Preservation of the Tasikmalaya Batik Motif with Turtle Graphics

Ratnadewi Ratnadewi

, Ariesa Pandanwangi

, Agus Prijono

and Andrew Sebastian Lehman

Department of Electrical Engineering, Universitas Kristen Maranatha, 65th Suria Sumantri Street, Bandung, Indonesia

Department of Art and Design, Universitas Kristen Maranatha, 65

Suria Sumantri Street, Bandung, Indonesia

Department of Computer Engineering, Universitas Kristen Maranatha, 65

Suria Sumantri Street, Bandung, Indonesia

andrew.sl@eng.maranatha.edu

Keywords: Turtle Graphics, Tasikmalaya Batik, Motif.

Abstract: Tasikmalaya batik is predicted existed since the Tarumanegara Kingdom in the 7th to 9th centuries. The

discovery of the Tarum tree as a material for making batik made this assumption even stronger. The split-up

of the Mataram Kingdom in the 17th century caused many residents of Kudus, Pekalongan, Tegal, and

Banyumas, the majority of whom were batik craftsmen, to migrate to Tasikmalaya. This affected Tasikmalaya

city batik. The characteristic of Tasikmalaya batik is the use of bright colours due to the influence of coastal

batik. The problem here is because the Tasikmalaya batik motif has not been digitally documented in the

digital vector image. The vector image is good quality if it enlarged or reduced and requires less storage

memory. Therefore, digital vector image documentation is needed. Turtle graphics is one of the algorithms

that can generate vector images. In this article, we will explain Bilik motif, Tasikmalaya umbrella motif, and

Sukapura motif. Each motif is formed in a different path will be presented in the form of a pseudocode. The

comparison of the turtle graphic result and the original motif shows similarities.

1 INTRODUCTION

Batik motifs are inherited from generation to

generation with slight modifications in the present.

Based on the survey results of the research team, the

current generation seems less interested in batik. This

condition makes the inheritance of batik which has

been practiced until the present generation more

difficult. Possible extinction of the motif that is a big

problem if it is not passed on to the present

generation. Therefore, the need for documenting the

existing motif becomes very important. Batik

extinction can be prevented. Batik must be developed

by the next generation throughout Indonesia.

Digital batik documentation can be done by

making batik photos. The disadvantage of bitmap

images, including photographs, is if scaled, they will

be less obvious because it is a collection of bits or

pixels. The other drawback is the bitmap images

https://orcid.org/0000-0001-6487-8101

https://orcid.org/0000-0001-1214-1508

https://orcid.org/0000-0003-6287-8781

https://orcid.org/0000-0003-7311-1209

require more memory storage. In contrast with bitmap

images, vector images good in scaling and requires

less memory storage. Therefore, the documentation

must be in the form of vector images. The advantage

of using vector images is that they are very good at

scaling to create better design quality, less memory

and storage required.

In this research, batik motifs are formed on the

type of vector image using the turtle graph algorithm.

The programming language used is Python in Google

Collaboratory based algorithm turtle chart of

Lindenmayer systems. This programming language

can be accessed free of charge which is expected to

spur the younger generation to learn Python.

The collaboration of science and art in the study

of batik in Indonesia is needed to produce batik with

a turtle motif graphic algorithm that can be stored

efficiently. This collaboration is expected to help

craftman in documenting, developing and producing

batik patterns on cloth. In this research, mathematics

254

Ratnadewi, R., Pandanwangi, A., Prijono, A. and Lehman, A.

Preservation of the Tasikmalaya Batik Motif with Turtle Graphics.

DOI: 10.5220/0010750700003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 254-264

ISBN: 978-989-758-604-0

is used to formulate the basic pattern of batik using

the turtle algorithm in the Python programming

language.

The purpose of this research is to produce the

invention in the form of program development using

the batik pattern turtle algorithm so that the process

of making batik motifs and patterns can be used in the

centers of craftsmen and the future will become a

source of economic improvement of society.The main

hypothesis in this study include that function turtles

can form the motif.

1.1 Literature Review

Several studies have been conducted on batik, but its

development is in the direction of making batik

motifs (Yulianto et al., 2019), which explained that

Batik Sukapura symbolizes the culture contained in

Sundanese (Soemantri et al., 2016; Sunarya, 2019;

Susantio, 2009).

