History of fabric printing techniques

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Providing a brief historical overview of fabric printing techniques is not simple because in ancient times there were many authors who referred to this production. Their texts, however, did not provide details capable of proving the reliability of the results. Among the most authoritative examples, we can mention Herodotus, who speaks of clothes coloured with a dye obtained from the leaves of certain plants (specifying that these colours did not fade) and Pliny the Elder who, in his “Naturalis Historia” instead claimed that the Egyptians were the first to draw and print on garments and veils.

India: where it all began 

But the true story of textile printing and fabric printing techniques takes place mainly in India, where experts found the first production centres of printed fabrics. In fact, archaeological excavations have brought to light fragments of printed cotton dating back to the second millennium before the Christ. When these printed fabrics arrived in Europe, a thriving market immediately emerged, in addition to the need to learn about printing techniques and the use of colours.

The first attempts were made in the province of Marseille, not surprisingly a port city, where not only the textiles landed, but also the craftsmen with their precious tools. This marked the birth of the first industry that established a new orientation for the world of textiles and fabric printing, using wooden blocks with raised engravings. Subsequently, there was a real “textiles war” that lasted for decades, until the authorisation to print was newly granted.

Printing techniques  

Once this phase of prohibition ended, again it was France that launched itself into the production of printed fabrics. The area around Versailles saw the most famous production of the time. The procedure used established a model for the following decades. This technique required the cloth base for printing to be purified from oils or primers used during the weaving phase, then washed and beaten to eliminate any impurities. For bleaching, on the other hand, different products were used depending on the period: chlorine, sulphuric acid or a mixture of chlorine and lime. Subsequently, the cotton fabric was passed through calendar rollers and the fabric grain became smooth and ready for the next phase: mordant printing.

To fix the dyes deep in the fibre, they are mixed with chemical substances called mordants. Using various types of natural rubber, the mordant thickens and forms a paste that is spread locally on the cloth in correspondence with the motif to be reproduced. It should be pointed out that the same number of mordants as colours are applied. Three different techniques were used, separately or jointly, to apply the mordants: woodblock printing, copperplate printing and roller printing with copper cylinders. Generally, the wooden blocks, which artisans carved with a design in relief, did not exceed 40 centimetres in size and, therefore, eight separate blocks would have been made for an eight-colour design. Printing took place on enormous tables covered in wool felt to protect them and, at the same time, to attenuate the vibrations caused by the blows.

There is another, less complex, printing method called “resist” printing, which is used to obtain white patterns on a coloured background. The motif on the block is covered with a mixture of wax and earth, which is then printed on the white fabric. Once dry, the fabric is dipped in dye, which penetrates it where the wax has not covered the fabric. Heat is then used to melt the wax and a white pattern appears.

Compared to woodblock printing, printing with engraved copper plates is finer and allows for the creation of more delicate designs, with plays of light and shades similar to those of soft-cut prints. Finally, copper roller printing saves a lot of time because the machine works continuously and creates a product with inimitable precision. Once the procedure is finished, regardless of the printing technique used, the fabrics are primed with a solution of wax and starch, before moving on to the hot calendar. Finally, they are folded and packaged ready for sale.

At the time, this procedure could take anywhere from three to six months, sometimes even longer depending on the season and the weather conditions. It is estimated that a craftsman could print around 25 metres of fabric in four colours per day, using a woodblock, and up to 5000 metres per day using copper rollers.