Indigo Blue Tye and dyed fabric, Shibori fabric

This process, though considered by some to be the most artistic, is the earliest, simplest and slowest of all methods of printing.

In this process, a design is drawn on, or transferred to, a prepared wooden block. A separate block is required for each distinct colour in the design.

A blockcutter carves out the wood around the heavier masses first, leaving the finer and more delicate work until the last so as to avoid any risk of injuring it during the cutting of the coarser parts. When finished, the block presents the appearance of flat relief carving, with the design standing out.

Fine details are very difficult to cut in wood, and, even when successfully cut, wear down very rapidly or break off in printing. They are therefore almost invariably built up in strips of brass or copper, bent to shape and driven edgewise into the flat surface of the block. This method is known as coppering.

To print the design on the fabric, the printer applies colour to the block and presses it firmly and steadily on the cloth, ensuring a good impression by striking it smartly on the back with a wooden mallet. The second impression is made in the same way, the printer taking care to see that it fits exactly to the first, a point which he can make sure of by means of the pins with which the blocks are provided at each corner and which are arranged in such a way that when those at the right side or at the top of the block fall upon those at the left side or the bottom of the previous impression the two printings join up exactly and continue the pattern without a break. Each succeeding impression is made in precisely the same manner until the length of cloth is fully printed. When this is done it is wound over the drying rollers, thus bringing forward a fresh length to be treated similarly.