This research discusses semiotic theory applied to

Batik Sukapura to know the philosophical meaning of

the motive. Qualitative methods with the

ethnographic approach used by researchers. The

sample was derived from the results batik centre in

the Sukapura Tasikmalaya area. The result is the

geometric patterns and repetitive motif found on

many Sukapura. The characteristic of Sukapura batik

is that there are many motifs in natural motifs. Signs

motif of semiotic studies, not only in the form of

Sukapura batik patterns and mathematical regularity,

but it has a meaning and a moral message in line with

the philosophy of Sundanese people's lives. The

combination of semiotic studies and mathematics

reinforce students in interpreting the values of

ethnomathematics.

Further research is explained that Batik

Tasikmalaya has geometric elements and relating to

the concept of a flat shape transformation is

translation, reflection and rotation (Marom, 2017;

Purnomo et al., 2020). The goal is to determine the

content of mathematics in Tasikmalaya batik making.

Subjects in this study are the batik craftsmen in the

area Cigereung, Tasikmalaya. The data collection is

done by triangulation of data that is by interview,

observation and literature (Nurjamil, 2019).

For further research (Prabawati & Muslim, 2020)

that has been argued by disagreements about the

relationship between mathematics and culture, which

leads to the ethno mathematics. The purpose of

research is to describe the ethno mathematics in

making umbrella Geulis Tasikmalaya. Methods of

qualitative and ethnographic methods considered

appropriate. Data collection techniques through

observation, interviews and documentation

(Creswell, 2014; Yusuf, 2017).

While the use of instruments researchers

themselves supported by several other instruments

namely observation, interviews, recorders and

cameras. Data analysis techniques used in this

research is data reduction, data presentation and

conclusion or verification. The conclusion of this

research is that there is a correlation between

Umbrella Geulis and mathematics which has

geometric concepts in the form of flat geometry,

spatial geometry, symmetry, transformation

geometry (reflection, translation, and rotation) and

congruence.

Furthermore, the research conducted is

(Ambarawati & Agustin, 2019) which aims to

describe Indonesian ethnic mathematics in the art of

batik Malang in mathematics learning on two-

dimensional drawing material. Exploratory

qualitative methods are used to explore batik motifs

in the form of two-dimensional figures. Results from

this study are the motive Malang has the concept of a

two-dimensional figure. The concept of a two-

dimensional figure can be applied in learning with an

innovative learning model.

In subsequent research (Lestari et al., 2018) seeks

to develop applications that can identify Balinese

batik with ethnomathematical elements. Ethno

mathematics is a study that demonstrates the

relationship between cultural concepts and

mathematics. Ethno mathematics in Bali Batik

geometric concepts more in line with the strong

elements of Balinese culture. While the identification

process using the backpropagation method. Steps

backpropagation method is image processing

(including scaling and thresholding process). Images

are processed incorporated into network applications.

This study resulted in the identification accuracy of

Balinese batik which contains elements of

ethnomathematics.

Of the various explanations of the above study, it

turns each has advantages in terms of its findings.

While that distinguish the research conducted by the

research team are the results of these studies in the

form of an invention in the form of a program of

making batik by using images of turtles. This research

was not done by previous researchers, so expect this

enormous research opportunity.

2 METHODS (AND MATERIALS)

The method in this research is descriptive quantitative

and qualitative. The making of turtle motifs are

Preservation of the Tasikmalaya Batik Motif with Turtle Graphics

255

described according to the steps and descriptions.

The method used in the study involved turtle

graphics. Before drawing a graph turtle, the batik

motif was sketched on paper then the graph equation

was sought. Turtle can move forward and draw a line

or without draw a line, turtle can turn left with angle

δ, turn right with the angle δ, record the present state,

or restore the last recorded state.

The state of the turtle is defined as a triplet (x, y,

α) with Cartesian coordinates (x, y) representing the

position of the turtle and the angle α, called the

heading (head), which is interpreted as the direction

the turtle faces. Given the step size and the

incremental angle δ, the turtle can respond to the

commands represented by symbols (Figure 1)

(Ratnadewi, Prijono, et al., 2020). The methods used

for generating the Tasikmalaya batik motif.

Figure 1: Turtle interpretation of the string symbol F, +, and

-. (b) Interpretation of a string: increased angle δ equals 90◦,

initially the turtle faces upwards.

