TEXTILE - Cloth and Culture

EXPLORATION OF ROSELLA DYES ON SHIBORI TECHNIQUE FOR STILATION OF

TRADITIONAL BALI MOTIF
--Manuscript Draft--

Full Title: EXPLORATION OF ROSELLA DYES ON SHIBORI TECHNIQUE FOR STILATION OF

TRADITIONAL BALI MOTIF

Manuscript Number: RFTX-2022-0073

Article Type: Research Article

Keywords: rosella; shibori technique; Bali; natural dye; textile

Abstract: This research was intended to create a traditional Balinese fabric produced by
exploration of rosella dyes using Japanese shibori techniques. The rosella flower's
itself is the main ingredient of the dye used, taking advantage of its rich pigment that
produces red to purple with easily degraded criteria. Shibori was one of the techniques
used to realize the results of the stilling of one traditional Balinese motive. A Bali
tradisonal motive that would have distillated was inspired from a Jepun Alit motive.
That motive would be reinterpreted using shibori techniques by emphasizing the
signature of those motives. The methods used were experiments and studies of
literature. The benefit of the study is that it is hoped to be a reference and will give
insight to the textile artisans who utilize natural dyes using shibori techniques
particularly rosella's meager natural materials. Research experiments found that the
process of mordanting affected durability and color results in textile. Many folds affect
the size of shibori's motives, and many bonds affect the maximum containment of the
diffusion of the dye. The study consisted of three times experiments that produced a
different visualization, at the third trial found maximum results and consistent with
motive stilting designs.

