The Effect of Microwax Composition on the Staining Quality of Klowong Batik Wax
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Batik Nitik's Existence in the Postmodern
7/20/2020 Batik Nitik’s Existence in the Postmodern Era | Atlantis Press PROCEEDINGS | JOURNALS | BOOKS Search Series: Advances in Social Science, Education and Humanities Research Proceedings of the 3rd International Conference on Arts and Arts Education (ICAAE 2019) PROCEEDINGS OF THE 3RD INTERNATIONAL CONFERENCE ON ARTS AND ARTS EDUCATION (ICAAE 2019) Batik Nitik’s Existence in the Postmodern Era Authors Aida Roihana Zuhro, I Ketut Sunarya, Wiga Nugraheni Corresponding Author Aida Roihana Zuhro Available Online 3 July 2020. DOI https://doi.org/10.2991/assehr.k.200703.001 How to use a DOI? Keywords existence, Batik Nitik, motif, geographical indication Abstract The visual form of a work of art is something that receives a lot of attention in the postmodern era. As a result, many works of art continuously experience development and upgrades that are adjusted to the artists’ self- expression. Nitik Batik is the oldest Batik style in Yogyakarta which has signicantly developed in its visual form. This study aims to examine the existence of Nitik Batik in the postmodern era using a qualitative method and phenomenology approach. The research setting is in Bantul, Yogyakarta. Data were obtained through observations, interviews, and documentation. The analysis was done through data reduction, presentation, and drawing conclusions. The ndings reveal that the existence of Nitik Batik in the https://download.atlantis-press.com/proceedings/icaae-19/125941649 1/4 7/20/2020co c us o s e d gs eBatike aNitik’ ts Existenceat t ein thee Postmodernste -
Travel, Textiles, & Tradition
Travel, Textiles, & Tradition b y S u s a n S t o v e r TOP: Row of canting tools in Java, 2015. BOTTOM: Fabric at a textile market in Bali, 2015. RIGHT: SUSAN STOVER Where is My Allegiance? Indigo-dyed silk, encaustic, mixed media on panel, 47" x 54" x 3", 2015. All photos by Susan Stover, ©2015. 6 ©2015 Surface Design Association, Inc. All rights reserved. Surface Design Journal Reproduction without permission is strictly prohibited. Travel can greatly impact an artist’s work. It can influence, be a catalyst for change, or further catapult the journey already started. In the absence of familiar surroundings, it can magnify what captures the eye and the emotions. All is new, exciting, and exhilarating. Both making art and traveling have opened up new experiences and challenged me in unique ways. There is so much to be inspired by—the tatmosphere in the landscape, hues and textures of a traditional market, shrines and temples, and environments of living and creating. I recently returned from my second trip to Indonesia in the last 15 months. As the experiences and inspirations linger in my subconscious, they continue to influence my artwork. My love of textiles was rekindled as a result of these travels. Fabrics abundantly adorn shrines and temples, are used as offerings, typify ceremonial dress, and are displayed as consumer goods. I am inspired not only by the beauty of the fabrics, but also how they function in a society where art, life, and spiritual- ity are all connected. Nowhere is this more evident than in Bali. -
In-Situ Fabric Coloration with Indigo Synthesized in Flow
This is a repository copy of In-situ fabric coloration with indigo synthesized in flow. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/137959/ Version: Accepted Version Article: Haaf, MP, Piemonte, KM, McQuade, DT et al. (2 more authors) (2019) In-situ fabric coloration with indigo synthesized in flow. Coloration Technology, 135 (2). pp. 127-132. ISSN 1472-3581 https://doi.org/10.1111/cote.12383 © 2018 The Authors. Coloration Technology © 2018 Society of Dyers and Colourists. This is an author produced version of a paper published in Coloration Technology. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ In-situ fabric coloration with indigo synthesized in flow Michael P. Haaf,a* Katrina M. Piemonte,a D. Tyler McQuade,b Lucy Cotton,c Richard S. Blackburnc aIthaca College Department of Chemistry, Ithaca, NY 14850, USA; *Tel: +1 607-274-7978; E-mail: [email protected]; bVirginia Commonwealth University Department of Chemical and Life Science Engineering, Richmond, VA 23285, USA; cSchool of Design, University of Leeds, Leeds LS2 9JT, United Kingdom. -
The Nineteenth Century (History of Costume and Fashion Volume 7)
A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45. -
Design and Developement of Semi Automatic Canting Tool (Body Design and Mechanism)
