Hasil untuk "Handicrafts. Arts and crafts"

U. Yadav, R. Rena

This article aims to analyse the impact of digital technology (DT), entrepreneurial leadership (EL), social media (SM) and artificial intelligence (AI) on business performance (BP). This study also analyses the mediating impact of talent management (TM), strategic resilience (SR) and entrepreneurial orientation (EO) and the moderating impact of innovation (INO) for TM and BP. We used the SMART partial least square method (SMART PLS-SEM) software to analyse the valid data. Data were collected by the survey method through a random sampling procedure from 410 related handicraft artisans. The study’s findings prove EL, TM and DT and that SM significantly impacts BP, but AI has an insignificant effect on BP. This study explores artisans’ formal EL style, but the role of AI, DT, SM and TM has remained unexplored. This research shows that craft business owners and managers must allocate more resources to talent management. The most effective business methods in the arts and crafts sector can be implemented with excellent talent management. This study is unique because the dynamic capability theory and resource-based view used for supporting variables will be extended.

Reza Karimi Mehrani, Hamid Reza Irani , Mostafa Esmaeili Mahyari

Abstract Handicrafts are the significant part of cultural tourism and tourist experience. Despite Iran’s capabilities in producing handicrafts but in terms of exporting it has not gained the proper rank. The main purpose of this research is identifying the existing challenges in exporting marquetry products of Iran. As a mixed method research, primarily the literature reviewed and then through semi-structured interview with experts of iran's handicraft industry, 36 export challenges were identified and next categorized in 7 groups based on nature. The questionnaire distributed amount research population including producers, exporters and cultural heritage and handicrafts practitioners, ultimately 158 questionnaires received. The validity of the questionnaire was confirmed by experts and reliability Cronbach's test with a coefficient of 0.853. the data were analyzed via SPSS software Friedman test and findings revealed that Iran’s handicrafts export challenges include following factors: Financial and economical, political, legislative, marketing and sales, cultural and social, products and logistics. Keywords: Handicrafts, Marquetry, Export Challenges, Handicrafts Export 1. Introduction In numerous nations, handicrafts serve as integral components of cultural tourism, embodying the art, civilization, culture, and tradition of a particular region. They symbolize the destinations visited by tourists and encapsulate their cultural immersion experiences. Beyond cultural significance, handicrafts wield economic influence by generating income, fostering employment, and impacting the tourism value chain, thus contributing to poverty alleviation. In Iran, handicrafts epitomize the nation's historical, cultural, and social fabric, serving as a magnet for tourists. With a millennia-old legacy in handicraft production, Iran boasts a rich array of artisanal products, positioning it alongside China and India as a leading producer. Despite Iran's prowess in handicrafts, its international market presence remains suboptimal, translating to inadequate economic productivity, employment opportunities, and income. While existing studies have explored facets of the handicraft industry, a comprehensive examination of export-related challenges and their prioritization is lacking. Consequently, this research endeavors to delineate the impediments to exporting Iranian handicrafts and ascertain their relative priority levels. 2. Literature Review Handicrafts, as defined by UNESCO, encompass products crafted entirely by hand or with the aid of tools, with the artisan's manual skill being paramount in their production. These items possess multifaceted attributes, ranging from aesthetic and artistic to practical and culturally significant. The World Intellectual Property Organization (2016) delineates key characteristics of handicrafts, emphasizing their handmade nature, cultural roots, diversity in materials, and uniqueness in each piece. Handicrafts serve as tangible expressions of a nation's culture and artistry, weaving together historical, social, and cultural narratives. They play a pivotal role in cultural tourism, alongside ancient landmarks and heritage sites, by providing economic sustenance and employment opportunities to local communities. With a legacy spanning millennia, handicrafts hold particular importance in Iran, where they are considered vital professions. Iran stands as one of the world's foremost hubs for handicraft production, boasting an unparalleled diversity of crafts across various fields, as recognized by UNESCO. Among the myriad handicraft arts, marquetry stands out as a distinctive form of artistic expression. Unlike traditional painting on canvas, marquetry involves assembling pieces of wood, stone, tile, glass, or leather of different colors and textures to create intricate designs. This craft, which is one of many sub-branches of wooden handicrafts, has enjoyed a longstanding tradition in Iran, contributing to the richness and diversity of the country's artisanal heritage. 