Batik in Tasikmalaya can be divided into

traditional batik or classic batik and modern batik.

The difference between traditional batik and modern

batik lies in the colour, meaning, aesthetics, and the

way it is made (Yan Sunarya, 2016). Batik

Tasikmalaya is batik Sundanese group in the area of

East Priangan.

Areas in Tasikmalaya that is famous for their batik

heritage include Mangunreja, Sukapura, Wurug,

Maronjaya, and Tasikmalaya city.

The Tasikmalaya Batik motifs tend to be simple,

and are generally strong in geometric patterns. In

addition, Tasikmalaya batik is rich in ornamental

flora and fauna. The nuances of Parahyangan are

depicted in the motifs of orchids and birds, peacock-

ngibing, cala-culu, bali banana, sapujagat, and Awi

Ngarambat. Tasikmalaya Batik motifs include: roots,

antanan, balimbing, stone background jars, lancah

tasik, awi ngarambat, sente, peutey papangkah leaf,

udey tsunami, peacock, calaculu, mount kawi,

kadaka, sluggish sideways, purple scaffolding, orlet

slopes, renfiel, sintung rereng, manuk peutey slong

rereng, manuk peutey slong background, peacock

with haremis background, peacock ngibing, parang,

sidomukti umbrella, dragon sisit, taleus sukaraja,

turih-wajit-limar. In fact, kale leaves and spider webs

are modified into beautiful motifs in the hands of the

Tasikmalaya batik artists. Simple, funny, but no less

artistic than other batik motifs (Ochaneysa, 2012).

Tasikmalaya uses the Payung Geulis as the city

symbol, inspired by the local wisdom of Tasikmalaya

(Figure 2). This Tasikmalaya traditional umbrella,

"Payung Geulis", that famous for its beauty means a

beautiful umbrella in Sundanese. Tasikmalaya

umbrellas are a top umbrella craft, which is produced

from an umbrella craft centre in Panyingkiran village,

Indihiang sub-district, Tasikmalaya. The people of

Tasikmalaya are proud of the Payung Geulis that is

the symbol and characteristic of Tasikmalaya.

Figure 2: The symbol of the city of Tasikmalaya

(Tasikmalaya, 2013).

3 RESULTS AND DISCUSSION

The Tasikmalaya batik motif is written in the form of

a program using the python language with the turtle

graphics algorithm stored in a file with the format *

.ipynb. While the colour documentation is done by

storing the Red, Green, and Blue values as text. So

that the memory needed is only 1KB.

3.1 Tasikmalaya Bilik Batik Motif

Bilik in everyday life can be used for house walls,

sitting mats, household items such as sieves, boboko,

dulang, hihid, aseupan, nyiru, and pipiti. Inspired by

this bilik motif, batik is made with the cubicle motif.

The basic chamber matting has a bilik tunggal motif

(Figure 3) and a bilik dua-dua motif (Figure 4). The

naming of this motif is based on the way we weave

the chamber. The cubicle motif is also known as

Rereng Bilik (Roswandi & Sunaedi, 2013).

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Figure 3: Photo of bilik tunggal batik motif (Diati, 2017).

Figure 4: Photo of bilik dua-dua batik motif (Aokhi, 2010).

The bilik tunggal motif and bilik dua-dua motif

has the similar motif, except the length and position

are different. The vertical bilik motif formation

pseudocode in python language that is run in the

Google collaborator can be seen in Table 1

(Ratnadewi, Prijono, et al., 2021a).

Table 1: Pseudocode vertical bilik motif.

Ste

Pseudoco

1 initialize turtle

ush the pen

for j ← 1 to 2 do

for i ← 1 to 18 do

5 forward(2)

turnright(angle←10)

7 end fo

8 forward

(

)

9 end fo

When the program is run, a vertical base bilik

motif will be generated as shown in Figure 5.

Figure 5: Vertical base bilik motif (Ratnadewi, Prijono, et

al., 2021a).

Table 2 show pseudocode to create the basic

horizontal bilik motif

(Ratnadewi, Prijono, et al., 2021a)

Table 2: Pseudocode horizontal bilik motif.

