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All Journal Jurnal Bahasa Rupa Cetta: Jurnal Ilmu Pendidikan Humaniora Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Narada : Jurnal Desain dan Seni Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Canting : Jurnal Batik Indonesia Serat Rupa: Journal of Design
Sandy Rismantojo
Universitas Kristen Maranatha
Arts Humanities Chemical Engineering, Chemistry & Bioengineering Chemistry Decision Sciences, Operations Research & Management Education Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences Other

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Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as the Expression of Cultural Hybridity Setyoningrum, Yunita; Lukman, Christine Claudia; Rismantojo, Sandy
Humaniora Vol 10, No 3 (2019): Humaniora (In Press)
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v10i3.5680

Abstract

The problem in this research derived from the fact that many Lasem batik entrepreneurs nowadays had limited knowledge of the novel characteristics of Lasem batik and hardly aware of its geographical indication. The research objective was to identify how the cultural hybridity of Chinese-Javanese culture and Lasem geographical environment were reflected by both the Tionghoa Peranakan-descent and Javanese-descent artists through the visual signs in the batik design. The purposive samples used were 21 Lasem batik motifs made by Tionghoa Peranakan-descent and Javanese-descent entrepreneurs which already IPR-certified. The method used was a compositional interpretation by interpreting each batik motif composition according to its content (subject matter), color, spatial organization, and expressive content (the combined effect of subject matter and visual form). The finding reveals that Lasem visual style hybridity is generally visible in: (1) the use of Chinese subject matter combined with Javanese motifs, (2) the use of Chinese subject matter combined with local Javanese isen-isen (texture), and (3) the rich use of red (from Chinese batik visual style) combined with brown (from Javanese batik visual style). This finding can be used as a reference guide for latter Lasem batik entrepreneurs to maintain the particular characteristics of Lasem batik while developing other batik motifs innovation.
PERAN AUGMENTED REALITY DALAM MENINGKATKAN VISITOR EXPERIENCE GENERASI MILENIAL DI MUSEUM BERTEMA TEKSTIL INDONESIA Rismantojo, Sandy
Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) Vol 5 No 01 (2020): Vol 05, No 01 (Maret 2020) demandia - Jurnal Desain Komunikasi Visual, Manajemen
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/demandia.v5i01.2325

Abstract

Abstrak: Indonesia memiliki berbagai kekayaan budaya, salah satunya adalah batik yang dapat ditemukan hampir ditiap daerah dan memiliki kekhasannya masing-masing. Keanekaragaman batik serta motif-motifnya yang memiliki nilai filosofi menjadi penting untuk didokumentasikan, dijaga dan dilestarikan sehingga muncul museum khusus batik atau tekstil khas Indonesia seperti Museum Tekstil Jakarta dan Museum Batik Pekalongan. Museum adalah lembaga yang berfungsi sebagai tempat penyimpanan, pengamanan, perawatan, dan pemanfaatan benda bukti material hasil budaya manusia untuk menunjang upaya perlindungan dan pelestarian kekayaan budaya bangsa. Sayangnya museum di Indonesia seperti hidup segan mati tak mau, pengunjung yang terus berkurang dan minimnya dana menjadi beberapa penyebab museum menjadi tidak menarik untuk dikunjungi. Banyak museum yang melupakan bahwa visitor experience sangat penting untuk dibangun, dikelola dan dijaga kekonsistennya. Tulisan ini difokuskan pada visitor experience berdasarkan tampilan dari desain komunikasi visual, desain interior, dan exhibition design. Perbandingan museum difokuskan pada museum-museum yang ada di Indonesia, Malaysia serta Singapura, menggunakan metoda deskriptif komparatif dengan observasi langsung ke beberapa museum yang memiliki kesamaan tematik yaitu mengenai batik dan tekstil. Hasil observasi melihat kelebihan dan kekurangan dari museum-museum tersebut sehingga memberikan rekomendasi pengembangan untuk membangun visitor experience yang positif, dengan memanfaatkan teknologi seperti augmented reality agar kunjungan ke museum menjadi lebih menarik, interaktif sehingga membantu proses transfer informasi yang lebih jelas dan mudah dicerna. Kata kunci: augmented reality, batik, museum, informasi Abstract: Indonesia has many varieties of cultural wealth, one of which is batik that can be found in almost every region and has its own uniqueness. The diversity of batik and its motifs which have philosophical values ??are very important to be documented, maintained and preserved. Museum is an institution that manages the storage, security, maintenance, and utilization of material evidence of human cultural products in order to support, protect and preserve the nation's cultural wealth. Indonesia has several specific batik or textile museums, for examples, the Jakarta Textile Museum and the Pekalongan Batik Museum. Unfortunately today the fate of most museums in Indonesia is uncertain. The decreasing of the number of visitors, lack of funds, or outdated museum design are the reasons these museums become unattractive to be visited. Many museums have forgotten that visitor experience is very important to be built, managed and maintained consistently. This paper is focused on the visitors experience based on the appearance of visual communication design, interior design, and exhibition design. Museum comparison focused on museums in Indonesia, Malaysia and Singapore, by using a descriptive comparative method with direct observation to several batik or textile museums. The observations will determine the advantages and disadvantages of these museums in order to build a positive visitor experience, by utilizing technology such as augmented reality so that museum becomes interesting, interactive, and helping the process of information exchange to be more appealing, and easier to process. Keywords: augmented reality batik, museum, information
PERAN BRANDING BAGI PENCIPTAAN IMAGE BATIK 3 NEGERI SOLO KARYA KELUARGA TJOA Sandy Rismantojo; Christine Claudia Lukman; Jesslyn Valeska
Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021
Publisher : LPPM Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i2.718

