Textile Information

Proses Pencelupan Zat Warna Asam

2010-12-17T03:52:00.000-08:00

Zat warna asam pada proses pencelupannya menggunakan asam untuk membantu penyerapan zat warna atau zat warna yang merupakan garam natrium asam-asam organik dimana anion-

nya merupakan komponen yang berwarna. Zat warna asam mempunyai afinitas terhadap serat-serat protein da poliamid. beberapa zat warna asam juga dapat digunakan untuk proses pada

serat-serat selulosa karena bentuk dan besar molekulnya hampir serupa dengan zat warna direk.

Struktur kimia zat warna asam menyerupai zat warna direk yang merupakan senyawa yang mengandung gugusan sulfonat atau karboksilat sebagai gugus pelarut.

Dalam pencelupan serat protein dengan zat warna asam membentuk ikatan garam dengan gugusan-gugusan aminodalam serat. Dalam keadaan iso elektrik serat wol mengandung ikatan-

ikatan garam berupa amonium karboksilat yang bersifat listrik. Dengan penambahan ion hidrogen dari asam-asam maka akan terjadi gugusan ion amonium bebas sehingga memungkinkan

terbentuknya ikatan anion zat warna asam.

Pada permulaan pencelupan ion hidrogen dan clorida akan diserap oleh serat dengan cepat, ion clorida lebih mudah bergerak dari ion zat warna karena strukturnya lebih sederhana

sehingga lebih dahulu terserap oleh serat tetapi lama kelamaan ion klorida akan terlepas diganti dengan anion-anion zat warna karena anion tersebut mempunyai ikatan atau gaya-gaya

yang lain, misalkan ikatan hidrogen atau fandelwaals. mekanisme tersebut terutama terjadi pada zat-zat warna asam golongan 1 atau zat warna asam celupan rata, sedangkan zat warna

golongan 3 akan mengikuti isotern freunlich.

Mekanisme Zat Warna Asam

Mekanisme utama dalam pencelupan serat protein dengan zat warna asam adalah
pembentukan ikatan garam dengan gugusan-gugusan amino dalam serat meskipun ikatan lain mungkin

akan terjadi. Dalam keadaan iso elektrik serat wol mengandung ikatan-ikatan garam berupa amonium karboksilat yang bersifat listrik netral. dengan penambahan ion hidrogen dari asam-

asam maka akan terjadi gugusan ion amonium bebas sehingga memungkinkan terbentuknya ikatan anion zat warna asam.

Faktor-faktor yang Mempengaruhi Zat Warna Asam

1. Pengaruh elektrolit
Dalam pencelupan zat warna asam celupan rata PH rendah penambahan elektrolit akan merintangi / menghambat zat warna, hal ini disebabkan oleh anion elektrolit yang akan bersaing

tempat dengan anion zat warna. Sedangkan pada pencelupan dengan zat warna asam celupan netral penambahan elektrolit akan berfungsi mempercepat penyerapan.

2. Pengaruh Suhu
Kecepatan penyerapan zat warna asam sangant dipengaruhi oleh suhu, dibawah suhu 40 C akan mempercepat penyerapan sampai mencapai suhu tertentu dimana penyerapan zat warna akan maksimum.

Hasil celupan yang kurang baik/tidak rata pada proses pencelupan dapat diperbaiki dengan cara:
- pemanasan lanjutan
- perpanjangan waktu
- pelunturan warna, apabila tingkat kerusakan terlalu parah

PROSES PENCELUPAN DENGAN ZAT WARNA NAFTOL

2010-11-11T03:39:00.000-08:00

Zat warna naftol atau azoic adalah zat warna yang warnanya terbentuk didalam serat pada saat pencelupan dan merupakan hasil reaksi komponen senyawa naftol dengan senyawa diazonium. Zat warna naftol juga disebut ingrain colors karena terbentuk didalam serat dan tidak larut didalam air. Senyawa yang terjadi pada zat warna naftol mempunyai gugusan azo (azoic color). Dalam reaksi diazotasi memerlukan es untuk memperoleh suhu rendah maka zat warna naftol juga sering disebut ice color.

Proses pencelupan/pembentukan zat warna naftol dapat digambarkan sebagai berikut :

A. Pelarutan senyawa naftol dengan kostik soda untuk memperoleh larutan yang jernih dari senyawa natrium naftolat yang terionisasi. Dalam pelarutan ini sering dilakukan pemanasan.

Reaksi :

B. Pencelupan bahan textile dengan larutan naftolat dapat dikerjakan dengan pad roll atau dengan sistem biasa didalam bejana celup. Karena daya serap naftol kecil, maka perlu penambahan NaCl untuk mendorong penyerapan. Setelah bahan tercelup sempurna perlu direaksikan degan senyawa diazonium.

C. Reaksi diazotasi yang tidak larut didalam air dilakukan didalam bejana setelah dilarutkan dengan asam klorida atau asam sulfat. Garam diazonium dapat berupa basa naftol yang telah didiazotasi. Reaksi diazotasi perlu suhu rendah agar garam diazonium yang terbentuk tidak banyak yang mengurai. Larutan natrium nitrit yang ditambahkan kedalam larutan basa amino dapat sekaligus atau secara bertahap.

Reaksi :

D. Reaksi pembangkitan

Merupakan reaksi antara naftol dengan garam diazonium yang memberikan suatu pigmen naftol yang terbentuk di dalam serat.

Reaksi :

E. Setelah reaksi pembangkitan selesai, bahan tekstil yang sudah dicelup dikerjakan proses penyabunan dengan larutan sabun pada suhu 60^oC untuk menghilangkan pigmen-pigmen zat warna yang menempel pada permukaan bahan. Proses pencucian juga berfungsi untuk memperbaiki tahan gosok dan mempertinggi kilap pigmen yang terbentuk.

Faktor-Faktor Yang Mempengaruhi Zat Warna Naftol

1. Pengaruh Elektrolit

Substantifitas zat warna naftol pada umumnya kecil, sehingga pada proses pencelupan diperlukan penambahan elektrolit, misalkan : NaCl/Na Sulfat.

Kualitas dan kuantitasnya juga perlu diperhatikan. Elektrolit yang ditambahkan tidak terlalu banyak mengandung ion logam sebagai penyebab kesadahan.

2. Pengaruh perbandingan larutan celup

Karena substantifitas zat warna naftol pada umumnya kecil, maka pencelupan dengan perbandingan larutan celup yang kecil dapat meningkatkan substantifitasnya.

3. Pengaruh udara

Larutan naftolat pada umumnya kurang stabil terhadap pengaruh udara, terutama udara lembab. Hal ini dapat mengendapkan kembali larutan naftolat menjadi pigmen zat warna naftol.

Untuk mencegah pengendapan larutan naftolat dapat ditambahkan formaldehida yang dapat mengikat naftolat dengan jembatan metilen, sehingga dapat mempertinggi kestabilannya dan memperlambat pembangkitannya.

4. Pengaruh PH

Reaksi pembangkitan berlangsung sangat labat pada PH yang rendah. Proses pembangkitan menggunakan basa naftolat yang didiazotasi, maka PH larutan sangat rendah. Karena adanya asam klorida yang berlebihan, oleh karena itu perlu dinetralkan dengan Na Asetat sehingga PH larutan berkisar 4,5.

Reaksi pembangkitan juga berjalan lambat dalam larutan yang bersifat alkalis. Na Hidroksida yang tertinggal pada serat menyebabkan timbulnya pengaruh alkali. Oleh karena itufaktor pemerasan sesudah pencelupan dengan larutan naftolat sangat penting peranannya.

Untuk mencegahnya, proses pembangkitan perlu ditambahkan asam asetat. Campuran Na asetat dan H asetat merupakan larutan penyangga yang dapat menjaga PH agar stabil.

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SERAT KAIN

2010-09-05T23:22:00.001-07:00

Berikut ini adala jenis-jenis serat kain yang dapat digunakan pada proses pembuatan kain tekstil.

1. Serat Alam

a. Serat Tumbuh-tumbuhan
- serat biji, contoh : kapas, kapok
- serat kulit batang, contoh : jute, rosela, flax, rami, herep, sunn, kenaf, urea
- serat daun, contoh : sisal, abaka, henequen

b. Serat Binatang
- serat pendek (stapel), contoh : wol, rambut
- serat panjang (filamen), contoh : sutra

c. Serat Bahan Galian
- serat asbes

2. Serat Buatan

a. Serat Organik
> Polimer Alam
- R. viskosa
- R. kupramonium
- R. asetat
- R. triasetat

> Polimer Buatan
- polimer kondensasi, contoh : poliamida, poliester
- polimer adisi, contoh : polihidrokarbon

b. Serat Anorganik
> Gelas
> Logam

BUSANA ADAT GAYO

2010-06-18T17:41:00.000-07:00

Di masa silam orang Gayo pernah mengenal bahasan busana dari kulit kayu nanit, hasil tenunan sendiri dari bahan kapas, dan bahan kain yang didatangkan dari luar daerah Gayo. Periode pemakaian nanit sudah jauh dari ingatan orang sekarang, yang konon dipakai pada masa-masa sulit di zaman kolonial Belanda atau masa sebelumnya. Kegiatan bertenun pun sudah lama tak tampak dalam kehidupan mereka, kecuali pada masa pendudukan balatentara Jepang di mana kehidupan serba sulit. Busana yang diperkenalkan di sini dibatasi pada busana sub kelompok Gayo Lut yang berdiam di Kabupaten Aceh Tengah. Uraian tentang busana atau pakaian ini termasuk unsur perhiasan atau assesorisnya yang dikenakan dalam rangka upacara perkawinan, karena di luar upacara itu tidak tampak . adanya ciri busana khas Gayo, lebih-lebih pada zaman masa belakangan ini.

Unsur-unsur pakaian pengantin wanita adalah baju, kain sarung pawak, dan ikat pinggang ketawak. Unsur-unsur perhiasan adalah mahkota sunting, sanggul sempol gampang, cemara, lelayang yang menggantung di bawah sanggul, ilung-ilung, anting-anting subang gener clan subang ilang, yang semuanya itu ada di seputar kepala. Di bagian leher tergantung kalung tangang terbuat dari perak atau uang perak tangang ringit dan tangang birah-mani; clan belgong yang merupakan untaian manik-manik. Kedua lengan sampai ujung jari dihiasi dengan bermacam-macam gelang seperti ikel, gelang iok, gelang puntu, gelang berapit, gelang bulet, gelang beramur, topong, dan beberapa macam cincin sensim belah keramil, sensim genta, sensim patah paku, sensim belilit, sensim keselan, sensim ku I. Bagian pinggang selain ikat pinggang dari kain ketawak, masih ada tali pinggang berupa rantai genit rante; clan di bagian pergelangan kaki ada gelang kaki. Unsur busana lain yang sangat penting adalah upuh ulen-ulen selendang dengan ukuran relatif lebar.

