Process:
First, the material is preoccupied and progressed by washing. Washed cloth is dipped in a solution of microbalances and dried. Then, it is spread on printing table topped with sack made stuffing. The fabric section required to maintain the original white colour is first printed with defend against prepared by using lime, gum and water. Wherever red colour is required that segment is printed with Alum solution. The Alum sees through the cloth while lime acts as refuse to accept. Sometimes, sawdust or camel dung powder is spotted to strengthen the resist. The same process is repeated on the other side for both sides printing. Afterwards, the cloth is absorbed in mixture containing. Alizarine and Padvas in which the processed cloth gets a bright red colour on the portion provided with Alum. Again, resist print is repeated to maintain white and red colours. Then, the cloth is dipped in indigo solution prepared by mixing indigo cake, chajikar, lime and water by the exciting method. Even a type of yellow soil nearby identified as ‘Kaiya' is used for black colour. The cloth is washed in flowing water, dried, ironed and packed. In the ‘Minakari' process of painting, lime or terracotta resists is avoided and the white portions of Ajrakh twist into light blue. Minakari process makes possible the printers to get different shades from dark blue and red to deep maroon. To avoid the lengthy and time overwhelming method the craftsmen also make use of artificial colours. Nepthols for red and for blue colour indigo green no. 60 is also utilized.
Champakali, Raiya, Kharek, Nipad, Grinari etc. are the main and famous traditional designs used in painting and they are used on cradle spreads, lungis, sarees, dress materials, pillow covers and table cloths. Main centres of printing are Dhamanka, Khavda and Bhuj.
