Multidiscipline Hybrid Approach in Art and Design Education to

Support the Sustainability of Cimahi Batik

Christine Claudia Lukman

Krismanto Kusbiantoro

, Irena Vanessa Gunawan

Lois Denissa

, Elliati Djakaria

, I Nyoman Nathanael

, Grace Carolline Sahertian

and Wenny Anggraini Natalia

Department of Visual Communication Design, Universitas Kristen Maranatha, Bandung, Indonesia

Department of Architecture, Universitas Kristen Maranatha, Bandung, Indonesia

Department of Interior Design, Universitas Kristen Maranatha, Bandung, Indonesia

Department of Fashion Design, Universitas Kristen Maranatha, Bandung, Indonesia

lois.denissa@art.maranatha.edu, elliati.ds@art.maranatha.edu, nyoman.natanael@art.maranatha.edu,

grace.cs@art.maranatha.edu, wenny.an@art.maranatha.edu

Keywords: Application, Art and Design Projects, Cimahi Batik, Experiment, Sustainability.

Abstract: Cimahi Batik is a new type of Batik that was developed in mid-2008 and introduced to the public on the 8

anniversary of the City of Cimahi. It consists of 5 different visual motifs that represent the identity and the

geographical indication of the city. The existence of Cimahi Batik encourages the Batik industry by absorbing

many skilled laborers in Cimahi and improving the regional income. The Covid-19 pandemic struck the

economy down towards recession. Cimahi Batik industry is experiencing the downturn due to the decreasing

buying power of the society. In order to support the sustainability of Cimahi Batik, experiments and

application series of art and design projects were done in studios and followed by comprehensive analysis

using the ATUMICS method. Various design projects such as implementing the visual style of Cimahi Batik

in font design, still life and animation composition and also as façade elements of architecture are discussed

on this paper as result of creative ideas and process during design education in studios. This experimental

project is conducted to introduce the young generations to the richness of the culture and support the

sustainability of Cimahi Batik as a cultural artifact as well.

1 INTRODUCTION

Cimahi batik consists of 5 different visual motifs

produced through a competition event that involves

designers. The motifs are Cirendeu (bamboo tree),

Ciawitali, Curug Cimahi, Pusdik, and Kujang that

represent the identity and the geographical indication

of the city. It was first introduced to the public on June

, 2009 on the 8

anniversary of the City of

Cimahi. The existence of Cimahi batik brings

opportunity to the local batik home industry in

https://orcid.org/0000-0002-0553-9510

https://orcid.org/0000-0002-6085-3131

https://orcid.org/0000-0003-2905-0469

https://orcid.org/0000-0002-0881-7184

https://orcid.org/0000-0002-5461-1689

https://orcid.org/0000-0003-2872-2112

https://orcid.org/0000-0002-8974-5564

https://orcid.org/0000-0002-8619-3899

Cimahi to grow. Cimahi is a satellite city of Bandung,

the capital of West Java Province. Cimahi is not a city

with a long batik tradition such as Pekalongan,

Yogyakarta or Surakarta. However, within the last 2

decades, the city government of Cimahi strongly

promotes the existence of Cimahi batik as cultural

artifacts in Cimahi. Cimahi batik developed more

likely due to the passion of some people to the

tradition of batik, elaborated with the potential of

local nature and culture in Cimahi, and creatively

created new visual motifs of Batik to be produced as

a local business.

Lukman, C., Kusbiantoro, K., Gunawan, I., Denissa, L., Djakaria, E., Nathanael, I., Sahertian, G. and Natalia, W.

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik.

DOI: 10.5220/0010750300003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 211-225

ISBN: 978-989-758-604-0

211

Currently, there are only 3 batik home industries

(Lembur Batik Cimahi, Batik Sekar Putri, and Batik

Anggraeni), which produce clothing products, which

are categorized as Micro Small Medium Enterprises.

They absorb a good number of skilled laborers in

Cimahi and improve the regional income. As an area

with no natural resources, the City Government of

Cimahi relies its regional income on creative human

resources, and Batik industry is one of those.

Although one of them, which is Batik Sekar Putri has

already able to sell their products into international

market, prior research shows that the interest of the

local community to buy batik material for other

purposes beside as clothing material is still minimal.

Covid 19 pandemic outbreak in Indonesia that

starts in March 2020 has a broad impact on all living

aspects, including economic. Many industries have

experienced a downturn due to declining purchasing

power of the society, including the batik industry in

Cimahi. In order to support the sustainability of

Cimahi Batik, various efforts need to be done to

maintain public awareness of the existence of Cimahi

Batik. These efforts encourage economic activities in

the midst of the pandemic, so that batik remains

sustainable.

The term sustainability refers to a concept that

was introduced at the beginning of the 18th century

in German concerned about sustainable harvests. In

1987, Brundtland Report defined sustainable

development as harmonious economic, social, and

ecological development that enhances both current

and future potential to meet human needs and

aspirations.

