your tjanting on a scrap piece of fabric to get a feel for it before beginning your batik.

Use the Tjanting tool to apply lines of melted wax to any areas that are to stay white or to stay a specific color that has already been applied to the fabric.

You can also use natural fiber brushes to fill in the larger areas. The brush needs to be reheated in wax much more frequently because it does not have the ability to retain heat that the tjanting does.

In Indonesia, wax designs are repeatedly stamped onto the fabric with intricate metal stamps made of copper called Tjaps or Caps (pronounced "chops"). I tried using mine for the first time last night and have realized that I have a lot to learn. I probably need to use it outdoors where I can shake off the excess wax better before applying it to the fabric. As you can see, my results were blotchy, hinting that I had too much wax and too hot of a tjap.

When applying wax, no matter what method you are using, regulate the temperature so that it penetrates the fabric, not so cool that it just turns yellowish and sits on top, and not so hot that the wax drips quickly from the tjanting or all your drawn lines spread out too much. The wax should have a clear appearance, indicating it has penetrated to the other side. Flip fabric over and apply wax anywhere it has not penetrated.

In lesson 4, I will discuss chemicals and provide you the recipes needed to start dying.