The art of applying dye and wax resist to bolts of silk for the purposes of the kimono has existed in Japan since the 8th century. However, the special quality of the Japanese rozomé lies in the skill of the artisan when applying dye to the background. The difficulty is in ensuring a gradual and seamless colour gradation from dark to light, without obvious streaks or lines. This is achieved through a very patient application of dye in layers, using special blending brushes such as the jizome or hikizome brush for large backgrounds and surikome brushes for smaller areas. The resultant radiant backgrounds have a luminosity that is today characteristic of Japanese rozomé.
Fill-in colour of the subject is achieved through dyeing and over-dyeing which is repeated sometimes up to 20 times, or painting as done in French silk painting. Today, artists apply acid dyes to silk because wax can be applied on top of acid dyes as soon as they dry, as opposed to fibre reactive dyes which must be batched first.