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The most common forms use wax, some type of paste made from starch or mud, [1] or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a dye containing a chemical agent that will repel another type of dye printed over the top.
Using stencils to apply the glue and sprinkling different amounts of carborundum through the different stencils. To print a carborundum print, the surface is covered in ink, and then the surface is wiped clean with tarlatan cloth or newspaper, leaving ink only in the texture of the screen or carborundum. A damp piece of paper is placed on top ...
The use of stencils was known by the Nara period, as is evident from objects in the Shōsōin (正倉院). [4] Later paper stencils developed alongside kimono. [3] The technique is known as ise katagami since towns in Ise Province, now Mie Prefecture, were historic centres of the craft. [3] Production is now primarily localised around the town ...
Tsutsugaki (筒描) is a Japanese technique of resist dyeing that involves drawing rice-paste designs on cloth, dyeing the cloth, and then washing off the paste. [1] The rice paste is typically made from sweet rice, which has a high starch content and is therefore rather sticky. The paste is applied through a tube (tsutsu) similar to a piping bag.
Screen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate, except in areas made impermeable to the ink by a blocking stencil.A blade or squeegee is moved across the screen in a "flood stroke" to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact.
Eleko: Resist dyeing with cassava paste painted onto the fabric. Traditionally done with different size chicken feathers, calabash carved into different designs are also used, in a manner similar to block printing. Since the early twentieth century, metal stencils cut from the sheets of tin that lined tea chests have also been used. [9] [13]
One way requires the paper to be dry and then adhered to the stone through a paste made with water and a starch that is made from rice or wheat. The paper is then tamped into the engravings on the stone. The other technique requires the paper to be wet and tamped into the engravings without a paste. [2]
Meisen cloth, probably 1950s Meisen (銘 （ めい ） 仙 （ せん ）, lit. ' common silk stuff ') is a type of silk fabric traditionally produced in Japan ; it is durable, hard-faced, and somewhat stiff, with a slight sheen, : 79 and slubbiness is deliberately emphasised. Meisen was first produced in the late 19th century, and became widely popular during the 1920s and 30s (late- Taishō ...