Berbagai gaya sulaman pada baju lengan pendek gaya Gayo. Umumnya baju seperti ini dikenakan oleh anak-anak wanita atau pria. Ukiran Pada Pada Baju Adat Gayo dinamakan dengan Kerawang.

Busana Pengantin Gayo

Busana adat perkawinan Gayo, Aceh Tenggara, mengetengahkan kekayaan teknik sulaman benang warna putih, merah, kuning dan hijau. Pakaian pria dikenal dengan sebutan baju Aman mayak, pakaian wanita disebut Ineun mayak.

Pengantin pria mengenakan bulang pengkah, yang sekaligus berfungsi tempat menancapkan sunting. Unsur lain adalah baju putih, tangang, untaian gelang pada lengan, cincin, kain sarung, genit rante, celana, ponok yakni semacam keris yang diselipkan di pinggang.

Sanggul sempol gampang dengan bentuk tertentu sempol gampang bulet dipakai pada saat akad nikah, dan ada bentuk lain sempol gampang kemang yang dipakai selama 10 hari setelah akad nikah. Sunting yang semacam mahkota itu merupakan susunan perca kertas minyak warna-warni sebagai simbol kebesaran atau keanggunan. Baju pria dan wanita clan celana pria biasanya berwarna hitam. Sedangkan kain sarung adalah semacam songket yang disebut upuh kerung bakasap.

Unsur pakaian yang diberi hiasan adalah upuh ulen-ulen, baju wanita baju kerawang, clan ketawak. Motif-motif hiasan yang selalu muncul pada ketiga unsur pakaian ini adalah: mun berangkat atau mun beriring (awan berarak), pucuk rebung (pucuk rebung), puter tali (pilin berganda), peger (pagar), matan lo (matahari), Wen (bulan). Motif mun berangkat merupakan simbol kesatuan atau kesepakatan; pucuk rebung bermakna ikatan yang teguh; puter tali bermakna kerukunan atau saling tenggang; peger bermakna ketahanan clan ketertiban; matan lo dan ulen adalah kekuatan yang menyinari alam semesta termasuk manusia itu sendiri.

Motif-motif di atas dijahitkan dengan benang berwarna putih, merah, kuning, dan hijau pada latar warna hitam pada selendang upuh ulen-ulen. Kecuali motif matahari clan bulan, motif-motif lainnya dituangkan pula pada baju wanita dengan latar hitam. Motif pada stagen ketawak berlatar kain warna merah muda atau merah bata. Belakangan latar kain tempat menuangkan motif tadi menjadi sangat bervariasi, tergantung pada selera penjahitnya, misalnya biru, kuning, merah, coklat clan lain-lain. Unsur pakaian itu bukan lagi untuk suatu upacara adat seperti perkawinan, tetapi dipakai dalam upacara yang bersifat resmi lainnya. Perkembangan ini ada kecenderungan sebagai memperkuat identitas atau kebanggaan etnik. Pakaian semacam itu dipakai para pejabat dalam menerima tamu terhormat yang datang dari luar daerah, misalnya menteri. Tamu terhormat itu pun disambut penari yang menggunakan "baju adat" baju ketawang dengan berselimut upuh ulen-ulen tadi. Biasanya tamu terhormat atau tamu - agung itu diselimutkan pula dengan kain adat upuh ulen-ulen berkualitas terbaik. Pemberian ini sebagai simbol rasa hormat yang tinggi sekaligus sebagai ungkapan penerimaan yang ikhlas dari masyarakat.

Pada masa yang lebih akhir ini industri kerajinan kain bernuansa adat ini digalakkan oleh pemerintah setempat clan berkembang menjadi industri kerajinan rumah tangga. Motif-motif tadi tidak hanya dituangkan pada busana, tetapi sudah muncul pada kopiah, tas, dompet, taplak meja, bantalan kursi, clan lain-lain. Perkembangan ini dirasakan semakin memantapkan identitas budaya.

Hasil-hasil kerajinan yang muncul dalam berbagai item tadi, yang dikenal dengan kerawang Gayo kebetulan mendapat perhatian pada di luar Gayo. Hal itu menyebabkan tumbuhnya industri "Kerawang Gayo" di luar daerah Gayo, misalnya di Banda Aceh, Medan, Jakarta dan hasilnya muncul di berbagai toko cenderamata di berbagai kota di Indonesia.

source : www.wikipedia.org

Songket is a type of traditional woven cloth Malays

2010-05-29T19:40:00.000-07:00

Songket is a type of traditional woven cloth Malays. Songket usually woven by hand with gold and silver threads and generally worn on formal occasions.

Songket origins are from ancient trade between China and India. People Tionghoa provide silk, while the Indians contributed gold and silver thread. As a result, be songket.

Songket fabric woven on a frame loom Malays. Intricate patterns are created by introducing the threads of gold or silver with the use of an extra piece of flat needles.

Songket must go through eight ranks before becoming a piece of cloth and still woven traditionally. Because the weavers are usually from the village, it is not surprising that his motives were patterned after the local flora and fauna. This motif was also named to the Malays as a series of local cake is rich, diamonds, and meal tray, which is presumably a king's favorite.

Exclusive songket require between one and three months to complete, while ordinary songket only takes about three days.

At first the man using songket as a headband or headband. Then it began to Malays woman wearing gloves with songket baju kurung. Songket today is a popular choice for wedding dress is often given by the Malays and the bridegroom to the bride as one of the wedding gift.

Judging from the price, songket is not intended only for people who are just because the price varies from the usual and considered to be cheap, exclusive to a very high price.

source : www.wikipedia.org

Hem Batik Tulis Merak

2010-04-24T20:02:00.000-07:00

Hem batik ini terbuat dari kain katun primis halus yang nyaman dan adem untuk dikenakan, dengan metode pembuatan secara tradisional tulis tangan.

Spesifikasi :

1. Kain katun halus dan adem

2. Jahitan halus

3. Warna Hitam

Harga Eceran : Rp. 99.000,00

Hem Batik Tulis Naga

2010-04-24T19:44:00.000-07:00

Hem batik ini terbuat dari kain katun primis halus yang nyaman dan adem untuk dikenakan, dengan metode pembuatan secara tradisional tulis tangan.

Spesifikasi :

1. Kain katun halus dan adem

2. Jahitan halus dan rapi

3. Warna Hitam

Harga Eceran : Rp. 99.000,00

Traditional Clothes From Bali

2010-03-19T05:47:00.000-07:00

Clothing regions

Bali real clothes vary widely, although briefly looks the same. Each area in Bali has a symbolic and characteristic ornaments, based on activities / ritual, gender and age of its users. Social and economic status a person can be identified based on fashion and style of jewelry ornaments she wore.

Men

Traditional clothing men generally consist of:

* Udeng (headband)
* Cain hem
* Umpal (scarf tie)
* Cain Wastra (strapless)
* Belt
* Keris
* A variety of jewelry ornaments

Often the clothes worn shirts, jackets, and footwear as a complement.

Women

Traditional clothing of women generally consist of:

* Bun (bun)
* Sesenteng (strapless songket)
* Cain Wastra
* Belt prada (stagen), twisted her hips and chest
* Shawl songket shoulders down
* Cain tapih or sinjang, next to the
* A variety of jewelry ornaments

Often the kebaya worn, cloth chest, and footwear as a complement.

Javanese Batik

2010-02-28T18:18:00.001-08:00

Javanese batik art is a cultural heritage of Indonesia, especially Java-controlled areas of Java from generation to generation. Javanese Batik motifs has an different. The difference is common motives motives dikarnakan it has meaning, that is not just an image but it implies that they can from their ancestors, the religion of animism, dynamism, or Hinduism and Buddhism. Javanese Batik in many developing regions Solo or commonly known as Solo batik.

(Pekalongan batik Buketan origin with European design influence)

Batik Culture

2010-02-28T18:11:00.000-08:00

Batik is a craft that has high artistic value and has become part of the culture of Indonesia (especially Java) for a long time. 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 that the coastal batik masculine lines as you can see in shades of "Mega Clouds", which in some coastal areas batik work is common for men.

Batik tradition was originally a hereditary tradition, so occasionally a recognizable motif batik originated from a particular family. Some batik motif can indicate the status of a person. Even today, some tadisional batik motif is only used by the family court of Yogyakarta and Surakarta.

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Kimono

2010-02-06T16:58:00.000-08:00

The kimono is a Japanese traditional garment worn by women, men and children. The word "kimono", which literally means a "thing to wear" (ki "wear" and mono "thing"), has come to denote these full-length robes. The standard plural of the word kimono in English is kimonos, kimono is also sometimes used. but the unmarked Japanese plural

Kimonos are T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimonos are wrapped around the body, always with the left side over the right (except when dressing the dead for burial), and secured by a sash called an obi , which is tied at the back. Kimonos are generally worn with traditional footwear (especially zori or geta ) and split-toe socks (tabi).

Today, kimonos are most often worn by women, and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode, with almost floor-length sleeves, on special occasions. A few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public.

(source)

Saris, Skirts, and More from Rajasthan

2010-01-31T19:25:00.000-08:00

I am thrilled to open my mailbox and find a dinner party invitation from a certain Indian friend. She's a fabulous cook and my mouth waters to think of her cumin-tinged roasted eggplant. But mostly, I'm eager to see what she's wearing.

Invariably, she greets us in a richly hued sari so stunning that it leaves her dinner guests feeling utterly unimaginative. This time it's embellished with embroidered swirls and tiny reflective mirrors, the kind of textile decoration associated with her native Rajasthan, a partially desert region bordering Pakistan.

Indian textiles count among the richest craft legacies on Earth, encompassing literally thousands of local styles and techniques. Textiles from Rajasthan represent an entire tradition with many sub-specialties, from wood-block prints to tie-dyed cottons and a litany of embroidery techniques long enough to fill a glossary of their own. Through the centuries these rich regional fabrics have constituted a valuable part of women's wedding trousseaus and dowries, identified social status and class, and—through elaborate color symbolism—even conveyed details about the wearer like her hometown and if she is the mother of a boy.

Artisans in Rajasthan begin with cotton threads woven on traditional wooden horizontal looms. Many weavers still use vegetable dyes, including those concocted from turmeric, indigo, saffron, and pomegranate, infused into the fabric with the waters of local rivers. The result: the characteristic vibrant reds, blues, oranges, and yellows so closely associated with Rajasthan, colors that also imbue the region's food and architecture.

