Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique

Ahda Yunia Sekar Fardhani; Alaika Sugih Katresna

doi:10.31091/mudra.v39i3.2745

Creation of Contemporary Batik with Brush Stroke Motifs Using Layering Technique

Authors

Ahda Yunia Sekar Fardhani Kriya Tekstil dan Fashion, Fakultas Industri Kreatif, Universitas Telkom
Alaika Sugih Katresna Kriya Tekstil dan Fashion, Fakultas Industri Kreatif, Universitas Telkom

DOI:

https://doi.org/10.31091/mudra.v39i3.2745

Keywords:

Contemporary batik, Brush stroke, Layering technique

Abstract

One of Indonesia's growing creative sectors is the Batik industry. The development of the batik industry not only benefits artisans or small and medium-sized enterprises (SMEs) but serves as a creative industry supporting the national economy. This has prompted the government to implement policies to ensure the growth of the batik industry, including promoting innovation and creativity. The author sees opportunities to create contemporary batik in line with these government policies. The term "contemporary" is defined as modern and current. Contemporary batik is characterized by motifs and styles that are not bound by specific rules, making it tailored to consumer preferences. One example of contemporary batik creation, the basis for this research, is brushstroke batik. Brushstroke batik refers to batik motifs created using a brush to apply wax during the batik process, resulting in distinctive patterns. Based on the researcher's observations at a brushstroke batik production house, the coloring process involves basic techniques such as dipping and brushing. However, there is a trend towards using a variety of colors in one batik design. The research identifies the potential to develop designs by focusing on the composition of brushstroke motifs as the main element and exploring various color combinations. This development aims to give novelty in the scientific realm of contemporary textile design, especially in batik innovation towards a modern direction. The development will be carried out using visual composition and coloring layering techniques. This research employs a qualitative method, utilizing literature review, observation, characteristic study, and experimentation for data collection.

Downloads

Download data is not yet available.

References

Aini, S., & Affanti, T. B. (2022). PENCIPTAAN BATIK KONTEMPORER DENGAN CAP BERBAHAN KERTAS. Imajinasi: Jurnal Seni, 16(1), 25–32.

Amanaturrosyidah, O. (2017). Ketahui Proses Membuat Batik dan Cara Mewarnainya. kumparan.

Averoussina, F. B., Bastaman, W. N. U., & Ramadhan, M. S. (2023). PENGEMBANGAN REKALATAR PADA KAIN BATIK BRUSH MOTIF KALA KELAYANG INDONESIA DENGAN TEKNIK SULAM. eProceedings of Art & Design, 10(3).

Bastomi, S. (2012). Estetika Kriya Kontemporer dan Kritiknya. Semarang: UNNESPress.

Deyrup, A. (1971). Getting started in batik. Bruce Collier-Macmillan.

Ernawati, E. (2019). Kajian Estetika Seni Batik Kontemporer Melalui Karya Kolaborasi Seniman Agus Ismoyo-Nia Fliam. Studi Budaya Nusantara, 3(1), 64–84. DOI: https://doi.org/10.21776/ub.sbn.2019.003.01.05

Fardhani, A. Y. (2019). Rasa pada Gatra yang Rumpang: Dekonstruksi dan Rekonstruksi Batik sebagai Inspirasi Berkarya, Pengantar Tugas Akhir Magister. Institut Teknologi Bandung.

Hasanudin. (2001). Batik Pesisiran: Melacak Pengaruh Etos Dagang Santri pada Ragam Hias Batik. Kiblat Buku Utama.

Holowko, R. (2021). How to create the most common surface pattern repeats. Pattern and Design.

Howkins, J. (2002). The Creative Economy: How People Make Money from Ideas. Penguin Books Limited.

Itsnaini, F. M., & Prasetya, A. W. (2022, Oktober). Batik Sembung di Yogyakarta, Lestarikan Budaya dengan Belajar Membatik Halaman all—Kompas.com.

Kelayang Indonesia. (2022). Retrieved from Kreasi Jabar.

Kementrian Perdagangan RI. (2022, Februari 14). Dari Expo 2020 Dubai, Batik jadi Incaran Kolektor Dunia.

Kusrianto, A. (2013). Batik: Filosofi, motif, dan kegunaan (B. Rini W, Ed.; Ed. 1). Penerbit Andi.

Madi, I. (2004). Clive Bell Dan Seni Formalistik. Jurnal Seni Rupa STSI Surakarta, 1(2), 82.

Musman, A., & Arini, A. B. (2011). Batik: Warisan Adiluhung Nusantara. G-Media.

Nurcahyanti, D., & Affanti, T. B. (2018). Pengembangan Desain Batik Kontemporer Berbasis Potensi Daerah Dan Kearifan Lokal. Jurnal Sosioteknologi, 17(3), 391–402. DOI: https://doi.org/10.5614/sostek.itbj.2018.17.3.7

Nurohmad, N., & Eskak, E. (2019). Limbah Kertas Duplex Untuk Bahan Canting Cap Batik. Dinamika Kerajinan dan Batik, 36(2), 125–134. DOI: https://doi.org/10.22322/dkb.v36i2.4968

Prayatna, I. W. D., Santosa, H., & Cora, T. I. R. (2021). Perkembangan fungsi dan makna kain tenun Gotya dalam industri fashion. Mudra Jurnal Seni Budaya, 36(1), 106–114. DOI: https://doi.org/10.31091/mudra.v36i1.1101

Purwanto, P. (2015). EKSPRESI EGALITER, MOTIF BATIK BANYUMAS. Imajinasi: Jurnal Seni, 9(1), 13–24.

Rosyda. (t.t.). Pengertian Industri Kreatif: Jenis, Contoh & Kebijakan Pemerintah. Gramedia Blog.

Sabatari, W. (2006). Seni: Antara Bentuk dan Isi. Imaji, 4(2). DOI: https://doi.org/10.21831/imaji.v4i2.6716

Setiati, D. N., & Astuti, Y. (2007). Membatik (1 ed.). KTSP.

Sukarna, T. H., & Ramadhan, M. S. (2018). Perancangan Batik Dengan Menggunakan Alat Sederhana Sebagai Alternatif Pengganti Cap. eProceedings of Art & Design, 5(3).

Sunarya, Y. Y. (2016). Batik Priangan Modern dalam Konstelasi Estetik dan Identitas. Jurnal Pendidikan Seni KAGUNAN, 4(2), 1–12.

Usop, T. B. (2021). Peran kearifan lokal masyarakat Dayak dalam mengembangkan batik Benang Bintik di Kalimantan Tengah. Mudra Jurnal Seni Budaya, 36(3), 405–413. DOI: https://doi.org/10.31091/mudra.v36i3.1502