James et al (2015) state that sustainability is the

capacity to go through in a relatively continual way

over several domains of life. In the 21st century

context, it refers mostly to the capacity for Earth's

biosphere and human civilization to co-exist.

Sustainability is also defined as the way of people

preserving change in a homeostasis-balanced

environment that the exploitation of resources, the

direction of investments, the orientation of

technological development, and institutional shift are

all in harmony and increase both current and future

potential to meet human needs and aspirations.

The purpose of sustainability, based on the The

National Environmental Policy Act of 1969 (NEPA)

of United States of America, is to create and maintain

conditions so that people and nature can be in

productive harmony, enabling the fulfilment of the

social, economic and other needs of current and future

generations. A sustainable approach is based on a

system that seeks an understanding of the interactions

that exist among the environmental, social and

economic pillars in order to gain a better

understanding of the consequences of human action.

Environmental sustainability means that

ecological integrity must be maintained so that all of

the earth’s environmental systems are kept in

equilibrium while humans at such rate consumed

natural resources where they can replenish

themselves. Economic sustainability is when human

communities all over the earth can maintain their

independence and have access to the resources that

they require, financial and other, to meet their needs.

Economic systems are undamaged and activities are

available to everyone, such as secure sources of

livelihood. Social sustainability means that universal

human rights and primary necessities are accesible by

all people, who have access to sufficient resources in

order to take care their families and communities

healthy and secure.

Next to these three pillars, Fritjof Capra states that

things that need to be considered in the sub-domains

of sustainable development are cultural,

technological, and political.

Cultural sustainability in connection to

sustainable development relates to maintaining

cultural beliefs, cultural practices, heritage

conservation, so that culture as an entity itself can

exist in the future.

One of the dimensions of cultural sustainability

that can be developed in education is the appreciation

of one's own culture and heritage, cherishing and

maintaining them. This doesn't need to mean

becoming stuck in the past, but learning from it:

adapting one's heritage to modern life. In this

dimension, students are involved in preserving and

transmitting cultural heritage and tradition, and

adapting and transforming cultural heritage.

One of the story lines developed by Soini and

Birkeland on scientific discourse on cultural

sustainability relates to how cultural services, events

and heritage are in accordance with the changing

needs of their users and how cultural heritage is made

accessible in a sustainable way

Payne and O'Neil cite Cortese who emphasizes

the task of higher education in creating a more

sustainable future that integrates ways to preserve and

restore cultural diversity that is essential for a

sustainable future. Communities will benefit from

partnerships with higher education institutions.

Ideally, researches on sustainable solutions are to

protect the environment as well as strengthen

communities and bring prosperity.

In the context of the existence of Cimahi Batik,

the social challenges caused by the Covid 19

pandemic need to be responded appropriately to

ICE-HUMS 2021 - International Conference on Emerging Issues in Humanity Studies and Social Sciences

212

ensure its sustainability. Cultural sustainability in

connection to sustainable development relates to

maintaining cultural beliefs, cultural practices,

heritage conservation, so that culture as an entity

itself can exist in the future. The idea of sustainable

development is to preserve cultural heritages by

elaborating it with to cultural and creative industries.

It is obvious that culture is the driving force of the

economic, social and environmental dimensions of

sustainable development.

One of the efforts that can

be done is to expand the application of Cimahi Batik

into several other arrays of design products - besides

textiles - such as architecture, graphic design, etc. as

an education for sustainable development.

Education for Sustainable Development (ESD) is

an effort to encourage people to be constructive and

creative in facing global challenges and creating

resilient and sustainable societies. Education for

sustainable development enables every human being

to acquire the knowledge, skills, attitudes and values

necessary to shape a sustainable future. Education for

sustainable development incorporates key issues of

sustainable development into teaching and learning;

for example, climate change, disaster risk reduction,

biodiversity, poverty reduction, and sustainable

consumption. It aims to empower and equip current

and future generations to meet their needs by using a

balanced and integrated approach to the economic,

social and cultural dimensions of sustainable

development.

Learning must prepare students to find solutions

for the challenges of today and future, so that

education should be transformative and allow the

studes to make informed decisions and take

indibidual and collenctive action to change our

societies.

The purpose of this paper is to comprehensively

describe the experiment done in studios in applying

Cimahi Batik as elements of design and analysed it

using the ATUMICS method, which is developed by

Adi Nugraha. The term ATUMICS is derived from

the acronym Artefact - Technique - Utility - Material

- Icon - Concept - Shape. Through this conception,

the word "artefact" (A) refers to an object or product,

which is the center of this study. The remainder of the

6 words: technique (T), utility (U), material (M), icon

(I), concept (C), and shape (S) reflect the six

fundamental elements of an artifact. (see Fig. 1)

The main principle of the ATUMICS method is

about arrangement, combination, integration or

elaboration of fundamental elements of tradition and

modernity. In practical level, ATUMICS method is a

tool to search for possibilities in creating new objects

that inspired from tradition, by rearranging the

(Source: Adi Nugraha, 2012)

Figure 1: ATUMICS Method.

tradition and integrating the 6 elements of tradition

and modernity.

