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All Journal Jurnal Imajinasi Harmonia: Journal of Research and Education JURNAL TATA KELOLA SENI Riau Journal of Empowerment Abdi Seni Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Rupa International Journal of Visual and Performing Arts ARTCHIVE: Indonesia Journal of Visual Art and Design Jurnal Ilmiah Berkala: Sains dan Terapan Kimia Journal of Arts and Education (JAE) TACET Jurnal Pendidikan dan Kajian Seni
Hazmi, Fariz Al
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Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Chemistry Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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Application of natural dyes in the woven pandan leaf: experimental study on craft products in Tipang village Kamal, Fauzy Prasetya; Murwanti, Aprina; Hazmi, Fariz Al
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6258

Abstract

Natural dyes come from natural sources through certain processes used in several arts and crafts to produce environmentally friendly products. This research aims to conduct experiments on applying natural dyes to woven pandan products in Tipang Village, North Sumatra Province. This aim was to develop sustainable methods for woven pandan leaf products. The research method uses an experimental process with a practice-led research approach to applying natural dyes in the context of arts and crafts. Experimental samples were obtained by staining using a type of mordant group, namely tegeran and tingi wood extraction, as well as a container group from fermented tarum leaves (Indigofera). The number of samples used was 6, with 1 sample without color, two with tegeran wood dye, two with tingi wood, and 1 with arum leaves. The analysis and evaluation process uses visual analysis assisted by greyscale image assessment via the Matlab application. The findings show that the application of natural dyes of the mordant group with fixation using lime has a more intense and even color quality with an R.G.B value of around 0.5 - 0.6 or an index value of around 135 -143. Meanwhile, natural dyes in the vessel class have uneven colors, so further experiments must be conducted to produce good colors. Thus, natural dyes from the mordant group can be applied to woven products made from pandan leaves.
Sustainable batik dyeing with ketapang (terminalia catappa) leaves: a practice-led experimental study on color retention and design innovation Murwanti, Aprina; Hazmi, Fariz Al; Kamal, Fauzy Prasetya
International Journal of Visual and Performing Arts Vol 7, No 1 (2025)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v7i1.1698

Abstract

This study investigates the batik production process through a focused experimental approach on three key aspects: motif exploration, technique application, and the use of natural dyes extracted from Ketapang leaves. Employing a practice-led research methodology, the experiments were conducted at Rumoh Batik Malaka in Aceh Besar Regency, Aceh Province, Indonesia. Data were collected via systematic observation, experimental trials, and a comprehensive literature review. The color quality of batik samples was quantitatively assessed through RGB value analysis using grayscale imaging processed in MATLAB software. Results revealed that natural dyes derived from Ketapang leaves exhibit a measurable decline in color intensity when applied to batik textiles. Specifically, samples fixed with alum and calcium oxide and subjected to two dipping cycles showed significant fading, with grayscale values increasing from 0.5 to 0.7 post-wax removal (lorod). Conversely, optimal color retention was observed in samples fixed with ferrous sulfate and subjected to four dipping cycles, presenting minimal fading with values rising only from 0.1 to 0.2 after lorod. Six distinct batik pieces were produced, showcasing diverse motifs and color variations derived from the natural dye. The findings confirm that dye concentration and fixation type critically influence the colorfastness and aesthetic outcome, supporting the viability of Ketapang leaf extracts as sustainable natural dyes for cotton batik production. This research contributes to enriching batik design practices by promoting natural dye applications and innovative stamping techniques, offering ecological and cultural value to the textile arts in Indonesia and beyond.
Utilizing Jackfruit Leaf Ash as a Glaze in Ceramic Art Suprabanindya, Caecilia Tridjata; Petrus, Himawan Tri Bayu Murti; Hazmi, Fariz Al
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 6, No 1 (2025): Artchive: Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v6i1.4825

Abstract

The objective of this research was to apply ash glaze—specifically jackfruit leaf ash—to ceramic works in order to enhance their aesthetic value. The study involved expertise from both fine arts, particularly ceramic art, and chemical engineering, and was conducted using an inquiry-based research approach. An experimental method was employed, specifically a pre-experimental intact-group comparison design, with samples divided into four formulas containing different ash mixtures. In this study, organic ash was blended with Kebumen soil, Sukabumi soil, and ready-to-use transparent glazes (F.107 and F.3T). The results demonstrated that jackfruit leaf ash glaze produced unique textural characteristics and natural color tones (including white-gray, cream, beige, and brown), with transparent, opaque, and semi-matte glaze qualities. Furthermore, this ash glaze was applied as a decorative finish on functional ceramic craft products, either as a single formula, in combination with other jackfruit ash glaze formulas, or with the addition of oxide colorants. Adjustments were also made to the glaze composition percentages to achieve varied visual effects. The ceramics used in this study were made from Sukabumi clay, which proved to be well-suited to the jackfruit leaf ash glaze formulation.
PELATIHAN EKSPLORASI PADU PADAN BATIK CAP DAN IKAT CELUP BAGI GURU SMA MATA PELAJARAN SENI BUDAYA Tridjata, Caecilia; Candrasari, M.C Wara; Hazmi, Fariz Al
Abdi Seni Vol. 15 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i1.5564