Order of Authors: Tsania Dzakiyah Dhiya

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 EXPLORATION OF ROSELLA DYES ON SHIBORI TECHNIQUE
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2 FOR STILATION OF TRADITIONAL BALI MOTIF
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5 Tsania Dzakiyyah Dhiya Ulhaq, and Milla Karmila
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Fashion education study program, Faculty of technology education and vocational,
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10 Indonesian university of education, Indonesia
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12 tsaniadzakiyah@upi.edu, mkarmila@upi.edu
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15 The first author is a fashion science activist who is a student from the fashion education
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17 study program, faculty of technology and vocational education at the Indonesian University of
18 Education. Born in Bandung, West Java on December 23, 2001. The author is finishing the study
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20 at the 3rd year. .
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22 The second author is a supervisor who supports, provides advice and direction until this
23 article is made. Born in Garut July 12, 1972. Has an interest in textiles and fashion.
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 EXPLORATION OF ROSELLA DYES ON SHIBORI TECHNIQUE
1
2 FOR STILATION OF TRADITIONAL BALI MOTIF
3
4
5 Abstrack
6
7 This research was intended to create a traditional Balinese fabric produced by
8
9 exploration of rosella dyes using Japanese shibori techniques. The rosella flower's itself
10
11 is the main ingredient of the dye used, taking advantage of its rich pigment that produces
12
13 red to purple with easily degraded criteria. Shibori was one of the techniques used to
14 realize the results of the stilling of one traditional Balinese motive. A Bali tradisonal
15
16 motive that would have distillated was inspired from a Jepun Alit motive. That motive
17
18 would be reinterpreted using shibori techniques by emphasizing the signature of those
19
20 motives. The methods used were experiments and studies of literature. The benefit of the
21
22 study is that it is hoped to be a reference and will give insight to the textile artisans who
23
24 utilize natural dyes using shibori techniques particularly rosella's meager natural
25 materials. Research experiments found that the process of mordanting affected durability
26
27 and color results in textile. Many folds affect the size of shibori's motives, and many
28
29 bonds affect the maximum containment of the diffusion of the dye. The study consisted
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31 of three times experiments that produced a different visualization, at the third trial found
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33 maximum results and consistent with motive stilting designs.
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36 Keyword: rosella. shibori technique, Bali, natural dye, textile
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39
PRELIMINARY
40
41 The textile and apparel industry is the manufacturing sector which recorded the
42
43 highest growth in 2019, according to the Ministry of Industry, which was 15.08%. This
44
45
is directly proportional to the increasing number of production and the development
46 of business branches in the fashion sector which are now increasing in number. The
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48 increasing number of businesses in the fashion and apparel sector, starting in 2018,
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50 according to UNEP, this condition has made the fashion industry the largest water
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52 user, which accounts for 20% of the world's liquid waste pollution. The quality of
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54 water that has been contaminated with waste from the fashion industry produced by
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56
the fabric refinement process (Minister of Environment and Forestry Regulation No.
57 5 of 2021). The textile finishing process is the final process stage on textile materials
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 after undergoing a dyeing and/or printing process with results that can be temporary
1
2 or permanent.
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The textile development and the industry in fashion have now given much thought
5 to the conditions in which the process of refining the textile or one of which we know
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7 of as textile dyes in the common dyeing industry down to 80% of the process in the
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9 textile industry is the enduring azo variety (Enrico, 2019). Seeing the conditions that
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11 have been described, industry now goes through phases to promote more renewal and
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13 create more works without damaging the environment and in an effort to reduce the
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revenue of liquid waste in the world and to produce products that use green and natural
16 substances. Because of this the use of various types of natural dyes, one of which was
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18 produced from rosella fibers by extracting a rosella petal and using the right type of
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20 mordant because of anthocyanin, which is red to blue.
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22 Dyeing with natural materials still requires concentrated efforts on different
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24 dyeing techniques of some fashion researchers who study the pigment that the rosella
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fibers produce in various fabrics and their effects when using different mordant. As
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27 for the exploration to be done on the natural dyeing of rosella fibers it is on the dyeing
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29 techniques done.
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31 The rosella flower petal is one of the plants posted to create a natural dye because
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33 of the pigment that produces red to blue. A natural color derived from rosella flower
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35 petal can serve as an alternative green textile dye, and can be used especially in the
36 process of refining the surface design of dyeing. As for the dyeing technique, one of
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38 the techniques known as shibori. Shibori's basic technique was to draw on top of the
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40 fabric, and tying the knot tight with string. Afterward, a cloth is dyed with one or more
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42 colors. Cloth dyed a number of times according to the color used and the motif made
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44 (dermawati suantara, etc.2018).
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46 Shibori was from Japan, and this conventional craft was practiced around the
47 world. Shibori traditions have been established in the Middle East and also in the
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49 continent of India. Now actively followed in south China, west Africa, Indonesia, the
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51 Himalayas, and in western india-1 shibori comes from the Japanese noun shiboru root,
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53 "to squeeze, squeeze, squeeze." The most approaching translation is "form-resistant
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55 dipping". Shibori's technique gives a three-dimensional shape with folding, squeezing,
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sewing, plait, or pulling and turning.
58 Based on the discovered phenomenon, the writer tried to experiment on mori
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60 fabric to produce the most consistent motive with the stilation of the Bali Japan Alit