3. Methodology This study adopts a descriptive and analytical approach, employing both qualitative and quantitative methodologies. Initially, data on the challenges facing Iran's handicraft exports were gathered through a combination of library research, fieldwork, and semi-structured interviews with experts. The Delphi technique was employed to validate the identified factors. In this method, a panel of experts formulates hypotheses regarding the future state of the subject under investigation, without the need for physical gatherings. For the interviews, the statistical population was selected using a combination of selective and snowball sampling methods. The population comprised experts in the handicraft industry, including producers, exporters, cultural heritage officials, and members of chambers of commerce. Subsequently, the factors derived from the interviews were compiled into a questionnaire and presented to the experts for further scrutiny and refinement. Following final approval and validity verification by the experts, the questionnaire was administered to the statistical sample, consisting of individuals with prior experience in handicraft exportation. The reliability of the questionnaire was assessed using Cronbach's alpha coefficient, yielding a confirmed value of 0.853. Data analysis was conducted using SPSS software, employing Friedman's test method to ascertain the relative significance of identified factors. 4. Results The study identified and prioritized seven distinct groups of challenges: Economic and financial, political, legal, marketing and sales, socio-cultural, product, and transportation.marketing emerged as a significant challenge within the handicraft industry. Key issues included inadequate product presentation, such as the absence of catalogs and price lists, and a lack of utilization of e-commerce and social media platforms. Many artisans lacked understanding of market competition dynamics and strategies for market entry. Additionally, deficiencies in the marketing mix, particularly in pricing and distribution channels, were notable. Insufficiently trained personnel, absence of export plans, and weak branding further compounded marketing challenges. Product-related factors also presented notable challenges. Weak packaging, the presence of cheaper substitute goods, low practical utility of handicraft products in daily life, and a lack of creativity and innovation were highlighted. Some handicrafts were deemed impractical, primarily serving decorative purposes, which diminished their perceived value and market demand. Political factors significantly influenced handicraft exports. Government support for non-oil exports was lacking, and political instability hindered market access. Moreover, government entities provided minimal assistance in promoting handicrafts through official channels. Monetary and banking sanctions posed obstacles to currency transfers, while limited integration with international online marketplaces like Amazon further constrained market reach. Additionally, Iran's failure to negotiate preferential tariffs on its products contributed to export challenges. Financial and economic challenges were paramount, with internal inflation and currency exchange fluctuations impacting practitioners. Limited investment in the handicraft sector, inadequate working capital among artisans, and low incomes further exacerbated economic difficulties. Legal challenges encompassed incomplete and cumbersome export laws, legislators' unfamiliarity with export-related issues, and problems related to residence and travel. Cultural and social challenges included a lack of export-related training and societal apathy towards export initiatives. Conflicting interests between merchants and producers, with merchants seeking lower prices to maximize profit margins and producers desiring direct sales to bypass intermediaries, further complicated the socio-cultural landscape. Transportation challenges centered on non-compliance with international standards in Iranian customs and high shipping costs, which hindered export logistics. 5. Conclusion Based on the prioritization of factors, financial and economic challenges emerge as the foremost obstacles to Iran's handicraft exports. Consequently, it is recommended to not only enhance Iran's overall economic landscape but also provide support facilities specifically tailored to handicraft practitioners, addressing issues such as capital scarcity and low income. Failure to address these challenges may jeopardize the future viability of Iranian handicrafts. Political issues rank as the second priority, necessitating proactive management by handicraft and export authorities, including mitigation strategies for export-related sanctions. Legal considerations represent the third priority, urging a review of existing legal barriers and the establishment of specialized working groups to resolve them. Given Iran's substantial potential in handicraft production, overcoming these challenges could significantly benefit the economy. Marketing and sales factors, although of lesser priority, warrant attention from artisans and export companies to enhance skills in product presentation, market targeting, and sales strategies. Environmental factors emerge as crucial concerns, indicating the need for review and modification to unlock the full potential of Iranian handicrafts in the global market. While this study focuses on wood carving, future research could delve into other types of handicrafts to comprehensively understand export challenges and potential success factors. Additionally, future studies could explore the success factors of handicraft marketing to provide a comprehensive understanding for industry stakeholders.