2 METHODS OF EXPERIMENTS

This experiment involved design students from

different disciplines in studios. Students are given a

design project that must apply at least one of the

Cimahi batik motifs as a design element. During the

process, students must do some research regarding

the basic idea of those batik motifs and explore

possibilities of implementation into their design.

Using the ATUMICS method, students are

encouraged to elaborate hybrid approaches to

produce new designs under supervision of the

lecturers.

As mentioned earlier, the idea of ATUMICS

method is to elaborate elements of tradition and

modernity. This means that an object can be viewed

from two levels of existence: the micro level and the

macro level. Micro level refers to the technical

properties and the performance of objects. This level

search for the ideal arrangement of 6 fundamental

elements: technique, utility, material, icon, concept,

and shape. Macro level refers to a broader aspect that

includes cultural motives, social aspects, ecological

aspects, economical aspects, survival issues and self-

expression in creating new products. In ATUMICS

concepts, every product must integrate these 2 levels

of existence: the micro and macro level.

Steps that need to be done in ATUMICS methods

are:

1. Elaborating tradition and modernity. Starting

with identifying the potential elements of local

tradition that are significant to be developed. It

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik

213

might be local material, production technique,

particular function, ornaments or certain

narrative and symbols of the products.

2. Identifying new elements of the actual condition

that has the potential to be elaborate with the

particular feature of the tradition. In this phase,

designers start to search the possibilities of

elaborating elements of tradition with

contemporary technology, material and needs.

3. Merging tradition and modernity. While the

traditional elements and modernity are

integrated, they will produce new elements with

a new structure and reflect itself as a new object;

a combination of the old and new; the traditional

and the modern.

4. Determining the quantity and production types.

A certain checklist is used as a tool to help

conceptualize ideas from traditional transformation.

(see Table 1).

Table 1: ATUMICS Checklist.

Artefact/object/product:

Mixing Ideas

Elements Traditional Modern

Technique

Utility - -

Material -

Icon - -

Concept

Shape

Motivation

Aspect Description Level

Survival

1 2 3

Creative

self - expression

1 2 3

Culture

1 2 3

Social

1 2 3

Ecology

1 2 3

Economy

1 2 3

Note: Priority Level: (1) First Priority, (2) Second Priority,

(3) Third Priority

Production Aspect

Produced by

Number of

Production per

year

Local Resident - -

Art/Craft Studio - -

Craft Community - -

Brief description of the overall idea

3 RESULTS AND DISCUSSION

Following are the description of the studio projects,

the ATUMICS analysis of the projects and some

works of the students as the result of the experiment.

3.1 Batik in Still Life Projects

This project aims to introduce students to the

distinctive Cimahi regional batik motifs, by applying

it as a complementary element to still life images and

self-figures. Batik motifs can appear as the

foreground, side background, background, and part of

the relief of still life objects.

This project was carried out in 4 meetings (2

weeks) for each topic. There are three topics:

Geometric Still Life, Biomorphic Still Life, Work

Equipment and one topic of Self-Figure, with pencils

on paper medias on the following process:

1. First meeting: doing a rough sketch of several

compositions of objects with different points of

view. Drawing techniques by paying attention to

the principles of good composition: balance,

proportion, shape, rhythm, vocal points. For the

student figure object, take a self-portrait first

and start doing a sketch following the photo.

2. Second meeting: choose a composition with the

best point of view and try to apply shading that

gives a contrasting 3-dimensional impression.

At this stage, it is necessary to have sensitivity

to the dimensional value of each object due to

the influence of light, shadow, and shading

characters. For Self-Figure project, students

draw following the photo object by free hand

drawing by paying attention to the visual

accuracy of positive space and negative space.

3. Third meeting: students apply dark and light

shading of the whole object/ figure and apply the

Cimahi batik motifs to the foreground/ side

ground /background/ relief which corresponds

to the reality of the composition.

4. Fourth week: students finish the overall shading

of the composition by applying the Cimahi batik

motif according to the topic and self-model

chosen by each.

ICE-HUMS 2021 - International Conference on Emerging Issues in Humanity Studies and Social Sciences

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Table 2: ATUMICS in Drawing Still Life.

Artefact/object/produk: Drawing Still Life Geometric,

Biomorphic, Work Kit, Figure

MIXING IDEAS

Elements Traditional Modern

Technique

Hand made batik

‘canting’, manual

dyes

Free hands

drawing

Utility Cimahi batik motif

on textile

Cimahi batik motif

on drawing

composition

Material

Textile, wax, textile

color

Pencil, paper

Icon Symbols and

meanings of the

Cimahi batik motif

Imitation symbols

and meanings of

the Cimahi batik

motif

Concept The embodiment of

the life philosophy

and expressions of

the Cimahi people in

local aesthetic

expressions.

