that can be developed by combining them. The form of non-geometry in the variety of Sumba ikat
weaving is another potential source of inspiration for developing motif patterns using the Escher
technique. Therefore, it is possible to create an innovative motif form, inspired by the variety
of ornamental Sumba woven textiles, using the Escher-Repeat technique with digital work, to
be applied to fashion products. This digital method was included in the characteristic of digital
art, perfectly duplicability (Chun 2011), in which all substances abstracted into “bits” in the digital
world, making it possible to create a perfect and infinite duplication of the original product/artwork.
2 METHOD
2.1 Quantitative method
The method used in this study was a mixed-method, namely qualitative and quantitative. The
quantitative method was used because in processing motifs using Escher techniques, some calculations were needed since Escher techniques are mathematics. Literature study was done to collect
information on the Escher-Repeat types from various sources including books and journals.
2.2 Qualitative method
The qualitative method was used because this research focused on exploring the techniques used.
In terms of finding out the motif patterns’ characteristics, the observations on the Sumba woven
textile and Escher’s artwork and techniques were done. The visual observation was done by seeing
each motif’s details and comparing the design elements of both objects. To make the new form
of motifs, some digital explorations were undertaken to find the innovative structure. The digital
experimentation method, applying the Escher technique using the graphic software design, consists
of four methods: translation, reflection, rotation, and glide reflection, inspired by Sumba ikat
weaving patterns such as chickens, horses, deer, and dragons. This visual exploration aimed to find
new advanced form of motif pattern. There were three steps of exploration: (1) Initial exploration:
specify the shapes from East Sumba ornaments. In this step, the chicken and horse forms were
chosen since they are common, and the Escher-Repeat technique was mastered.
(2) Advanced experiment: applying East Sumba ornament with Escher-Repeat by producing
modules.
(3) Arranging the modules into seamless repeating composition.
3 RESULTS
3.1 Initial and advanced exploration results
Initial exploration was carried out to understand the Escher technique. The experiments applied
were translation, reflection, rotation, and glide reflection. The four methods used objects found in
the ornamental variety of Sumba ornament shapes. The result of the process was the motif modules.
In advanced exploration, colors and more detailed elements were added into the motif modules.
The use of virtual texture elements (invented texture) was done by making a square geometrical
arrangement in the coloring process and providing details that aimed to imitate the actual texture
inspiration (real texture) on Sumba woven textiles because of the intersection points of warp and
weft. By using contrasting colors, it became more dynamic and brought up the harmony and balance
patterns. The best results were presented on the table below. The translation and glide-reflection
method are the most optimal form and produce the best visual from this experiment. The advanced
exploration was aimed to create the tessellation formed composition from the motif modules, then
it automatically seamlessly repeats.
280
weaving is another potential source of inspiration for developing motif patterns using the Escher
technique. Therefore, it is possible to create an innovative motif form, inspired by the variety
of ornamental Sumba woven textiles, using the Escher-Repeat technique with digital work, to
be applied to fashion products. This digital method was included in the characteristic of digital
art, perfectly duplicability (Chun 2011), in which all substances abstracted into “bits” in the digital
world, making it possible to create a perfect and infinite duplication of the original product/artwork.
2 METHOD
2.1 Quantitative method
The method used in this study was a mixed-method, namely qualitative and quantitative. The
quantitative method was used because in processing motifs using Escher techniques, some calculations were needed since Escher techniques are mathematics. Literature study was done to collect
information on the Escher-Repeat types from various sources including books and journals.
2.2 Qualitative method
The qualitative method was used because this research focused on exploring the techniques used.
In terms of finding out the motif patterns’ characteristics, the observations on the Sumba woven
textile and Escher’s artwork and techniques were done. The visual observation was done by seeing
each motif’s details and comparing the design elements of both objects. To make the new form
of motifs, some digital explorations were undertaken to find the innovative structure. The digital
experimentation method, applying the Escher technique using the graphic software design, consists
of four methods: translation, reflection, rotation, and glide reflection, inspired by Sumba ikat
weaving patterns such as chickens, horses, deer, and dragons. This visual exploration aimed to find
new advanced form of motif pattern. There were three steps of exploration: (1) Initial exploration:
specify the shapes from East Sumba ornaments. In this step, the chicken and horse forms were
chosen since they are common, and the Escher-Repeat technique was mastered.
(2) Advanced experiment: applying East Sumba ornament with Escher-Repeat by producing
modules.
(3) Arranging the modules into seamless repeating composition.
3 RESULTS
3.1 Initial and advanced exploration results
Initial exploration was carried out to understand the Escher technique. The experiments applied
were translation, reflection, rotation, and glide reflection. The four methods used objects found in
the ornamental variety of Sumba ornament shapes. The result of the process was the motif modules.
In advanced exploration, colors and more detailed elements were added into the motif modules.
The use of virtual texture elements (invented texture) was done by making a square geometrical
arrangement in the coloring process and providing details that aimed to imitate the actual texture
inspiration (real texture) on Sumba woven textiles because of the intersection points of warp and
weft. By using contrasting colors, it became more dynamic and brought up the harmony and balance
patterns. The best results were presented on the table below. The translation and glide-reflection
method are the most optimal form and produce the best visual from this experiment. The advanced
exploration was aimed to create the tessellation formed composition from the motif modules, then
it automatically seamlessly repeats.
280