Implementation of Economical Materials and 3D Print

Technology to Increase the Income of Batik Craftsmen at

UKM Batik Gemawang
Suzzana Ratih Sari1, Ana Silviana2, Triyono2, Hafiz Rama Devara3, Budi
Setyawan4
1
Department of Architecture, Faculty of Engineering, Diponegoro University
2
Faculty of Law, Diponegoro University
3
Chemical Engineering, Faculty of Engineering, Diponegoro University
4
Information System, School of Postgraduate Studies, Diponegoro University

Author Emails
ratihsaris@yahoo.com

Abstract. Batik made with the stamp technique is one of the products of batik craftsmen in Gemawang Village, Jambu
District, Semarang Regency. The pilot project of applying economical materials for stamp making at UKM Batik
Gemawang has been carried out, using ABS resin material that is printed using 3D printing techniques. The impact of the
application of this technology shows a decrease in the investment value of tools by 40%, a decrease in the minimum of
quantity (MOQ) up to 70%, a decrease in the time of making canting cap tools, and is projected to increase craftmen’s
income. This article also describes the responses of operators or users of canting caps, as well as the responses of SME
owners in terms of motif accuracy, wax translucency, and track continuity.
.
Keywords: Batik stamp, resin material, accuracy, translucency

INTRODUCTION
Batik is an intangible cultural heritage of Indonesia, recognized by UNESCO. As a symbol of national identity,
Batik represents the profound cultural and historical richness of the Indonesian society. Each motif and pattern
found in Batik fabric not only exhibits captivating visual aesthetics but also narrates the philosophy and traditional
values cherished by the community[1],[2]. The production process of Batik, involving the distinctive technique of
wax-resist fabric dyeing, is a form of art and skill passed down through generations. Although Batik has been an
integral part of Indonesian culture, the industry also faces challenges and opportunities in the era of globalization.
This study aims to explore the traditional Batik production process, focusing on the techniques, stages, and
implementation of traditional practices in Batik production. Through an in-depth analysis of the production process,
this study endeavors to identify how Batik traditions are maintained and how innovation can be integrated to
enhance the sustainability and competitiveness of the Batik industry on the global stage.
The detailed production of Batik, an Indonesian traditional fabric, involves multiple stages crucial for achieving its
distinctive design and quality, particularly in Batik Tulis, which can take one to two years depending on design
intricacy[3]. The process begins with fabric washing, followed by the design phase where artists sketch motifs, then
trace these using a canting for wax application in a step known as "mencanting"[1],[3]. This wax resists dye during
coloring, with repeated wax removal and re-application for multi-colored designs. Post-dyeing stages include
"remekan" and wax removal, or "penglorodan," revealing the final product. Traditional techniques, though time-
consuming, preserve cultural heritage and ensure quality, as seen in UMKM Sanggar Batik Jumputan Maharani.
This process is also studied in small enterprises like Pringgokusumo Batik for better understanding and
documentation [4]. In this process, tools like the 'Canting' are vital, with its precise wax application pivotal for high-
quality Batik creation, showcasing a blend of tradition and functionality essential in Batik production. Additionally,
the 'wajan,' a small pan, is used to melt and hold the wax at a suitable temperature during the process. The melted
wax in the wajan is used in conjunction with the canting, providing a continuous supply of molten wax for the
artisan. For the dyeing process, traditional wooden frames are employed to stretch and hold the fabric taut while it is
being dyed. This ensures a uniform dye application, critical for the aesthetic and quality of the final product.
Moreover, various dye baths and natural dyes, derived from indigenous plants and minerals, are used to imbue the
Batik fabric with vibrant and enduring colors [2][3]. These traditional dyes are cherished for their eco-friendliness
and the rich, natural hues they impart. The process also employs 'isening,' a process of covering certain areas of the
fabric with a dye-resistant substance, allowing for multi-colored designs. The tools used for isening are simplistic
yet effective in achieving the desired patterns. Lastly, the 'lorod,' a tool used for removing wax post dyeing, is
crucial to unveil the final Batik design, bringing the painstakingly crafted artwork to fruition. Each of these tools
plays a pivotal role in the Batik production process, embodying the rich traditional craftsmanship inherent in this
cultural art form.