Museum Batik Danar Hadi

2010-01-31T04:53:00.000-08:00

The passion of H.Santosa Doellah for preserving Batik, trigger the idea of building a museum of batik. As one of the Cultural identities, batik is an insperable part of the city of Surakarta - or popularly known as Solo. Batik crafts-starting from home industries to giant professional manufacturers - are a common sight in every corner of the city.The history of Batik Danar Hadi also began in this city, when H. Santosa Doellah and his wife Hj. Danarsih Santosa decided to start their batik business in 1967.The name Danar Hadi itself was actually a combination of two names ; Ibu Danarsih and her father H.Hadipriyono.

Displayed in this gallery are the antique batiks that were created through the period of time before and during the Dutch and Japanese occupancy, till the independence of Indonesia. Observe batik art at its finest, which includes the Batik Kraton, Batik Belanda, Batik Cina, Batik Hokokai, Batik Indonesia and Batik Saudagaran.

The old building of Ndalem Wuryanigratan itself is promised to be an interesting object for cultural tourism, displaying the spendor of traditional Javanese architecture.

1. Location
"Galeri Batik Kuno Danar Hadi" is located at the centre of Surakarta, at Jl. Brig. Jen. Slamet Riyadi No. 261-263, the main street of Surakarta.

2. Background
The founding of this Gallery was based on Mr. Santosa Doellah's wish in his effort in preserving batik since the Gallery's missions are:

a. Preserving batik in any aspects
b. Providing information for the educational society
c. Building another tour asset for Surakarta in particular and for Indonesia in general

3. The Building

a. This Gallery consists of eights halls:
b. Gallery I
c. Gallery II
d. Gallery III
e. Two Showrooms
f. Hand waxing department
g. Stamp waxing department
h. Dyeing department

4. Collections Being Displayed

Gallery I displays:
a. Batik Belanda (from 1840-1910)
b. Batik Cina (before 1910 and after 1910)
c. Batik Djawa Hokokai (1942-1945)
d. Batik Kraton (batik from the palaces)
Batik Puro Mangkunegaran
Batik Puro Pakualaman
Batik Kasunanan Surakarta
Batik Kasultanan Yogyakarta
e. Batik Pengaruh Kraton (batik influenced by the Batik from palaces):
Batik Cirebon
Batik Banyumas
Batik Indramayu (Batik Dermayon)
Batik Madura
f. Batik influenced by The Indian Cloth
g. Batik Danar Hadi

Gallery II displays:
a. Flow of process (Traditional Batik Process)
b. Batik Wax ingredients
c. Batik Indonesia (1950)
d. Batik Wonogiren (1966-1975)
e. Batik Kontemporer
Batik created by Guruh Soekarno Putra
Batik created by Amry Yahya
Batik created by Bambang Oetoro
Batik created by SP. Gustami
Batik created by Soemihardjo
f. Batik Souvenir

5. Processing Department
Batik Process being shown in this gallery are mostly Multi Coloured Batik Process (Batik Pesisiran Processes) applied on silk.

Traditional Performing Arts
Included in the "one stop shopping" concept, Galeri Batik Kuno Danar Hadi will continually stage traditional performing arts or other cultural events from Central Java and nearby regions. Visitors may enjoy a buffet lunch or dinner prepared just for the event.

Artistic Atmosphere of the Workshop
Take advantage in viewing the process of batik making, whether stamped or drawn, which are famous for its high standard of quality.

Exclusive Shop
The shop provides a variety of exclusive items from exclusive batiks, specific souvenirs from Solo and nearby regions, to high quality Javanese antique and ethnic products. Guests may feel comfortable in the attractive and artistic atmosphere of the shop.

(source)

Silk cooking with soap

2010-01-27T06:06:00.000-08:00

Silk cooking aims to remove impurities that are destitute of cloth so that the next process can proceed smoothly.
The process of cooking is the preparation process improvement textiles. This process will eliminate the serisin not dissolve in water to soap soluble in water.
The silk fiber is a fiber-containing animal serisin (22-30%) so that if the fabric is held will feel rough and dull color. This can cause can not be processed further refinement, because of the serisin. So the purpose of this cooking process so that there serisin be lost in the fabric.

Test laboratory

• Tools:
1. Scales
2. Glass beaker
3. Stick
4. Thermometer
5. Heater

• Material:
1. Silk
2. Water
3. Soap

Recipes
• Soap: 10-20 grams / liter
• Temperature: 70-900C
• Time: 1 hour
• Vlot: 1:100

Step work
• Preparing equipment and materials
• Considering the material
• Calculate water needs and substance
• dissolve the substance into the glass beaker
• Entering into a solution of silk is done for 1 hour
• silk Washing with hot water, then washed again with cold water

Rayon Fabrics cooking with Na2CO3

2009-12-30T01:27:00.000-08:00

This cooking process aims to remove natural impurities in the form of fats, oils, candles and others contained in the fabric. so as to facilitate the process of further improvement.

Rayon and synthetic fiber is easy to clean fibers, so that cooking is using detergent or a weak alkali.
Cooking Rayon, Polyamida, and Polyester can be done in a solution of 1-2 grams / liter of soda ash and 1-2 ml / liter of detergent at a temperature of 70 Celsius for 1 hour. then rinsed with cold water.
For acetate rayon fibers should be used 1-2 detergents and 1.5 ml / liter amonia at a temperature no more than 70 Celsius for 20-30 minutes. Other alkali consumption should be avoided because it can happen hidrolisa and the fiber can cause damage.

Laboratory test

Tools and materials
- Gray cloth
- Water
- Soda ash
- Tepol / wetting agent
- Scales
- Glass beaker
- Stick
- Measuring pipette
- Measuring cup
- Thermometer
- Tool Heaters

recipes
- Na2CO3 = 2 grams / liter
- Wetting agent / tepol = 2 cc / liter
- Temperature = 70
- Time = 1 hour
- Vlot = 1:30

substance function
- Na2CO3 = to clean and remove dirt found on the surface of the fabric
- Wetting agent = to reduce tension on the fabric surface
- Water = to dissolve substances

job step
1. prepare equipment and materials
2. fabric weighing
3. calculate the water needs and other substances in accordance with the prescribed
4. dissolve substances that have been calculated into the glass beaker
5. heating the solution to boiling and then put the cloth into the solution and stirring for 1 hour
6. took the cloth from the solution after processing for 1 hour
7. fabric drained and washed with cold water
8. after washing, the fabric is dried with direct sunlight
9. calculate weight fabric

Tallest Christmas Tree, Using Batik Fabric

2009-12-25T19:33:00.001-08:00

Christmas, Sheraton Mustika Yogyakarta Resort & Spa create a replica of the Christmas tree from batik fabrics. Replica of the Christmas tree as a record-breaking Christmas tree from batik fabric highest in Indonesia.

General Manager of Sheraton Mustika Yogyakarta Mohammed Munir said, a replica of the Christmas tree was made for the coming Christmas holidays at the same time preserving the cultural heritage of batik. "With the Christmas tree of this batik, batik we expect more and more popular so they can continue to be sustainable," he said, Wednesday (23/12).

Sheraton create a replica of the Christmas tree along with the House Batik Yes halwa from Bantul regency. Replication of 19.45 meters tall with a diameter of 8 meters was completed within 20 days. To cover the entire surface, a replica of the Christmas tree that requires batik cloth 360 meters long. Batik cloth used is printed batik cotton patterned entirely machete.

Today, a replica of the nuances of Christmas trees are green on the second floor attached hotel. Replication is also decorated with various ornaments from batik material, ribbons, and colored lights are rising up to the seventh floor that can be viewed by hotel guests from the various floors and direction.

With the size and uniqueness, a replica of the Christmas tree Christmas tree is listed to the highest batik by Indonesia World Records Museum (Muri). Deputy Manager Muri Ariyani Siregar said, when measured, a replica of the Christmas tree are eligible to enter Muri.

Kain Songket Palembang Province Typical Become Tourist sights. Come, See More In About Kain Songket

2009-12-05T20:39:00.001-08:00

Songket is a type of traditional woven cloth Malays from Indonesia. Songket usually woven by hand with gold and silver thread and is generally worn on formal occasions.

The origins of songket is of ancient trade between China and India. Tionghoa people while providing an Indian silk donate gold and silver thread. As a result, be songket.

Songket woven on a frame loom Malays. Intricate patterns are created by introducing the threads of gold or silver with the use of a single extra flat needles.

Songket must go through eight ranks before becoming a piece of cloth and still woven traditionally. Because the weavers are usually from the village, not surprising that his motives were dipolakan with local flora and fauna. This motif was also named by a local pastry Malays as rich series, diamonds, and flour salver, which is allegedly the king's favorite.

Exclusive songket require between one and three months to complete, while ordinary songket only takes about 3 days.

At first the man using songket as a headband or headband. And then she began to Malays wearing gloves with songket baju kurung. Songket today is a popular choice for wedding clothes Malays and often given by the groom to the bride as a wedding gift.

Judging from the price, songket is not intended only for the public to be just because the price varied from the usual and fairly inexpensive, so that exclusive with a very high price.

Songket is the development of customized fabrics decorative yarn mensisipkan at cloth-making process take place. Making cloth in Indonesia conducted by the gedogan loom very rendah.Teknik manufacturing productivity songket with gedogan tools such as mouth opening movement, the launch of weft and weft density are still there are not a machine loom (ATBM) is setting the movement source and the means supporters more effectively. Research carried out by producing 100 yards songket feed with the loom and ATBM gedogan later time and costs compared. ATBM also used to produce 100 yards songket to determine efeksifitasnya warp in the manufacture of two types of songket. The results showed that ATBM can produce songket feed 3 times faster with more indirect cost saving up to 60.67%. While the production of warp songket faster processing time by 3.55 times the indirect cost savings up to 65.79%.

Woven Fabrics Making Technique

Woven fabric is one of the main types obtained from the crossing of warp threads and weft threads. The formation of woven fabric preparation process begins from the threads of warp like pengelosan, penghanian, pencucukan and weaving, while the weft threads only through the process of polishing and weaving. The process of preparation according Liek Suparli (1979) has the goal of improving the quality of yarn as far as possible and make the roll in accordance with the next process to be not much difficulty, congestion or cause the stains on the fabric due to damage threads. While weaving process, according to Dahlan (1974) includes some basic movements such as opening the mouth warp, launch / insertion perapatan weft and weft (pengetekan)

Cloth Making Technique Songket with Gedogan

Songket fabric is diversifying by adding and setting certain threads during weaving process lasted so obtained woven fabric with a decorative motif of a particular thread. Adding special yarn will determine the type produced songket. If the addition of yarn made in the direction warp yarn fabrics generated so-called songket solution, while adding threads to the weft direction will produce songket feed. Adding special yarn made with menganyakannya in certain places in the basic fabric (woven cloth) to form a motif.