Abstract

Batik Tiga Negeri is an Indonesian adiwastra that is still considered a mystery. Why? Because its history is still not completely clear. Batik Tiga Negeri is believed to have undergone a coloring process in three different cities, first in Lasem for red color, Pekalongan for the blue color, and finally in Solo for sogan or brown color. Therefore, the production journey of one batik Tiga Negeri will take a total of 650 km. The Tjoa family started producing batik Tiga Negeri in 1910, but it was regrettable that in 2014, the family had stopped the production because they have no successors. The Tjoa family stated that they named after their batik based on the legendary Sam Kok story from China known as the Three Kingdoms. Therefore, the batik Tiga Negeri, created by the Tjoa family, is a brand that is then attached to the legendary batik Tiga Negeri through the branding process. This study will analyze how Batik 3 Negeri Tjoa Family's brand and branding process can help build a brand image to strengthen the batik 3 Negeri Tjoa family's brand value. The researcher conducted a qualitative descriptive method to explore batik 3 Negeri of the Tjoa family through literature studies on batik Tiga Negeri and interviews with batik experts and enthusiasts complemented by literature studies on brand theory and branding. The results reveal the strength of the Tjoa family Batik 3 Negeri Solo's brand and branding process, which had been carried out for three generations, had succeeded in elevating their batik products into known to have aesthetic value and high quality and became the leading choice for the Sundanese in West Java.
Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as the Expression of Cultural Hybridity Yunita Setyoningrum; Christine Claudia Lukman; Sandy Rismantojo
Humaniora Vol. 10 No. 3 (2019): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v10i3.5680

Abstract

The problem in this research derived from the fact that many Lasem batik entrepreneurs nowadays had limited knowledge of the novel characteristics of Lasem batik and hardly aware of its geographical indication. The research objective was to identify how the cultural hybridity of Chinese-Javanese culture and Lasem geographical environment were reflected by both the Tionghoa Peranakan-descent and Javanese-descent artists through the visual signs in the batik design. The purposive samples used were 21 Lasem batik motifs made by Tionghoa Peranakan-descent and Javanese-descent entrepreneurs which already IPR-certified. The method used was a compositional interpretation by interpreting each batik motif composition according to its content (subject matter), color, spatial organization, and expressive content (the combined effect of subject matter and visual form). The finding reveals that Lasem visual style hybridity is generally visible in: (1) the use of Chinese subject matter combined with Javanese motifs, (2) the use of Chinese subject matter combined with local Javanese isen-isen (texture), and (3) the rich use of red (from Chinese batik visual style) combined with brown (from Javanese batik visual style). This finding can be used as a reference guide for latter Lasem batik entrepreneurs to maintain the particular characteristics of Lasem batik while developing other batik motifs innovation.
PERAN AUGMENTED REALITY DALAM MENINGKATKAN VISITOR EXPERIENCE GENERASI MILENIAL DI MUSEUM BERTEMA TEKSTIL INDONESIA Sandy Rismantojo; Jesslyn Valenska
Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) Vol 5 No 01 (2020): Vol 05, No 01 (Maret 2020) demandia - Jurnal Desain Komunikasi Visual, Manajemen
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/demandia.v5i01.2719

