Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.

Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in thewajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.

The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.

If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Oftencap and canting methods are combined on the same piece of cloth.

Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

Selection and Preparation of the Cloth for Batik

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Batik Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

For close-up pictures of canting.

Wajan

The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. Thewajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.

The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.

The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.

Cap

Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.

Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the capare identical so that pattern will be consistent.

Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the

bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.

Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.

The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. 

Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.

In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.

The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.

BATIK NATIONAL DAY 2012 | HISTORY BATIK INDONESIA

History of batik in the archipelago began long before the word "Indonesia" itself created. Culture printing techniques dye batik cap by using the night of honeycomb on the fabric was not exclusively found in Indonesia, but stretched from Egypt to the Middle East region.

This technique can also be found in Turkey, India, China, Japan and Africa. But there is no single place in the world that develops technologies and batik motifs such complex and rich as in Indonesia (especially Java).

Theories regarding the origin of batik has become a fairly complicated conversation. G.P. Rouffaer, Dutch scientists examined about batik said, the technique was first brought from South India region. There is another opinion from JLA Brandes that said that there was the influence of India before coming to Indonesia, the archipelago has 10 indigenous cultural elements, namely, puppets, gamelan, poetry, metal casting currency, navigation, astronomy, rice cultivation, irrigation, government, and batik.

This theory was then a little break theory that batik originated from South India.

There's more to tell, history of batik in Indonesia growing and developing since the imports of woven fabrics from India in the 17th century. European Cain also went to Indonesia in early 1815. But this theory is also rolling away. Given the similar motifs of batik can already be found in the temple reliefs of Prambanan and Borobudur well. This means that buildings that had stood since the 8th century is already affecting motif that exists today.

A review of history, published by Van Kunsten Wetwnschapen Genootchap Bataviaasche 1912 and named the book Centini said at the time Pakubuwono V, batik existing terms and at that time there have been subtle motifs like gringsing, kawung, machetes and others damaged.

The book also mentioned that the canting already in use at the time. In ancient and medieval literature, was found nyerat or discussion about a suspected nitik fabric decorating techniques using night. Later, after moving to Kartasuro Surakarta palace, came the term mbatik of Jarwo Dosok. The word is derived from the combination of the words "ngembat" and "stop" means making a point.

Of all the literature is quite noticeable that the color merintang techniques using night is indeed developing and developed in Java, especially Central Java. The case then all the archipelago has batik is clearly due process of human movement and the movement of cultures existing together with these men.

And techniques and is being developed, following the cultural assimilation of the people. And is then used to make batik became so rich and diverse.

From east to west, from north to south, almost all regions of the island of Java has its own batik. Talk Yogyakarta and Solo batik, then we'll talk a little about the history of the Islamic Mataram kingdom. A royal pomp aftermath of the archipelago is so successful in his time.

Through a very complicated process and involves hundreds of Islamic Mataram royal rebellion eventually split into two through Giyanti agreement on February 13, 1755.

The agreement involves a more or less VOC's intervention, dividing the region into the Islamic Mataram Sultanate of Surakarta and Yogyakarta. Where Pakubuwono III became king and Prince Mangkubumi become the new king in the region with the title Sultan Hamengkubuwono I.

In essence, the separation areas, then make a variety of changes in the culture of both regions.

Surakarta, which is the beginning of the Islamic Mataram kingdom to maintain any type of culture they have. Start of ritual, dance to batik. While Sultanate Sultanate Ngayogyakarto tend to make various kinds of new traditions, while remaining rooted in the tradition of Islamic Mataram kingdom. It includes batik fabric.

If the bit is concluded, the culture of the Surakarta Sultanate Ngayogyakarto more conventional than the likely progressive Sultanate. This is seen for example in Yogyakarta dance more dynamic than the more upright stance than Surakarta.

For batik, Sultan Hamengkubuwono I of Yogyakarta, choose white as the background color of batik fabric base. While His Majesty Pakubuwono III of Surakarta / Solo still choose dark background tends to Sogan and batik fabrics.

White is the dominant color that can be seen in Yogya batik cloth. Sogan golden brown color is the dominant color of batik Solo.

If Yogya batik appear darker in color, the darker the color will be dominant kebiruanlah seen on batik fabrics. While Solo Batik will appear in black and tan when she appeared in a dark color. This comes as a result of the blue dye process multiple times obtained from the indigo plant.

While the dark brown color found in a Solo batik dyeing results repeatedly Sogan brown.