According Suwati Kartiwa (1984), I add an additional string in a way to lift or menjungkit some warp threads and yarns are inserted between the two types of hollow braided yarn base. As for how to make the designs done by calculating the composition of the yarn rates in the form of a pyramid-like shape.

Songket-making process generally done on a loom gedogan driven by hand power and still very simple. Stages of the manufacturing process begins by measuring the change process thread that is rolled into a pile of yarn strict on the box or roll of the spools. Then the process is continued from the process for memalet-weft yarn which is a scrolling process in twisting mill yarn palette (kleting). As for warp threads of stalling the process followed by memani process, namely the warp yarn set in the committee as a tool to determine the length and range of warp yarns to be woven and penggulungannnya on board. Then the threads for the warp was continued by nyisir process or processes pencucukan / enter warp yarn in the hole comb. The next stage is to wipe the process or processes and streamlining pembentangan / leveling and scrolling on the board as a boom loom. End of a series of these processes is the end result of the merger of warp yarns and weft of weaving process.

Batik Dyes Natural World Market breakthrough

2009-12-03T00:34:00.000-08:00

Amid recognition as a UNESCO cultural heritage of Indonesia, batik production using natural dyes Kulonprogo, Yogyakarta able to break the world market. Batik natural color is a favorite destination because of the color excess mamiliki difficult to emulate batik batik dye types that use synthetic dyes raw materials. The resulting color is softer than synthetic dyes whose color is bright and attractive to foreign tourists.

These comments were made in the middle of the UNESCO information confirmed Indonesiamasuk batik in Indonesia daftarsebagai cultural heritage. Inauguration of UNESCO can make better known Indonesian batik world community.

Inauguration of the UNESCO cultural heritage well as Indonesia, batik is expected to use natural dyes to the front can be better. Since 2004, the home of batik production using natural dyes are often visited by foreigners for shopping batik.

according to one citizen in Kulonprogo, Yogyakarta, to dye batik using raw materials such as plants produced brown leather mahogany trees, yellow color is produced from mango leaves, and blue colors using Tinetoria Fera Indigoo plants commonly known as Tom or plant species Tarum.

mahogany trees

Cooking Process of Cotton Fabric with Kostiksoda

2009-12-03T00:25:00.000-08:00

This cooking process aims to remove natural impurities in the form of fats, oils, candles and others that can facilitate the process of further improvement.

Cooking with gauze Kostiksoda a preparatory process before the fabric through further processing. With this process, part of the fiber constituent components of oil, wax, grease, dirt and soluble impurities attached to the fiber surface can be removed. If these components can be removed, then the next process such as pengelantangan, immersion and so can work well.

reactions that occur in the cooking process of cotton fabric dengna Kostiksoda / Sodium hydroxide is as follows:

laboratory test

tools and materials
- Gray cloth
- Water
- Caustic soda
- Tepol / wetting agent
- Sodium carbonate
- Scales
- Glass beaker
- Stick
- Measuring pipette
- Measuring cup
- Thermometer
- Tool Heaters

recipes
- Caustic soda 38'Be = 10 cc / liter, or
- NaOH crystal = 4 -5 grams / liter
- Wetting agent / tepol = 2 cc / liter
- Sodium carbonate (Na2CO3) = 1 gram / liter
- Temperature = 90
- Time = 1 - 2 hours
- Vlot = 1:30

substance function
- Caustic soda = turn fat into soap is soluble in water
- Na2CO3 = to soften the water
- Wetting agent = to memperkacil surface tension in the fabric
- Water = to dissolve substances

job step
1. prepare equipment and materials
2. fabric weighing
3. calculate the water needs and other substances in accordance with the prescribed
4. dissolve substances that have been calculated into the glass beaker
5. heating the solution to boiling for 2 hours and then put the cloth into the solution and stirred
6. took the cloth from the solution after processing for 2 hours
7. fabric drained and washed with hot water and washed again with cold water
8. after washing, the fabric is dried with direct sunlight
9. calculate weight fabric

In the provision of materials provided must be within their water needs because that is necessary for the stability of the fabric being processed.

The Disappearance of Starch With Sodium Hydroxide (NaOH)

2009-11-30T20:05:00.000-08:00

starch removal process aims to eliminate starch on warp yarn with starch using an alkali hydrolysis NaOH (Sodium hydroxide) in order to facilitate the process of further improvement.

how the removal of starch with an alkali can be performed on soluble starch in alkali. proteins such as starch, PVA dal etc.. Starch can also terhidrolisa by strong alkali (sodium hydroxide), but it takes a long time, which is about 12 hours, split over 2 hours and 10 hours of soaking peram process. NaOH function to convert starch into sugar that dissolve in water.

laboratory test

tools and materials
- Gray cloth
- Water
- NaOH
- Scales
- Glass beaker
- Stick
- Measuring pipette
- Tool Heaters

recipes
- NaOH = 2%
- Temperature = 40
- Time = 12 hours
- Vlot = 1:30

job step
1. prepare equipment and materials
2. weigh fabric to be processed
3. calculate the water needs and NaOH according to the recipe
4. NaOH and water poured into the glass beaker to form a solution
5. heating the solution and insert the fabric into the solution and stirred
6. took the cloth from the solution after processing for 2 hours
7. do peram process of cloth wrapped by a plastic cloth
8. wash cloth to clean
9. after washing, the fabric is dried with direct sunlight

NaOH is not often used because it is not perfect and can not change the starch into sugar that dissolve in this process is air.hasil fabric becomes softer than the previous because the starch contained in the fabric is gone and absorbent cloth for the better.

Starch Removal Process Wwith The Enzyme Diastase

2009-11-30T19:58:00.000-08:00

starch removal process aims to eliminate starch on warp yarn with starch using enzyme hydrolysis so as to facilitate the process of further improvement.

Disappearance of starch with the enzyme is often used because the process process takes a shorter time than other methods that process. This process also does not cause damage to the fabric. However, the removal process of starch with this enzyme is influenced by pH and temperature factors. If the temperature is too high then the enzyme will die element, whereas if the Ph of the cloth will be damaged. Therefore, these two factors must be reached in order to obtain optimum results perfect. Maltose Diastase enzyme function to change the type of starch into glucose solution of starch dissolved in water.

laboratory test

tools and materials
- Gray cloth
- Water
- Enzymes Diastase Maltose
- Scales
- Glass beaker
- Stick
- Measuring pipette
- Measuring cup
- Thermometer
- Tool Heaters

recipes
- Diastase Maltose = 3 - 10 grams / liter
- PH = 6 to 7.5
- Temperature = 50 to 60
- Time = 8 hours
- Vlot = 1:30

job step
1. prepare equipment and materials
2. weigh fabric to be processed
3. calculate the water needs and other substances in accordance with the prescribed
4. dissolve substances that have been calculated into the glass beaker
5. heating the solution and insert the fabric into the solution at optimum temperature and then stirred
6. took the cloth from the solution after processing for 2 hours
7. do peram process of cloth wrapped by a plastic sheet for 8 hours
8. wash cloth to clean
9. after washing, the fabric is dried with direct sunlight
10. calculate weight fabric

In granting the enzyme must be within their water needs because if the provision would excessively rapid enzyme describe starch contained in the fabric, the fabric becomes damaged as a result. Likewise, the heating substance, is necessary accuracy in pH and temperature, because the enzyme is strongly influenced by pH and temperature. if the temperature is too high then the enzyme will break down and if the temperature is too low then the enzyme does not work.
The process of removal of starch by enzyme Diastase Maltose can produce a better fabric for the provision of enzymes and perendamannya something with the results obtained.

How To Make Batik

2009-11-28T19:18:00.000-08:00

1. tools & materials

- White cloth
early appearance, the fabric is used as batik material is self-woven fabrics. New import white cloth known around the 19th century. now you can easily get a white cloth with affordable prices. Type of fabric that can be used also varied, from the type of cloth to the type of silk. Size did not have wide, enough with the small size.

- Gawangan
Gawangan made of wood or bamboo is easily portable and sturdy. Gawangan function is to hang cloth and spread when will dibatik using canting

- Canting
Such canting function pen, wax-filled night as the ink liquid. Canting diverse forms, from yan berujun one to several end. Canting which has several functions to make the end points in a single touch. While the lead single canting function to create lines, curves and so on. Canting consists of three parts. Canting handles made from bamboo. There is a bowl as a candle tonight, and the tip of the pen tip berlubangsebagai place candles out of the night.

- Tepas
Tepas is not used if the fire using the stove. Tepas is a tool to raise the fire according to requirements; made of bamboo. Besides Tepas, used also ilir. Tepas and ilir in substantially the same, just different shapes. Tepas rectangular and tapered on one side of the stem width and is located on the pointy part.

- Candle
before use, should be liquidated lillin night beforehand by heating on the stove or other heater. Candle Night in batik-making process functioned to keep the colors to not enter into the fabric fibers are undesirable. As for the part to be covered with colored wax left.

- Pan
Skillet is the tool to break the "night" (wax for batik). Pan made of steel, or clay. Pans should be handled so easily raised and lowered from the furnace without using other tools. Therefore pan made of clay better than that of metals because the stem is not easy to heat. But the clay pan heat a little slow candle.

- Stove
Anglo made of clay, or other materials. Anglo is the fireplace as a heating means "night". Iron stove is made from a given axis .. When to use the stove, then the material is to make a fire of wood charcoal. If firewood use is replaced with cool brazier; cool this is what many people used in the villages. Cool in principle the same with the stove, but no story.

- Dyes
batik dyes used every different area. Dyes are derived from materials found in the area. In Kebumen example, batik dyes used are tom trees, trees and mengkudu pace that gives the red color of yellow artificiality. Tegal used in pace or mengkudu, indigo, and timber Soga.

2. Preparation Batik

a. Anglo and a pan of wax should be ready to start making batik. Tonight should be perfect liquid (the old wax). So smoothly out through the beak canting; addition of wax can be absorbed completely in memory. The fire in the brazier or cool to be kept still burning, but should not be burned, because it is dangerous when wet wax in the pan.

b. Mori has been prepared to close above gawangan cool, brazier. The batik sit between gawangan and cool or anglo.Gawangan standing on the left and the right cool batik. People who work batik called "pengobeng".

c. After everything's fine batik began his task. First held canting. How to hold a different canting with how to hold a pencil, or pen to write. The difference is due to end cantingbentuknya curved beak and big-legged, is a pencil or pen straight. Holding canting with the ends of the thumb, forefinger and middle finger like a pencil to write, but the stem horizontal canting, while the pencil to write in a leaning position. Such canting position to keep the candle in nyamplunga not spill.

d. By canting the scoop pengobeng boiling wax in a pan and above dibatikkan mori. Before blowing dibatikkan first canting meniuppun way with certain rules, so that the candle in Nyamplungan not spill on pengobeng lips.