Gert Aarts, Lingxiao Wang, Kai Zhou

Diffusion models are currently the leading generative AI approach used for image generation in e.g. DALL-E and Stable Diffusion. In this talk we relate diffusion models to stochastic quantisation in field theory and employ it to generate configurations for scalar fields on a two-dimensional lattice. We end with some speculations on possible applications.

Stella Grace Conard, Elena Horton

In Denmark, heightened public interest surrounding migration politics has become embodied in the arts, leading to the development of migration-related arts projects. In this study we explore the experiences of women taking part in an arts-based integration project designed for migrant and Danish women to knit, sew, and crochet in female company, with a view to professionalise their handicrafts. Our findings, which are grounded in ethnographic fieldwork as well as interviews with members of the group, demonstrate how handicraft acts as a prism through which categories such as gender, class, and ethnicity are negotiated within the project. We found that group members’ national and cultural backgrounds shaped their different expectations and experiences in the project. The roles they occupied and their self-perception within the group were also shaped by other factors, such as their family status, their state of employment, and whether handicraft was more of a ‘hobby’ or a source of income. The study makes a case for appreciating the importance of social recognition. Understanding how these women perceived their own and each other’s work becomes a magnifier of the socio-political context in which the integration project is situated. Artistic practice both enabled members to respond to an integration and refugee discourse, while simultaneously positioning them within such frameworks.

Sander Aarts, David B. Shmoys, Alex Coy

Understanding how subsets of items are chosen from offered sets is critical to assortment planning, wireless network planning, and many other applications. There are two seemingly unrelated subset choice models that capture dependencies between items: intuitive and interpretable random utility models; and tractable determinantal point processes (DPPs). This paper connects the two. First, all DPPs are shown to be random utility models. Next, a determinantal choice model that enjoys the best of both worlds is specified; the model is shown to subsume logistic regression when dependence is minimal, and MNL when dependence is maximally negative. This makes the model interpretable, while retaining the tractability of DPPs. A simulation study verifies that the model can learn a continuum of negative dependencies from data, and an applied study using original experimental data produces novel insights on wireless interference in LoRa networks.

Conny Aerts, Stéphane Mathis

Signatures of coupling between an inertial mode in the convective core and a gravito-inertial mode in the envelope have been found in four-year Kepler light curves of 16 rapidly rotating $γ\,$Doradus ($γ\,$Dor) stars. This makes it possible to obtain a measurement of the rotation frequency in their convective core. Despite their similar internal structure and available data, inertial modes have not yet been reported for slowly pulsating B (SPB) stars. We aim to provide a numerical counterpart of the recently published theoretical expressions for the mode-coupling coefficients, $\varepsilon$ and $\tilde{\varepsilon}$. These coefficients represent the two cases of a continuous and a discontinuous Brunt-Väisälä frequency profile at the core-envelope interface, respectively. We used asteroseismic forward models of two samples consisting of 26 SPB stars and 37 $γ\,$Dor stars to infer their numerical values of $\varepsilon$. The asteroseismically inferred values of $\varepsilon$ for the two samples are between 0.0 and 0.34. While $\varepsilon$ is most strongly correlated with the near-core rotation frequency for $γ\,$Dor stars, the fractional radius of the convective core instead provides the tightest correlation for SPB stars. We find $\varepsilon$ to decrease mildly as the stars evolve. Our asteroseismic results for the mode coupling support the theoretical interpretation and reveal that young, fast-rotating $γ\,$Dor stars are most suitable for undergoing couplings between inertial modes in the rotating convective core and gravito-inertial modes in the radiative envelope. The phenomenon has been found in 2.4\% of such pulsators with detected period spacing patterns, whereas it has not been seen in any of the SPB stars so far. (shortened abstract to meet the arXiv limits)