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 motive using shibori techniques, so that it could produce textiles with selling value,
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2 function and philosophy and have high aesthetic value.
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5 RESEARCH METHODS
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7 Observasi Experiment
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9 on
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12 Docum The supply of raw materials
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14 entatio
15 Mordanting
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18 Exporter of the natural dye of rosella
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21 The application of rosella Folding
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23 dye in shibori
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Motif test results Dying
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28 Final Result
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32 Chart 1. Work Flow
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34 This research is an experimental research, which is a method that emphasizes the
35 manufacturing and coloring aspects of what is being studied. The research begins with
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37 collecting data by means of observation and documentation. Observation, by observing
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39 the Japanese alit motif which aims to determine the source of the idea for the stylization
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41 of the motif to be designed.
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43 Documentation, by collecting data from several sources in the form of books, e-
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books, theses and articles as study literature. The product trial was carried out to see the
46 results of the exploration of rosella dye against the shibori technique on fabrics made of
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48 prisimima cotton. The working procedure of making shibori is preparing the design,
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50 preparing tools and materials, preparing rosella dye, making shibori using rosella dye
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52 with the stages of making a motif on the fabric, folding the fabric, tying the fabric, dyeing
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54 the fabric until finally washing the fabric, then the results obtained applied to the
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stylization of Jepun Alit motive from Bali.
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 Materials and tools
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2 The raw material used in the adoration was plain white prisimima fabric, extract of
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rosella, latex gloves, plastic bucket, talwas, stove and pan, the tools to stir, rubber bands.
5 Types of raw material
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7 Fabric as the main raw material for shibori products, is generally in the form of mori
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9 fabric with various qualities. The raw material for the fabric used is plain white prisimima
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11 cotton. The dye as one of the raw materials used is the result of rosella flower extract
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13 using natural mordant in the form of alum.
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Design preparation process
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27 (a) (b)
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29 Figure 1. (a) Jepun Alit Motive, (Edi Eskak, 2015), (b) stilation motive of Jepun Alit
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(Personal documentation)
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32 The initial stage is planning and designing designs that will be made using the
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34 shibori technique. The motif is inspired by one of the Balinese motifs, namely batik with
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36 the Jepun Alit motif. “This motif is the source of its inspiration from the frangipani flower
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38 (Plumeria acutifolia) which in Bali is known as Sekar Jepun. This flower is a type of
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40 flower that is identical to Bali, which is a favorite flower for decoration and worship”
41 (Prama, 2011).
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43 The Jepun alit motif was reinterpreted using the shibori technique by emphasizing
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45 the typical Japanese alit characteristic in the form of stylized flower shapes and then
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47 moving a smaller floral motif on the background of Japanese alit batik on the side of the
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49 fabric as a tumpal shibori. In the preparation process, the textile material to be used is
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51 mori prisimima fabric. with a size of 100 x 50 cm for this exploratory experiment which
52 is the development of the shibori technique using rosella dye.
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 Methode
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12 Figure 2. dye preparation (Personal documentation
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14 The initial process of exploration was the preparation of the color content to be
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16 used, the rosella petals were first dried and washed clean to remove any residue. After the
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18 rosella petals are clean, the next step is to prepare 1 liter of water for 100 grams of dry
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20 rosella. Both are boiled to a half volume of water, which is up to 500 ml [500 ml], the
21 powdered dye solution from the rosella kelp that is boiled. After the dye was prepared,
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23 the preparation of the materials was made by soaking the rag in a mordant solution for
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25 one night, preparing the rubber bands, containers, and other items needed in the shibori
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27 process.
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29 The process of producing Jepun Alit Motive Stilation Uses the Shibori Technique
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31 A manufacturing process that takes place after the material has passed through the
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33 mordanting stage and is then sliced through the air. As for the shibori technique to be
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35 used are the modifications of the kanoko shibori technique and itajime shibori.
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37 (a) Kanoko shibori technique, which is also called a tiedye. Tying some fabric
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together with thread or rubber to get the desired motive operating. The technique
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40 is used to form 4 small circles in the side area of fabric.
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57 (a) (b)
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59 Figure 3. (a). Kanono Shibori, (b), Modification of Itajime Shibori (Personal
60 documentation)
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 (b) The itajime shibori technique, the technique of folding and clenching the fabric
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2 between two logs and then tightening it with a knot. As for getting the motive the
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writer wants done this technique by giving a barrier of rubber bands fastened
5 around a particular section over and over again with the purpose of forming a
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7 primary motive like in the intended stilting design.
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10 Procedure
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The experimental procedure is based on folding technique, large folds, time of
