Thomas Yudha Tri Prasetiyanto.
Sugeng Nugroho The Development of Soga Tingi (Ceriops taga.
Natural Dye Paste Material for Block Printing on Textiles Hanifa Aisha Yasmin1.
Mochammad Sigit Ramadhan2*.
Gina Shobiro Takao3 Craft Textile and Fashion Study Program.
School of Creative Industries.
Telkom University.
Main Campus (Bandung Campu.
Jl.
Telekomunikasi no.
Bandung 40257.
West Java.
Indonesia E-mail: hanifaaishayasmin@student.
id1, sigitrmdhn@telkomuniversity.
ginashobirotakao@telkomuniversity.
1,2,3
ABSTRACT
Block printing is a technique of carving motifs on a printing plate coated with dye and pressed repeatedly along the fabric to create patterns.
One potential natural dye that can be applied is the Soga tingi (Ceriops taga.
In todayAos textiles and fashion industries, the use of natural materials is increasing in line with the growing awareness of a sustainability lifestyle.
This study aims to develop Soga tingi dye into the optimal paste formula for block printing techniques with fixation, plate material, and suitable fabrics.
This research employs a mixed-methods approach, combining qualitative and quantitative data from literature reviews, field observations, interviews, and laboratory experiments.
The results reveal the successful formulation of a Soga tingi natural dye paste with an optimal composition.
The most effective thickening agent was found to be sodium alginate, a food-grade thickener used in a ratio of 10 g to 100 ml of liquid natural dye, resulting in a viscosity of 21,135 mPas.
Thus, the block-printed cotton fabric made with the Soga tingi natural dye paste can be used for fashion products.
Keywords: Block printing.
Ceriops tagal.
Natural dye paste, viscosity, eco-textiles INTRODUCTION be replicated by machines.
The flexibility in Block printing is a technique of engraving color mixing allows artisans to create unique patterns onto a wooden plate, coated with Despite modern technology replacing dye, and repeatedly pressed along the fabric many traditional methods, block printing to create a design (Ramadhan et al.
, 2.
continues to hold a special appeal among art It is one of the oldest printing techniques, and traditional craft enthusiasts, symbolizing originating in China during the early 3rd cultural preservation with historical value century (Singh, 2.
Although it is more (Seidu, 2.
The dyes used in block printing time-consuming than modern techniques, can be either synthetic or natural.
Nowadays, many regards block printing as one of synthetic dyes are more commonly used in the most artistic textile printing methods block printing, whereas only a few artisans because its results are imperfect and cannot use natural dyes as the primary coloring Jurnal Panggung V35/N4/12/2025 Dywi Sri Kedu Temanggungan: Analisis Sanggit Lakon dan Makna Simbolisme medium for this technique.
However, the ecosystem in Indonesia (Indriaty et al.
interest in sustainable practices and traditional Soga tingi is a species notable for its craftsmanship has led artisans to re-evaluate resilience in high salinity environments the natural colorants, despite their challenges and its various chemical constituents with in consistency and color vibrancy compared to significant biological activities.
Soga tingi synthetic counterparts (Kavyashree, 2.
wood and bark contain significant amounts of Natural textile dyes are primarily derived polyphenolic compounds, including tannins, from plants, with various parts such as roots, which can reach concentrations of up to 22.
leaves, and flowers used as natural colorants parts per million .
in the bark (Paryanto (Angraini & Adriani, 2.
These dyes have et al.
, 2.
The barkAos high tannin content, been used for centuries, including textile and reaching up to 70.
91%, highlights its potential batik dyeing.
According to Pujilestari .
, as a natural dye and in applications for fabric using natural dyes dates back to 3500 BC in treatment, providing brown to reddish-brown the Mohenjodaro and Harappa civilizations, shades (Nurmasitah et al.
, 2.
In textile while dyeing techniques were already known applications.
Soga tingi dye is widely used in the Indus Valley around 2500 BC.
Natural for batik fabric dyeing, either on its own or dyes are made from sustainable materials, mixed with other materials, such as tegeran have a high level of biodegradability, and, and jambal, to create the distinctive sogan color most importantly, are more environmentally characteristic of traditional batik (Pujilestari.
Indonesia, their abundance makes them (Chafidz Lestari.
Zulyus a sustainable alternative to synthetic dyes Hendrawan .
utilized Soga tingi bark (Lubis et al.
, 2.