This is the most basic thing that distinguishes Yogya and Solo batik. Sogan color brown or golden yellow color remains the second characteristic of batik.

Some differences were also seen how Yogya and Solo batik artisans in memprodo - gold decoration on the motifs - their batik.

Solo affixing different styles Prodo Yogya style. In the style of Solo, was spiked Prodo outline (outline) style and some of Isen-isennya. While the style of Yogya, almost all shades and coated isennya Prodo. The impression is displayed on Prodo Solo style is more calm and graceful, while in Yogya style more handsome and stand out.

Both are equally beautiful. Batik, a work of art that represents the soul. So also with the wearer. Which do you prefer? Of course it all depends on taste ... (Iwet Ramadan)

Thus Snapshot History of Batik Indonesia to commemorate National Batik Day 2012. Hopefully more and more in love batik, batik is an icon of pride for us.

By region of origin

Batik Bali
Batik Banyumas
Batik Madura
Batik Malang
Batik Pekalongan
Batik Solo
Batik Tasik
Batik Aceh
Batik Cirebon
Batik Jombang
Batik Banten
BatikTulungagung
Batik Kediri
Batik Jepara / Batik Kartini
Batik Brebes
Batik Minangkabau
Batik Netherlands
Batik Japan

Based on the pattern

Batik Kraton
Batik Sudagaran
Batik Cuwiri
Batik Farmers
Batik patchwork
Batik Sida Mukti
Batik Sekar Jagad
Batik Pringgondani
Batik Kawung
Batik Sida Sublime
Batik Sida Asih
Batik Rama Cement

http://cdn.adf.ly/images/banners/adfly.728x90.2.gif

Ways of making

Originally batik made ​​on material with white color made ​​of cotton cloth called mori. Today the batik is also made on other materials such as silk, polyester, rayon and other synthetic materials. Batik motif formed by the liquid wax by using a tool called a canting for subtle motifs, or brush to a large motif, so that the liquid wax to seep into the fabric fibers. Fabrics that have been painted with wax and then dyed with the desired color, usually starting from a young colors. Immersion then taken to another motif with color or black older. After some time the coloring process, which has dibatik cloth dipped in chemicals to dissolve the wax batik





Making batik
According to engineering

1. Batik is a fabric decorated with texture and style batik by hand. This type of batik takes approximately 2-3 months.
2. Batik cap is decorated with fabric textures and patterns created with batik cap (usually made of copper). This type of batik process takes approximately 2-3 days.
3. Batik is a process of making batik painting by painting directly on the white cloth 

According to the origin of creation

Batik Jawa

Javanese batik art is a cultural heritage of Indonesia, especially Java-controlled areas of Javanese hereditary. Javanese batik motifs have different. Differences dikarnakan motif is common motives that have meaning, that is not just an image but it implies that they can from their ancestors, namely religion animism, dynamism or Hindu and Buddhist. Javanese Batik in many developing regions Solo or commonly known as Solo batik.


http://cdn.adf.ly/images/banners/adfly.728x90.2.gif

Batik is Indonesia

Batik is a craft that has high artistic value and has Become part of the culture of Indonesia (especially Java) since long. Javanese women in the past made their skills in batik for a living, so in the past batik work is exclusively women's work until the invention of "Batik Cap" which Allows the entry of men into the field. There are some exceptions to this phenomenon, namely the coastal batik masculine lines as can be seen in shades of "Mega Clouds", roomates in some coastal areas batik work is common for men.

The tradition of batik was originally a hereditary tradition, so that occasionally a recognizable motif batik originated from a particular family. Some batik may indicate the status of a person. Even today, some tadisional motif used only by the family palace of Yogyakarta and Surakarta.
Cirebon batik patterned sea creatures
Batik is the ancestral heritage of Indonesia (Java) that until now still exist. Batik is also first Introduced to the world by President Suharto, who was then wearing batik at the UN Conference.

Batik variety of shades and colors are influenced by various foreign influences. Initially, batik has a variety of shades and colors are limited, and some patterns may only be used by certain circles. However, coastal batik absorb various external influences, such as foreign traders and also in the end, the invaders. Bright colors like red popularized by the Chinese, who also popularized corakphoenix. European colonial nations are also taking interest in batik, and the result is a style previously unknown flowers (like tulips) and also objects brought by the colonizers (the building or horse-drawn carriage), including their favorite colors like blue. Retain traditional batik s type, and is still used in traditional ceremonies, because usually each style has a representation of each batik.


http://cdn.adf.ly/images/banners/adfly.728x90.2.gif