Abstract

In particular, the quality of learning is determined by a teacher’s abilities. Professional teachers undoubtedly canprovide learning creatively. They must be able to see the situation within the limitations of teaching media needs byutilizing existing resources. Training teachers is essential to improve teachers’ abilities in providing creativelessons to students, especially in creativity-based learning. The Community Empowerment aims to train high schoolteachers in mix-and-match exploration of stamped and tie-dyed batik in arts and culture subjects. The entire seriesof P2M activities are carried out using a Learning-by-doing approach, a demonstration method, and video tutorials.The training takes place in the Betawi pavilion of SMAN 109 South Jakarta. The training results showed thatparticipants were able to complete the entire training series well, even though there were several obstacles. Fromthe results of the work analysis, on average, the participants produced work of excellent quality, so teachers areexpected to be able to teach batik skills to students in their respective schools in arts and culture subjects.
KAJIAN VISUAL MOTIF PADA KAIN IKAT KEPALA KHAS CIREBON Hazmi, Fariz Al
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v16i1.5970

Abstract

Karya seni yang berasal dari masa lalu terkadang memiliki nilai historis yang mencerminkan kehidupan masyarakatnya. Kain ikat kepala khas Cirebon yang berada di Museum Tekstil Jakarta menyimpan berbagai cerita melalui visualnya yang terus di jaga hingga saat ini melalui konservasi. Tujuan penelitian ini adalah untuk mengkaji motif kain ikat kepala khas Cirebon yang ada di Museum Tekstil Jakarta secara visual. Metode penelitian menggunakan kualitatif  deskriptif dengan pendekatan semiotika visual. Sehingga simbol dan makna yang ada pada motif-motif tersebut dapat diungkapkan melalui identifikasi dan analisis. Teknik pengumpulan data dilakukan dengan observasi dan dokumentasi. Dalam penelitian ini, terdapat dua kain ikat kepala sebagai objek penelitian yaitu ikat kepala motif Macan Ali dan motif Sawat. Kedua kain tersebut didapatkan dari sumbangan GP. Mangkunegoro VIII pada tahun 1976 dan dibuat dengan teknik batik. Hasil penelitian menemukan bahwa motif pada kain ikat kepala Macan Ali memvisualkan simbol Keraton Cirebon dan keislamannya dengan beberapa motif kaligrafi tawhid. Sedangkan pada kain ikat kepala motif Sawat merupakan kain yang berasal dari pengaruh Jawa-Hindu dengan motif sayap garuda, pohon hayat dan meru dan lidah api sebagai simbol kosmologi kehidupan.
Pemberdayaan Perempuan melalui Pelatihan Membatik di Kelurahan Lengkong Gudang Kota Tangerang Selatan Pahala, Agam Akbar; Hazmi, Fariz Al; Oetopo, R.A Ataswarin
Abdi Seni Vol. 16 No. 2 (2025)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v16i2.6639

Abstract

Enhancing creativity and skills is a crucial aspect of economic and welfare improvement initiatives. Batik, as a work of art with high value, has its own market that is in great demand by the community. Currently, Lengkong Gudang Village, South Tangerang City does not have a superior craft product that is competitive. The purpose of this batik training is to target participants from the Family Welfare Development women's group in Lengkong Gudang Village, providing them with batik skills. The activities are carried out in stages, starting with preparation, which includes creating teaching materials in the form of handouts and preparing tools and materials. This is followed by core activities, such as batik making training using cotton fabric, and the final stage of evaluation through discussion. The training method is a demonstration method that is more focused on the process of making the work. The results of this training, the participants were able to produce batik works with stamping and writing techniques. Although there were several obstacles, the participants seemed enthusiastic about completing the entire series of activities. The demonstration method also makes it easier for participants to understand the steps in batik because the instructor provides explanations and practices the method. Keywords: Training, Batik Making, Family Welfare Development, Women Empowerment, Fine Arts
Analisis Nilai Estetika dan Makna Visual Karya Pemenang Lomba Desain Batik Kota Tangerang Selatan 2023 Hazmi, Fariz Al
JURNAL RUPA Vol 9 No 2 (2024): In Press
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i2.7508

Abstract

The process of designing motifs is one of the stages in making batik work before processing. This process requires creativity and knowledge in making something into a motif. In the batik design competition held by the City of South Tangerang in 2023, one work was won with the title "Triasih Nawasena". The aim of this research is to examine aesthetics and describe meaning through a semiotic approach. The research method uses descriptive qualitative with data collection through observation, semi-structured interviews and literature study. The interview was conducted with Septi Rahmawati as the winner of the competition and owner of the work. The research results show that the "Triasih Nawasena" batik design has three motif elements, namely the main motif, complementary motifs and filling motifs or isen-isen. These motifs complement each other with the main motif being made larger but the number is not too dominant compared to the complementary motifs. Meanwhile, isen-isen is used to create texture in certain motifs. So that the overall design has design elements such as points, lines, shapes, textures, space and color in each motif and becomes one unit. All of the motifs on this batik have meanings that represent typical objects in South Tangerang City.
Co-Authors Agam Akbar Pahala Aprina Murwanti Caecilia Tridjata, Caecilia Candrasari, M.C Wara Citra Aryandari Despriliani, Ririn Espransa, Vera Bella Himawan Tri Bayu Murti Petrus Kamal, Fauzy Prasetya Oetopo, R.A Ataswarin Oetopo, RA. Ataswarin Siahaya, Karel Martinus Suprabanindya, Caecilia Tridjata