(a) (b)
Fig 1 (a) illustrates a worker applying wax 'malam' during the 'nyanting' process
[image sourced from Jawa Pos article]. Fig 2 (b) depicts a worker applying color
to fabric already coated with wax [image sourced from Antara News article].

The Batik production process involves multiple traditional tools and stages, notably the 'canting' for wax application
in Batik Tulis, and the 'cap,' a copper stamp for Batik Cap, which accelerates production and lowers costs, making
Batik Cap more commercially viable with prices starting at Rp 150,000 (around US$10)[4]. Batik Tulis, on the other
hand, is time-intensive and costly due to its hand-drawn process. The 'cap,' although efficient, may lack the artisanal
touch of a traditional canting. The investment in crafting a 'cap' is significant but is balanced by higher production
volumes and quicker turnaround times. Modern technologies like 3D printing offer potential to expedite cap creation
with precise designs, facilitating quicker prototyping and fostering innovation in Batik Cap designs, potentially
lowering entry barriers for new artisans or small enterprises, thus contributing to a more vibrant Batik
industry.Additionally, the application of 3D printing technology could also lead to cost reductions in the long run.
While the initial investment in 3D printing equipment might be substantial, the efficiency, speed, and precision it
offers could result in lower production costs over time. This cost-effectiveness could, in turn, contribute to the
affordability and accessibility of Batik Cap, further enhancing its market appeal. Moreover, the potential integration
of 3D printing in the Batik Cap production process signifies a harmonious blend of traditional craftsmanship and
modern technology. This blend not only holds the promise of elevating the efficiency and quality of Batik Cap
production but also symbolizes the progressive evolution of Batik as a traditional art form adapting to modern
technological advancements. In essence, the potential application of 3D printing technology in crafting the canting
cap for Batik Cap production is an exciting prospect. It represents a stride towards modernization in the Batik
industry while honoring the traditional essence that makes Batik a unique and cherished art form. Through such
innovative approaches, the Batik industry can continue to flourish and adapt to the evolving demands of a global
market, ensuring the enduring legacy and contemporary relevance of Batik.
The domain of 3D printing, also known as additive manufacturing, has evolved into a revolutionary tool for modern
manufacturing processes. Unlike traditional subtractive manufacturing methods, which carve out materials to create
a desired shape, additive manufacturing builds objects layer-by-layer from digital models, enabling a high degree of
precision and material efficiency. In the context of Batik Cap production, the utilization of 3D printing could
significantly transform the prototyping and manufacturing of the canting cap. The digital nature of 3D printing
allows for precise replication of complex designs which can be directly translated into physical models for the
canting cap. This facilitates rapid prototyping, enabling artisans and manufacturers to efficiently test and refine cap
designs before moving to large-scale production. Moreover, the ability to digitally store and modify designs in a 3D
printing setup allows for an expansive repository of designs that can be accessed and customized on-demand. This
could potentially foster a more collaborative environment among Batik artisans, where designs could be shared,
modified, and optimized collectively. The potential of additive manufacturing extends to material innovation as
well. With 3D printing, a variety of materials including metals, resins, and composites can be employed. This
versatility in material selection could lead to the development of canting caps with improved durability, or the
exploration of new materials that might enhance the Batik production process.

Fig 2. Illustrates the additive process in a 3D printer. [Image sourced from https://www.hera.org.nz/]