Supporting the

embodiment of the

life philosophy and

expressions of the

Cimahi people in

local aesthetic

expressions.

Shape Shape, character,

and system of batik

motifs on textile

Shape, character,

and system of

batik motif on

drawing sketch

MOTIVATION

Aspect Description Level

Survival Sustainability of

Cimahi Batik in the

Basic Art and

Design Education

2 3

Survival Sustainability of

Cimahi Batik in the

Basic Art and

Design Education

2 3

Creative self

- expression

Students creativity

expression in

drawing using

Cimahi Batik motifs

without losing its

values and identity

2 3

Culture

Recognizing and re-

cultivating the youth's

love for batik as a

Humanitarian Heritage

for Oral and Non-

Object Culture-

Unesco. Recognized

as a wealth of

exclusive Indonesian

cultural traditions, not

owned by other

nations.

2 3

Social The activity of

resenting batik motifs

2 3

in assignments will

broaden horizons and

build students and

lecturers' pride in the

diversity of batik

cultures that we share.

Indirectly, it also

becomes a means of

promotion that has a

broad impact, both for

the academic

community and the

wider community

through the resulting

output publications:

research, journals,

exhibitions, artish talk,

etc.

Ecology There is no waste

Economy

The new awareness

about batik will foster

a love and pride to

wear batik at every

opportunity. This will

foster a balance of

production-

promotion-

consumption cycles

that revitalize the

regional economy and

tourism

2 3

Notes: Priority Level: (1) First Priority, (2) Second Priority,

(3) Third Priority

PRODUCTION ASPECT

Produced by

Number of

Production per

Local

Resident

Art/Craft

Studio

Diploma Art and

Design’s Students

120 drawing

sketchs every year

(15 students - 4

ics- 2 semester

)

Craft

Community

Brief description of the overall idea

Including the Cimahi batik decoration in the material for the

Basic Drawing Court assignment is a good starting point. In

the future, students will get to know the diversity of

traditional batik decorations in each region, both in the form

and the philosophical meaning contained therein. Students

have a strong foundation of their own culture, have enough

insight to be explored and applied in various forms of other

subject assignments in each Art and Design study program.

The habit of applying this rich variety of Indonesian batik

decorations will build a creative, explorative young

generation in reviving and promoting the uniqueness of the

local culture.

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik

215

The following is a sample of the drawing sketches

that have been made Fashion Design Student.

PROJECT STILL LIFE BIOMORPHIC

Student’s drawing Description

Note: earthenware means

gerabah

Doc: Priscilla Meylia

Media: Pencil on

Paper

Size: A3

Motif: Sekar Daun

Sampeu Galing

Shape: Batik pattern

as side ground and

relief outer wall of

the earthenware

Doc: Lexa Justine

Media: Pencil on

Paper

Size: A3

Motif: Sekar Daun

Awi

Shape: Batik pattern

as side ground and

relief outer wall of

the earthenware

Figure 2: Drawings of earthenware using Batik as

background and reliefs.

PROJECT STILL LIFE GEOMETRIC

Doc: Cathleen

Levina

Media: Pencil on

Paper

Size: A3

Motif: Sekar Daun

Sampeu Galing

Shape: Batik Motif

as Background wall

fabric

Doc: Fransisca

Evelyna

Media: Pencil on

Paper

Size: A3

Motif: Sekar Daun

Awi

Shape: Batik Motif

as Background wall

fabric

Figure 3: Drawings of geometric objects using batik as

background.

PROJECT SELF FIGURE

Drawing Figure Description

Doc: Natasha

Tessalonika

Media: Pencil

Colour on Paper

Size: A3

Pattern: Sekar

Kujang Matahari

Mekar

Shape: Batik motif

as Background

Doc: Agnes Vania

Media: Pencil

Colour on Paper

Size: A3

Pattern: Sekar

Daun Sampeu

Galing

Shape: Batik m

otif as Background

Doc: Lexa Justine

Media: Pencil

Colour on Paper

Size: A3

Pattern: Sekar

Melati Ligar

Shape: Batik motif

as Background

Doc: Reva Janet

Media: Pencil

Colour on Paper

Size: A3

Pattern: Sekar

Melati Ligar

Shape: Batik motif

as Background

Figure 4: Drawings of self-figure using Batik as

background.

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216

3.2 Batik in Font Design Projects

This project aims to enable students to transform

tradition into modern font designs. Cimahi Batik has

motifs that come from the traditional visual culture of

the Cimahi people, which is influenced by

geographical indications.

This project was carried out in 4 meetings (1

month) with the following process:

1. First week: conduct research on Cimahi batik

motifs, and information about the name of the

motif and its meaning, study the visual style

character of the selected Cimahi batik motif,

whether it is organic, stiff, bold, skinny and so on.