The use of natural dyes in paste form for screen-printing techniques.
can lead to a range of color shades, but this Based on the test results, the ferrous sulfate also introduces challenges concerning color .
and potassium aluminum sulfate .
stability (Lin et al.
, 2.
The stability issues mordant produced a stronger and more vibrant are not limited to immediate fading.
they can print color than other mordants, avoiding a also include variability based on formulation dull appearance.
Additionally, washing and and processing conditions (Kim et al.
, 2.
rubbing tests confirmed that this mordants There is a need to enhance the quality and color and print quality remained intact.
efficiency of natural dyes through advanced create color variations in screen printing, studies, to level up their bargaining position particularly gradient effects, the researchers with synthetic dyes.
combined the screen-printing process with One potential natural dye is made the mordant painting technique, allowing for from the Soga tingi (Ceriops taga.
tree bark.
more diverse and artistic color transitions.
The species Soga tingi, which is identified addition to the screen-printing, the natural as belonging to the Rhizophoraceae family, dye paste also has potential for application is a notable representative of the mangrove using the block printing technique.
The paste Jurnal Panggung V35/N4/12/2025 Thomas Yudha Tri Prasetiyanto.
Sugeng Nugroho is made with food-grade thickeners that are METHOD easily accessible and more environmentally This study employed a mixed-methods friendly compared to other chemicals.
The approach to determine the optimal formula addition of a thickening agent serves to hold for Soga tingi natural dye paste, mordant, and the dye in place, ensuring it is applied evenly printing plate combination for block printing.
to the areas of the fabric that are to be colored A literature review, interviews, observations, (Abdurahman & Kahdar, 2.
The natural and exploratory studies were conducted to dye paste must have optimal viscosity for use collect foundational data supporting this in block printing.
Viscosity plays a critical role in maintaining the stability of dispersed The literature study was conducted to systems, thereby reinforcing the importance of collect data related to research keywords, assessing viscosity in emulsion formulations including block printing technique and Soga (Cai et al.
, 2.
The higher viscosity serves tingi natural dye, from various sources such to hinder the movement of dispersed phase as books, academic journals, and proceedings.
particles, thereby strengthening emulsion Interviews were conducted with several stability (Damayani et al.
, 2.
relevant parties for this research, including This Syamsi & Hendrawan .
, the previous previous research by exploring alternative researcher, to obtain data on the types The aims of the study are: .
of thickeners, the formulation of natural To develop Soga tingi natural dye using the dye pastes, and the application of natural block printing method, which differs from the dyes in textile crafts and fashion products.
screen-printing approach used by Zulyus & Observations were conducted to collect data Hendrawan.
To formulate an optimal dye through direct field analysis to gain a deeper paste, fabric type, printing plate, and mordant understanding of the subject by visually to achieve the best color variations on fabric, examining it firsthand.
Field observations were conducted at Inacraft 2024.
Indonesia and the natural dye.
This study adopts an Fashion Week (IFW), and Sarinah.
The last data experimental approach through literature collection in this research is exploration, which review, interviews, and observations.
The is divided into several stages.
The first stage research is expected to enhance the potential was the experiment, which was focused on of Soga tingi as a natural dye and serve as identifying the best type of thickener, printing inspiration for its application in block printing.
plate, and fixation method.
In this stage, the Additionally, it aims to produce distinctive natural Soga tingi dye paste formulation was fabrics that can be applied to fashion products.
used to apply the block printing technique to materialAos fabric sheets.
The formula was differentiated by varying the amount of thickener:
Each formula was evaluated to determine the most appropriate consistency for achieving Jurnal Panggung V35/N4/12/2025 Dywi Sri Kedu Temanggungan: Analisis Sanggit Lakon dan Makna Simbolisme Table 1.
Soga tingi dye paste formulation Source: Research Team, 2024 Formula Sodium Liquid natural Soda tingi 100 ml 100 ml 100 ml Figure 2.
Experiment Step Source: Research Team, 2024 third examined the effectiveness of different mordants, and the final step aimed to establish the ideal formula.
Block printing techniques were applied throughout these steps without altering the core formula used in previous Figure 1.
Research framework Source: Research Team, 2024 This process aimed to identify the most effective dye paste formula for block printing by observing color changes when the paste was active, how well it adhered to the optimal pattern clarity, color sharpness, printing plate, and its ability to produce an and color evenness, using a viscosity test even color distribution on fabric surfaces.
The conducted in the laboratory.