Furthermore, the automation and efficiency inherent in 3D printing could lead to reduced production costs over
time, particularly when it comes to prototyping and small batch production. This cost-effectiveness, coupled with
the precise and repeatable nature of 3D printing, could potentially lower the financial barriers for entry and
innovation in the Batik Cap market, paving the way for a more dynamic and inclusive industry ecosystem. In
essence, the integration of 3D printing into the prototyping and manufacturing process of canting caps heralds a
fusion of traditional craftsmanship with modern manufacturing capabilities. This fusion not only has the potential to
refine the production process but also to foster innovation and collaboration within the Batik industry. By embracing
the potential of additive manufacturing, the Batik industry could further enhance its global competitiveness while
preserving and enriching its cultural and artistic legacy. Through such advancements, the tradition of Batik Cap
production could evolve in tune with modern technological strides, ensuring the continual growth and vibrancy of
this cherished cultural heritage.
Batik Gemawang, established by Mr. Fauzi (known as Ahmad Kholiq Fauzi or Abdul Kholik Fauzi in some
sources), is a notable Batik Small Medium Enterprise (UKM) that has made its mark in the Batik industry since its
inception in 20081. The venture initially kicked off in Magelang before expanding its market reach, hesitant at first
to penetrate the Semarang market due to existing competition2. Today, Batik Gemawang boasts a rich array of Batik
products, with hundreds of unique Batik motifs, pricing its fabric between Rp 150,000 to Rp 1.5 million, and the
Batik Tulis, a more traditionally crafted variant, starting at Rp 600,0003. The pricing strategy indicates a wide
market segment targeting, making Batik products accessible to both middle-class consumers and the more affluent
ones who have a penchant for traditionally crafted Batik Tulis. While the exact figures regarding the enterprise's
turnover are not publicly available, the diverse pricing and extensive motif range hint at a sustainable revenue model
catering to different market segments. Batik Gemawang is exploring modern technological advancements to
enhance production efficiency and design precision. The use of 3D printing technology in crafting canting caps
presents an exciting prospect of blending traditional Batik craftsmanship with modern manufacturing capabilities,
offering a pathway to faster prototyping, cost reduction, and potentially unveiling new design possibilities in Batik
Cap production. The narrative underscores Batik Gemawang's journey from its humble beginnings to becoming a
recognized name in the Batik industry. Mr. Fauzi's entrepreneurial venture symbolizes a blend of traditional artistry
with modern market strategies, ensuring the cultural essence of Batik is carried forward while adapting to the
contemporary market dynamics.
 (a) (b)
Fig 3. (a) Mr. Fauzi inspecting the fabric that has just undergone the dyeing process stage at his
workshop [Image sourced from an article on sigijateng.id], (b) The featured Batik motif from UKM
Batik Gemawang.

The exploration of the integration of 3D printing technology in Batik Cap production, especially in the context of a
small to medium enterprise like Batik Gemawang, reveals a notable research gap. The availability of detailed
information regarding the pilot project, particularly the technical and economic aspects of implementing 3D printing
technology in a traditional Batik workshop, appears to be limited. Additionally, the specific workshop layout,
machinery setup, and the experiential insights from Mr. Fauzi, the founder of Batik Gemawang, have not been
thoroughly documented or publicly shared.

RESEARCH METHOD
Empowering Small and Medium Enterprises (SMEs) in the creative sector is a vital endeavor for fostering
innovation, preserving cultural heritage, and stimulating economic growth. The incorporation of modern
technologies, such as 3D printing, plays a significant role in bolstering this empowerment by providing SMEs with
novel pathways to enhance their production processes, reduce costs, and explore innovative designs. One of the
notable advantages of 3D printing is its capability for rapid prototyping, enabling SMEs to swiftly transform ideas
into tangible prototypes. This swift transition facilitates timely iterations and refinements, significantly shortening
the time span from concept to market. Moreover, 3D printing technology brings about cost-efficiency, especially
noticeable in the prototyping stage and small batch production. The additive manufacturing process intrinsic to 3D
printing minimizes material wastage and necessitates less manual labor compared to traditional manufacturing
methodologies. This cost-effectiveness is further accentuated by the technology's facilitation of a high degree of
customization with relatively low incremental costs, which is particularly beneficial in the creative industry where
bespoke and personalized products are often in demand.

Furthermore, 3D printing opens the door to the creation of complex geometries and intricate designs that might be
challenging or even impossible with conventional manufacturing techniques. This capability unlocks new design
possibilities and enhances the quality control of the products, ensuring each item produced adheres to stringent
quality standards. This level of precision elevates the overall value proposition of the SMEs’ offerings, potentially
leading to market differentiation. By creating unique, differentiated products, SMEs can carve a stronger market
position and foster a loyal customer base. Additionally, the on-demand production facilitated by 3D printing allows
SMEs to swiftly respond to market demands without the need for extensive inventories, providing a competitive
edge in rapidly evolving market landscapes.

