The technical part is very complex. Can we really speak of
colours when we evoke these two tints?
How can we obtain a satisfying white on which we can print?
With what kind of formula do we print in black? These
questions arise, even though these "colours" are already used
in the Middle Ages for fabric printing. They can also be found
since the 17th century on Indian calicoes, and on almost all
contemporary textiles.
Furthermore black and white affect the process of the textile
creation. Drafts for industry mostly begin with a concept made
with a pencil or with Indian ink, before they are developed
to precise layouts. The engravers test their drafts for copper
plates or wood blocks on white paper, usually with black ink.
Old engravings, political portraits, photographs of
flowers, publicities and films are distinguished in black
on white paper, white cotton or white silk.
They show
research of the chemists and the technicians of fabric
printing, who tried various processes.
This technical introduction leads us to the local history.
Godefroy Engelmann from Mulhouse realizes at the beginning of
19th century with a new technical procedure the lithography,
with views of active factories of the Upper Rhine. He also
intervenes in fabric printing in several textile factories.
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