Canting is blown with a view:

1. To restore the liquid wax into the front line Nyamplungan, so as not to drip before the end of the canting attached mori.

2. To remove the wetting liquid wax kingfisher canting; for a bloody beak canting wax will reduce scratches better, especially when progress at the beginning of canting mori.

3. To control the canting of the possibility of front line clogged with dirt candles. If clogged, the fluid in Nyamplungan voiceless, because the air can not enter. So the end of the beak poked holes using fibers, or coconut fiber to go along the front line. Usually after stabbed blown back, or directly on the dibatikkan mori. Keitimewaan pierced the left hand is wearing a certain way in a fast time.

4. Canting the new state carved right on the mori. The left hand is disebalik mori. As a basis (penguak) a new memory carved with canting. If the search in Nyamplungan wax runs out, or less smoothly probably because cooling, the candle back into the skillet; dicidukkan canting on liquid wax in the pan, too. Refund wax cold that had not been a big influence on the wax in the pan. This was done smpai completed, and including nemboki.

3. job step

Batik stages of a memory to be done step by step. Each stage can be done by different people, but a piece of memory can not be done some time together.
The stages were:

a. batik frame

batik framework using patterns called "mola", was without a pattern called "ngrujak". Dibatik Mori had all of frameworks, both ex-wear patterns and dirujak, called "batikkan void", also called "klowongan '. Canting canting used is called the beak sedeng klowongan also canting.

b. ngisen-iseni

ngisen-iseni of the word "content". So ngisen-iseni means giving the content or filling. Ngisen canting iseni using small kingfisher called canting canting Isen Isen variety. But not necessarily a piece of memory to use all kinds of canting Isen, but depends on the motive to be in buat.Umpama require different canting due to a wide range of Isen; But batik should one by one, and each part must be completed before the rest is done by others such as canting if "nyeceki" (a motif consisting of the points),

section must be completed entirely cecekan. Activities do have parts of their names; name by canting the name used. The process of naming is to change the name of the object (a canting) as a verb, his work was taken from the name used canting. The name is: the use nyeceki canting cecekan, the result is called cecekan. Is to use canting Neloni Telon, the result is called telon. Canting is to use Mrapati Prapatan, results, and so on. But the use or Canting Canting Galaran Renteng, always called ngalari, and never called "ngrentengi"; was the result is always called "galaran", was never called "rentengan" How to use a gradual canting many advantages. The first advantage is the canting can be used interchangeably in a single group pengobeng (batik different tasks (different stages Working batikan); two second advantage is to reduce the number of such canting despite considerable pengobeng members. If two people will be using the same kind of canting, cantinga whereas only one, so one can put it off and do other parts with different canting. seterusnya.Batikkan so complete with Isen Isen-called "slope-rengan". kaena name By rengan the batten-the batik pengobeng since permuaan until completion ( end) gives Isen Isen-called "ngengreng". ngerengan So is the motive of the overall unity of your choice. This is the first solution.

c. Nerusi

Nerusi a second resolution. Batikan the form then ngengrengan behind the surface, and dibatik back to the second surface. Nerusi batik is batik batik motifs follow the first in the former tembusnya. Nerusi no different from the first molar and batikan serve as a pattern. Canting-cantingyang used together with canting canting to ngengreng nerusi especially for the first batikan copies thicken and to clarify. Batikan who finished at this stage was still called "ngengrengan". Pengobeng the batik from start to finish nerusi called "ngengreng".

d. Nembok

A not entirely given batikan color or colors will be different at the time the settlement became kain.Maka parts will not be given a color, or color will be given after other parts have to be closed by night. How to close it as another way of making batik using canting tembokan. Canting of tembokan bercucuk. People who work called "Nembok" or nemboki and the result is called "tembokan". Walled sections are usually on the sidelines of the main motives. Brick usually use low-quality night. Although a full night dirt but large canting canting bercucuk not much disturbed. Also part tembokan wide and thick enough, resulting in less nembok good night to be overcome.

On the evening functions essentially to establish a motive in addition, also to close the steps of the color of the fabric, where the color-forming it as a real batik motif. Nem-bok on one face only mori.

e. Bliriki

Bliriki is nerusi tembokan to the parts that really covered. Tembokan canting Bliriki use and how such nemboki. If the last stage is finished means finished batik process. Results Bliriki called "blirikan" but rarely called that, is more commonly called "tembokan". Indeed batik process is completed when the last one was completed; or if you do not need to batikan walled, then called over the prior batikan walled. In the past era of Surakarta regions, each finished last stages, batikan dried up "night" it is almost melted.

You mean it is drying so that the candle in memory not easily fall out or missing. For "night" (boiling) the time used for batik and tangent to the cold will freeze mori suddenly because of the "shock". Freezing nights were not so good, because batikan often broken and easy to fall evening.

But if the drying, heating occurs uniformly, and the memory that have come terpanasi.Mori warming sun will expand, and has absorption. This expands the process strengthen attach night began to melt; before that night should be appointed batikan melt gently into the shade.

In the shade, batikan be cooled simultaneously. This cooling process was no advantage, because the memory and strengthen each other night lekat.Selesailah batik work.

Starch Removal Process with Hydrochloric Acid

2009-11-22T18:24:00.000-08:00

starch removal process aims to eliminate starch on warp yarn with starch hydrolisa using strong acids that can facilitate the process of further improvement.

acid can hydrolisa not soluble starch into glucose in water-soluble in water.
material soaked in sulfuric acid or hydrochloric acid 5-10ml for 1.5-2 hours at a temperature of 30-40 ˚ Celsius. execution process performed by a longer time to prevent damage to the fabric fibers. then washed clean cloth. when washing is not so clean cellulose fibers will be attacked by the remaining acid and occurred hydroselulosa. to prevent these things should be done to eliminate the neutralization process remains acid.

laboratory test

tools and materials
- Gray cloth
- Water
- HCL
- Scales
- Glass beaker
- Stick
- Pipette

recipes
- HCL = 5-10 ml / l
- Temperature = 30-40 ˚ C
- Time = 2 hours
- Vlot = 1:30

job step
1. prepare equipment and materials
2. weigh fabric to be processed
3. calculate the water needs and in accordance with the prescribed HCL
4. HCL and water poured into the glass beaker
5. heating the solution and insert the fabric into the solution and stirred
6. took the cloth from the solution after processing for 2 hours
7. wash cloth to clean
8. after washing, the fabric is dried with direct sunlight

starch removal process with hydrochloric acid at a temperature very affected workmanship. if the temperature is right then starch will dissolve in water. results of this process is the fabric becomes softer and can apply more water than before.(wahyu)

Defined Batik Cultural Heritage UNESCO For Indonesia

2009-11-11T19:14:00.000-08:00

Defined Batik Cultural Heritage UNESCO For Indonesia

Educational, Scientific and Cultural Organization (UNESCO) today, Friday (2/10/2009) set batik as Indonesia's cultural heritage. Day-awaited by the entire population was also used as a day of batik.

Indonesian batik confirmation process is quite long. Beginning on September 3, 2008 which was subsequently accepted officially by UNESCO on January 9, 2009. The next stage is testing closed by UNESCO in Paris on 11 to May 14, 2009.

using batik tradition is not only busy in the day that's all. but it continues on the following days, especially on Friday. many government agencies and private enforce these new regulations, including educational institutions such as schools and campuses. to wear batik on certain days. it aims to continue to preserve the national culture and national assets that are often in kliam by neighboring countries.

This opportunity is used by several parties, including educational institutions, especially SMK 3 Pekalongan, to open a new department, the Engineering batik. the opening of this major reasons is because SMK 3 Pekalongan a vocational school in the field of textile technology expertise, and the town of Pekalongan batik, and one of the cities that have their own types in addition to batik of Yogyakarta and Solo City. strengthened again that batik was established by UNESCO as cultural heritage of Indonesia.(wahyu adi priyanto)

Batik Basaleh From Pekalongan

2009-11-11T19:00:00.000-08:00

Batik Pekalongan located Basaleh - Indonesia, specialized in trading both general batik retail and wholesale. Batik Basaleh proud to be the pioneer and preserve the traditional batik on Jl. KH. Ahmad Dahlan No.08 Tirto Gg.15 Pekalongan in the year 1990. Our products have been exported to 2 countries (Thailand & Singapore). This makes Batik Basaleh required to remain competitive both in terms of quality, price and fashion to survive being the best and foremost.
Basaleh Batik is a company owned by individuals Bpk.H. M. Palal. He has devoted many innovations and creations, so often a trend setter in these countries. We go to meet the demand and fashion trends without leaving the value of cultural meaning itself. We also meet the demands and orders from our customers who continue to grow.
During his trip, Batik Basaleh kept up, build and maintain mutually beneficial cooperation for all the trust business for the firm and strong. With full commitment, we try to give satisfaction to customers with the selection of products with guaranteed quality and very competitive prices.
At the age of 18 years into this, Batik Basaleh to introduce more products through a new online site we've created and will be completed later this year in order to facilitate customers to make transactions, particularly the presence information of new products Basaleh Batik.

Technologie des textiles (Broché)

2009-04-14T19:50:00.000-07:00

Prix conseillé : EUR 20,90
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Descriptions du produit
Présentation de l'éditeur
Ce livre, véritable traité de la technologie des textiles, décrit la fabrication et l'utilisation des différentes étoffes dans l'habillement, l'ameublement et l'industrie : tissus, feutres, plastiques.

Ce grand classique de la technologie des textiles est, non seulement, un outil pédagogique pour les élèves des lycées professionnels et des écoles d'apprentissage des chambres de commerce, mais aussi un ouvrage de référence pour tous les professionnels des textiles et des métiers de l'habillement et de l'ameublement.

Détails sur le produit
Broché: 301 pages
Editeur : Dunod; Édition : Nouv. éd (22 octobre 1997)
Collection : Métiers
Langue : Français
ISBN-10: 2100037064
ISBN-13: 978-2100037063

Batik shorts pattern of demand, France

2009-03-28T21:41:00.001-07:00

A number of countries in the world is now in love with the middle of a product called batik. France became one of the country to export batik, although still less than other countries, such as the United States, Belgium, Germany, and England.

What is batik Indonesia tune people who live in the country mode? Batik patterns are what? Early reports following Kusmana Massabuau writers Citizen Journalism Tribun Kaltim's French-made readers Tribun Kaltim.

Wear batik in the country has four seasons, is completely occupied. There are several problems when the need to wear batik clothes. Material basic batik clothes that came from cotton or silk cloth, it's not easy to be used than in the summer.