The second stage experiment steps are illustrated in Figure 2.
was the application stage, which implements In the first step, natural Soga tingi dye the selected natural dye paste formula and paste was created using two thickeners:
develops motif design concepts.
This stage Carboxymethyl Cellulose (CMC) and sodium involved applying the natural dye and For the initial composition, 10 g motifs onto cotton fabric sheets, potentially of each thickener was mixed with 100 ml of developing these textiles into fashion products.
Soga tingi liquid dye and then applied to pre- The research methodology is summarized in scoured fabric.
Scouring was the process of the framework presented in Figure 1.
cleaning fabric from impurities accumulated during fabric production and shipping, such as starch, oil, wax, and dust attached to the fabric.
RESULT AND DISCUSSION before beginning the Experiment (Utami et al.
, 2.
The scouring process was mordanting process The experiment consisted of four steps.
carried out by soaking the fabric in a Turkish The first step focused on determining the most Red Oil (TRO) solution, gently rubbing it suitable thickening agent, the second involved briefly, and then rinsing it thoroughly until selecting the optimal printing plate, the the fabric was clean (Lestari & Sakti, 2.
Jurnal Panggung V35/N4/12/2025 Thomas Yudha Tri Prasetiyanto.
Sugeng Nugroho The fabric used for applying a printing plate to achieve optimal results should have a smooth surface and contain little to no polyester fibers (Dumamika & Ramadhan, 2.
several types of fabricAiToyobo cotton, primisima cotton, rayon, and calicoAiwere tested, and Toyobo cotton was found to produce the best color Figure 3.
Soga tingi dye paste using CMC and sodium alginate as thickeners Source: Research Team, 2024 absorption results.
After mixing, the paste showed different characteristics depending on the thickener These lumps caused uneven color distribution Table 2.
Printing results using wood MDF, lino rubber, and sponge plates Source: Research Team, 2024 on the fabric.
In contrast, the sodium alginateAe based paste exhibited a smooth, cohesive Sponge Lino Rubber MDF Wood The CMC-based paste became slightly lumpy and had a sticky, slime-like texture.
Materials Plates Stamp consistency, making it easier to apply and resulting in a more evenly distributed color on the fabric.
It was concluded that the sodium alginate dye paste performed significantly better than the CMC dye paste.
After exploring the thickeners, the next step was investigating various alternative printing plates for block printing.
Medium Density Fibreboard (MDF) wood, linoleum rubber, and sponge were the materials considered for the printing plates.
After testing each one individually, the wood printing plate After finding the optimal printing plate produced the most optimal results.
The wood for applying the natural dye paste, the next plate delivered a consistent and even print, step was exploring natural dye mordants or with the paste adhering well to the stamp.
The Among the crucial stages in fabric lino rubber yielded fairly neat prints, though dyeing is the mordanting stage.
In addition, to some edges of the design extended beyond enhancing the affinity of natural dyes to textile their intended shape.
In contrast, the sponge materials, mordanting also helps achieve even produced prints with slight residue along the color distribution and sharp color intensity edges because the dye paste was absorbed into (Fadilah Ahmad & Hidayati, 2.
the sponge, causing extra paste to be released mordanting agentsAipotassium aluminum at the borders when pressed onto the fabric.
sulfate, quicklime, and ironAiwere used, each Three applied in a ratio of 5 g of mordant to 100 ml Jurnal Panggung V35/N4/12/2025 Dywi Sri Kedu Temanggungan: Analisis Sanggit Lakon dan Makna Simbolisme Table 3.
Fixation results using Aluminum Sulfate.
Quicklime, and Iron Sulfate Mordants Source: Research Team, 2024 Mordants Results Aluminum Paste Table 4.
Test result of the viscosity Source: Research Team, 2024 Formula Viscosity 8 g : 100 ml 17945 mPas 10 g : 100 ml 21135 mPas 12 g : 100 ml 56455 mPas Quicklime determine the appropriate consistency, using a Iron viscosity test conducted at the Agro-industrial Technology Testing Services Laboratory.
Padjadjaran University.
The toyobo cotton fabric must be scoured for 20 minutes in a TRO solution to of water.
The mordanting was carried out remove dirt or oils, then rinsed and hung to using the painting technique on the stamped Once the fabric is dry, the dye paste is areas only.
The results showed that the alum applied to the prepared wood stamp using mordant served as the most effective fixative for a brush, and the wood printing plate is then the Soga tingi natural dye paste.
It effectively pressed onto the dried fabric.