DESIGN AND DEVELOPEMENT OF SEMI AUTOMATIC CANTING TOOL (BODY DESIGN AND MECHANISM) MOHAMMAD MUAZ BIN NORDIN Thesis submitted in fulfillment of the requirements for the award of the degree of Bachelor of Manufacturing Engineering Faculty of Manufacturing Engineering University Malaysia Pahang JUNE 2012 vi ABSTRACT This thesis deals with the design and developement of new tool for making batik. The process of making batik are of two method, batik canting (hand drawn batik) and batik “chop” (batik stamp). Conventionally, in batik canting process, the molten wax are drawn onto fabric using a wooden, copper sprout tool which known as the “canting” or “tjanting”. Since Malaysia government are serious in promoting the industry of batik internationally, and there is need to strengthen the Small and Medium Industry (SME) of Malaysia, this project then is carried on. The main purpose of the project are to design and develop a new semi automatic canting tool. The term semi automatic is subjected to the combination of several processes in batik making process into a single tool. The idea is to have tool that enable the electrical heating and the drawing process done simultaneously. This will eliminate the process of conventional heating process using stove and the process of transferring the molten wax into the canting tool before the drawing process started. This study started by collecting all the information related to batik making process such as the canting tool, the steps on producing batik, and also the raw material related to batik making process. The information are collected through visit and also interview session. -
Batik, a Beautiful Cultural Heritage That Preserve Culture and Support Economic Development in Indonesia”
“BATIK, A BEAUTIFUL CULTURAL HERITAGE THAT PRESERVE CULTURE AND SUPPORT ECONOMIC DEVELOPMENT IN INDONESIA” Evi Steelyana Accounting Departement, Faculty of Economics and Communication, BINUS University Jln. K.H. Syahdan No. 9, Palmerah, Jakarta Barat 11480 [email protected] ABSTRACT Batik is an icon nation for Indonesia. Batik has awarded as cultural heritage from UNESCO on October 2nd, 2009and it is significantly affected to batik industry afterward.The raising of batik industry caused some multiplier effects to economics and socio cultural in Indonesia. In many areas of industry, banking role has always beenthe man behind the scene. Banking role in Indonesia also gives some encouragement and be part of batik industry development. Many national event has been created by some banks to encourage SME in batik industry to market their product internationally. This paper will give a simple explanation how banking industry and batik industry get along together in Indonesia, especially in financial sector to enhance economics development and to preserve a nation culture.Research methodology in this paper is quantitative method. This paper will give a simple analysis through comparative analysis based on export value from batik industry, domestic use of batik,batik industry development and microcredit or loan from banking industry to SME in batik industry.Many people wearing batik to show how they do appreciate and belong to a culture.Batik also gives other spirit of nationalism which represent in Batik Nationalis.The role of batik in international diplomacy and in the world level gives significant meaning for batik as a commodity which preserve Indonesian culture. In a piece of batik cloth, embodied socio-cultural and economic values that maintain the dignity of a nation. -
Dyeing and Colour Fastness of Natural Dye from Citrus Aurantium on Lyocell Fabric DOI: 10.35530/IT.071.04.1686
Dyeing and colour fastness of natural dye from Citrus aurantium on Lyocell fabric DOI: 10.35530/IT.071.04.1686 NAVEED TAYYAB AWAN ASHRAF JAVEED RASHDI YASEEN SAYED ABBAS MUDASSAR REHMAN FAISAL FRAZ AHMAD WEI WANG AWAIS MUHAMMAD ABSTRACT – REZUMAT Dyeing and colour fastness of natural dye from Citrus aurantium on Lyocell fabric The use of natural dyes for textiles has attained attention due to their ecology, minimum impact on the environment and pollution. Therefore the objective of this study is to dye Lyocell fabric with natural dye extracted from orange peel for comparative analysis of colour efficiencies (K/S), CIE L*a*b* values and the colour fastness properties. The mordants applied were ferrous (II) sulphate and copper (II) sulphate. For the extraction of the dye, the aqueous extraction method was used. The pre-mordanting method was used and the dyeing effect on Lyocell fabric was analyzed at concentrations of 2% and 4%. It was observed that the mordant type employed had an influence on the colour efficiency and the colour coordinates of fabric dyed with Citrus aurantium dye. The colour efficiency (K/S: 4) and colour fastness to washing, light, rubbing and perspiration in all the dyed samples were better and excellent (grade 4–5) at 4% concentration. In overall results, the pre-mordanting method at 4% concentration gives the best results of colour efficiency and colour fastness properties. The performance analysis of colour fastness was also statistically significant at the 0.05 level. Keywords: natural dyes, orange peel, Lyocell, extraction, mordant, colour fastness Vopsirea și rezistența culorii colorantului natural din Citrus aurantium pe țesătura din Lyocell Utilizarea coloranților naturali pentru materialele textile a atras atenția datorită aspectelor legate de ecologie, impactul minim asupra mediului și poluare. -