Abstract

Indonesia memiliki berbagai kekayaan budaya, salah satunya adalah batik yang dapat ditemukan hampir di tiap daerah dan memiliki kekhasannya masing-masing. Keanekaragaman batik serta motif-motifnya yang memiliki nilai filosofi menjadi penting untuk didokumentasikan, dijaga dan dilestarikan sehingga muncul museum khusus batik atau tekstil khas Indonesia seperti Museum Tekstil Jakarta dan Museum Batik Pekalongan. Museum adalah lembaga yang berfungsi sebagai tempat pengamanan, pendataan, perawatan, dan pengelolaan benda bukti material hasil budaya manusia untuk mendukung usaha pelestarian dan perlindungan kekayaan budaya bangsa. Sayangnya museum di Indonesia seperti hidup segan mati tak mau, pengunjung yang terus berkurang dan minimnya dana menjadi beberapa penyebab museum menjadi tidak menarik untuk dikunjungi. Banyak museum yang melupakan bahwa visitor experience sangat penting untuk dibangun, dikelola dan dijaga kekonsistennya. Tulisan ini difokuskan pada visitor experience berdasarkan tampilan dari desain komunikasi visual, desain interior, dan exhibition design. Perbandingan museum difokuskan pada museum-museum yang ada di Indonesia, Malaysia serta Singapura, menggunakan metoda deskriptif komparatif dengan observasi langsung ke beberapa museum yang memiliki kesamaan tematik yaitu mengenai batik dan tekstil. Hasil observasi melihat kelebihan dan kekurangan dari museum-museum tersebut sehingga memberikan rekomendasi pengembangan untuk membangun visitor experience yang positif, dengan memanfaatkan teknologi seperti augmented reality agar kunjungan ke museum menjadi lebih menarik, interaktif sehingga membantu proses transfer informasi yang lebih jelas dan mudah diterima. Kata kunci: augmented reality, batik, museum, visitor experience
KOMPARASI GAYA VISUAL DAN MAKNA PADA DESAIN BATIK TIGA NEGERI DARI SOLO, LASEM, PEKALONGAN, BATANG, DAN CIREBON Christine Claudia Lukman; Sandy Rismantojo; Jesslyn Valeska
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 39, No 1 (2022): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v39i1.6447