After the paste locked in the dye, produced a reddish-brown had dried, mordanting was performed using color, and left no residue during washing.
The an alum solution applied through a painting quicklime mordant produced a faded brown The treatment was limited to the color and was ineffective in fixing the dye, areas stamped with the natural dye, and the with noticeable color bleeding in certain areas.
fabric was left to dry completely.
A viscosity Meanwhile, the iron mordant resulted in a neither too thick nor too runny is considered black color and left residue during washing, the most optimal.
causing the color to run and fade.
The overall results from the experiment After determining the optimal mordant, showed that the modified extraction of tingi the third step was to identify the best dye paste liquid dye produced a very intense and even formula and determine the fixation material.
color when applied at a concentrated level.
The formulas were differentiated by varying The thickener used to create the Soga tingi dye the amount of thickener: Formula 1 contained paste in this study is sodium alginate, which 8 g of sodium alginate mixed with 100 ml of produced a smooth, mucus-like consistency Soga tingi natural dye solution.
Formula 2 that mixes easily and does not leave any contained 10 g.
and Formula 3 contained 12 g The optimal printing plate is wood, of sodium alginate with the same dye volume.
while toyobo cotton fabric was chosen as the The viscosity of each formula was evaluated to printing medium due to its excellent ability Jurnal Panggung V35/N4/12/2025 Thomas Yudha Tri Prasetiyanto.
Sugeng Nugroho Table 5.
Dye paste formula results Source: Research Team, 2024 Formula Picture Explanation The paste had a smooth, mucus-like consistency.
The color was evenly remained intact even after washing.
The dye paste was making it difficult to adhere to the printing As a result, the The paste had a smooth, mucus-like consistency.
The color was evenly remained intact even after washing.
The dye paste was slightly clumpy, making it difficult to apply to the printing plate.
The uneven, and residual dye remained on the fabric after washing.
Figure 4.
Pattern board Source: Research Team, 2024 Application In the following application stage, a motif design concept was developed to be carved into the printing plate and applied to the fabric.
The chosen motif was designed to complement the natural Soga tingi dye This design incorporates the beauty of traditional Betawi house ornaments, whose color palette aligns harmoniously with the natural hues produced by the dye.
The color palette is dominated by rich reddish brown tones, reflecting the warmth to absorb the dye.
Alum mordant is the most of Betawi culture and the natural materials effective fixative for binding the Soga tingi of traditional wooden houses.
Soga tingi dye, dye paste.
Meanwhile, the most optimal which is closely associated with IndonesiaAos dye paste formula, which achieves the ideal coastal region (Paryanto et al.
, 2.
, also concentration and viscosity, is a ratio of 10 g symbolizes the cultural connection of coastal of sodium alginate mixed with 100 ml of tingi Betawi communities such as those in Marunda liquid dye.
This balanced viscosity allows and Luar Batang.
The ornaments of the Betawi the dye to flow smoothly during the printing house vary in their overall forms, but the main process while still adhering well to the fabric, characteristics of their shape configurations resulting in better definition and quality in the are easily recognizable from their physical printed patterns.
appearance (Setiawan & Laswandi, 2.
The decorative patterns on Betawi houses have a Jurnal Panggung V35/N4/12/2025 Dywi Sri Kedu Temanggungan: Analisis Sanggit Lakon dan Makna Simbolisme the block printing technique, utilizing wood printing plates and tingi natural dye paste on Toyobo cotton fabric as the printing medium.
The focus will be on creating symmetrical and asymmetrical compositions to explore visual balances and design aesthetics.
One of the five compositions will be Figure 5.
Stylization of Betawi traditional house ornaments Source: Research Team, 2024 simple form with geometric motifs such as dots, squares, diamonds, triangles, curves, semi-circles, circles, etc.
(Sudarwani et al.
In addition to geometric motifs, many Betawi house ornaments are adaptations of floral decorative elements (Nabila et al.
, 2.
Traditional Betawi house ornamentsAo floral and geometric motifs have been adapted into fabric designs that blend tradition with This mood board celebrates the harmony between cultural heritage, nature, and sustainable textile beauty (Hudaidah et , 2.
The following exploration stage involves creating stylized patterns based on a pattern board filled with traditional Betawi house Betawi traditional houses feature a wide range of decorative elements that can be transformed into motifs.
The selected ornaments for stylization include the sun.
Cempaka flower.
Jasmine flower.
Gigi Balang.
Tapak Jalak, and Ginggang.