Kris Aerts, Wouter Groeneveld

Feedback beyond the grade is an important part of the learning process. However, because of the large student groups, many teachers in higher education are faced with practicalities such as the limited time to prepare and communicate the feedback to individual students. We have set up an experiment, titled Pro-f-quiz, in which over two years 236 students participated and in which the feedback is communicated through an online quiz that activates the students to reflect upon their solution. The system can be set up in a very limited time compared to booking individual time slots. The results show that approximately 85% of the students appreciate the approach with 60% indicating that they reflect more intensively about their work than when the feedback is transmitted traditionally. Moreover, the grade of the students participating in the project was substantially higher than students not participating.

T. Lenskjold, Anders V. Munch, Vibeke Riisberg

During the 1960s and 1970s, Denmark experienced a significant shift in arts and crafts, driven in particular by younger women. This paper examines how such upheavals took place across different platforms, such as the 1969 student rebellion at the Copenhagen School of Arts and Crafts, the initiation of a collective crafts shop, and the staging of an international feminist art exhibition. Despite challenges posed by patriarchal hierarchies in art and craft, female practitioners, especially in textiles, leveraged these platforms to foster collaborative practices, reshape their status and secure livelihoods. Drawing on archives, interviews and feminist theory, the paper explores tensions between tradition and innovation, focusing on how craft evolved from decorative to critical practice, gaining institutional recognition. These struggles highlight the dynamic intersections of gender, art/craft hierarchies and societal change, offering insights into how Danish studio craft challenged conventions and inspired new frameworks for education, collaboration and feminist expression.

C. K. Dewi, Cyrenia Novella Krisnamurti

L. Demydchuk

The article analyzes the problems of the market of handicrafts and souvenir products, since very little attention was paid to these local markets during the study of the market economy. Despite the fact that these markets have one of the decisive values in bringing goods and services of global and national markets to the final consumer – their research has been leveled in the solution of purely regional problems. At the same time, local markets solve the vast majority of problems that are closely related to the satisfaction of everyday human needs. The relevance of the problem of local markets lies in the fact that very little attention has been paid to local markets during the entire period of market economy research. In the Carpathian region of Western Ukraine, due to many circumstances and the specifics of the geographical natural environment, a specific way of life and methods of household management were formed over the centuries, an essentially unique culture and artistic traditions were preserved, which were embodied in the development of folk arts and crafts. In Ukraine, folk arts and crafts are an integral part of national culture, which has absorbed the characteristics of individual ethnographic regions. They create a peculiar specificity in the tourism industry, in particular, such a type as industrial tourism. A characteristic feature of industrial tourism of folk crafts is the need to create a systematized list (cadastre) of its objects, which is necessary for the development of a tourist passport of the route. The products of folk arts and crafts of the region can be used to create brands of the territory, which will have a positive effect on the image of the region in general, that is, in essence, it is a local product (product), which is made from local (mostly natural) materials mainly by hand and is sold, as a rule, on territory of a defined geographical region.