2. Second week: look for existing fonts whose

characters match the batik motif so that they can

be harmoniously combined. Start sketching font

modifications according to the selected Cimahi

batik motif.

3. Third week: finishing sketches manually and

digitally.

4. Fourth week: insert a font design into the Glyph

app and name it accordingly.

Table 3: ATUMICS Cimahi Batik motifs in Font Design.

Artefact/object/product: CIMAHI BATIK MOTIFS

(Ciawitali and Pusdik) in Font Design

MIXING IDEAS

Elements Traditional Modern

Technique Canting, wax, natural

dyes

Digital media

Utility Cimahi Batik as

clothing material

Fonts for

communication and

information media

Material Cloth Computer graphics

applications

Icon Symbols and

meanings of the

Cimahi batik motif

and visual variations

Symbols and

meanings of the

Cimahi batik motif

and visual variations

on the fon

Concept The embodiment of

the life philosophy

and expressions of

the Cimahi people

in local aesthetic

expressions.

The embodiment of

the life philosophy

and expressions of

the Cimahi people

in local aesthetic

expressions.

Shape The shape, anatomy,

and system of batik

motifs

Typeface, basic

shapes, anatomy,

grid and font system.

MOTIVATION

Aspects Description Level

Survival Sustainability of

Cimahi Batik in the

visual

1 2 3

communication

design industry.

Creative

self -

expression

Students creativity

exploration in

designing font

using Cimahi Batik

motifs without

losing its values

and identity of the

Bati

1 2 3

Culture Reintroducing the

philosophy, values

and characteristics

of Cimahi Batik to

the public in a

modern font.

1 2 3

Social Empowerment of

the Cimahi batik

producer

community and its

collaboration with

visual communica-

tion designers to

mutually contribute

to the preservation

and sustainability of

Cimahi Batik.

1 2 3

Ecology No waste

1 2 3

Econom

The use of the

Cimahi Batik font

can add value and

the selling value of

Cimahi Batik. Fonts

can be sold to the

Cimahi Regional

Government as an

exclusive font.

2 3

Notes: Priority Level: (1) First Priority, (2) Second Priority,

(3) Third Priority

PRODUCTION ASPECT

Produced by

Number of

Production per yea

Local

Resident

Art/Craft

Studio

Students of Visual

Communication

Design

2 font design every

year

Craft

Communit

Brief description of the overall idea

The fonts of Cimahi batik use the Ciawi Tali and Pusdik

motifs, which aim to strengthen Cimahi's identity as a batik-

producing area that has a clear geographical indication. The

idea is to remind the public of the existence of Cimahi batik

which is almost extinct due to the Covid-19 pandemic. This

transforming tradition project is the result of the collabora-

tion of young batik makers and designers (DKV students of

Maranatha Christian University). This product offers

students the opportunity to earn income from selling fonts,

and becomes a medium to increase public awareness of the

sustainability of Cimahi batik.

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik

217

The approach of the Visual Communication

Design discipline to support the existence of

Cimahi

Batik is to increase public awareness through the

design of the Cimahi batik motif font. This font can

be used exclusively by the Cimahi City Government

as a regional identity that has a quality batik industry.

The following is the sample of the fonts that have

been made by students of Department of Visual

Communication Design Universitas Kristen

Maranatha: Valentino Adriel and Beverly Clara.

The Ciawitali font was designed by Valentino and

has been made in the form of a Glyph application so

that it can be used directly on computer graphics.

Valentino chose a sans serif typeface that was slender

and elegant so that it was suitable to be combined

with the shape of the bamboo leaves which came from

the Cimahi batik motif called Ciawitali. (See Figure

4).

Beverly chooses a bold sans serif typeface so that

it is suitable to be transformed into a Pusdik motif that

comes from the form of a weapon. (See Figure 5).

Figure 5: Ciawitali Font by Valentino Adriel.

3.3 Batik in 3D Still Life Projects

The 3D Design course has two types of learning

categories, including Hard Surface Modelling and

Organic Modelling. The method of learning 3D

design through the Hard Surface Modelling category

focuses mainly on the creation of inanimate objects.

The theme used in the lesson was making Still Life

3D compositions about Cimahi Batik. The

application of the Cimahi Batik theme in learning 3D

design based on Hard Surface Modelling in 3D

courses is carried out quite briefly, namely for four

meetings, where each meeting consists of modelling

objects, giving materials and textures to objects,

lighting settings, cameras, and rendering images. The

result comes in the form of a short-animated video.

Figure 6: Pusdik Font by Beverly Clara.

The goal to be achieved from this lesson is that

students can operate the Blender software using

simple basic functions in a relatively short time with

the ultimate goal of producing 3D design animation

work. The theme of Still Life 3D also aims to

cultivate student sensitivity regarding the scale,

proportion, and comparison of the position of each

object compared to the plane of the camera frame

while introducing Cimahi Batik to students.

