Javanese lurik is weaved fabric with striped motives, and it has very simple appearance. In the past, lurik only used two colors, namely: black and white. But, as it develops, some of lurik fabrics use more than two colors, and one of the colors usually still consists of black or white color. After lurik becomes one of the prosper trading commodities, the artisans attempt to make lurik more appealing and varying in term of appearance so that it will be favored by consumers. The objective of this research is to investigate how the artisans can develop lurik patterns to stay appealing. This paper used the qualitative research with the case study strategy and phenomenological approaches. The study aims at understanding the methods employed by artisans in Cawas Klaten in developing lurik patterns. The result of the study show that (1) lurik pattern has been developed by using various alternatives of line composition and color coherence; (2) the idea of development comes from traditional lurik patterns which already existed long time ago; and (3) line and color composition used a minimum of three colors so that it looks like a rainbow, and this kind of lurik pattern becomes the characteristic of modern weaved fabric from Cawas.

Javanese is one of Indonesia's ethnic living in the region of Central Java, Yogyakarta and East Java. Having three typical types of traditional are clothing, namely batik, lurik (striated weaving), and jumputan (tye dye). In Klaten district, Central Java found striated weaving centers, one in the Cawas district. The main problem faced by the artisans of striated weaving in this place is likely difficult in marketing products, because they have to compete the other types of textile markets. As a result, the craftsman run out of capital, and led to ups and downs state. Therefore, they work together in a association called the Society of Craftsmen Cawas Lurik Center. This study aims to determine how the artisans of striated weaving Cawas seek to be able to continue their efforts. This research paper uses a form of qualitative research using case study strategy with phenomenological approach. The results showed (1) the artisans joined the association as a forum for cooperation between them; (2) creates synergy among craftsmen to improve the ability and knowledge, and (3) develop synergies with the outside association to strengthen the group in order to have a bargaining position in the middle of the competition.

Batik is one of Indonesia identity. Batik also becomes macro and micro identity. Micro identity means local identity. One of micro identity is Sangiran batik. Sangiran batik rises as new identity of Sragen regency called Parang Sukawati. This research is about local identity around parang sukowati batik. Parang Sukawati batik has uniques. It try to rise local identity and leave the basic pattern of Surakarta batik. It try brings Sangiran sites in the batik because Sangiran is as world heritage and called Sangiran Doom. This heritage is in the culture area of Sangiran. Sangiran is old sites that recognized by UNESCO as world culture heritage. Thee is found many fossils and the important thing is the human fossil called pitegantropus erectus. While batik is also recognized as Unesco's world cultural heritage. Batik is a cultural heritage from Indonesia. These two things are used as media to bring out local cultural identity into Sangiran batik. Sangiran Batik is a batik with a motif originating from Sangiran as an ancient site. Sangiran is where the oldest ancient humans were found in the world. The Sragen people regard Sangiran as one of their global local characteristics. This expression was delivered in the form of batik artwork. So, comes the Sangiran typical batik motifs in the form of ancient human images, fossils, and other typical flora and fauna of batik. The meeting between batik and Sangiran site is inseparable from the sociocultural situation of the community. Around the site, there are areas of batik craft so that the Sangiran site provides inspiration to create a design with the theme "Sangiran batik". Sangiran Batik is then used as a medium to express identity. The manifestations of these inspirations are in the old ivories, parang motif, and flora and fauna from Sragen regency.

In the discipline of fine arts, design development can be considered to be quite fast and even so flexible, that it is often difficult to establish its limitations. One of the results of this phenomenon is the variety of understanding and interpretations that is not much different from the reality of the design itself. Design, as an activity that demands creativity and imagination, offers an aesthetic element, so that in this term, design is an "art". And as an activity to find solutions to demands, design is a technological effort. In designing activities there are approaches that are oriented on design concepts and processes. Therefore, design involves human mind and effort in a unique combination to achieve certain goals. Design, in this case, is used to support an activity and its concept includes ideas and actions. Thus, there are several aspects related to designing activities, namely the aspects of aesthetic, materials, processes (technical), and functions. Therefore to comprehend further on the scope and understanding of designs, knowledge and various reviews are need in accordance with the related fields. Textiles, which have been known and made since the Neolithic era, are smooth and soft objects having aesthetic and technological elements. Up to now textiles have been developed into products that serve various functions and needs. As a medium of expression, textiles can be utilized in fields of Fine Arts which include fine art, design, and craft. This is very much determined by the approach being used, the way of thinking towards the end product of textile products. Thus the terms such as textile arts, textile design, and textile craft were established, although according to the history of the textile development, textiles in Indonesia originaly come from crafts that have artistic, design and local wisdom elements.