Step Pseudocode

1 initialize turtle

turnleft(angle←90)

2 push the pen

for j ← 1 to 2 do

for i ← 1 to 18 do

5 forward(2)

turnright(angle←10)

7 end fo

8 forward(85)

9 end fo

When the program is executed, it will produce a

basic bilik motif vertically as shown in Figure 6. The

repetition of three vertical and horizontal basic bilik

motifs produces bilik tunggal motif (Figure 7). With

a slight modification of the length of the motif, bilik

dua-dua batik motif can be formed such as shown in

Figure 8.

Figure 6: Vertical base bilik motif (Ratnadewi, Prijono, et

al., 2021a).

Figure 7: Repetition of vertical and horizontal bilik motifs

into bilik tunggal motifs (Ratnadewi, Prijono, et al., 2021a).

Figure 8: Repetition of vertical and horizontal bilik motifs

into bilik dua-dua (Ratnadewi, Prijono, et al., 2021a).

The colors used in the single motif batik cloth are

the basic colors R = 239, G = 206, B = 140 and the

motif colors R = 239, G = 239, B = 222.The

Preservation of the Tasikmalaya Batik Motif with Turtle Graphics

257

reconstruction results of these coloring can be seen in

Figure 9.

Figure 9: Reconstruction image of bilik tunggal motif.

The colors used in the single motif batik cloth are

the basic colors R = 117, G = 181, B = 160 and the

motif colors R = 218, G = 181, B = 160.The

reconstruction results from these coloring can be seen

in Figure 10.

Figure 10: Reconstruction image of bilik dua-dua motif.

3.2 Umbrella Motif Upside Down from

Tasikmalaya

Tasikmalaya umbrella is well known for its artistic

beauty throughout the archipelago and even the

world. The umbrella motif is designed with

alternating purple colour gives the impression of a

beautiful and attractive with the addition of curves

and rectangles that resemble recurrent wajit (Fig. 11).

Figure 11: Photo of umbrella upside down motif

(Ratnadewi, Pandanwangi, et al., 2021).

The pseudocode for creating an upside-down

umbrella motif can be seen in Table 3

(Ratnadewi, Pandanwangi, et al., 2021)

Table 3: Pseudocode upside-down umbrella motif.

Step Pseudocode

1 initialize turtle

2 Pop the pen

3 Goto(400,100)

4 push the pen

5 turnright(angle←176)

6 forward(132)

7 Goto(400,100)

8 turnleft(angle←12)

9 forward(132)

10 Goto(400,100)

11 turnright(angle←24)

12 forward(132)

13 Goto(400,100)

14 turnright(angle←12)

15 forward(132)

16 turnleft(angle←130)

17 for j ← 1 to 5 do

18 forward(6.1)

19 turnright(angle←22)

20 end fo

21 turnleft(angle←130)

22 for j ← 1 to 5 do

23 forward(6.5)

24 turnright(angle←21)

25 end fo

26 turnleft(angle←130)

27 for j ← 1 to 6 do

28 forward(6.1)

29 turnright(angle←22)

30 end fo

31 Pop the pen

32 Goto(390,232)

33 push the pen

34 turnright(angle←5)

35 forward(20)

36 for j ← 1 to 6 do

37 forward(15)

38 turnright(angle←8)

39 end fo

40 for j ← 1 to 4 do

41 forward(12)

42 turnleft(angle←5)

43 end fo

44 for j ← 1 to 15 do

45 forward(4)

46 turnleft(angle←15)

47 end fo

48 turnleft(angle←160)

49 for j ← 1 to 14 do

50 forward(2.7)

51 turnright(angle←15)

52 end fo

53 for j ← 1 to 4 do

54 forward(10)

55 turnright(angle←5)

56 end fo

57 for j ← 1 to 7 do

58 forward(13)

59 turnleft(angle←8)

60 end fo

61 forward(31)

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Upside-down umbrella motif program results can be

seen in Figure 12.

Figure 12: Results of the turtle graphics of an alternating

umbrella motif (Ratnadewi, Pandanwangi, et al., 2021).

Results repetition upside-down umbrella motif

program can be seen in Figure 13.

The colors used in the upside-down umbrella

motif batik cloth are the basic colors R = 80, G = 82,

B = 107 and the motif colors R = 156, G = 123, B =

165. The reconstruction results of these coloring can

be seen in Figure 14.