The following will explain the results of learning

3D design based on Hard Surface Modelling by

applying the Still Life Cimahi Batik theme from

several students, including Sherley (1864016) using

Cimahi Batik “Sekar Awi Alit” like the texture of the

batik cloth, meanwhile, Viona Forister (1764012)

uses the motif Cimahi Batik “Pusdik” and Chandra

Octavianus Wijaya (1864007) using the Kujang

Cakra Batik motif in their works.

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Table 4: ATUMICS 3D Still Life of Cimahi Batik.

Artefact/object/product: 3D Still Life Cimahi Batik

MIXING IDEAS

Elements Traditional Modern

Technique

Can use photography

techniques, each

object is composed in

such a way and then

the lighting settings

are made and

photographed

Using modelling

techniques with the

help of 3D

software, starting

from the modelling

stage, giving

materials and

textures, lighting

settings, and

rendering. In

general, it uses the

same techniques

like photography,

except that all steps

are done digitally

Utility - -

Material - Digital material,

obtained from

scanning /

photographing the

original batik

texture and then

used as a texture on

3D digital objects

Icon - -

Concept - A still life

composition when a

piece of batik is

done manually

(hand-written

batik), complete

with every piece of

equipment

Shape - The shapes of

objects that are

made digitally 3D

are made as closely

as possible to the

original object

MOTIVATION

Aspects Description Level

Survival The sustainability and

existence of Cimahi

Batik, in particular,

will be developed.

1 2 3

Creative

self -

expression

Digital creators can

further explore the

ideas and creativity

that can be generated

through the use of

tools in the form of

3D processing

1 2 3

software for the

work. Can produce

various design

alternatives more

quickly and

efficiently by

knowing the features

of the software.

Culture

Introducing to the

younger generation

the variety of batik

found in Indonesia,

especially Cimahi

Batik.

1 2 3

Social

Product results can be

sent to different

communities of 3D /

animation artists for

feedback, as well as

for networking and

employment

opportunities.

1 2 3

Ecolog

Digital artwork

products are very

friendly to the

environment, do not

produce waste or

waste that threatens

the sustainability of

the ecosystem.

2 3

Econom

Digital work products

can be applied as part

of marketing/

advertising media, for

example, combining

videography and

animation in an

advertisement for

selling batik products.

2 3

Notes: Priority Level: (1) First Priority, (2) Second

Priority, (3) Third Priority

PRODUCTION ASPECT

Produced by Number of

Production per year

Local

Residen

- -

Art/Craft

Studio

- -

Craft

Community

- -

Brief description of the overall idea

The process of creating a natural composition of 3D Cimahi

Batik objects was inspired by a photo of a scene of a

grandmother working on batik making. The still life

creation aims to reproduce the scene in 3D as closely as

possible to the original conditions in terms of form,

material, texture, lighting, and rendering quality.

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik

219

Figure 7: 3D still life by Sherley.

Figure 8: 3D still life by Viona Forister.

Figure 9: 3D still life by Chandra Octavianus Wijaya.

Overall, students are quite capable of operating

the Blender software, this can be seen from the shape

of the 3D objects produced, the application of various

materials and textures that are suitable, the quality of

lighting is good, and the composition of Still Life that

suits the learning materials.

3.4 Batik in Fashion Projects

The ready to wear deluxe project aims to encourage

students to create womenswear fashion products,

applying Cimahi Batik as the main elements in order

to build students awareness in preserving the local

cultural heritage. Students were divided into groups

consisting of 3 students, and they needed to do the

project for 4-week studio sessions with these agenda:

1. First week: theoretical background, explanation

about Cimahi Batik and followed by creating

conceptual narration, mood board and image

study on Cimahi Batik.

2. Second week: designing collection starts with

fabric selection and manipulation.

3. Third week: Final design supervision

4. Fourth week: Visualization and Portfolios

preparation.

The following is the sample of the works of one

group of fashion design students of Universitas

Kristen Maranatha that consist of 3 person that is:

1. Omar Mohammad - 1961901

2. Verrel Widura - 1961012

3. Kirana Kartawidjaja - 1961018

Figure 10: Ready-to-wear deluxe woman wear by students.

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Table 5: ATUMICS of ready to wear deluxe fashion

Artefact/object/product: ready-to-wear deluxe fashion

with the inspiration of Kujang motif of Cimahi Batik

MIXING IDEAS

Elements Traditional Modern

Technique Handmade Batik

& natural

colouring

Fabric Manipulation

-Structure: pattern

drafting

-Surface: top stitch,

patchwork.

embellishment,

embroidery

Utility textile

ready-to-wear deluxe

fashion

Material cotton

Linen fabric, cotton,

silk, polyester

Icon Rereng Kujang &

Kujang Cakra

motifs

Silhouette & motifs of

Kujang Batik

Concept

Presenting the

identity of

Cimahi by

creating Batik

with the motif of

Kujang

(a traditional

weapon in the

West Java

Region)

Revitalization of

Cimahi Batik in certain

steps:

● Using Cimahi Batik

especially in Kujang

motif in ready-to-

wear deluxe fashion

● Adapting the form of

Kujang into siluets

and the structure of

the fashion.