Татьяна Кирилловна Щеглова, А.В. Рыков

В статье дается оценка деятельности лаборатории ковроткачества НИИХП (Москва) по развитию артельного производства товаров широкого потребления на юге Западной Сибири в  1950–1960-е гг. на основе народных традиций. Рассматривается придаваемое государством значение артелям в процессах социалистической модернизации, прежде всего в  изучении и  внедрении традиционной культуры регионов в производство с целью формирования советской моды. Анализируются экспедиции НИИХП по изучению декоративно-прикладного творчества и художественных промыслов тюркского и русского населения, в ходе которых выявлялись профильные артели в городах Барнаул, Бийск, Горно-Алтайск, формы работы с ними по внедрению в  производство образцов декоративно-прикладного искусства, выявленных сотрудниками Института в местах бытования традиций. Впервые вводятся в оборот результаты комплексного обследования условий и  перспектив развития художественных промыслов в регионе, а также методические рекомендации по их развитию, в том числе работа с региональной партийно-государственной властью по этим вопросам. Авторы делают вывод, что материал, оставленный специалистами института, может служить не только уникальной базой для изучения культуры и художественных промыслов в прошлом, но будет востребован и современной научной и промышленной практикой. This article evaluates the activity of the carpet weaving laboratory of the Scientific Research Institute of Art Industry (NIIKhP, Moscow) and the development of the artisanal production of consumer goods based on folk traditions in the south of western Siberia in the 1950s-60s. The authors consider the government’s emphasis on craft associations (artels) in the context of socialist modernization; its aim was to study and reestablish traditional crafts in order to shape Soviet fashion. The article discusses expeditions of the NIIKhP that surveyed the ornamental and applied art and handicrafts of the Turkic and Russian population. During the expeditions, members of the Institute identified specialized craft associations in Barnaul, Biysk, and Gorno-Altaisk and worked with them to begin manufacturing their products. The results of this survey of the conditions and prospects for the development of arts and crafts in the region were circulated, together with recommendations for their growth and suggestions for work with regional party and state officials to accomplish them. The authors conclude that the material passed down by the specialists of the Institute may serve not only as a unique basis for the study of arts and crafts of the past but may also be relevant to today’s scholarly and commercial practices.

Tri Listyorini, M. K. Umam, Aditya Akbar Riadi

Abstract. Monel Craft is a handicraft that is inherited from generation to generation by the people of Jepara. Monel accessories produced can be in the form of bracelets, necklaces, earrings, rings, and many other accessories. For its manufacturer using a drill, hacksaw, and smoothing machine. Monel marketing is still limited around the city of Jepara. Purpose: This research aims to introduce Monel more broadly with a 3D multimedia approach. So, there is an idea of what Monel is. In general, Monel has a shiny shape and is corrosion-resistant. The price is relative and can be ordered according to our wishes.Methods: The method used in this research is the method of multimedia development.Result: This research produces a 3D animation that is packaged attractively, so that it represents Monel craftsmen to introduce it to the whole community.Novelty: This research combines the multimedia method with the work of local wisdom from the city of Jepara, namely Monel. This research, entitled "Monel Craft 3D Animation", can increase knowledge about how to make it. And can be a medium of education and preservation of cultural arts in Jepara.

Nuno Martins, Leonardo Pereira, Daniel Brandão et al.

The study presented in this paper consisted in the development of a prototype for an online e-learning platform, with the aim of contributing to the preservation of the material and cultural heritage of Portuguese craft industries. More specifically, through the creation of a technological solution that helps access and pass on the ancestral knowledge of handicraft to younger generations. The research focused on the Design field using methodologies and concepts related with user experience design (UX Design) and user interface design (UI Design), namely addressing crucial steps such as the creation of personas, information architecture, user flows, wireframes, visual identity and style guides. The research’s outcome culminated in the creation of a high-fidelity prototype and the performance of usability tests to evaluate and validate the designed solution. The results demonstrated the efficiency of the designed interface and the potential interest of the target audience: young people and more specifically arts and design students.