Figure 13: Hasil turtle graphics upside-down umbrella

motif (Ratnadewi, Pandanwangi, et al., 2021).

Figure 14: Reconstruction image of umbrella motif upside

down.

3.3 Tasikmalaya Geulis Umbrella

Motif

Variations umbrella motif created by creating an

umbrella open and closed, placed in a row and limited

the dividing line on each umbrella, gives a sweet

impression with green and brown colour combined

with green and broken white as a barrier (Figure 15).

Figure 15: Photo of Tasikmalaya geulis umbrella motif

(Umum, 2012).

The pseudocode for making an open umbrella pattern

can be seen in Table 4 (Ratnadewi et al., 2011) :

Table 4: Pseudocode open umbrella motif.

Ste

Pseudocode

1 initialize turtle

2 pop the pen

3 Goto(400,100)

4 turnright(angle←160)

5 push the pen

6 for j ← 1 to 10 do

7 forward(15)

8 turnright(angle←1.5)

9 end fo

10 forward(5)

11 pop the pen

12 Goto(400,100)

13 turnleft(angle←40)

14 push the pen

15 for j ← 1 to 12 do

16 forward(15)

17 turnright(angle←1.9)

18 end fo

19 pop the pen

20 Goto(400,100)

21 turnleft(angle←45)

22 push the pen

23 for j ← 1 to 15 do

24 forward(15)

25 turnright(angle←2.5)

26 end fo

27 Repeat step 2 to 26 for left side

28 turnleft(angle←155)

29 Make the umbrella handle

Preservation of the Tasikmalaya Batik Motif with Turtle Graphics

259

Umbrella geulis pattern making algorithm turtles

can be seen in Figure 16. The colors used in the back

and forth umbrella motif batik cloth are the basic

color R = 219, G = 219, B = 219 and the open

umbrella motif color R = 73, G = 96, B = 44, the

closed umbrella motif color R = 142, G = 80, B = 21.

The reconstruction results of these staining can be

seen in Figure 17.

Figure 16: Result of the turtle graphics of the geulis

umbrella batik motif (Ratnadewi et al., 2011).

Figure 17: Reconstruction vector image of umbrella geulis

motif with turtle graphics.

3.4 Sukapura Leaf Parang Batik Motif

Based on data from the batik museum, it is stated that

the parang comes from the word coral or rock. This

decline declining diagonal draw a line from high to

low and have a slope of 45 degrees. The basic pattern

is the letter S (Ratnadewi, Pandanwangi, et al., 2020).

Parang motifs form itself can be used as a motif with

the addition isen resemble rectangular wajit (Figure

18). Sukapura batik motifs, parang tasikmalaya leaf,

is a blend of parang motif with natural motifs are

leaves. The combination of parang motif with leaf

motif give the impression of a charming and elegant

coupled with isen parang motif in the background and

a different background color for Sukapura leaf parang

motif (Figure 19).

It is undeniable that this batik has its own

privileges. Sukapura batik was made by an old

woman, a batik maker in Sukapura Village, a village

in West Java that is not too easy to find. Batik with

the typicalsss colors of Sukapura is also rare. Unlike

other batik which is colorful like rainbow, Sukapura

batik retains its classic colors. This beautiful batik can

be categorized as collectibles. Batik Tulis is made

through a long and detailed process. The

manufacturing process for one piece of fabric can

take anywhere from 2 weeks to months, depending on

the level of difficulty and subtlety. . (Ochaneysa,

2012).

Figure 18: The batik parang rusak motif (Diati, 2017).

Figure 19: Photo of Sukapura leaf parang batik motif (Diati,

2017).

The pseudocode for making an parang rusak motif

can be seen in Table 5 (Ratnadewi, Prijono, et al.,

2021b) :

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Table 5: Pseudocode vertical bilik motif.