Shape

Textile Ready-to-wear deluxe

fashion(womenswear)

MOTIVATION

Aspects

Description Level

Survival

Sustainability of

Cimahi Batik in

the fashion

industry.

2 3

reative

elf -

xpression

Students’

creativity

exploration in

designing ready-

to-wear deluxe

fashion using

Cimahi Batik

elaborating with

implementation of

Kujang motif as

the structure of the

fashion without

losing its values

and identity of the

Batik

1 2 3

ulture Reintroducing the

philosophy, values

and characteristics

of Cimahi Bati

1 2 3

the public in a

modern outfit.

Social Empowerment of

the Cimahi Batik

producer

community and its

collaboration with

fashion designers

preserve and

maintain the

sustainability of

Cimahi Batik

1 2 3

colog

The textile waste

can be processed

and reused into

complementary

accessories for

clothing.

2 3

conom

The use of

Cimahi Batik and

the adaptation of

the motif

implemented as

silhouette and

structure of the

ready-to-wear

deluxe fashion

can increase the

proposition

values of the

product and direct

selling.

2 3

Notes: Priority Level: (1) First Priority, (2) Second Priority,

(3) Third Priority

PRODUCTION ASPECT

Produced by

Number of Production

per year

Local

Resident

Small Cimahi

Batik artist (home

industries)

Small amount of

production (1-50pcs)

Art/

Craft

Studio

Students and

Fashion designers,

medium enterprise

Medium amount of

production (50-100pcs)

Craft

Communit

Large enterprise/

fashion factory/

industries

Mass production (>100

pcs)

Brief description of the overall idea

The revitalization of Cimahi Batik by combining the Batik

with other materials into a modern ready-to-wear deluxe

clothing collection that is expected to add value and expand

the market of the Cimahi Batik. Not only using the original

Cimahi Batik clothes, but this fashion collection also adapts

the Kujang motif into the structure and surface of the

clothing. The textile designs used are pattern drafting, top

stitch, patchwork, embellishment, embroiderry. It is hoped

that the combination of traditional and modern elements can

support the preservation and sustainability of Cimahi Batik,

especially in the fashion industry.

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221

3.5 Batik in Jewellery Design Projects

The jewellery design course aims to encourage

students to develop traditional jewellery with new

material and finishes, applying Cimahi Batik motifs

as the shape inspiration in order to build students’

awareness in preserving the local cultural heritage.

Students are working independently on creating a

necklace with pendants. The material used for the

pendants will be cow bone that has been boiled for 4

hours. The pendant must be cut, carved, filed,

smoothed with sandpaper, and finished by a

transparent topcoat paint. They needed to do the

project for 4-week studio sessions with these agenda:

1. First week: theoretical background, explanation

about Cimahi Batik and followed by creating

conceptual narration, mood board and image

study on Cimahi Batik.

2. Second week: working on cow bone: shaping and

carving, working on brass: shaping and forming.

3. Third week: colouring and eco-friendly finishing.

4. Fourth week: colouring, finishing, leather

necklace and accessories application, combining

the final product. Production activity in

collaboration with local craft communities

Table 6: ATUMICS of Necklace with Batik Motif Pendant

Artefact/object/product: Necklace with Batik motif pendant

MIXING IDEAS

Elements Traditional Modern

Technique Brass/ Copper which

already being shaped and

polished.

Brass which is

already being

formed is given

a layer of

Crystal Coat

finishes

Utility

Material Brass

Combination of

Cow bone and

brass, leather

rope

Icon Cimahi Cimahi

Concept

Shape Jewelry in the form of a

necklace

Jewelry in the

form of a bone

necklace

MOTIVATION

Aspects Description Level

Survival

Sustainability of Cimahi

Batik in the Fashion

Industry

1 2 3

Creative

self -

expresssion

Produce various pendant

design in new materials

with Cimahi Batik motif

1 2 3

Culture

Reintroducing the value

and use of brass to the

younger generation.

And the possibilities of

combining with other

materials (cow bone) to

preserve cultural icons

1 2 3

Social

Production activities

will involve several

craft communities and

other local groups, such

as marketing agencies.

This process will build

local social networks

that benefit the entire

communit

1 2 3

Ecology environment friendly,

does not produce waste

or waste that threatens

the sustainability of the

ecosystem.