Abstract

Batik Tiga Negeri merupakan batik pesisiran yang memiliki keunikan dalam proses produksinya. Di masa awal yakni tahun 1870-an, batik ini mengalami proses pencelupan pewarna alami di berbagai kota: merah di Lasem, biru di Pekalongan, dan cokelat di Solo. Hasilnya adalah batik yang menampilkan merah getih pithik, biru indigo, dan cokelat soga dengan motif hasil dari ketiga daerah tersebut. Saat itu Batik Tiga Negeri merupakan hasil kolaborasi kreatif para seniman batik di tiga sentra batik yang menampilkan keberagaman budaya visual. Dengan ditemukannya pewarna sintetik, proses pencelupan dapat dilakukan di satu tempat saja, sehingga istilah Batik Tiga Negeri sering hanya merujuk pada batik yang memiliki 3 warna (merah, biru, cokelat) dengan motif hasil hibridisasi batik pesisiran dan batik keraton. Selain di Solo, Batik Tiga Negeri diproduksi pula di Lasem, Pekalongan, Batang, dan Cirebon. Mengingat saat ini eksistensi Batik Tiga Negeri mulai kritis, perlu dibuat kajian yang bertujuan untuk memetakan variasi gaya visual beserta makna yang tersirat pada desain batik yang berasal dari daerah-daerah tersebut. Penelitian yang bersifat kualitatif dan deskriptif ini menggunakan pendekatan compositional interpretation untuk menganalisis gaya visual Batik Tiga Negeri dari masing-masing kota, dan semiotika untuk menganalisis makna konotatifnya. Purposive sample adalah Batik Tiga Negeri yang memiliki ciri khas gaya visual dari masing-masing daerah. Hasil analisis mengungkapkan variasi gaya visual disebabkan oleh perbedaan kondisi sosial budaya dari masing-masing daerah. ABSTRACTBatik Tiga Negeri is pesisiran batik whose production is unique. In the early years of 1870’s, the process of dyeing was carried out by various cities: red in Lasem, blue in Pekalongan, brown in Solo. The batik has ‘getih pithik’ red, indigo blue, and sogan brown, and hybridity motif from these regions. Batik Tiga Negeri displays cultural diversity, which forms Indonesian identity. The discovery of synthetic dyes makes the process can be done in one place so that the term Batik Tiga Negeri now refers only to batik, which has three colors and hybridity motifs of pesisiran and keraton. This batik is also produced in Solo, Lasem, Pekalongan, Batang, and Cirebon. Considering that existence of Tiga Negeri Batik has begun to be critical, research is needed to map variations in visual style and meanings. This study uses an analytical method with a compositional interpretation approach to analyze the visual style of batik from each city and semiotics to analyze socio-cultural conditions' relation to the visual style. Purposive samples are Batik Tiga Negeri that still has a classical design. The analysis results revealed variations in visual style caused by differences in the aesthetic taste of the target market and producer influenced by its socio-cultural conditions.  
KOMUNIKASI FASHION DALAM KEBAYA ENCIM DAN BATIK PERANAKAN TIONGHOA: SOSIALISASI DAN DIFERENSIASI Erica Rachel Budianto; Berti Alia Bahaduri; Sandy Rismantojo
Narada : Jurnal Desain dan Seni Vol 10, No 3 (2023)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2023/v10.i3.002

Abstract

Fashion, clothing and culture are communication and cultural phenomenon, in which fashion communication has both socialization and differentiation function. In the realm of fashion and clothing, the forming of social groups and personal identities are established through continuous communication process. This phenomenon occurred in the development of kebaya encim and Chinese Peranakan batik at Java in the 19th century. Kebaya encim was a type of kebaya worn by Peranakan Chinese women, therefore it had visual characteristics which were eminently influenced by Chinese culture. The Chinese Peranakan women used to wear kebaya as upper clothes, combined with Peranakan Chinese batik cloth as skirt At the beginning, kebaya encim and Peranakan Chinese batik emulated the kebaya and batik characteristics worn by Dutch women in Java. This was due to the desire of Peranakans to acquire equal privilidge with the Dutch in the society.This research aims to define the role of fashion communication in the development of kebaya encim and Peranakan Chinese batik in the 19th century at Java Island. Therefore, this research utilises descriptive qualitative approach. Theories which are used in this research are Barnard's fashion communication theory and Lukman's mimicry and hibridity theory. This research confirms that there is fashion communication process that can be emphasized from socialization and differentiation function with mimicry and hybridity phenomenon in kebaya encim and Peranakan Chinese batik. Socialization can be seen from mimicry of Dutch's kebaya and batik style to obtain social equality. Moreover there is also differentiation function, since the Chinese Peranakans made some special adjustments toward their own kebaya and batik characteristics in order to be more suitable with their culture.
PERANCANGAN BUKU FOTOGRAFI DOKUMENTASI KEGIATAN KESENIAN DI KAMPUNG JELEKONG Sherilyn Silviani; Sandy Rismantojo; R.A. Dita Saraswati
Serat Rupa: Journal of Design Vol 3 No 1 (2019): SRJD-JANUARY
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v3i1.811

