Alternative Design for Visual Identity of Yayasan Batik Indonesia

The research objective is to create a logo as the main visual identity. It is together with the graphic elements to support the overall visual identity of the organization and also apply the corporate identity to various applications to effectively foster the professional and trustworthy image of the organization as the foundation in Indonesia aiming for preserving and advancing Batik as the national asset. The writer used qualitative and quantitative method. Qualitative method included Face-to-face interview with the vice secretary of YBI, e-mail interview with the previous logo designer and direct survey to Textile Museum Jakarta and Batik Gallery; and Quantitative method through online survey. The result of the project is a new visual identity for Yayasan Batik Indonesia, which portrays its vision and mission. Design is the core in attaining an advantageous visual identity that could portray the image of the respected organization. When a consistency is applied through the whole visual identity, professional character of the organization is achieved.


INTRODUCTION
Batik is a magnificent handmade artwork. It refers to a piece of cloth with repeated ornaments and stripes as its patterns, created by using Canting in which the making process applies special technique called wax-resistant dyeing. The word Batik is strongly believed originated from two Javanese words; "amba" which means to write and "nitik" which means to create a dot (Fadly, 2010:20). As narrated in a short film dedicated to all batik craft people in Indonesia, it is affirmed that Batik is a fine and high sensibility handy work formed by a lot of dots, as a result of the harmonization of passions and art (Yayasan Kadin Indonesia & The Lembaga Museum Batik Indonesia, 2009).
The origin of Batik is unclear. It is verified by the fact that the culture of wearing and producing Batik has also been growing firmly outside Indonesia (e.g. in Malaysia, Thailand, and Singapore). Meilach (1973) also remarked the uncertainty of the origin of Batik throughout her book. She stated one theory, saying that Indian archipelago was the origin of Batik method, which then spread to western world. Another theory was also revealed, saying that before Batik was spread to Malaysian area, it may have originated in Asia (Meilach, 1973:9). In Indonesia itself, Batik has been well known since the era of Srivijaya and Majapahit kingdom (the Hindu-Buddhist civilizations).
The era of Islamic kingdom (Mataram Kingdom, Java) in Indonesia was the era when Batik grew so vastly and remarkably developed. In this era, Batik was once exclusively for the Majesty King, His family, and His followers inside the palace. This exclusivity has created certain deep philosophy of every batik pattern that grew deepen along with the cultural tradition of the palace. As the time passed by, the making process of Batik, which was first done exclusively inside the palace, was brought outside the palace by the King's followers who lived outside the palace, as well as the culture of wearing Batik in daily use. The formerly forbidden pattern, which was only for the Majesty, is considered as the 'purest' of batik designs in which the highest standards of craftsmanship were based on (van Roojen, 1993:41). The profound aesthetical value of Batik and elevated standards of craftsmanship in making a piece of Batik cloth in Java generated an image of associating Java with Batik. Meilach (1973:9) also stated that whatever its origin, Java is the place where Batik was a highly accomplished art form.
On 2 nd October 2009, Indonesian Batik was designated as a Masterpiece of Oral and Intangible Heritage of Humanity (Indonesian Batik, n.d.). The acknowledgment of UNESCO towards Batik as cultural asset of Indonesia is the most important point in Indonesian Batik's history. Other than that, Batik does not only refer to a piece of tremendous beautiful cloth, but also thoroughly portrays the history of our nation's culture and point of view which relate to our nation's progression. Considering those facts, it is important for Indonesia to have an institution that preserves the existence of our Batik, as well as nurture the people working in the field of Batik and develop Batik as a high value artwork.
Yayasan Batik Indonesia is a non-profit organization, in Indonesia established in 28 th October 1994. Its establishment was based on the same aspiration of several Indonesian entrepreneurs, Batik enthusiasts, artisan, and activists in preserving Batik as the cultural treasure of Indonesia. The organization is the partner of Indonesian government in encouraging the development of Batik as the high value product that also contains economical value.
Yayasan Batik Indonesia is a very potential organization to grow toward the future, as well as due to its important aim for the nation. Almost 18 years since the establishment, the organization has conducted a number of activities to raise people's awareness regarding Indonesian Batik, including partnering with Yayasan Kadin Indonesia (Yayasan Kamar Dagang dan Industri Indonesia) in making the effort behind the UNESCO's acknowledgment towards Batik as the asset of Indonesia. In order to support the accomplishment of the organization in executing its missions, an appropriate corporate identity is needed to represent the image of the organization in the community.
As stated by the vice secretary of Yayasan Batik Indonesia, the current logo ( Figure 2) of the organization is created by the first winner of logo competition held by Yayasan Batik Indonesia itself in 2006. It replaced the first logo (Figure 1), which was a logotype. The problem of the current logo of Yayasan Batik Indonesia is about its versatility and relevancy of the logo with the aims itself, as well as the inconsistent visual identity design. Although the current logo contains deep philosophy in every single design decision made in creating the logo, it is very complicated in terms of its form so that the flexibility in applying the logo in various media cannot be achieved. In short, the logo is not versatile enough and simplifying the logo will be one of the ways out. As stated by Gernsheimer, the simplification does not only facilitate adaptation of the mark to a broad range of applications, but also make it memorable (Gernsheimer, 2008:67). Accordingly to the logo designer itself, Albert Tejasukmana, the philosophy of the logo tells about the sophistication of Indonesian Batik and the date of the organization's establishment, depicted by certain number of dots and petal forming a single wing (the upper part of the logo). The writer sees the imagery of the current logo less clearly tell it as an organization within its specific aim. The logo needs more approach in portraying its original aim as an entity with an aspiration for the improvement of Indonesian Batik and people who is involved in Indonesian Batik industry, which is actually the most essential of the organization. There is a lack of relevancy between the logo and the essence of the organization. In short, the core problem of the current logo of Yayasan Batik Indonesia is lying beneath the cover. It is that the current philosophy in the logo of Yayasan Batik Indonesia does not reflect the vision and mission of Yayasan Batik Indonesia.
Considering various matter above observed from different aspects, it is decided by the writer to create an alternative visual identity for Yayasan Batik Indonesia to revive the image of Yayasan Batik Indonesia. That is a more appealing and beneficial visual identity which able to speak up the aim of the organization. Designing alternative visual identity will be a way taken.

RESEARCH METHOD
The writer applied two methods in conducting survey to support the problem identification process and solution approach.

The vibrant
It works be ning of trus ented in the v After findin oposed. In t till exploring The first ide to create the 9). Each form n Batik Ind ities, respecti    Figure 15 Digitalizing the Second Idea The logo of first idea is chosen to go for refinement. The basic concept proposed in the beginning will be applied as the first idea is approved.

Figure 16 Further Development of the First Idea -Color
By this stage, the form of logo is approved, which then followed by the refinement process ( Figure  17).