1 2 3

Economy

With a new design, new

products can be more

valuable to increase the

income of the craft

community

1 2 3

Notes: Priority Level: (1) First Priority , (2) Second Priority,

(3) Third Priority

PRODUCTION ASPECT

Produced by

Number of

roduction per yea

Local

Resident

Small to medium size

company

Small (1-50 pcs)

Art/Craft

Studio

Art and craft industry

Medium

(200-1000 pcs)

Craft

Community

Industrial Factory

Large (more than

1000 pcs)

Brief description of the overall idea

The necklace design with Indonesian ornament is similar to the

traditional necklace but is given a new contemporary design

according to its functions as a woman's accessory. The new ide

is created to fit the present taste. It is produced by the craft

community who are familiar with copper and cow bone

material. The new design of this product offers an opportunity

to increase the income of the local craft community that join the

collaboration.

The following are the cow bone pendant in Batik

motif shapes with necklace done by the students.

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Figure 11: Necklaces with Batik motifs pendants by

students.

3.6 Batik in Architecture Projects

Architecture students are required to design a 350

square meters house in a residential area whose owner

Table 7: ATUMICS of a House Design.

Artefact/object/product: 350sqm House and Cimahi

Batik Showroom

MIXING IDEAS

Elements Traditional Modern

Technique

Canting, wax, natural dyes

Motif carving

on plate

Utility Cimahi Batik as clothing

material

Cimahi Batik

motifs as

secondary skin

in house design

that function as

decorative

elements and

sun shade

Material Cloth metal

Icon

Symbols and meanings of

the Cimahi batik motif and

visual variations

Decorative

elements of a

building façade

Concept

The embodiment of the life

philosophy and expressions

of the Cimahi people in

local aesthetic expressions.

Identity

expression of

the owner

Shape

The shape, anatomy, and

pattern of batik motifs

Enlarge shape,

anatomy, and

pattern of batik

motifs

MOTIVATION

Aspect Description Level

Survival

Sustainability of Cimahi

Batik as the visual

decorative elements of a

uildin

façade.

1 2 3

Creative

self -

expression

Students’ creativity

exploration in designing

building façade using

Cimahi Batik motifs

without losing its values

and identity of the Batik

1 2 3

Culture Reintroducing the

philosophy, values and

characteristics of Cimahi

Batik to the public as a

decorative element.

2 3

Social Empowerment of the Cimah

atik producer community to

mutually contribute to the

preservation and sustain-

ability of Cimahi Batik.

2 3

Ecology No waste 1 2 3

Economy

The use of the Cimahi

Batik as a decorative

element can be expanded

into other space decoration

elements

1 2 3

Note : Priority Level: (1) First Priority, (2) Second Priority,

(3) Third Priority

PRODUCTION ASPECT

Produced by

Number of

roduction per yea

Local Resident -

Art/Craft Studio -

Craft

Community

Brief description of the overall idea

A house must represent the identity of the owner. The use of

Cimahi Batik motif as building elements must appear clearly to

public. The most suitable elements is wall elements of a house

that become the façade which is the skin of a building. The idea

is to create a secondary skin of the building using metal sheet as

a decorative element and also function as a sunshade for the

inner space.

Multidiscipline Hybrid Approach in Art and Design Education to Support the Sustainability of Cimahi Batik

223

is a Cimahi Batik entrepreneur. The house needs to

accommodate a small Batik showroom open to the

public and express the passion of the owner towards

Cimahi Batik. The project needs to be done within 15

sessions of studios from site survey, identifying

design briefs, space programming, building mass

study, site planning, structural and construction

design, design development and visualization.

The following is one of the work of Department

of Architecture Universitas Kristen Maranatha

student. The student designed a modern box house

with configuration of monochrome boxes as the

façade. One of the façade elements is a secondary

skin decorative element with a Cimahi Batik motif

that becomes decorative holes on the metal surface.

The secondary skin decoration does not only promote

Cimahi Batik and express the identity values of the

owner, but also function as a sun shade to the glass

behind it towards a 2 storey void living space.

Figure 12: Box House Design by Dave Vian.

4 CONCLUSIONS

Academicians are supporting the sustainability of

Cimahi Batik through students’ assignments which in

turn support the home industry by sharing an array of

new design or in the long term to develop new

products based on Cimahi Batik design. The aim is to

expand the income potential of Cimahi Batik based

art and craft industry.

In the field of crafts, especially in local

communities, design is always an issue. Craft design

in Indonesia is considered left behind. Therefore,

collaboration with academicians and students in the

field of design is essential. The ATUMICS method is

very helpful in giving a structure to adapt traditional

forms into new presentation that is more appealing to

the modern market, especially the young potential

customer, as it is also designed by students of the

same generation. The next step is to train the local

community in understanding and know how to

practically used the ATUMICS method.

Therefore the application of Cimahi Batik needs

to be broadened into other areas to distribute the

possibilities of batik business in other fields.

ACKNOWLEDGEMENTS

This experimental research is fully funded by

Universitas Kristen Maranatha and supported by

Faculty of Arts and Design in collaboration with local

Batik industries of Cimahi: Batik Sekar Puteri, Batik

Anggraeni and Lembur Cimahi Batik, and also craft

communities in Cimahi.

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