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Batik
by Noel Dyrenforth This is the batik book that I have been looking for a very long time. Most books on batik are rather boring “how to” manuals on traditional techniques. This publication stretches boundaries and firmly establishes batik as a synthesis of art and craft. If you doubt this, see the examples of the Noel’s work on pages 51 and 54. The exciting abstract designs and gorgeous color would be stunning on the wall of any museum or gallery. When you consider the amount of planning and meticulous attention to detail required of the batik process, the pieces are truly amazing. Batik begins with a captivating overview of the tradition and development of batik. Various forms of batik, or resist dyeing, that exist in cultures around the world are described in detail. It’s interesting to note the similarities in the process despite the people having access to very different materials. The patterns and garments that emerged in different cultures all over the world are described and illustrated. The description of the modern process starts with a listing of necessary features of a batik workshop and information regarding safety precautions; two essential bits of information that are too often omitted from craft books. A general overview of the batik process includes information on fabrics and fabric preparation, different types of waxes and wax recipes, tools, color and design. The section on dyes is exceptionally well done, with thorough coverage of various types of dyes that can be used for batik. It begins with general dye theory, and then progresses to a detailed description of methodology for fiber-reactive dyes, naphthol or azoic dyes, vat dyes, acid dyes and basic dyes (the first synthetic dyes). Specific processes include discharging, fixing methods, and finishing. The final portion of the book describing the specific, modern batik process is beautifully presented. Each step is described clearly and illustrated with gorgeous color photography. I appreciate how the descriptions are distilled down to the essential information. The absence of excess verbosity contributes to the clarity of this presentation. Etching, or scraffito, in wax discharge dyeing or bleaching with wax, splatter wax, wax printing, working on paper, integrating techniques, boiling out wax and re-waxing are included. The author amply meets his objective “to demonstrate the unique and flexible nature of the wax-resist dyeing process.” Noel’s enthusiasm for the process is evident throughout the book and a gift to the reader. This is the most interesting, exciting, and useful book on batik that I have seen. I, personally, love his contemporary painterly designs. Whether you are excited or intimidated by the prospect of selecting beads for a project, this is the book for you. For those who find color combinations a mystery, this book will start you on the road to mastery by explaining color theory and examining each of the primary and secondary colors in depth. If you already have an intuitive sense of color, the book will add to your ability to combine colors and to use color to its fullest extent to convey the idea that you visualize. Each color has its unique characteristics and emotional associations. Furthermore, this changes with saturation and value. Each discussion of a color includes its emotional impact, how it looks in association with other colors and its properties; i.e. intensity, values and temperature. Vibrant photos illustrate each chapter with pertinent beaded examples. A nice feature is the suggested palettes for each color, including selections of specific delica beads identified by number. The chapter on color and seed beads is of particular interest to beaders. Comparing seed beads to pixels on a computer, Margie offers clear advice on how to combine beads for maximum impact; giving consideration to the surface finishes, bead size and transitions from one color to another. The photo examples in this section are particularly edifying. “Octopus” by Rebecca Brown-Thompson must be seen to be believed. This piece demonstrates mastery of each of the bead characteristics discussed. The author addresses some topics related to color that we have heard of before, but expands upon the concepts and makes them pertinent to working with beads. Her discussion, for example, of colors of the seasons, takes the old, simplistic concept of seasonal color combinations and breaks each season into very exciting subgroups. Combined with a discussion of energy, emotional connotations and surface finishes, the thorough exploration of seasonal combinations is truly inspired. Additionally, she discusses the familiar theory-based color schemes ; such as, analogous, complementary, split-complementary, etc. With each of these, she includes a beading pattern that exemplifies the particular combination. A book about color would not be complete without a discussion of color symbology and emotionalism. This portion is replete with examples of palettes representing western cultures color interpretation, including additional beading patterns. The inspirational photos in the gallery are wonderful. The book concludes with a bonus, beading basics. The reader is encouraged to use the techniques to expand her mastery and to find her voice through color. What a wonderful book! What exciting goals to aspire to! The book successfully meets the author’s goal: to demonstrate that the “history of color is fluid, flexible, and yes, fascinating. Review by Diana Norris |