The next stage is designing the motif composition by duplicating and stylizing several ornaments from Betawi traditional These motifs will be applied using finalized on the fabric sheet.
The chosen composition will be applied using the block printing technique, ensuring that the design aligns with the projectAos aesthetic and functional goals while preserving the essence of Betawi traditional motifs.
The selected composition consists of stylizations of the sun, jasmine flower, gigi balang, and tapak jalak.
These four stylizations will be carved into wood printing plates using a laser-cut technique.
Each plate was designed with specific dimensions: Gigi Balang .
y 12 c.
Jasmine Flower .
y 24 c.
Sun .
y 15 c.
, and Tapak Jalak .
y 6 c.
The wood printing plates will be used with Soga tingi natural dye paste on toyobo cotton fabric measuring 200 x 150 cm.
The resulting blockprinted fabric can be utilized for fashion The evaluation of this research indicates particular, the size and design of the printing plate can be explored in more depth to assess how the spacing between lines and the thickness of the motifs affect print quality.
The block printing technique using tingi natural dyes has the potential to produce textile works that are not only visually appealing but also demonstrate strong technical performance.
This research aligns with current fashion movements focusing on sustainability by Jurnal Panggung V35/N4/12/2025 Thomas Yudha Tri Prasetiyanto.
Sugeng Nugroho Table 6.
Motif composition Sources: Research Team, 2024 Composition Design Description The motif composition follows the principle of asymmetrical balance, where the motifs are arranged in a repetitive pattern.
This deliberate asymmetry creates a dynamic and visually engaging design that maintains overall balance.
The motif composition follows the principle of symmetrical balance, where the motifs are arranged in a repetitive pattern.
This structured repetition creates a harmonious and visually balanced design.
The motif composition follows the principle of symmetrical balance, where the motifs are arranged in a repetitive pattern.
This structured repetition creates a harmonious and visually balanced design.
The motif composition follows the principle of asymmetrical balance, where the motifs are arranged in a repetitive pattern.
This deliberate asymmetry creates a dynamic and visually engaging design that maintains overall balance.
The motif composition follows the principles of symmetrical balance and opposition, with motifs arranged in such a way that they face each This structured arrangement creates a harmonious and visually balanced design.
Figure 6.
Composition of selected motif Source: Research Team, 2024 Figure 7.
Printing Results on Fabric Source: Research Team, 2024 utilizing natural materials and eco-friendly preservation while maintaining aesthetic and Perangin-Angin, cultural significance.
Brands like SukkhaCitta The block printing technique with exemplify how sustainability can be integrated natural dye paste made from tingi provides through natural dyes, responsible production an alternative that promotes environmental practices, and the fusion of traditional motifs (Rohaeni Jurnal Panggung V35/N4/12/2025 Dywi Sri Kedu Temanggungan: Analisis Sanggit Lakon dan Makna Simbolisme with a modern perspective.
This highlights that dye bind strongly to the fabric, producing a block printing with tingi natural dye is highly rich reddish-brown color while maintaining relevant in todayAos fashion industry, which color fastness after washing.
Future research values authenticity, artisanal craftsmanship, is needed to measure color fastness through and the cultural heritage embedded in each laboratory testing.
Furthermore, the design motifs used in this research were inspired by traditional Betawi CONCLUSION elements such as the sun, jasmine flowers, gigi balang, and tapak jalak.
These motifs were focusing on the development of block printing carefully selected and stylized to align with the using Soga tingi natural dye paste as colorants, characteristics of tingi natural dye, resulting in it can be concluded that Soga tingi is highly a harmonious blend of cultural heritage and suitable for use in the block printing technique.
sustainable textile innovation.
Based The research found that this techniqueAos most To conclude, the research shows that effective thickening agent is sodium alginate.
Soga tingi natural dye paste, when applied a food-grade thickener used in a precise ratio with block printing technique into fabric, of 10 g to 100 ml of liquid natural dye.
This presents a viable and sustainable alternative composition resulted in a smooth, mucus-like for textile design.
consistency, making it easier to apply to fabric traditional craftsmanship and aligns with the and ensuring an even distribution of color.
global movement toward eco-friendly and The wood-based printing plates were This method preserves sustainable fashion.
found to be the most effective choice for printing Compared to other materials such as linoleum rubber or sponge, wood plates *** produced the most precise and well-defined prints, ensuring that the intricate details of the motifs were accurately transferred onto
REFERENCES