13 mordanting, the number of rubber bands and the way of pigmentation.
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15 (a) 1st Experiment
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17 The first attempt was on mori pisimima, which had been immersed in
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19 mordant solution for six hours, followed by an accordion pleat, with a 12 cm wide
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21 and a total of four folds. Then the fabric, was folded into an equilateral triangle to
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adjust the width of the fold so that it would produce a stack of 9 triangles. The
24 next stage of the cloth was bound with rubber bands on the three midsection (the
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26 apex of the triangle), and each side of the triangle had a 6 layer of rubber band.
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28 Then the triangle was dipped in the solution of the dye in some, that is, the
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30 lower part of the triangle was left until the dye spread, and then the Angle of the
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32 triangle except for the center of the triangle, which was left untreated. Dyed
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fabrics were allowed to remain undisturbed for 24 hours and then bands were
35 opened and dried without direct sunlight.
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37 (b) 2nd Experiment
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39 On the second attempt, a shibori technique performed on a mori prisimima
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41 cloth that had passed through the 12-hour process of mordanting at 100 cm by 50
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43 cm. Next the accordion folded with the width of the 10 cm in which five folds
44 were made. Then the triangle was folded with 10 overlapping triangles. The next
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46 step is a pile of triangles strapped with a rubber band of 10 layers.
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48 The coloring is done by dipping the triangle into the dye solution in several
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50 parts, namely, the bottom of the triangle is left until the dye rises to the middle,
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52 then the corners of the triangle except the middle of the triangle are left unaffected
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54 by the dye. This stage is repeated several times until the dye seeps into all parts
55 of the fold. triangle and leaving only the top. The dyed mori cloth is left for 24
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57 hours then the bond is opened and dried without direct sunlight.
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 (c) 3rd Experiment
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2 The third attempt, which was the last, began by soaking the calico
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prisimima measuring 100 cm (100 cm) in mordant solution for 24 hours. The
5 cloth, in turn, was folded with the accordion crease with the number of eight folds
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7 resulting in a width of 6.25. Then the cloth was folded in a triangular triangle that
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9 had accumulated in number 16 folds. The next phase ties the triangle with 10
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11 layers of strong rubber bands and is allowed to remain overnight.
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13 Then the triangle's fold is dipped into the dye solution in some of the
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elements, leaving the lower part of the triangle until the dye rises to the center and
16 then the Angle of the triangle except for the center of the triangle that was left to
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18 be unaffected. Repeat dyeing until the dye reaches all the creases. Dyed fabrics
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20 were allowed to remain undisturbed for 24 hours and then bands were opened and
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22 dried without direct sunlight.
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25 RESULTS AND DISCUSSIONS
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28 The design of motive has a visual element perceived as a completeness of an
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object with certain impressions. The findings from the study of the rosella dye experiment
31 on the shibori technique for getting the stilation motive from the Japanese motive of alit
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33 were described on the basis of the research goals that had been made. Experiments are
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35 conducted in three different kinds of experiments using the same cloth and different
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37 dyeing techniques. The findings were found following the observation process of the
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39 cloth's color color and durability.
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Dyeing done with shibori modification of itajime technique and kanoko using a
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42 dye that came from the rosella flower petals. The motif was made using the folding
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44 technique, the big folds, the old mordanting and the number of different rubber bands.
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46 The results of the first experiment can be seen in the accompanying picture:
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57 Figure 4. Results of the 1st Experiment of Rosella Dye with the Shibori Technique
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(Personal documentation)
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 The results of the first 12 cm (0.5 in.) in length produced 9 triangular folds and
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2 were held together by six layers of rubber on the caloric cloth held in mordant solution
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for six hours, giving visualization; the motive was less roused because it was too big and
5 absorbed the dye so that the rubber bands had little effect. In addition, in the first test
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7 colors may not fully function or remain excessively faded, the survival rate is weak as
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9 they dry when colors become more faded. At the first experiment was not nearly perfect
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11 and resembled the Jepun Alit stilation motive from Bali.
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21 Figure 5. Results of the 2nd Experiment of Rosella Dye with the Shibori Technique
22 (Personal documentation)
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24 Based on the results of the first experiment the writer tried to experiment by
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26 reducing the sides of the triangle to 10 cm which produced 10 fold of the triangle and
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28 being held together by 10 layers of rubber on the mori fabric that was soak of mordant
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30 solution for 12 hours, with the following adjustment given the visualization of, that is, the
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motive was still too big to look like the design of the intended motive, the color absorbent
33 was reduced, leaving more of the parts blank, The color that was produced at the
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35 beginning of the drying cloth reached the desired color, but when the drying, it also
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37 became much less persistent.
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Figure 6. Results of the 3rd t Experiment of Rosella Dye with the Shibori Technique
50 (Personal documentation)
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52 From the results of the second experiment, the author observed that by providing