Abstract

Jelekong Village is located in the south of Bandung and is a craft center for make-by-order painting artisans. The late Mr. Odin Rohidin started this artistic activity in the 1970s. Aside from paintings, Jelekong Village is also active in such activities as Pencak Silat, Wayang Golek, and the Jaipong dance. Unfortunately, this village has a hard time developing in terms of facilities and infrastructures, which is caused by lack of attention from the local government. This results in the fact that not many people, even those in Bandung know the whereabouts of the artisans in Jelekong Village, who in fact play an important role in preserving the traditional Sundanese arts and culture. That is why, there is a need to design a media that is able to document and narrate the things that these artisans do in Jelekong Village and their daily struggles in creating art without being acknowledged and appreciated by their own people. By designing a documentary photography book, it is expected that the people of Bandung will be more informed about these artisans and will support the making of better facilities and infrastructures to rise up their spirit in creating more arts.
REPOSITIONING BRAND SHIBOTIK UNTUK MEMBANGUN CITRA BARU SEBAGAI BATIK LIMITED EDITION Fitri Nurlaili; Sandy Rismantojo
Serat Rupa: Journal of Design Vol 3 No 2 (2019): SRJD-JULY
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v3i2.1646

Abstract

Positioning holds an important role in a branding activity; it enables a product to stand out in the minds of consumers compared to other competitor. If there is some fault in positioning, it will impact badly on a brand. It happens to one of Indonesian local brand, Shibotik. Shibotik combines traditional Japanese manual resist dyeing technique (Shibori) and Indonesian batik techniques, to produce an innovation in batik development so that it will give a wide variety of consumers in buying batik. Shibotik sells their product quite expensive, but the brand positioning is not suitable with goals that have been set on, which doesn't create an impression of limited edition products for the desired target. To overcome the problem issued above, repositioning need to be made so that Shibotik could construct an image as limited edition batik, with 24-40 years old woman as the main target. Before making this design several methods were carried out, namely the method of observation, questionnaires, interviews and literature. To give an unique concept in the design, a clean design was applied to produce a limited edition image. The main media that used to reposition the Shibotik brand are Instagram and websites, magazine, look books and store designs as supporting media. Hopefully with the Shibotik brand repositioning, the brand will have a new position as an innovative limited edition batik product.
Perancangan media edukasi untuk mengenal perbedaan batik tulis, cap, kombinasi, dan printing Adeline, Jessica Lorensia; Rismantojo, Sandy; Aryani, Dewi Isma
Canting : Jurnal Batik Indonesia Vol 2 No 2 (2025): Canting: Jurnal Batik Indonesia
Publisher : Fakultas Teknik Universitas Pekalongan bekerjasama dengan Asosiasi Perajin dan Pengusaha Batik (APPBI)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31941/cjbi.v2i2.634

Abstract

Batik merupakan warisan budaya takbenda Indonesia yang memiliki nilai historis, artistik, dan ekonomi tinggi. Namun, masih banyak masyarakat, khususnya generasi muda, yang belum memahami perbedaan teknik pembuatannya seperti batik tulis, cap, kombinasi, dan printing, sehingga seringkali menimbulkan kesalahpahaman dalam menghargai nilai dan harga batik. Penelitian ini bertujuan merancang media edukasi berbasis media sosial yang komunikatif dan visual-interaktif untuk meningkatkan apresiasi terhadap teknik batik. Metode yang digunakan adalah penelitian kualitatif dengan perolehan data melalui wawancara, observasi lapangan, dan kuesioner kepada 100 responden. Hasil penelitian menunjukkan bahwa mayoritas responden tidak dapat membedakan jenis batik secara visual, meskipun mengaku mengetahui jenis-jenis batik. Media sosial dipilih sebagai media paling efektif karena mampu menyajikan informasi visual secara interaktif dan mudah diakses. Melalui konten edukatif yang menarik, edukasi ini diharapkan mampu meningkatkan kesadaran masyarakat terhadap pentingnya pelestarian batik, terutama batik tulis sebagai simbol identitas budaya Indonesia. Edukasi ini juga berpotensi memperkenalkan nilai budaya batik ke ranah global serta diharapkan dapat menjadi langkah awal pelestarian batik melalui jalur edukasi kreatif dan kolaboratif.
Co-Authors Adeline, Jessica Lorensia Berti Alia Bahaduri Berti Alia Bahaduri Budianto, Erica Rachel Dewi Isma Aryani Fitri Nurlaili Galen, Bintang Abdad Jesslyn Valenska Jesslyn Valeska Jesslyn Valeska R.A. Dita Saraswati Sherilyn Silviani TERESA, CLARA RIYANTI Yunita Setyoningrum Yunita Setyoningrum