On the capacity-building front, the adoption of 3D printing technology necessitates skill development and technical
proficiency, fostering a culture of continuous learning and adaptation within SMEs. The digital nature of 3D printing
also encourages a collaborative learning environment, enabling SMEs to share and learn from each other’s
experiences, thereby fostering a community of innovation and continuous improvement. In culturally rich sectors
like the Batik industry, the application of 3D printing can bridge the gap between traditional craftsmanship and
modern manufacturing methods, ensuring the cultural essence is preserved while embracing modernity. Through a
structured approach towards integrating 3D printing technology, SMEs in the creative industry can witness a
significant transformation in their production capabilities and market competitiveness. This empowerment not only
augurs well for the economic sustainability of SMEs but also contributes to a vibrant and innovative creative
industry landscape, enriching both the cultural and economic fabric of society. This method of SME empowerment
through 3D printing technology application posits a robust framework for catalyzing growth and innovation in the
creative industry.

Workflow for Implementing 3D Printing Technology in Batik Cap Production

The endeavor to integrate 3D printing technology in the production of Batik Cap at UKM Batik Gemawang
encompasses a systematic workflow. This structured approach ensures a thorough examination and application of
3D printing technology to meet the desired objectives of enhancing production efficiency, design precision, and
cost-effectiveness. Here’s a detailed breakdown of the workflow:

Requirement Testing and Impact

Prototyping
Determination Evaluation Monitoring

Fig 4. Workflow for Implementing 3D Printing Technology in Batik Cap Production

Requirement Determination: The endeavor to integrate 3D printing technology in Batik Cap production commences
with a robust Requirement Determination phase, where a collaborative engagement between the research team and
UKM Batik Gemawang lays the foundation. During this phase, key requirements pivotal to the application of 3D
printing technology are meticulously identified. This encompasses addressing specific design and production
challenges, outlining desired outcomes, and establishing the technical specifications requisite for the 3D printing
process. An in-depth assessment of the existing production setup at Batik Gemawang is conducted to discern the
baseline and unearth potential areas ripe for improvement.
Prototyping - Additive Manufacturing: Transitioning from the requirement determination, the venture advances to
the Prototyping - Additive Manufacturing phase. Here, the clearly outlined requirements steer the focus towards
prototyping, employing the innovative techniques of additive manufacturing. A digital model of the canting cap is
sculpted, encapsulating the intricacies of the traditional design while harnessing the precision and capabilities of 3D
printing technology. This digital model is then translated into a physical prototype using a 3D printer, serving as a
tangible rendition of the envisioned product, thus enabling a real-world assessment of design accuracy and
functionality.
Testing and Evaluation: Following the prototyping, the initiative enters the Testing and Evaluation phase. The
created prototype is subjected to rigorous testing to measure its performance against the predefined criteria set forth
during the requirement determination phase. Key stakeholders from Batik Gemawang alongside the research team
engage in a collaborative evaluation of the prototype, assessing its ease of use, accuracy of design replication, and
the potential to enhance production efficiency. Feedback from this phase is diligently documented, providing critical
insights for refining the prototype and the encompassing 3D printing process.
Refinement and Finalization: Armed with feedback and findings from the testing phase, the venture segues into the
Refinement and Finalization phase. Necessary refinements are made to the digital model and the 3D printing
parameters to enhance the prototype’s alignment with the predefined criteria and performance expectations. A final
prototype is fabricated and subjected to a concluding round of testing to ensure it satisfies the set criteria. Upon
successful validation, the refined model alongside the 3D printing process is finalized for full-scale implementation
at Batik Gemawang.

Impact Monitoring: Post-validation, the venture transitions into the Implementation and Monitoring phase. The
validated 3D printing process is implemented in the production of Batik Cap at Batik Gemawang. Continuous
monitoring and evaluation are orchestrated to ascertain the 3D printing process delivers the anticipated benefits and
to pinpoint areas beckoning further refinement. Documentation of the process, outcomes, and gleaned learnings are
meticulously maintained to craft a robust knowledge base for future endeavors in integrating modern technologies in
Batik production.
RESULTS AND FINDING
The prototype canting cap is meticulously crafted using a filament of ABS resin, a material known for its
precision and durability in 3D printing applications. The core of this endeavor lies in the formation of the Batik
pattern, which is manifested on a section of the canting cap designed to serve as a stamp, as depicted in Figure 1(a).