Fundamentals of Natural Dyes and Its Application on Textile Substrates Virendra Kumar Gupta
Chapter Fundamentals of Natural Dyes and Its Application on Textile Substrates Virendra Kumar Gupta Abstract The meticulous environmental standards in textiles and garments imposed by countries cautious about nature and health protection are reviving interest in the application of natural dyes in dyeing of textile materials. The toxic and allergic reactions of synthetic dyes are compelling the people to think about natural dyes. Natural dyes are renewable source of colouring materials. Besides textiles it has application in colouration of foods, medicine and in handicraft items. Though natural dyes are ecofriendly, protective to skin and pleasing colour to eyes, they are having very poor bonding with textile fibre materials, which necessitate mordant- ing with metallic mordants, some of which are not eco friendly, for fixation of natural dyes on textile fibres. So the supremacy of natural dyes is somewhat sub- dued. This necessitates newer research on application of natural dyes on different natural fibres for completely eco friendly textiles. The fundamentals of natural dyes chemistry and some of the important research work are therefore discussed in this review article. Keywords: colour fastness, dyeing, extraction of natural dyes, natural dyes 1. Introduction After the advent of mauveine by Henry Perkin in 1856 and subsequent commer- cialization of synthetic dyes had replaced natural dyes, and since then consumption and application of natural dyes for textiles got reduced substantially. In present scenario environmental consciousness of people about natural products, renewable nature of materials, less environmental damage and sustainability of the natural products has further revived the use of natural dyes in dyeing of textile materials. -
Community Service to Improve Regional Product Development in Tuban, East Java Indonesia
Advances in Social Sciences Research Journal – Vol.6, No.10 Publication Date: Oct. 25, 2019 DoI:10.14738/assrj.610.7229. Widiana, M. E., Retnowati, N., & Slamet, A. (2019). Community Service to Improve Regional Product Development in Tuban, East Java Indonesia. Advances in Social Sciences Research Journal, 6(10) 239-248. Community Service to Improve Regional Product Development in Tuban, East Java Indonesia Muslichah Erma Widiana School of Management, Bhayangkara University, Indonesia Nova Retnowati School of Management, Bhayangkara University, Indonesia Agus Slamet School of Ecology, Sepuluh Nopember Institute of Technology, Indonesia ABSTRACT Batik has been designated by UNESCO as a Humanitarian Heritage for Oral and Non- Buddhist Culture (Masterpieces of the Oral and Intangible Heritage of Humanity). Tuban is one of the cities in Indonesia that produces superior Gedog batik products. Batik is a fabric drawn with a night that has certain peculiarities. The Regional Superior Product Development Program is a community service program with the aim of advancing the Tuban area through its batik products. The problem of partners in this production is the production process, marketing, operational activities, market penetration and also community resources. The results of this activity are (1) Counseling, practice, and assistance in increasing knowledge in the field of coloring and design. (2) Counseling, practice, and assistance in enhancing knowledge in the operational functions of HR management, Marketing, Finance and information and production. Knowledge and ability to manage a business with the knowledge of operational functions of basic knowledge management that is very necessary in managing businesses that must be owned by all organizational structures in the company. -
Making of Stamped Batik by Machined Batik Stamp Pattern Made from Hand Made Design Batik Image