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54 more color barriers in the form of a rubber band, it resulted in a more regular distribution
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56 of color, besides that the length of mordanting on the mori material resulted in stronger
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58 resistance along with the longer the soaking process of the mori material in the mordant
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solution. . So in this third experiment the author made triangular folds with a side length
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 of 6.25 cm which resulted in 16 triangular folds and tied 10 layers of rubber that were
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2 stronger and tighter on mori cloth soaked in mordant solution for 24 hours to see what
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visualization would result. appear. In this third experiment, it was found that the use of
5 dyes had reached the desired color with a large motif that was similar to the design and
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7 produced a stronger resistance than the two first and second experiments, with the
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9 addition of a motif in the tumpal cloth which made the motif resemble the design that
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11 became the original design. The purpose of this research is to produce a Japanese Alit
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13 stylized motif using rosella dye with the Shibori technique.
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The author found from the results of the first experiment to the third experiment
16 that if soaking the cloth for a fairly short time, namely 6 hours, it will produce a weak
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18 color resistance, as well as 12 hours which produces a slightly stronger resistance but is
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20 still not good for applied to textiles, the best resistance was obtained from soaking the
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22 mordant for 24 hours. In addition, to get the intended motive, the writer finds that using
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24 rubber bands will be effective if the amount used is quite large and tight and in tight
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conditions. Because when trying with 6 rubber bands, the dye will pass the restriction
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27 very easily, in contrast to 10 rubber bands and with a tighter pull will make the restriction
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29 effect more powerful. The size of the triangle also affects the size of the resulting motif,
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31 in the first experiment the size of 12 cm on an equilateral triangle makes the motif too
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33 large so that in 1 area of the fabric is only filled with a few motifs, while in the third
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35 experiment with a triangle size of 6.25 or obtained by folding a 50 cm wide area of cloth
36 into 8 folds with the accordion technique, resulting in a triangle with a side length of 6.25
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38 cm, so that the visuals produced from this shibori motif fill the fabric area more and look
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40 denser. If the folding process is carried out correctly, mordanting is carried out for 24
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42 hours, and using a tight and tight rubber band, the resulting visual will be in accordance
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44 with the stylized of Jepun alit motif.
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Time of Number of Number of Conclusion
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47 Mordanting Folds Ties
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Faded color, Pattern is
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50 6 Hour 9 6 too big, Color
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52 resistance is weak.
53 The color is more out,
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55 but faded, the pattern
56 12 Hour 10 10 is still too big, after
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58 drying, the durability
59 is medium
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 Color Match,
1 Durability is strong
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3 enough, not too faded
24 Hour 16 10
4 and produces a motif
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6 that is more dense and
7 dense.
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9 Table 1. Experimental Data (personal documentation)
10
11 CONCLUSION
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13 Based on the stages of experimental study research, exploration of rosella dye in
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15 the shibori technique to produce the completed Jepun Alit motif stylization from Bali, it
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17 can be concluded that the experiment of making motifs with the shibori technique using
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19 rosella dyes showed different results according to the length of mordanting. , the number
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of shibori folds, and how many ties as barriers were used.
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22 The experimental rosella flower petals can be used as a dye for staining with the
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24 shibori technique on prisimima mori fabric. The color of the fabric produced shows a
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26 high intensity of fabric color and good resistance.
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28 The motifs produced using Shibori Itajime's technique were modified from the
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30 shape of the folds and the type of color barrier, resulting in a good motif and in accordance
31 with the design made.
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33 The motif design from the Jepun Alit motif stylization was realized using the
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35 shibori coloring technique and Rosella natural dye. Based on the recipe and research
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37 conducted, the duration of the mordant affects the durability and color yield of textile
38
39 materials. The number of folds affects the size of the shibori motif, and the number of
40
41
bonds affects the maximum containment for the spread of the dye.
42 ACKNOWLEDGMENT
43
44
45 This work has been supported by comprehensive study courses in the fashion
46 education study program, faculties of technology and vocational education at the
47
48 University of Indonesia
49
50 REFERENCES
51
52 Ahmad, A. F., & Hidayat, N. (2018). The Influence of Mordant and Mordanting Types
53
54 on Color Strength and Effectiveness in Dyeing Cotton Fabrics using Australian Guava
55
56 Leaf Dyes.
57
58 Choiriyah, N. A. (2017). Extraction of Purple Rosella Anthocyanin and Phenolic
59
60 Compounds with Solvent Variations. Darussalam. Nutrition Journal, 17.
61
62
63
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65
 Sofyan, & Failisnur. (2016). GAMBIR (Uncaria gambir Roxb) As A Natural Dye for
1
2 Silk, Cotton and Rayon Batik Fabricsn. 6. (2) 89-98.
3
4
Sofyan, & Failisnur. (2016). Gambir as a natural dye for silk, cotton and rayon batik
5 fabrics. Industrial R&D. Journal 6(2), 89-98.
6
7 Suantara D. et al (2018). Shibori Technique Exploration In Developing Indonesian
8
9 Traditional Motif Design In Clothing Fabric Surface. Arena Tekstil Vol. 32 No. 2, 2017:
10
11 67-76
12
13 Wang, M. L., Morris, B., Tonnis, B., & Davis, J. W. (2012). Assessment of Oil Content
14
15
and Fatty Acid Composition Variability in Two Economically Important Hibiscus
16 Species. Journal of Agricultural and Food Chemistry 60(26), 6620-6626.
17
18 Wahyuni, G. (2020). Experimental Study of Textile Dyeing with Natural Dyes Rosella
19
20 Flower Petals Extract
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Manuscript - anonymous