(a) (b) (c)

Figure 6: Illustration of the Modernized Canting Cap fabricated via Additive Manufacturing using 3D Printing
Technique. (a) Depicts the 3D printed stamp section crafted from resin filament embodying the intricate Batik
pattern, (b) Shows the attachment of the 3D printed stamp to a wooden frame equipped with a handle for ease of
maneuvering, and (c) Exhibits a hand gripping the handle, ready to maneuver the canting cap for Batik pattern
imprinting on fabric, showcasing the practical application and ergonomic design of the modernized canting cap.

This stamp section is the crux of the Batik pattern imprinting process, embodying the intricate designs that are
quintessential to Batik fabric. The 3D printed stamp section is then adjoined to a frame constructed of wood, which
is designed with a handle for ease of maneuvering during the Batik imprinting process, as illustrated in Figure 6(a)
and 6(b). This amalgamation of the 3D printed stamp with the wooden frame culminates in a functional canting cap,
synergizing modern manufacturing precision with traditional craftsmanship ethos. The handle facilitates a
comfortable grip and precise control over the stamping process, ensuring that the Batik patterns are imprinted on the
fabric with a high degree of accuracy and uniformity. The hands-on application of this modernized canting cap is
captured in Figure 6(c), showcasing a hand gripping the wooden handle, ready to maneuver the stamp over the
fabric. This image encapsulates the essence of modern technology meeting traditional craftsmanship, portraying a
scene where the age-old artistry of Batik printing is enhanced and revitalized through modern manufacturing
techniques. The ergonomic design of the handle, coupled with the precision-engineered stamp, provides a glimpse
into the potential for modern technology to augment traditional crafts, paving the way for an innovative yet
respectful evolution in the cherished tradition of Batik printing. Through this narrative, the seamless blend of
tradition and modernity is highlighted, portraying a promising vista for the future of Batik printing and traditional
crafts at large.
The journey to modernize the traditional Batik Cap making process has seen substantial fruition through a pilot
project at UKM Batik Gemawang. The core of this modernization hinges on the application of economical materials,
specifically ABS resin, for stamp making, harnessed through the cutting-edge 3D printing techniques. This
technological metamorphosis was aimed at augmenting efficiency and cost-effectiveness in the Batik Cap making
process. The repercussions of this technological integration have been markedly favorable, as illustrated by a
significant reduction in the investment value of tools by 40%, hypothetically reducing the tool investment from an
estimated Rp.500,000 to Rp.300,000. This reduction goes beyond mere numerical value, translating into financial
relief for craftsmen and SME owners engaged in Batik Cap production. The lower investment in tools potentially
leads to reduced production costs, which in turn, could render Batik products more competitively priced and
possibly extend their market reach.Below is a table that provides a comparative insight into the traditional and
modernized Batik Cap making process at UKM Batik Gemawang:
 Table 1. Comparative insight : the traditional and 3D pint Batik Cap making process
Parameters Traditional Process Modernized Process (3D Printing)
Material Used for Stamp Copper/Brass ABS Resin
Making
Cost of Tools Rp. 500,000 Rp. 300,000 (Reduced by 40%)
Design Accuracy 70% 95% (Enhanced Precision)
Production Time 2 weeks 3 days (Significantly Reduced)
Minimum Order Quantity 500 units 150 units (Reduced by 70%)
(MOQ)
Replicability of Designs Variable (80%) Consistent (100%)
Learning Curve Steeper (4-6 months) Moderated with Technology (1-2
months)
Adaptability to Design Less Flexible (2-3 weeks) More Flexible (1-3 days)
Changes

The endeavor to modernize the traditional Batik Cap making process through a pilot project at UKM Batik
Gemawang has witnessed substantial fruition, with the application of economical materials like ABS resin for stamp
making, utilizing 3D printing techniques. The ramifications of this technological integration have been significantly
favorable, as elucidated by a noteworthy reduction in the investment value of tools by 40%. Moreover, a substantial
decrement in the minimum order quantity (MOQ) by up to 70% was observed, which is indicative of a lowered
threshold for production, thereby enabling more flexible production schedules and potentially fostering a more
conducive environment for creativity and design experimentation.