V. M. Nikonov

The article considers the documents related to the work of the Gzhel Ceramic School in the first half of the 1920s. This period became one of the defining stages of the development of art and industrial education on the territory of the distribution of the oldest folk art craft in the Moscow province. The Gzhel Ceramic School of the People’s Commissariat of Education, which began its activity in the autumn of 1918, was the successor of the drawing classes opened here in 1899 by the Imperial Stroganov Central Art and Industrial School. The analysis of the School’s work allows us to ascertain the leading role of the state in the formation of art and industrial education, a characteristic feature of the development of which in those years was the search for optimal organizational forms of training, aimed at mass training of master ceramists in combination with their general secondary education. In the first post-revolutionary years, the development of handicraft production in the places of the traditional existence of folk arts and crafts was an important area of activity for the Soviet republic. In the 1920s the products of folk crafts were one of the few goods produced in the RSFSR that were in demand abroad, which made it possible to consider it as a means of obtaining foreign currency. In addition, the development of crafts, which employed a significant number of workers in imperial Russia, seemed to be one of the ways to level the social tension associated with unemployment in the regions that had previously been distinguished by the relative prosperity of the residents. The article notes the role of the School’s management and the teaching staff in its educational, economic and awareness-raising activities.

Ahmed ELbarbary

The handicrafts and craftsmen receive a lot of attention and support from government agencies and institutions directly or indirectly. It is worth mentioning that the handicrafts used in the garment industry have a great interest at the state level. The garment industry is an important requirement in our lives. This handicraft must be developed and increased attention must be given to the elements of its success as the state is deeply concerned with preserving Egypt’s heritage and identity through the use of trained manpower and providing solutions to the problems facing the owners of these crafts. The idea of this research depends on how to revive the art of punch needle embroidery and "patch work" as applied arts and handicrafts that can be utilized in a contemporary way suitable for modern use. Micro, Small & Medium Enterprises (MSMEs) of these crafts provide job opportunities for young people who are engaged in such crafts to make contemporary designs of the Egyptian women clothing, considering the economic, environmental and social dimensions, preserve the Egyptian craft identity and protect handicraft industries from extinction. The findings showed that the Egyptian craftsmanship and hand embroidery can be used to make designs for university female students’ garments. The findings showed the possibility of taking advantage of the Egyptian identity by integrating it with international fashion trends to start small projects. The researcher shall devise garment designs that suit the Egyptian girl and fit with the international fashion trends of 2019/2020.The research sample consisted of (10) single forms distributed to the specialists in the field of fashion design, craftsmen and owners of garment factories to know their opinions about the proposed designs.Key words :( handicrafts, identity, punch needle embroidery, sustainable development, fashion trends).

M. Hitchcock, K. Meng

Lilin Indrayani, Mutiara Triwiswara

<p>Batik merupakan salah satu potensi industri bangsa Indonesia yang mengalami pertumbuhan pesat di berbagai daerah. Di samping memberikan manfaat di bidang ekonomi, industri batik juga menimbulkan dampak negatif terhadap lingkungan. Salah satu dampaknya berupa limbah cair dengan volume yang besar dan karakteristik yang berbahaya bagi kesehatan manusia dan lingkungan. Salah satu alternatif pengolahan yang berpotensi dalam pengolahan limbah cair batik adalah teknologi lahan basah buatan (<em>constructed wetland</em>). Teknologi lahan basah buatan merupakan metode pengolahan limbah dengan memanfaatkan proses alami, di mana pada sistem terjadi proses sedimentasi, filtrasi, transfer gas, adsorpsi, serta pengolahan kimiawi dan biologis, akibat adanya aktivitas mikroorganisme dalam tanah dan aktivitas tanaman. Teknologi ini termasuk teknologi tepat guna karena tidak memerlukan biaya pengolahan dan perawatan tinggi serta prosesnya sederhana dan menggunakan sumber daya lokal. Pada kegiatan ini dilaksanakan eksperimen pengembangan teknologi pengolahan limbah cair batik menggunakan sistem lahan basah buatan skala laboratorium dengan menggunakan tanaman Pegagan air (<em>Centella asiatica), </em>Lidi air (<em>Hippochaetes</em> <em>lymenalis), </em>Bambu air (<em>Equisetum</em> <em>hyemale), </em>Melati air (<em>Echinodorus</em> <em>palaefolius) </em>dan Kana lonceng (<em>Pistia</em> <em>stratiotese)</em>. Parameter pencemar yang diamati adalah pH, Suhu, TSS, TDS, BOD₅dan  COD.<strong></strong></p>