Ste

Pseudocode

1 initialize turtle

the

3 Goto(400,300)

4 Push the pen

Make big parang rusak motif

turnright(angle←17)

6 forward

(

150

)

for j ← 1 to 7 do

8 forward

(

)

turnleft(angle←6)

10 end fo

for j ← 1 to 18 do

12 forward

(

)

turnright(angle←3)

14 end fo

for j ← 1 to 3 do

16 forward

(

)

turnright(angle←15)

18 end fo

19 forward(35)

for j ← 1 to 5 do

21 forward(5)

turnright(angle←24)

23 end fo

turnright(angle←2)

25 forward(200)

26 Re

eat ste

7 to 23

27 forward

(

)

Make little

aran

rusak

28 Goto(370,320)

turnright(angle←2)

30 forward(81)

for j ← 1 to 7 do

32 forward(5)

turnleft(angle←6)

34 end fo

35 forward

(

)

for j ← 1 to 5 do

37 forward

(

)

turnleft(angle←24)

39 end fo

turnleft(angle←20)

41 forward

(

)

42 Repeat step 31 to 39

Make top circle

43 Goto(430,150)

for j ← 1 to 76 do

45 forward(2.3)

turnleft(angle←5)

47 end fo

Make bottom circle

48 Goto

(

350,360

)

49 Repeat step 44 to 47

The results of the program for making a parang

rusak motif can be seen in Figure 20. The leaf motif

in Figure 21, and the combination in Figure 22.

Figure 20: Turtle Graphics Parang rusak Motif (Ratnadewi,

Prijono, et al., 2021b).

Figure 21: Turtle Graphics leaf motif (Ratnadewi, Prijono,

et al., 2021b).

Figure 22: Repetition of the Sukapura Parang leaf

Tasikmalaya motif with Turtle Graphics (Ratnadewi,

Prijono, et al., 2021b).

The colors used in the back and forth umbrella motif

batik cloth are the basic color R = 16, G = 41, B = 24

and the parang motif color R = 173, G = 148, B = 132,

the leaf motif color R = 66, G = 41, B = 33. The

reconstruction results of this coloring can be seen in

Figure 23.

Preservation of the Tasikmalaya Batik Motif with Turtle Graphics

261

Figure 23: Reconstruction vector image of Sukapura parang

leaf motif with turtle graphics.

3.5 Memory for Storage Batik Motifs

Comparison of memory required for storage motif

can be seen in Table 6, it appears that the memory

required to store the turtle motif on file *.ipynb

always smaller than the bitmap image storage.

Table 6: Comparison of memory used to store batik motifs.

Types of motif

Memory used for

*.ipynb file

memory

*.jpg image

in black

and white

*.jpg color

image

Bilik tunggal

motif

35 KB 106 KB 81 KB

Bilik dua-dua

motif

35 KB 108 KB 103 KB

Umbrella upside

down motif

43 KB 86 KB 269 KB

Umbrella geulis

motif

105 KB 121 KB 139 KB

Sukapura Parang

leaf Tasikmalaya

motif

126 KB 139 KB 208 KB

3.6 The Quality Image

The quality of both bitmap image and vector image

fter scaling to 1: 2 against the original image can be

seen differences in Figure 24 and Figure 25. Less

clear-quality bitmap image edges, the edges look

blurry motif, whereas the vector image remains

excellent image quality.

The quality of both bitmap image and vector

image after scaling to 1: 3 against the original image

can be seen differences in Figure 26 and Figure 27.

Less clear-quality bitmap image edges, the edges look

blurry motif, whereas the vector image remains

excellent image quality.

Figure 24: Bitmap image with 1: 2 scaling.

Figure 25: Vector image with 1: 2 scaling.

Figure 26: Bitmap image with 1: 3 scaling.

Figure 27: Vector image with 1: 3 scaling.

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4 CONCLUSIONS

In this research has been successfully made batik

bilik, upside-down umbrella motif, payung geulis

motif, and leaf motif batik parang Sukapura

Tasikmalaya are successfully made using turtle

graphics algorithms in Python. The memory for

storing motifs with a program using turtle graphics in

* .ipynb format is smaller than the memory for storing

images in the * .jpg format, the image quality of the

reconstructed image scaled by the turtle graphics is

better than the image quality of the photo image. This

turtle graphics batik motif can be used by traditional

batik makers when making initial drawings on the

cloth, and then the batik craftsmen can color with

canting following the batik motif produced by the

turtle graphics. The current generation can continue

making batik by following batik motifs that have been

made with turtle graphics. The existing batik motifs

can be preserved by storing the motif digitally with a

small memory and good quality.

ACKNOWLEDGEMENTS

Thank you so much for funding support that makes

this research possible to Kementrian Pendidikan,

Kebudayaan, Riset, dan Teknologi .

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