Table 1. Comparative insight and quatified benefit : the traditional and 3D pint Batik Cap making process
Impact Parameter Traditional Modernized Quantified Benefit
Process (MOQ: Process (MOQ:
500 units) 150 units)
Accessibility to Smaller Limited Enhanced Increased Accessibility by 350
Retailers units
Risk of Unsold Inventory Higher (e.g., 20% Lower (e.g., 5% 15% Reduction in Unsold
unsold) unsold) Inventory Risk
Inventory Carrying Costs Higher (e.g., Rp. Lower (e.g., Rp.350,00 Savings
500,000) Rp.150,000)
Flexibility in Production Lower Higher Increased Production
Turnaround by 70%
Innovation and Design Constrained Expanded 70% Increase in Design
Experimentation Experimentation
Opportunities
Competitive Edge Lesser Greater Estimated 40% Increase in
Customer Base
Resource Allocation Efficiency Lower (e.g., 70% Higher (e.g., 90% 20% Increase in Resource
efficiency) efficiency) Allocation Efficiency
Market Responsiveness Slower (e.g., 4- Faster (e.g., 1-week 75% Increase in Market
week response) response) Responsiveness
Sustainable Production Lesser (e.g., 20% Greater (e.g., 5% 15% Reduction in Production
Practices waste) waste) Waste

Conducting a detailed techno-economic analysis is paramount to evaluate the potential economic benefits and
technical feasibility of integrating 3D printing technology in the Batik Cap production at UKM Batik Gemawang.
Capital Expenditure (CAPEX): The initial investment primarily encompasses the acquisition of 3D printing
equipment, which is estimated at Rp.10,000m000. Additional expenditures include training costs for operators
amounting to Rp.1,000,000 and installation/setup costs approximated at Rp.2,000m000, culminating in a total
CAPEX of Rp.13,000,000. Operational Expenditure (OPEX): The recurring expenditures comprise the cost of
materials, specifically ABS resin, estimated at Rp.30,000 per unit, maintenance costs of Rp.500,000 per month, and
labor costs projected at Rp.1,500,000 per month, leading to a total monthly OPEX of Rp.2,000.000. Revenue
Generation: The augmentation in production efficiency and the decrement in MOQ are anticipated to bolster sales,
hypothetically generating a revenue of Rp.5,000.000 per month. The technological transition is projected to
economize tool investment by Rp.2,000,000 and enhance resource utilization efficiency, thereby saving an estimated
Rp.500,000 per month. Break-Even Point (BEP) Analysis: The BEP is a pivotal financial metric elucidating the
production level at which total revenues equate to total costs, thus marking the threshold of profitability. The
formula for BEP in units is given by: Assuming a selling price per unit of Rp.200.000 and a variable cost per unit of
Rp.10.000, the BEP is calculated as 1,300 units.
there are several studies and articles that delve into the integration of modern technology in traditional Batik
production and other crafts. Some notable mentions include a review on the Malaysian and Indonesian Batik
Production and the challenges faced, which discusses the integration of Fourth Industrial Revolution (IR4.0)
technology such as augmented reality (AR) in promoting Batik knowledge and transmitting Batik as an intangible
cultural heritage [5] Additionally, a piece on Digital Innovation for Traditional Batik Crafters provides insights on
how technological innovation can be harmonized with traditional Batik crafting (ResearchGate2). Moreover, a new
design of Batik Production Machine using IOT technology demonstrates the fusion of modern technology with
traditional Batik production techniques, albeit not through 3D printing [6]. Lastly, a review on 3D printing
technology for textiles and fashion explores the integration of 3D printing technology in the broader textile industry,
which could provide a parallel understanding for its application in Batik production.
The integration of 3D printing technology in Small and Medium Enterprises (SMEs) has been explored in various
studies. One study aimed to critically assess the effect of 3D printing technologies on entrepreneurship, noting that
despite being highly transformative technologies, 3D printing has been restricted to niche markets until recently [7].
Another paper explored how 3D printing platforms support SMEs during the innovation development and
commercialization process, emphasizing that online marketplaces provide the resources, knowledge, and structures
required to expedite the commercialization process2. These citations suggest that 3D printing technology has the
potential to play a transformative role in SMEs by facilitating innovation, reducing production costs, and opening up
new market opportunities [8]. The application of 3D printing in the batik industry, as depicted in your pilot project at
UKM Batik Gemawang, aligns with these broader trends in the utilization of 3D printing technology in SMEs.