EXPLORATION OF ROSELLA DYES ON SHIBORI TECHNIQUE

FOR STILATION OF TRADITIONAL BALI MOTIF

Abstrack

This research was intended to create a traditional Balinese fabric produced by

exploration of rosella dyes using Japanese shibori techniques. The rosella flower's itself
is the main ingredient of the dye used, taking advantage of its rich pigment that produces
red to purple with easily degraded criteria. Shibori was one of the techniques used to
realize the results of the stilling of one traditional Balinese motive. A Bali tradisonal
motive that would have distillated was inspired from a Jepun Alit motive. That motive
would be reinterpreted using shibori techniques by emphasizing the signature of those
motives. The methods used were experiments and studies of literature. The benefit of the
study is that it is hoped to be a reference and will give insight to the textile artisans who
utilize natural dyes using shibori techniques particularly rosella's meager natural
materials. Research experiments found that the process of mordanting affected durability
and color results in textile. Many folds affect the size of shibori's motives, and many
bonds affect the maximum containment of the diffusion of the dye. The study consisted
of three times experiments that produced a different visualization, at the third trial found
maximum results and consistent with motive stilting designs.

Keyword: rosella. shibori technique, Bali, natural dye, textile

PRELIMINARY

The textile and apparel industry is the manufacturing sector which recorded the
highest growth in 2019, according to the Ministry of Industry, which was 15.08%. This
is directly proportional to the increasing number of production and the development
of business branches in the fashion sector which are now increasing in number. The
increasing number of businesses in the fashion and apparel sector, starting in 2018,
according to UNEP, this condition has made the fashion industry the largest water
user, which accounts for 20% of the world's liquid waste pollution. The quality of
water that has been contaminated with waste from the fashion industry produced by
the fabric refinement process (Minister of Environment and Forestry Regulation No.
5 of 2021). The textile finishing process is the final process stage on textile materials
after undergoing a dyeing and/or printing process with results that can be temporary
or permanent.
The textile development and the industry in fashion have now given much thought
to the conditions in which the process of refining the textile or one of which we know
of as textile dyes in the common dyeing industry down to 80% of the process in the
textile industry is the enduring azo variety (Enrico, 2019). Seeing the conditions that
have been described, industry now goes through phases to promote more renewal and
create more works without damaging the environment and in an effort to reduce the
revenue of liquid waste in the world and to produce products that use green and natural
substances. Because of this the use of various types of natural dyes, one of which was
produced from rosella fibers by extracting a rosella petal and using the right type of
mordant because of anthocyanin, which is red to blue.
Dyeing with natural materials still requires concentrated efforts on different
dyeing techniques of some fashion researchers who study the pigment that the rosella
fibers produce in various fabrics and their effects when using different mordant. As
for the exploration to be done on the natural dyeing of rosella fibers it is on the dyeing
techniques done.
Rosella flower petal is one of the plants posted to create a natural dye because of
the pigment that produces red to blue. A natural color derived from rosella flower petal
can serve as an alternative green textile dye, and can be used especially in the process
of refining the surface design of dyeing. As for the dyeing technique, one of the
techniques known as shibori. Shibori's basic technique was to draw on top of the fabric,
and tying the knot tight with string. Afterward, a cloth is dyed with one or more colors.
Cloth dyed a number of times according to the color used and the motif made
(dermawati suantara, etc.2018).
Shibori was from Japan, and this conventional craft was practiced around the
world. Shibori traditions have been established in the Middle East and also in the
continent of India. Now actively followed in south China, west Africa, Indonesia, the
Himalayas, and in western india-1 shibori comes from the Japanese noun shiboru root,
"to squeeze, squeeze, squeeze." The most approaching translation is "form-resistant
dipping". Shibori's technique gives a three-dimensional shape with folding, squeezing,
sewing, plait, or pulling and turning.
Based on the discovered phenomenon, the writer tried to experiment on mori
fabric to produce the most consistent motive with the stilation of the Bali Japan Alit
 motive using shibori techniques, so that it could produce textiles with selling value,
function and philosophy and have high aesthetic value.

RESEARCH METHODS

Observasi Experiment

on

Docum The supply of raw materials

entatio
Mordanting

Exporter of the natural dye of rosella

The application of rosella Folding

dye in shibori
Motif test results Dying

Final Result

Chart 1. Work Flow

This research is an experimental research, which is a method that emphasizes the
manufacturing and coloring aspects of what is being studied. The research begins with
collecting data by means of observation and documentation. Observation, by observing
the Japanese alit motif which aims to determine the source of the idea for the stylization
of the motif to be designed.
Documentation, by collecting data from several sources in the form of books, e-
books, theses and articles as study literature. The product trial was carried out to see the
results of the exploration of rosella dye against the shibori technique on fabrics made of
prisimima cotton. The working procedure of making shibori is preparing the design,
preparing tools and materials, preparing rosella dye, making shibori using rosella dye
with the stages of making a motif on the fabric, folding the fabric, tying the fabric, dyeing
the fabric until finally washing the fabric, then the results obtained applied to the
stylization of Jepun Alit motive from Bali.
Materials and tools
The raw material used in the adoration was plain white prisimima fabric, extract of
rosella, latex gloves, plastic bucket, talwas, stove and pan, the tools to stir, rubber bands.
Types of raw material
Fabric as the main raw material for shibori products, is generally in the form of mori
fabric with various qualities. The raw material for the fabric used is plain white prisimima
cotton. The dye as one of the raw materials used is the result of rosella flower extract
using natural mordant in the form of alum.
Design preparation process

(a) (b)
Figure 1. (a) Jepun Alit Motive, (Edi Eskak, 2015), (b) stilation motive of Jepun Alit
The initial stage is planning and designing designs that will be made using the
shibori technique. The motif is inspired by one of the Balinese motifs, namely batik with
the Jepun Alit motif. “This motif is the source of its inspiration from the frangipani flower
(Plumeria acutifolia) which in Bali is known as Sekar Jepun. This flower is a type of
flower that is identical to Bali, which is a favorite flower for decoration and worship”
(Prama, 2011).
The Jepun alit motif was reinterpreted using the shibori technique by emphasizing
the typical Japanese alit characteristic in the form of stylized flower shapes and then
moving a smaller floral motif on the background of Japanese alit batik on the side of the
fabric as a tumpal shibori. In the preparation process, the textile material to be used is
mori prisimima fabric. with a size of 100 x 50 cm for this exploratory experiment which
is the development of the shibori technique using rosella dye.
Methode