International Journal of Innovative Research in Advanced Engineering (IJIRAE) ISSN: 2349-2763 Issue 03, Volume 3 (March 2016) www.ijirae.com Making of Stamped Batik by Machined Batik Stamp Pattern Made from Hand Made Design Batik Image Suryanto1 Suharto2 VS Tri Priyo3, 1Mechanical Engineering Dept., 2Mechanical Engineering Dept., 3Business Administration Dept.; Semarang State Polytechnic, Semarang State Polytechnic, Semarang State Polytechnic, Semarang, Indonesia Semarang, Indonesia Semarang, Indonesia 4 5 6 Sarana , Iwan Hermawan Agus Suwondo 4Acounting Dept., 5Business Administration Dept., 6Acounting Dept., Semarang State Polytechnic, Semarang State Polytechnic, Semarang State Polytechnic, Semarang, Indonesia Semarang, Indonesia Semarang, Indonesia Abstract— The objective of this practical research is to produce salable stamped batik by low cost production, especially on the making of the batik stamp stand. The method applied are operating varies spindle speeds and cutter diameters, applying selected simplest software prior to the programmable CNC Milling Machine, and testing the resulted stamped batiks by expert judgement. The use of spindle speed of 4775 rpm (6 mm cutter dia.) and 8550 rpm (3 mm cutter dia.) performed normal cutter condition and fine cutting lines of the work pieces at cutting motion of 0,03 to 0,09 mm/cycle. Prior to operating the machine the use of software Vectric Aspire 4.0 can easily convert handmade batik image for the making of tool paths. Based on practical purposes of the resulted batik stamped is stated that these stamped batiks are salable. Keywords— stamped batik, machined batik stamp pattern I. INTRODUCTION There are two traditional type of batiks, first called There are two traditional type of batiks, first called as ‘batik tulis’ (written batik), and the second called as ‘batik cap’ (stamped batik). -
Extraction and Application of Avocado Dyes on Eco- Friendly Fabrics Using Batik Technique
Report of the Minor Research Project Sponsored by UGC Principle Investigator: Dr. S. KAUVERY BAI Project Fellow: Pavitra S Associate Professor, Department of Textiles and Clothing Smt. VHD Central Institute of Home Science, (Autonomous) Seshadri Road, Bengaluru Extraction and Application of Avocado Dyes on Eco- Friendly Fabrics Using Batik Technique. Introduction Colour Attracts and holds attention.....humans have been attracted to colour and have devised ways to add colour to all things, and this has evolved into a science long before chemical dyes were discovered. Natural dyes have been used in early cave paintings as the first form of documented expression or communication. Later these dyes were applied as tattoos; permanent and temporary before showing up on textiles. All the murals depicting textiles in painting found in the caves at Ajanta and Ellora as well as the various paintings documenting the past, show coloured garments. A wide variety of natural materials were used in combination to get different colours, not only were these dyes, ‘clean colours’ but also were bright and fast when used on all kinds of natural fabrics. India is a country famous for its textiles especially dyed, printed, embroidered and intricately woven fabrics. When studying Natural dyes, it is seen that certain colours were automatically considered those of the privileged class, as they were available only at a high cost since the natural sources itself were found in limited quantities, e.g. Tyrian purple. Natural dyes are colours obtained from plant, animal or mineral sources. These natural matters are made to undergo various processes to extract colour from them. -
International Journal of Multicultural and Multireligious Understanding (IJMMU) Vol
Comparative Study of Post-Marriage Nationality Of Women in Legal Systems of Different Countries http://ijmmu.com [email protected] International Journal of Multicultural ISSN 2364-5369 Volume 6, Issue 4 and Multireligious Understanding September, 2019 Pages: 469-477 Cultural Education Values of Canting by Arswendo Atmowiloto and Canting by Fissilmi Hamida Elok Harisma Kartikasari; Suyitno; Andayani Sebelas Maret University, Surakarta, Indonesia http://dx.doi.org/10.18415/ijmmu.v6i4.1025 Abstract This research aims to explain and describe the values of cultural education contained in the Canting novel by Arswendo Atmowiloto and the Canting novel by Fissilmi Hamida. This research is a qualitative descriptive research with all citations related to the purpose of the research as the object of research. The data were collected using content analysis. They were then analyzed using interactive analysis techniques. The results of the analysis obtained from this research are Canting novels, both by Arswendo Atmowiloto and by Fissilmi Hamida, have similar educational values that teach to always obey and respect culture in terms of three elements, namely (1) rules in life related to marriage and the position of women, (2) action activities related to language patterns, performing traditional ceremonies and accepting fate, and (3) human products including canting and clothing used by Javanese for marriage. The difference is that Arswendo Atmowiloto’s Canting presents the priyayi culture which has a tradition of not saying much, but actively holding meetings to develop Javanese culture. Meanwhile, in the Canting novel by Fissilmi Hamida, it explains that various batik motifs from Yogyakarta and gending kodhok ngorek are the results of human works.