It is true that from early June until the end of the summer, batik clothes we find in many places of tourist attraction, especially the coastal region. Clothes that have the character and having a certain cheerful is the soft target for the holiday. When summer comes, most French people want to appear cheerful. This indicates their excitement akan mentari heat to burn the body of their nan pale.

But when winter comes, batik clothing from the circulation seems to vanish. Actual French people, not the type of people who want to use something figured. They are more like the classic colors and dark. It is, France did not match or get a nickname as the state central mode. But there is so.

In my city, Montpellier, there are a pair of husband and wife who sells handicrafts (gift) of Indonesia, precisely in Palavas Beach. Since a few years ago, Agus, the husband's bloody Yogyakarta, has been opened a store with his wife. The wife named Nathalie, came from France.

Talk about batik clothes, they acknowledge that the products from Indonesia that can only be sold when it enters the spring until the coming autumn. However, the form of batik products for home decoration or ornament small (gift) may be spelled out does not know the time. Because that is the reason, they are not only selling batik clothing, but also other products such as handicrafts typical of Yogyakarta.

Batik clothes that are sold the average simple model. As sleeveless dress for women, the usual batik cloth dililitkan as the cover for the body, walking along the beach. And the trend now is this pair of pants and shorts (shorts) batik pattern.

Penggemarnya children begin to mature both men and women. Men's shirt with batik senada style and color not too light, are also often targeted French citizens. Most of the batik clothes that are in demand sweet clothes that can be used to play by the beach or nyantai create.
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HOW price? Price in the offer varies. Starting from 10 euros to 45 euros per piece. Price is not too expensive for the traveler to use it only in one season. While batik clothing varies slightly with model or a particular design, is still difficult to use the French.

This I know after a chat with Daphne Barbedette, the only French people who have special boutiques selling designer clothes batik creations Indonesia, as Carmanita and Dewi Adby, in Paris. According to the owner of this boutique Lali Puppet, batik clothing creations are still difficult to eat the French.

What is it? In addition to the French culture does not have to wear batik certain events, such as in Indonesia, batik is also due to the wear a special pattern. As a result, many French citizens who do not dare to use. If the cloth is batik pattern is only a small scarf. It allows for more consumption and more easily combined with other clothing.

Because several factors that, women with men bersuamikan the express intention Indonesia akan butiknya close in a few months. In fact, business has been dirintisnya that has stood since 2005. Unfortunately .... While in France he is the only women who dare to open a clothing boutique batik Indonesia.

Our own nation was not a dare. I know it is through the consulates and the Embassy of Indonesia. According to them, most people who deal in Indonesia in France prefer to sell their handicrafts Indonesia. Meanwhile, shops that sell clothing specifically batik, almost not there.

Unlike the batik as home decor. This product may be spelled easily found in shops, decorations and of course do not know season. Crafts such as batik, this is a more French country imported from Indonesia. And found that the quality and style batik in Indonesia go on the best that Malaysia.

As a result, the typical pattern batik Indonesia dicontek by fear of another country because many do not yet have the patent rights. Fortunately the Indonesian people in France still loyal with batik clothes. Many men or women who use French every batik clothes smell to attend the event-Indonesiaan. They are proud and feel without hesitate. I respect and wrapper with the attitude they want to appreciate the work of the Indonesian people.

In my mind, if only they knew how the process of batik and pembuatannya, of course, many who fall in love with batik. For example, a husband or family my friends, they are always excited and proud when we provide by by-batik cloth.

Typically, to use them always ask first when batik clothing should be worn at the ceremony and what? Last time my friend Charlotte came to regale us in the residence. He looks more elegant when put on blouse and batik scarf by-by from me. If it does not believe in, see how sweet and cantiknya when the woman wear batik Indonesia .... Indeed, when already know, I definitely have a sense and have a sense ....

Batik Giriloyo (Bantul, Jogjakarta)

2009-03-12T18:02:00.000-07:00

Introduction

Batik is a work that is not strange for people of Indonesia. In many parts of Indonesia found many areas batik craftsman. Making batik each region has unique and distinctive uniqueness, both in governance and multiformity decorative color. And, one area that is Yogyakarta. In Yogyakarta own batik production centers scattered write-in various regions, each of which had only to develop certain motives, so it's easy to recognize the origin of the region where batik. In the city of Yogyakarta batik industry there is in the region: Tirtodipuran, Panembahan and Prawirotaman. Kulonprogo in the District is in the Village: Hargomulyo, Kulur and Sidorejo. Gunungkidul located in the District in the Village: Nitikan, Ngalang and Mengger. Sleman in batik industry in the village Nogotirto and Mororejo. In Bantul batik industry is in the Village: Wijireja, Murtigading and Wukirsari. This means, in each region TK.II (city and district) joined in the Special Region of Yogyakarta there are centers making batik. This article will only discuss one of the center pembatikan in the Bantul area, precisely in the Village Wukirsari products its batik then known as the "Batik-Write Giriloyo".

Origins
Perhaps, the village now known as Wukirsari is a combination of small villages, namely Giriloyo, Pucung, and Singosaren Kedungbuweng. Residents each have a solitary activity, especially Giriloyo, Pucung, and Singosaren, so that villages become famous because of the expertise held by residents. In this case Giriloyo with batiknya famous, famous Pucung with leather and webbing bambunya, and with the famous Singosaren gentengnya.

Origin of batik Giriloyo reputedly started simultaneously with the graves of the kings in Imogiri located in the hills Merak in the year 1654. At that time, when the Sultan Agung (Panembahan grandchildren Senopati) intends to build graves, he found the hill land smell fragrant, and it is made suitable for burial. However, when the cemetery is being built, the uncle called Panembahan Juminah states dimakamkan desires to participate in that place. In fact the first is the uncle died. Therefore, the first time the tomb was occupied, and not the uncle of Sultan Agung. Sultan Agung was disappointed because as a king or ruler should be the first time there is tombed himself. To menetralisir disappointment, Sultan Agung transfer of development potential tomb for himself on the hill that is called by locals "Bukit Merak" which is located in the Hamlet Pajimatan region Girirejo11.

In line with the tombs of kings in Imogiri this energy which then need to be responsible to maintain and guard. For that, its palace palace servant who are by a regent who have an important position. By many as a palace servant duty, maintain, so often associated with the palace, with the versatility to make batik motif fine palace developed in this region. Then, to make the skills inherited from the female child or grandchild.

Along with the orders of the palace, whereas the number of batik perajian on Pajimatan limited (inadequate), they bring in workers from Giriloyo. And, for the Giriloyo it is a fortune because they can ngangsu kaweruh of batik in Pajimatan before trying them yourself. Moreover, the process is done in each home. This means that the fabric will made batik go to Giriloyo, and then (after a) disetorkan to Pajimatan. This is the name and then create Giriloyo more mencuat rather Pajimatan.

One thing that needs to diacungi thumb is that the craftsman Giriloyo retaining batik batik-tulisnya. They will not know batik-stamp as other centers in the area of Bantul, such as the Village Wijireja, Murtigading2, but they are not tempted; they maintain the tradition leluhurnya, namely producing batik-batik and not write-cap. As for the types of batik products, among others: jarit, glove, and kemben (shawl).

Tools and Materials
Equipment used to make batik-writing are: (1) a small frying pan that is used as a place to heat up the night (candle) so that the liquid, (2) brazier, to warm nights with live coals from the charcoal, (3) Tepas (fan) , in order to obtain the wind ember still up; (4) gawangan, to place that will dibatik mori; (5) bandhul, to keep out the cloth so that does not sway when painted; (6) uthik, to carry on charcoal; (7) canting with various sizes as a means to pour the liquid into the night that digambari mori; (8) kenceng, to boil water when nglorot or mbabar; (9) cawuk, to curry, and (10) pestle, to beat the cloth will mori dibatik so weak and ease pembatik in the process pembuatannya. Basic material for making batik cloth is mori. In addition, there are also materials that are used as pewarnanya which can be a chemical substance or natural coloring agent, such as: high bark, soga, tegeran, and so forth.

The process of making Batik Tulis Giriloyo
Stages of making batik-write in Giriloyo is as follows. Before dibatik mori fabric, usually dilemaskan. How is the digemplong, namely cloth digulung mori and placed in a flat and beaten with a pestle made of wood. After the cloth becomes weak, then the next stage is the mola, a pattern that is created on the night with mori. After the pattern established, the next stage is nglowong, ie, drawing in accordance with the reverse pattern mori. This activity is called nembusi. After that, nembok that the process is almost the same as the night nglowong but using a more powerful. The meaning is unutk holding substances seep color blue or brown. The next stage is a medel or nyelup to blue in accordance with the result that you want. Medel process is done several times so that the blue color becomes more dense. Next, remove the wax ngerok namely klowongan that if disoga bekasnya brown. Tool that is used to ngerok is cawuk made from a snippet of the cans ditajamkan sides. After dikerok, and then proceed with mbironi. In this process, the parts that want to remain white and blue closed the night with the canting so special when not possessed disoga brown. After that, proceed with nyoga, that is, the color brown with bark soga herb, high, tegeran and others. To obtain a mature brown color or old, dyed cloth in the basin contain ingredients soga, then drained. The process nyoga done many times and sometimes take up to several days. However, when using a chemical dye substances, processes nyoga be conducted one day only. The process which is the next stage is the end of mbabar or nglorot, that is clear tonight. How, mori fabric is placed in boiling water that has been given the starch so that water does not stick to the night again. After a night faded, the fabric that has been mori dibatik is then washed and diangin-anginkan so dry. As a note, in making a batik piece is usually not only by one person only, but some of the different duties.

Variety Ornamental Motif Batik Tulis Giriloyo
Property Yogyakarta very nature affect the fad with the decorative patterns that fascinate. Even if the whim hiasnya created from a simple tool and work process that is limited, but the result is a work of art that very high value. So, batik cloth-write not just fabric, but has become a form of art that was reserved from the results, the author is feeling and intention. Motives are usually influenced decorative whim and with the closely related factors: (1) geography, (2) beliefs and customs; (3) the surrounding circumstances including the nature of flora and fauna and (4) any contact or relationship between producer batik; and (5) the nature and governance of the regions concerned.

Catalog Khas Batik in Yogyakarta issue of Small Industry Development Project and Special Region of Yogyakarta Province (1996), said that in the Special Region of Yogyakarta at least have more than 400 batik motif, both classical and modern motifs. Some of the names or decorative motif multiformity batik of Yogyakarta are: Parang, latticework, vine plants, water plants, flowers, animals, Sido Asih, renteng Keong, Sido Mukti, Sido Luhur, Mentul Cement, Sapit Urang, Harjuna Manah, Cement Kuncoro, Sekar Asem, Lung Kangkung, Sekar Keben, Sekar Polo, Grageh Waluh, Rev. Tumurun, Naga Gini, Sekar Manggis, Truntum, Tambal, Grompol, Queen Ratih, Roman Cement, Mdau Broto, Cement Gedhang, Jalu Mampang and others .