Figure 2. dye preparation

The initial process of exploration was the preparation of the color content to be
used, the rosella petals were first dried and washed clean to remove any residue. After the
rosella petals are clean, the next step is to prepare 1 liter of water for 100 grams of dry
rosella. Both are boiled to a half volume of water, which is up to 500 ml [500 ml], the
powdered dye solution from the rosella kelp that is boiled. After the dye was prepared,
the preparation of the materials was made by soaking the rag in a mordant solution for
one night, preparing the rubber bands, containers, and other items needed in the shibori
process.
The process of producing Jepun Alit Motive Stilation Uses the Shibori Technique

A manufacturing process that takes place after the material has passed through the
mordanting stage and is then sliced through the air. As for the shibori technique to be
used are the modifications of the kanoko shibori technique and itajime shibori.
(a) Kanoko shibori technique, which is also called a tiedye. Tying some fabric
together with thread or rubber to get the desired motive operating. The technique
is used to form 4 small circles in the side area of fabric.

(a) (b)
Figure 3. (a). Kanono Shibori, (b), Modification of Itajime Shibori
 (b) The itajime shibori technique, the technique of folding and clenching the fabric
between two logs and then tightening it with a knot. As for getting the motive the
writer wants done this technique by giving a barrier of rubber bands fastened
around a particular section over and over again with the purpose of forming a
primary motive like in the intended stilting design.

Procedure
The experimental procedure is based on folding technique, large folds, time of
mordanting, the number of rubber bands and the way of pigmentation.
(a) 1st Experiment
The first attempt was on mori pisimima, which had been immersed in
mordant solution for six hours, followed by an accordion pleat, with a 12 cm wide
and a total of four folds. Then the fabric, was folded into an equilateral triangle to
adjust the width of the fold so that it would produce a stack of 9 triangles. The
next stage of the cloth was bound with rubber bands on the three midsection (the
apex of the triangle), and each side of the triangle had a 6 layer of rubber band.
Then the triangle was dipped in the solution of the dye in some, that is, the
lower part of the triangle was left until the dye spread, and then the Angle of the
triangle except for the center of the triangle, which was left untreated. Dyed
fabrics were allowed to remain undisturbed for 24 hours and then bands were
opened and dried without direct sunlight.
(b) 2nd Experiment
On the second attempt, a shibori technique performed on a mori prisimima
cloth that had passed through the 12-hour process of mordanting at 100 cm by 50
cm. Next the accordion folded with the width of the 10 cm in which five folds
were made. Then the triangle was folded with 10 overlapping triangles. The next
step is a pile of triangles strapped with a rubber band of 10 layers.
The coloring is done by dipping the triangle into the dye solution in several
parts, namely, the bottom of the triangle is left until the dye rises to the middle,
then the corners of the triangle except the middle of the triangle are left unaffected
by the dye. This stage is repeated several times until the dye seeps into all parts
of the fold. triangle and leaving only the top. The dyed mori cloth is left for 24
hours then the bond is opened and dried without direct sunlight.
 (c) 3rd Experiment
The third attempt, which was the last, began by soaking the calico
prisimima measuring 100 cm (100 cm) in mordant solution for 24 hours. The
cloth, in turn, was folded with the accordion crease with the number of eight folds
resulting in a width of 6.25. Then the cloth was folded in a triangular triangle that
had accumulated in number 16 folds. The next phase ties the triangle with 10
layers of strong rubber bands and is allowed to remain overnight.
Then the triangle's fold is dipped into the dye solution in some of the
elements, leaving the lower part of the triangle until the dye rises to the center and
then the Angle of the triangle except for the center of the triangle that was left to
be unaffected. Repeat dyeing until the dye reaches all the creases. Dyed fabrics
were allowed to remain undisturbed for 24 hours and then bands were opened and
dried without direct sunlight.

RESULTS AND DISCUSSIONS

The design of motive has a visual element perceived as a completeness of an

object with certain impressions. The findings from the study of the rosella dye experiment
on the shibori technique for getting the stilation motive from the Japanese motive of alit
were described on the basis of the research goals that had been made. Experiments are
conducted in three different kinds of experiments using the same cloth and different
dyeing techniques. The findings were found following the observation process of the
cloth's color color and durability.
Dyeing done with shibori modification of itajime technique and kanoko using a
dye that came from the rosella flower petals. The motif was made using the folding
technique, the big folds, the old mordanting and the number of different rubber bands.
The results of the first experiment can be seen in the accompanying picture:

Figure 4. Results of the 1st Experiment of Rosella Dye with the Shibori Technique
The results of the first 12 cm (0.5 in.) in length produced 9 triangular folds and
were held together by six layers of rubber on the caloric cloth held in mordant solution
for six hours, giving visualization; the motive was less roused because it was too big and
absorbed the dye so that the rubber bands had little effect. In addition, in the first test
colors may not fully function or remain excessively faded, the survival rate is weak as
they dry when colors become more faded. At the first experiment was not nearly perfect
and resembled the Jepun Alit stilation motive from Bali.