Irfa'ina Rohana Salma, Suryawati Ristiani, Anugrah Ariesahad Wibowo

<p>Perkembangan IKM Batik Papua mengalami berbagai kendala, antara lain stagnasi pembuatan motif yang hanya berorientasi pada maskot daerah yaitu burung cederawasih. Oleh karena itu perlu dilakukan diversifikasi desain dengan mengambil ide alternatif dari budaya masyarakat Papua. Tujuan penelitian ini adalah untuk menciptakan desain motif batik  yang inspirasinya diambil dari piranti tradisi masyarakat Papua. Piranti tradisi yaitu alat-alat tradisional yang biasa digunakan oleh masyarakat Papua ketika di rumah, saat bekerja, berperang suku, dan berkesenian. Metode yang digunakan yaitu pengumpulan data, pengkajian sumber inspirasi, pembuatan desain motif, dan perwujudan menjadi batik. Hasilnya berupa 6 motif batik yaitu: (1) Motif Honai Besar, (2) Motif Honai Kecil, (3) Motif Tifa Besar, (4) Motif Tifa Kecil, (5) Motif Tambal Ukir Besar, dan (6) Motif Tambal Ukir Kecil. Hasil uji kesukaan terhadap motif kepada 50 responden menunjukkan bahwa motif yang paling disukai yaitu Motif Honai Kecil. Hasil selengkapnya:  Motif Honai Kecil 21 %, Motif Tifa Kecil 19 %, Motif Honai Besar 17 %, Motif Tambal Ukir Kecil 16 %, Motif Tambal Ukir Besar 15%, dan Motif  Tifa Besar 12 %.</p>

Agus Haerudin, Titik Puji Lestari, Vivin Atika

<p>Zat warna alam dapat diperoleh dengan cara ekstraksi menggunakan pelarut air maupun pelarut organik pada suhu tinggi atau rendah. Penelitian ini bertujuan untuk mengetahui pengaruh jenis pelarut terhadap hasil ekstraksi rumput laut <em>Glacilaria sp</em> yang digunakan untuk mencelup<em> </em>kain batik katun dan sutera menggunakan<em> </em>mordan akhir garam logam tawas, kapur, dan<em> </em><em>tunjung</em>. Penelitian ini menggunakan<em> </em>variasi: jenis pelarut air pada<em> </em>suhu ekstraksi 90^OC dan etanol teknis suhu 30^OC. Selanjutnya hasil ekstraksi digunakan untuk mencelup kain batik katun dan sutera. Hasilnya dilakukan uji beda warna (L*,a*,b*), dan<em> </em>uji ketahanan luntur warna terhadap<em> </em>pencucian dan gosokan basah. Dari pengujian diperoleh hasil bahwa, celupan<em> </em>dengan pelarut air pada kain batik katun memberikan nilai L* 69,8 – 97,8; a* 0,2 – 10,7; b* 4,7 – 30,7 sedangkan celupan dengan kain batik sutera memberikan nilai L* 58,1 – 89,8; a* 0,0 – 5,6; b* 10,4 – 16,3. Nilai ketahanan luntur warna terhadap pencucian pada kain batik katun adalah 3 – 4 sampai 4 - 5, sedangkan pada kain batik sutera  4 sampai 4 – 5, sedangkan nilai untuk ketahanan luntur warna terhadap gosokan basah pada kain batik katun dan sutera adalah 4 sampai 4 – 5. Mordan akhir garam logam tawas menghasilkan arah warna muda coklat kekuningan, dan mordan akhir kapur menghasilkan arah warna sedang coklat kemerahan, serta mordan akhir <em>tunjung </em>menghasilkan arah warna tua coklat kebiruan. Berdasarkan hasil pengujian, jenis pelarut yang paling baik adalah air karena menghasilkan celupan terbaik pada kain batik sutera.</p>