Each motif has a meaning and value of philosophical self. The philosophical meaning of batik-batik made in Giriloyo among others: (1) Sido Asih contain the meaning of life when the menage is always full of affection, (2) Sido Mukti used when the value of, their life will always be in the adequacy and happiness; (3) Sido Mulyo contain the meaning of this life will always be glorious; (4) Sido Luhur contain the meaning of this will be a dignitary of virtuous character and noble; (5) the value Truntum3 love the sprout; (6) Grompol means or gathered together, so that the value of all things that can be collected as well Rejeki, happiness, children, family life is harmonious; (7) the value Tambal add anything less. When the cloth with motifs tambal is used to wrap the sick person will be healthy or sebuh back in contention for the sick is certainly something less; (8) Queen of Ratih and Roman Cement symbolizes faithfulness of a wife; (9) Mdau Bronto symbolizing love that is like sweet honey; (10) Cement Gendhang to hope that the value of cloth is put on the hot-get momongan.

Motives from the first until now inherited from generation to generation, so that the pattern is not changed, because I memola motif itself is only done by certain people, and not every pembatik can create their own motif. People who live to make implementing the specified pattern. So, craft batik is a work that is collective. As a note, the pembatik in Giriloyo especially Yogyakarta and generally, all done by women both young and old. Expertise to make is, in general, inherited from generation to generation from generation to another generation.

Cultural values
Batik-writing produced by the crafter in Giriloyo be if, in the values that in turn can be used as reference in daily life for the people supporting. Values are: kesakralan, beauty (art), the diligence, thoroughness, and patience.

Kesakralan value reflected in the motives that may only be used by the sultan and his family. Value reflected the beauty of the fad motif hiasnya made in such a way, that radiate beauty. Meanwhile, the value of diligence, thoroughness, and patience is reflected pembuatannya process that requires diligence, thoroughness, and patience because without it is not possible to produce a good batik.

Tips and Tricks Caring for Batik

2009-03-05T20:35:00.001-08:00

There are some things you need to note that batik cloth or clothing you are still beautiful, are as follows:

1. Washing batik cloth by using hair shampoo. Previously, soluble first to shampoo no more of a set. After that new dyeing batik cloth. You can also use special soap for washing cloth batik was sold in the market.

2. At the time of washing batik not rubbed, and do not use detergent. If you do not batik too dirty then you can with it with warm water. But if you are batik stains so you can be with it enough with just a bath soap. Akan nodanya but still if you can be naughty and removed it with orange peel on the dirty part of it. Do not wash the batik cloth by using the washing machine.

3. After the dirt drying have lost your place in the shade but you do not need to pressing, let alone cloth is naturally dry up. At the time of season you should pull the fabric edge so that the fiber cloth crease back to normal.

4. Avoid flatten directly, if you can too tangly syringing water above your batik cloth layering batik cloth with the other. This batik cloth to avoid the heat affected you directly from the iron.

5. If you want to give impart and fabric softener on batik, syringing not directly on the cloth. Before, cover the fabric with the first newspaper, impart ago syringe liquid and fabric softener. You should not inject scent or perfume directly to the cloth or clothing of silk batik be natural color.

6. After flatting should you save your batik in plastic to prevent moth-eaten. We recommend that you do not give camphoric solid because this is too hard so that can damage your batik cloth. It's good you give a pepper or pepper wrapped with tissue and enter in your wardrobe to drive moth. Or you can use the fragrant root of the dye to you in hot water and then dried, and dyed again in hot water and dried. After the roots are fragrant dry you can use it.

History of Batik Indonesia

2009-03-05T20:24:00.000-08:00

Batik is historically derived from the time of the ancestors known since XVII century that was written and painted on the leaf Lontar. At that time batik motif or pattern is still dominated by the form of animals and plants. However, in the history of its development to the development of batik, the pattern of color-painting animals and plants slowly move on the abstract patterns that resemble a cloud, temple reliefs, wayang beber, and so forth. Then through the merger with the art style paintings decorating clothing, batik art show as we know now.

Type and traditional batik patterns are very many, but the patterns and variations in accordance with the philosophy and culture of each region is very diverse. Khasanah culture of a nation so rich has been to encourage the birth of various patterns and types of batik traditional with specific own characteristics.

The development of Batik in Indonesia
History Batik in Indonesia related to the development of the kingdom of Majapahit kingdom and beyond. In some notes, the development of batik is done many times in the kingdom of Mataram, then the kingdom of Solo and Yogyakarta.

Batik art is art in the image on the cloth for clothing that was one of the family culture of kings before the era of Indonesia. Originally batik is limited only in the Palace and the results for the king and clothes of the family and followers. Because many of the cohort who live outside the king's Palace, the batik art is carried out by them and the Palace are area each.

The process of making batik
In its development slowly batik art is imitated by the people nearest and further extends into the work of women in the household to fill leisure time. Furthermore, the batik was only clothes the family palace, and then become something that people tune, both women and men.

Of white cloth that is used at that time is the result of the texture itself. Medium coloring materials used consist of plants native to Indonesia made from, among others: tree mengkudu, high, soga, indigo, and sodanya made from soda ash, salt and mud made from clay.

So this handicraft batik in Indonesia has been known since the times of the kingdom of Majapahit and growing up to the next kingdom. The expansion began this batik art become the property of the people of Indonesia and especially after the tribe of Java is the end of XVIII century or early-to-XIX century. Batik produced batik is all up to the beginning of the century to the XX-and cap batik, known after the new world after the first war or around 1920. Batik is now a part of the traditional Indonesian clothing.

Pekalongan Batik
Although there is no official record at the start batik in Pekalongan, but according to estimates batik in Pekalongan have been around 1800. In fact, according to data recorded in Deperindag, batik motif was created in 1802, as a small tree motif shirt material.

However, a significant development after the war is going great in the kingdom of Mataram in 1825-1830 often called the war with the Diponegoro war or Java. With the occurrence of this war and urged the family of the Palace many followers who leave the kingdom. They then spread to the East and West. Then in the region - the region is the new family and followers develop batik.

To the east of Yogyakarta and Solo batik perfect batik patterns existing in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Towards the West is being developed in batik Banyumas, Kebumen, Tegal, Pekalongan and Cirebon. With this migration, the batik Pekalongan that have been previously growing.

Over time, Batik Pekalongan experienced rapid growth compared with other regions. Batik in this area developed around the coastal region, namely in the area of the city and region Pekalongan Buaran, Pekajangan and Wonopringgo.

Museum Batik Pekalongan
Pekalongan meeting people with different nations such as China, Dutch, Arabic, Indian, Malay and Japanese at the time of yesteryear have been coloring the patterns and dynamics of governance color batik art.

Accordingly several types of batik motif results from the influence of various countries who became known as the identity of Pekalongan batik. Motif that is batik Jlamprang, inspired from Indian and Arab Affairs. Then Encim batik and Klengenan, influenced by Chinese hybrid. Dutch batik, batik Pagi Sore, and batik Hokokai, growing rapidly since Japan's occupation.

The development of culture techniques in print motif close to the dye using the night (candle) at the top of the cloth, which was then called batik, indeed can not be released from the influence of the countries. This shows the context kelenturan batik from time to time.

Batik Pekalongan be very special because bertopang entirely on the hundreds of small entrepreneurs, not the handful of large employers have capital. Since ten past year until now, most of the production process is done in batik Pekalongan homes. As a result, batik Pekalongan integrates closely with the community life of Pekalongan is now divided into two administrative regions, and the Municipality of Pekalongan Kabupaten Pekalongan.

Tidal development batik Pekalongan, Pekalongan show to be feasible for the development of the icons of batik in Indonesia. Icon for works of art that never surrendered to the development of the age and always dynamic. Batik is now a breath of daily life and the people of Pekalongan is an excellent product. This is due to the many industries which produce batik. Because with the famous product its batik, Pekalongan, known as BATIK CITY. Nickname came from a tradition that is rooted in the old Pekalongan. During the period that is long, diverse nature, purposes multiformity, type design, and quality of batik is determined by the climate and the presence of local fiber-fiber, historical factors, trade and goodwill in the community understand and accept new ideas.

Batik is the art culture of the world be admired, among multiformity produced with traditional technology dye occupied, not one that is able to attend as beautiful and as soft Pekalongan batik.

Batik Tulis is different with Batik Cap

2009-03-05T02:09:00.000-08:00

The development of batik in the brisk enough now, this had a positive impact for batik-batik producers in various regions. Request batik and batik cap is very high, even if the market needs some batik has been filled with the pattern batik textiles produced by companies that have capital of textiles. Some of batik desire for payment in advance so that production can be smoothly and the buyer will receive the requested order, this is on the 70-year period in which an at that time batik also request that a sizable enough amount.

Differences batik and batik cap can be seen from some of the following:
A. Batik Tulis
1. Done with the canting tool that is made of copper that can be formed to accommodate the night (batik wax) has a tip with a channel / pipe to discharge a small night in shaping the image on the surface of the early fabric.
2. The form of images / designs on batik does not have a clear repetition, so the image appears to be more flexible with the size of the motif that can be relatively small compared with the batik cap.
3. Batik pictures can be seen on both sides of the fabric appear more flat (see-through back and forth) for a special batik fine.
4. Color base cloth is usually younger than the scratches on the color motif (putihan batik / tembokan).
5. Each snippet of the picture (multiformity tub), which repeated in the fabric will not usually have the same shape and size. Unlike the batik stamp is likely to be exactly the same image with the image of one another.
6. The time needed for the making of batik relatively long (2 or 3 times longer) compared with the making of batik cap. Manufacture of fine batik can take 3 to 6 months.
7. A canting of the tool is relatively cheaper price ranges from Rp. 10.000, - to Rp. 20000, -/pcs.
8. Batik selling price is relatively more expensive, because of the generally better quality, luxurious and unique.