Figure 5. Results of the 2nd Experiment of Rosella Dye with the Shibori Technique
Based on the results of the first experiment the writer tried to experiment by
reducing the sides of the triangle to 10 cm which produced 10 fold of the triangle and
being held together by 10 layers of rubber on the mori fabric that was soak of mordant
solution for 12 hours, with the following adjustment given the visualization of, that is, the
motive was still too big to look like the design of the intended motive, the color absorbent
was reduced, leaving more of the parts blank, The color that was produced at the
beginning of the drying cloth reached the desired color, but when the drying, it also
became much less persistent.

Figure 6. Results of the 3rd t Experiment of Rosella Dye with the Shibori Technique
From the results of the second experiment, observed that by providing more color
barriers in the form of a rubber band, it resulted in a more regular distribution of color,
besides that the length of mordanting on the mori material resulted in stronger resistance
along with the longer the soaking process of the mori material in the mordant solution. .
So in this third experiment the step is made triangular folds with a side length of 6.25 cm
which resulted in 16 triangular folds and tied 10 layers of rubber that were stronger and
tighter on mori cloth soaked in mordant solution for 24 hours to see what visualization
would result. appear. In this third experiment, it was found that the use of dyes had
reached the desired color with a large motif that was similar to the design and produced
a stronger resistance than the two first and second experiments, with the addition of a
motif in the tumpal cloth which made the motif resemble the design that became the
original design. The purpose of this research is to produce a Japanese Alit stylized motif
using rosella dye with the Shibori technique.
From the results of the first experiment to the third experiment that if soaking the
cloth for a fairly short time, namely 6 hours, it will produce a weak color resistance, as
well as 12 hours which produces a slightly stronger resistance but is still not good for
applied to textiles, the best resistance was obtained from soaking the mordant for 24
hours. In addition, to get the intended motive, the writer finds that using rubber bands
will be effective if the amount used is quite large and tight and in tight conditions. Because
when trying with 6 rubber bands, the dye will pass the restriction very easily, in contrast
to 10 rubber bands and with a tighter pull will make the restriction effect more powerful.
The size of the triangle also affects the size of the resulting motif, in the first experiment
the size of 12 cm on an equilateral triangle makes the motif too large so that in 1 area of
the fabric is only filled with a few motifs, while in the third experiment with a triangle
size of 6.25 or obtained by folding a 50 cm wide area of cloth into 8 folds with the
accordion technique, resulting in a triangle with a side length of 6.25 cm, so that the
visuals produced from this shibori motif fill the fabric area more and look denser. If the
folding process is carried out correctly, mordanting is carried out for 24 hours, and using
a tight and tight rubber band, the resulting visual will be in accordance with the stylized
of Jepun alit motif.
Time of Number of Number of Conclusion
Mordanting Folds Ties
Faded color, Pattern is
6 Hour 9 6 too big, Color
resistance is weak.
The color is more out,
but faded, the pattern
12 Hour 10 10 is still too big, after
drying, the durability
is medium
Color Match,
Durability is strong
24 Hour 16 10
enough, not too faded
and produces a motif
 that is more dense and
dense.
Table 1. Experimental Data

CONCLUSION
Based on the stages of experimental study research, exploration of rosella dye in
the shibori technique to produce the completed Jepun Alit motif stylization from Bali, it
can be concluded that the experiment of making motifs with the shibori technique using
rosella dyes showed different results according to the length of mordanting. , the number
of shibori folds, and how many ties as barriers were used.
The experimental rosella flower petals can be used as a dye for staining with the
shibori technique on prisimima mori fabric. The color of the fabric produced shows a
high intensity of fabric color and good resistance.
The motifs produced using Shibori Itajime's technique were modified from the
shape of the folds and the type of color barrier, resulting in a good motif and in accordance
with the design made.
The motif design from the Jepun Alit motif stylization was realized using the
shibori coloring technique and Rosella natural dye. Based on the recipe and research
conducted, the duration of the mordant affects the durability and color yield of textile
materials. The number of folds affects the size of the shibori motif, and the number of
bonds affects the maximum containment for the spread of the dye.
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