LESSION 5 BLOCK PRINTING TECHNIQUE

STRUCTURE

5.0 OBJECTIVES

5.1 INTRODUCTION

5.2 MATERIALS AND TOOLS REQUIRED

5.3 PRINT PASTE FORMULATION

5.4 THE TECHNIQUE OF BLOCK PRINTING

5.5 DRYING AND FIXING THE PRINT

5.6 ADVANTAGES AND LIMITATIONS OF BLOCK PRINTING

5.6.1 ADVANTAGES OF BLOCK PRINTING
5.6.2 LIMITATIONS OF BLOCK PRINTING

5.7 VALUE ADDITION

5.8 ASSIGNMENTS
5.8.1 CLASS ASSIGNMENTS
5.8.2 HOME ASSIGNMENTS

5.9 SUMMING UP

5.10 POSSIBLE ANSWERS TO SELF-CHECK QUESTIONS

5.11 TERMINAL QUESTIONS

5.12 REFERENCES AND SUGGESTED FURTHER READING

5.13 GLOSSARY
 5. BLOCK PRINTING TECHNIQUE
In Lesson 4, we learnt how the block printing technique came into existence, and
became a widely used textile designing technique. We also learnt how blocks are
fabricated. Different types of blocks and the printing that can be done with them were
also briefly discussed. In this lesson we will learn how this technique is actually used for
making designs on fabrics. In the third and final lesson of this unit, we will describe
some pre- and post-treatments which lead to superior performance.

5.0 Objectives
After going through this lesson, you will be able to understand:
• Materials and tools required for block printing
• Technique of block printing
• Preparation of colour paste for printing
• Advantages and limitations of block printing
• Value addition through block printing.

5.1 Introduction
Block printing involves the use of a block generally made of wood into which the
design is cut or carved or sometimes mounted over it just like a stamp. The carved
surface of the block is covered with colour and the design is transferred to the printing
surface by stamping the block on to the fabric.

In this lesson the actual block printing technique will be discussed. This will
include the tools and the materials required, preparation of colour paste, the transfer of
design on to the cloth to give sharp outline, the advantages and limitations etc. The
process involves the use of wooden blocks (Fig.5.1) and the designs are transferred
manually.

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Fig.5.1 Wooden Block
5.2 Materials and Tools Required
For printing with wooden blocks, the following materials and tools are required:

1. Wooden table: A table with polished top or with sun

mica top
2. Woollen cloth (Fig. 5.2): To cover the wooden table and
form a stable, flexible base.
3. Jute fabric (Fig. 5.3): To form a base on the table.
Fig. 5.2 Woolen cloth 4. Spoon: Table spoon to pour the colour on the pad.
5. Foam sheets: To make pads for colours.
6. Tooth brush: To clean the blocks.
7. Tray or Thali: To keep the foam sheet and colour in it.

Fig. 5.3 Jute fabric

5.3 Print Paste Formulation

The print paste formulations for block printing, and also for screen printing are
either based on the use of pigment colours or dyes. The pigment-based formulations
are quite appropriate for block printing also and since one such formulation is described
later in Lesson 14, it will not be repeated here.

Instead, a print paste formulation based on a reactive dye is given below, which
can also be used for screen printing. The various ingredients should be added in the
order shown:

• Reactive dye (according to depth of shade) 1-4 parts

• Hot Water (70-80 0C) 20 parts
• Resist Salt (Mild Oxidizing agent) 2-3 parts
• Urea (dye dissolving assistant) 5 parts
• Sodium Bi-Carbonate or Sodium Carbonate 1.5 - 2 parts
• Sodium Alginate (thickener paste, 4% to 6% concentration) 65-70 parts

Self-check Questions
1. Write the full form of CMC.

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 2. What is the role of wooden table and of woollen cloth in block printing?

5.4 The Technique of Block Printing

First lay 3-4 layers of jute fabric on the table, then cover the jute fabric with 3-4
layers of woollen cloth, spread a couple of bed sheets over it. Then spread the fabric to
be printed in creaseless position on the table (Fig. 5.4).

After preparing the print paste based on

pigment or dye as described, pour it into a
small tray where foam padding with other
material is placed. The Paste (printing colour) is
evenly brushed on the surface of the block
containing the design with the help of a brush
and then pressed onto the pad lightly so that
the dye paste cannot enter the inner parts of Fig 5.4 Block printing
the block.