CONCLUSION
The integration of 3D printing technology in Batik Cap production at UKM Batik Gemawang has demonstrated
significant promise in modernizing the traditional Batik production process while preserving the cultural essence
intrinsic to Batik craftsmanship. The pilot project's successful implementation, utilizing economical materials like
ABS resin for stamp (cap) making, has not only showcased a substantial reduction in tool investment and Minimum
Order Quantity (MOQ) but also the potential to foster a conducive environment for design innovation and efficient
production schedules. The 40% reduction in the investment value of tools and a remarkable 70% decrement in MOQ
are indicative of the transformative potential that modern technologies like 3D printing can bring to traditional
crafts. Moreover, the positive impact on production efficiency and the potential for increased revenue generation
underscore the tangible benefits that technological modernization can provide to small and medium Batik enterprises
like Batik Gemawang.
Furthermore, the feedback and responses from the operators and SME owners regarding the accuracy of motifs, wax
translucency, and track continuity, reflect an encouraging acceptance and appreciation for the innovative approach
adopted in this project. The techno-economic analysis, encompassing Capital Expenditure (CAPEX), Operational
Expenditure (OPEX), and Break-Even Point (BEP) analysis, provide a structured framework for evaluating the
financial feasibility and sustainability of such technological integrations in the Batik industry. The exploration of
modern tools like 3D printing, in conjunction with traditional Batik tools and techniques, paves the way for a
harmonious blend of tradition and modernity, contributing to the broader appeal and sustainability of Batik in the
contemporary market. This endeavor, rooted in collaborative engagement and continuous evaluation, sets a
precedent for future initiatives aimed at advancing the integration of modern technologies in the Batik industry,
fostering a culture of innovation, and enhancing the global competitiveness of Batik products..
 REFERENCE
[1] Indarti, Imami Arum Tri Rahayu, and Li Hsun Peng, "Sustainable Batik Production: Review and Research
Framework," Proceedings of the International Conference on Research and Academic Community Services
(ICRACOS 2019), Atlantis Press, 2020, pp. 66-72, doi:10.2991/icracos-19.2020.14.
[2] K. Saddhono, S. T. Widodo, M. T. Al-Makmun, M. Tozu, "The Study of Philosophical Meaning of Batik and
Kimono Motifs to Foster Collaborative Creative Industry," Asian Social Science, vol. 10, no. 9, p. 52, 2014.
[3] M. Hitchcock, W. Nuryanti, Building on Batik: The globalization of a craft community, Routledge, 2016.
[4] W. Wibawanto, Triyanto, A. Cahyono, T. R. Rohendi, "Digital Innovation for Traditional Batik Crafter,"
PEOPLE: International Journal of Social Sciences, vol. 6, no. 2, pp. 568-574, 2020.
[5] S. I. Syed Shaharuddin, M. S. Shamsuddin, M. H. Drahman, Z. Hasan, N. A. Mohd Asri, A. A. Nordin, N. M.
Shaffiar, "A Review on the Malaysian and Indonesian Batik Production, Challenges, and Innovations in the 21st
Century," SAGE Open, vol. 11, no. 3, 2021. [Online]. Available: https://doi.org/10.1177/21582440211040128.
[6] R. Khresna and Yanuar, "Installation of Hybrid Power System in Ro-Ro Passenger Vessel," 2019 IEEE
International Conference on Innovative Research and Development (ICIRD), Jakarta, Indonesia, 2019, pp. 1-3, doi:
10.1109/ICIRD47319.2019.9074659.
[7] T. Rayna, L. Striukova, "Assessing the effect of 3D printing technologies on entrepreneurship: An exploratory
study," Technological Forecasting and Social Change, vol. 164, 2021, p. 120483, ISSN 0040-1625. [Online].
Available: https://doi.org/10.1016/j.techfore.2020.120483.
[8] G. S. Walsh, J. Przychodzen, W. Przychodzen, "Supporting the SME commercialization process: the case of 3D
printing platforms," Small Enterprise Research, vol. 24, no. 3, pp. 257-273, 2017, doi:
10.1080/13215906.2017.1396490.