B. Batik Cap
1. Done with the cap (a tool made of copper formed in accordance with the image or motif that you want). For making a batik cap stock with dimensions length and width: 20 cm X 20 cm required average time sunday 2.
2. The form of images / designs on batik cap always have a clear repetition, so images appear over and over, with the same form, with the size of the patterns are relatively large compared with batik.
3. Figure batik cap usually does not emerge on both sides of the cloth.
4. Color base cloth is usually older than the color on scratches motifnya. This is not to make a batik cap closure on the basis of more complex patterns such as that done in the usual process of batik. Korelasinya is to pursue the selling price that is cheaper and the production more quickly. The time needed for sehelai batik cloth cap ranges 1 to 3 sunday.
5. To make a batik cap the various motifs, the much needed cap. While the price cap batik relatively more expensive from canting. For the price cap batik on condition now with the size 20 cm X 20 cm at around Rp. 350.000, - to Rp. 700000, -/motif. So from the initial capital batik cap relatively more expensive.
6. Period of time the cap batik in good condition can reach 5 years to 10 years, with a record not broken. Repetition for copper batik stamp pemakainnya almost unlimited.
7. Selling price of batik cap relatively cheaper compared with batik, as is usually the amount and have many similarities and the other one is not unique, not special and less exclusive.

Besides differences between the visual side of batik and batik cap, but from the production side there are some similarities that should be passed in the execution of both. Among them are the following:

* Both can be equally said batik cloth, as is done with the use of candles as a media stranglehold color.
* Done by the hand of man almost to create the image and color processing open close.
* Material that also uses the same basic form of a white cloth, and should not be the type of material basic thread (cotton or silk) or tenunannya form.
* The use of coloring materials and process the same color, there is no difference anatara batik and batik cap.
How to determine the lay-out or the patron, and also the forms of the same motif can be both. So when both of them to be sewn clothing made no difference for the designer clothes or penjahitnya. Only distinguish the quality of the picture only.
How to treat batik cloth (save, menyuci and use it) there is no difference.
* To make the required image or early sket basis to facilitate and understand the form of a motif that will happen.

batik

2009-01-09T18:01:00.000-08:00

Batik is a craft that has high artistic value and has become part of the culture of Indonesia (particularly Java) since long. Javanese women in the past made them in the skills to make a livelihood, so that in the past to make the work is to work exclusively women finding "Batik Cap" which allows the inclusion of men in this field. There are some exceptions to this phenomenon, namely the coastal batik has the masculine, as can be seen in the pattern "Mega Mendung", which in some coastal areas is to make work for the common man.

Variety Batik pattern and color is influenced by various foreign influences. Initially, batik has multiformity pattern and color are limited, and some patterns may only be used by certain circles. However coastal batik absorb various external influences, such as foreign traders and in the end, the colonists. Bright colors such as red dipopulerkan by the Chinese, who also popularize phoenix patterns. Colonialist European nations also take interest in the batik, and the result is a pattern bebungaan previously unknown (such as tulip flowers) and also objects brought by colonists (the building or horse-drawn carriage), including the colors of their favorite colors such as blue. Maintain the traditional batik coraknya, and is still used in traditional ceremonies, usually because each color has a symbolism of each.

Technique has been to make known since thousands of years back. There is no historical information that is quite clear about the origins of batik. Some suspect this technique comes from the Sumerian nation, and developed in Java after brought by Indian traders. At this time batik can be found in many countries such as Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran. Besides in Asia, batik is also very popular in some countries in the African continent. However, batik, which is very famous in the world is a batik from Indonesia, mainly from Java.

The tradition is beginning to make on that tradition from generation to generation, so that sometimes a motif can be identified came from a family batik. Some batik motif can indicate the status of someone. Even now, some batik motif tadisional only used by the family palace in Yogyakarta and Surakarta.

Batik is the ancestor of the inheritance of Indonesia (Java) is still there. Batik is also the first time introduced to the world by President Soeharto, who at that time the United Nations Conference on batik.

Batik is truely Indonesia

2008-12-13T21:41:00.000-08:00

Pekalongan is one of the city of batik in Indonesia. a pride for the city of Pekalongan, which holds the status as a city of batik. Because Batik is an asset of Indonesia which the valuable art and culture that is very high. many countries that recognize the claim or batik as a cultural asset their country. but Indonesia is not afraid of threats such. because batik is actually from Indonesia. In Pekalongan there are shopping center, there are also special batik cloth with a price that is affordable enough. Shopping center is Pasar Grosir Setono. The bulk are in a beautiful rose this point, other than access easily, is also the largest wholesale batik in Pekalongan.

Pigment dyeing direct

2008-11-30T16:07:00.000-08:00

Direct pigment is also called the pigment can be substantive absorbed as well by cellulose. Also called salt because the pigment in the dyeing process always added salt to enhance absorption. Some of the pigment can also be used to dye protein fiber.
The chemical structure of the pigment is a compound containing azo group sulfonat cluster as solvent. Pigment can be a direct monoazo compound, diazo, triazo or tetraazo. Hidroksil cluster in the cellulose molecule an important role in the dyeing with pigment direct. When the atoms Hydrogen from the cluster hidroksil replaced arsetil group, the fiber can not be dyed with pigment direct. This is because cluster hidroksil in the cellulose molecule can cause Hydrogen ties with the cluster-cluster hidroksil, amina, and the azo pigment molecule.
In general the pigment is a direct diazo compound, which contains several cluster sulfonat, by the contention that Meyer substabtifitas pigment direct many of the molecule-shaped molecule that can be located aft, so straight on the fiber. Dekloisme event is one proof that the direct pigment is located on the surface molecule-molecule fiber oriented parallel with the temperature fiber. But the original form of a compound trans substabtif more than bah compound. Hodgsoon Marsden and then add other than the molecule must be the core of Linear-core its aromatic must also located a field.

Bleaching BY USING chlorine

2008-11-24T16:18:00.000-08:00

Bleaching called chlorine powder and a substance oksidator strong. Bleaching is usually used for cotton and rarely used for Bleaching rayon oksidasinya power because of damage to enable the fiber will occur oksiselulosa.
During the Bleaching reactions that occur are as follows:
1. Pelarutan chlorine in the water
CaOCl2 → Ca(OCl)2 + CaCl2
2. Calcium hypochlorite terhidrolisa
Ca(OCl)2 + H2O → Ca(OH)2 + 2HOCl
3. At the same time, the gas also occurred chlor
CaCl + Ca(OCl)2 + H2O ↔ Ca(OH)2 + CL2
4. Acid happens to work hypochlorite bleach fiber
On + HOCl → HCl
5. CO2 from the air to accelerate decomposition
Ca(OH)2 + CO2 → CaCO3 + H2O

Bleaching process in order to walk slowly to be done in an atmosphere of alkali with the addition of Sodium Carbonate (Na2CO3). In PH alkali HOCL there are a few Bleaching so that the process is running slowly. The possibility of damage due to fiber oxidation can be prevented.

Bleaching is usually done on PH alkali. During the process of PH will drop because there is the influence of CO2 from the air, therefore, to maintain the PH plus buffer buffer solution.

Ca salt contains chlorine that may settle in the material and will menyebabakan rough grip, for example, CaCO3, which formed because of the influence of CO2 from the air / Ca (OH) 2. To avoid this done pengelantangan information (scouring) with HCl. The remnants of chlorine that still exist in the material will become so HOCl give effect pengelantangan information.

Reaction
CaCO3 + 2HCl → CaCl2 + H2CO3
CaOCl2 + HCl → CaCl2 + HOCl
Ca(OH)2 + 2HCl → CaCl2 +H2O

During the process of removing the chlorine Bleaching chlorine gas are absorbed into some of the material. Chlorine gas is very dangerous if konsentrasinya large. After drying, although the amount of chlorine gas, but little konsentrasinya become larger, so will damage the fibers, which resulted in decreased strength. Therefore, after Bleaching with the need to further process with the anti-chlor Sodium sulfit, Bisulfir, or hidrosulfit to tie chlor that may exist in the material

Reaction
NaHSO3 + CL2 + H2O → NaHSO4 + 2HCl
NaS2O4 + 3Cl + 4H2O → 2NaHSO4 + 6HCl

Dyestuff

2008-11-17T04:04:00.000-08:00

The materials needed in the dyeing process are:
1. Pigment dye
2. Oat-adjuvant substances
3. Media pelarutan / water

Color dye substances
1. There are two types of pigment by way perolehannya, namely:
a. natural pigment
Natural pigment can be obtained from:
- Turmeric
- Wood jackfruit trees
- Tea
- Fruits avocado
- Leaves putrimalu
- Leaves Desamuda Village Seminyak
- And so forth
b. Synthetic pigment
- Him color directory
- Color Him naftol
- Color Him vessel
- The color of sulfur Him

In practice, the natural pigment is rarely used, this is caused by several factors, namely:
- It is difficult to obtain
- The pigment is not fixed
- Generate a gloomy color
- Time of long and difficult process
- Multiple color limited
- Resilience faded less well

2. Pigment according to the nature
a. Pigment substantive
Pigment is substantive pigment that can be directly coloring oat fiber without the need for adjuvant coloring the fiber.
- Him color directory
- Him reactive color
- Color Him acid
- Base color Him
- Color Him dispersi
b. Pigment ajektif
Ajektif pigment is the pigment that require adjuvant substances for coloring fiber.
- Color Him naftol
- Color Him vessel
- Color Him vessel soluble
- The color of sulfur Him

3. Based on the pigment colors
a. Monogenetik
Naftol is the pigment that with the addition of salt naftol a different direction will give the same color.
- Naftol AS.D -> direction yellow
- Naftol AS.G -> direction chocolate
b. Polygenetik
Naftol is the pigment that with the addition of salt naftol a different direction will provide a different color.
- U.S. Naftol
- Naftol AS.BO
- Naftol AS.GL
- Naftol AS.GR
- Naftol AS.BS

4. Pigment-based chemical
- Nitroso
- Nitroazo
- Poliazo
- Indigoida
- Antrakwinon
- Ptalosianin

5. Pigment on how to use
- Pigment directory
- Base pigment
- Pigment acid
- Pigment mordan
- Pigment sulfur
- Pigment vessel
- Pigment naftol
- Pigment dispersi
- Reactive pigment

The higher molecular weight pigment, the more difficult pigment into the fiber so that the results become uneven.

Dyeing

2008-11-14T22:08:00.000-08:00

Dyeing is a process that is done to give color to the textile material evenly.

Dyeing generally consists of pigment dissolves in water or other media. textile materials and enter into the solution, so there will be the absorption of pigment in the fiber.

Things that affect the dyeing process are:
1. temperature
2. time
3. mechanics
4. oat-adjuvant substances

Textile

2008-10-07T05:50:00.000-07:00

A textile is a flexible material comprised of a network of natural or artificial fibres often referred to as thread or yarn. Yarn is produced by spinning raw wool fibres, linen, cotton, or other material on a spinning wheel to produce long strands known as yarn.^[1] Textiles are formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt).

The words fabric and cloth are used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile. However, there are subtle differences in these terms. Textile refers to any material made of interlacing fibres. Fabric refers to any material made through weaving, knitting, crocheting, or bonding. Cloth refers to a finished piece of fabric that can be used for a purpose such as covering a bed.