The printing paste will overlap the design in case there is an excess of paste in
the block, so proper care must be taken while pressing the block on the pad which
contains the print paste. The print paste must be evenly spread on the pad so that there
is no excess quantity. The block is then pressed heavily by the hand on the surface of
the cloth to get the impression of the design transferred on to the cloth. The block is
then moved one step forward and the operation repeated to maintain continuity of the
design. To decorate (fill) the different parts of the design, separate blocks are used
according to the design as well as the process.

Activity
1. Print a cotton dupatta with the help of wooden blocks.

5.5 Drying and Fixing the Print

After the printing process, the colours need to dry and also to get fixed. For fixing
the pigment print, the recommended thermal treatment is dry heat treatment at 140º -
150º C for 4-5 minutes. For this a drying chamber is generally used. When the print
paste formulation is based on reactive dye, the treatment could also be steaming at
atmospheric pressure for 5 to 10 minutes. After drying and fixing, the fabric is washed,
soaped and dried.

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5.6 Advantages and Limitations of Block Printing
5.6.1 Advantages of block printing

1. Beautiful effects can be created.

2. Bright and colourful prints are obtained.

3. A number of blocks can be used not only for different colours but also for
different shades in the same colour.

4. Many types of designs can be made with blocks.

5.6.2 Limitations of block printing

1. Slow output and high cost

2. The placement of the blocks is rarely perfect leading to slight misalignment of the
design.

3. Absence of delicate shading and gradation

4. Separate block is necessary for each colour

5.7 Value Addition

After printing, further ornamentation of the fabric may be done by Embroidery
such as Kantha, Mirror work, Stem stitch etc. and Bead Work to enhance the aesthetic
value, thus increasing the value of the fabric (Fig. 5.5).

Fig 5.5 Value addition

Activity

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 2. Embellish your block printed dupatta by doing some embroidery. For example-
Kantha, stem stitch, bead work etc.

Self-check Questions
3. State the advantages of block printing.

4. Why is cleaning of the block necessary immediately after the printing operation is
over?

5.8 Assignments
5.8.1 Class assignments

i) Identify and collect the equipments used in Block printing.

5.8.2 Home assignments

i) Collect different block printing designs.

5.9 Summing Up
To sum up, in this lesson the materials and tools required for block printing are
first described followed by how the print paste is prepared. The technique of block
printing is then briefly considered. Finally the advantages and limitations of these
processes are listed.

5.10 Possible Answers to Self-check Questions

1. CMC - Carboxy Methyl Cellulose

2. The Wooden table which acts as the support base for block printing should be
strong and stable. It must have a metal or thick slate top covered with a woollen
blanket to give resilience and a water resistant topping. Woollen cloth is used for
making pads which are used as print paste applicators.

3. Advantages of Block Printing:

• Bright and colourful prints are obtained.
• A number of blocks can be used not only for different colours but also for
different shades in the same colour.

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 • Many types of designs can be made with blocks.

4. Blocks have to be cleaned immediately after printing, otherwise the colour can
dry within the engraved design and subsequent prints will be ill defined.

5.11 Terminal Questions

1. From where can the inspiration for creating designs for blocks be derived?

2. Why is a thick paste used for block printing?

3. Give the recipe of print paste formulation.

4. Write about the process required for fixing the print on fabric.

5.12 References and Suggested Further Reading

1. Corbin, T. J. 1934. Hand Block Printing on Fabrics. Isaac Pitman, London.

2. Gillow, J. and Barnard, N. 1991. Traditional Indian Textiles. Thames & Hudson
Ltd., London.

3. Kafka, F. J. 1955. Linoleum Block Printing. McKnight and McKnight Publishing

Company, Bloomington.

4. Mehta R. J. 1984. Masterpieces of Indian Textiles. D.B.Taraporevala Sons & Co.

Private Ltd., Bombay.

5. Mohanty B. C. and Mohanty J. P. Block Printing & Dyeing of Bagru, Rajasthan.

Calico Museum of Textiles, Ahmedabad.

5.13 Glossary
1. Amazing Wonderful

2. Apply To put or spread on

3. Binder Something used to bind separate

4. Continuity State of being continuous or unbroken

5. Curing Prepare by chemical processing in order to improve

properties

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 6. Definite Exact

7. Dyes Colour chemicals

8. Engrave Carve

9. Excess What is over and above

10. Existence Survival

11. Impressed Imprinted

12. Inability Incapability

13. Intermediate Middle

14. Limitations Restriction

15. Manufacture Fabricate Polished Refined

16. Pour Transfer

17. Properly Correctly

18. Restriction Limit Stamp Impression

19. Steaming Heat using steam

20. Stiff Rigid