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All Journal Arty: Jurnal Seni Rupa AGRISAINTIFIKA Jurnal Ilmu-ilmu Pertanian Abdi Seni Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Ecces: Economics, Social, and Development Studies Moda : The Fashion Journal BAJU: Journal of Fashion and Textile Design Unesa Hastagina: Jurnal Kriya dan Indsutri Kreatif Dinamika Kerajinan dan Batik: Majalah Ilmiah
Santoso, Ratna Endah
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Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Economics, Econometrics & Finance Education Engineering Environmental Science Industrial & Manufacturing Engineering Materials Science & Nanotechnology Social Sciences Other

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Pemanfaatan Celana Jeans Bekas Sebagai Material Utama Perancangan Blazer Teknik Ikat Celup Herawati, Putri Siswi; Santoso, Ratna Endah
Ornamen Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v20i2.5425

Abstract

Perancangan ini berdasarkan dari peminat jeans di Indonesia yang terbilang cukup banyak menyebabkan produksi jeans di Indonesia meningkat dan menghasilkan celana jeans bekas menumpuk, menurut survei GT-NEXUS Indonesia menyumbang konsumsi celana jeans sebesar 31% di dunia, bertujuan untuk memanfaatkan celana jeans bekas dengan kondisi berbeda-beda diubah menjadi outerwear wanita yang fungsional berupa blazer dikombinasikan dengan teknik ikat celup jelujur sehingga dapat mengurangi penumpukan celana jeans bekas tidak terpakai serta memperpanjang masa kain. Metode pendekatan perancangan ini menggunakan metode penciptaan karya seni menurut SP. Gustami, yang mengemukakan 3 tahap 6 langkah dalam proses berkarya. Ketiga tahap tersebut adalah tahap eksplorasi (pengumpulan data perancangan ide dan landasan penciptaan), perancangan (pembuatan desain karya), terakhir perwujudan (pembuatan karya). Desain blazer pada perancangan ini dibuat dengan bentuk asimetri dikombinasikan dengan teknik ikat celup yang diletakkan pada bagian depan, lengan dan belakang blazer dengan bentuk motif, warna dan potongan berbeda.
Perancangan Batik Tulis Inspirasi Keindahan Hutan Rimba Kalimantan Untuk Tekstil Pakaian Aisyi, Dalal Hibatul; Santoso, Ratna Endah
Ornamen Vol. 20 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v20i2.5460

Abstract

Batik dikenal sebagai salah satu warisan budaya yang melambangkan kekayaan tradisi Indonesia, khususnya di pulau Jawa. Batik merujuk pada kerajinan tangan sebagai hasil pewarnaan, secara perintangan menggunakan lilin batik panas sebagai perintang warna, dengan alat utama pelekat lilin batik berupa canting tulis dan atau canting cap untuk membentuk motif tertentu. Pada perancangan ini, penulis ingin merancang motif batik dengan inspirasi Hutan Kalimantan. Hutan merupakan paru-paru dunia, banyak flora yang harus banyak dikenal serta dilestarikan, karena banyak pohon menjadi salah satu sumber oksigen. Kerusakan yang terjadi pada hutan kita adalah berkurangnya luasan area hutan karena kerusakan ekosistem ditambah juga penggundulan dan alih fungsi lahan. Melestarikan hutan berarti kita melestarikan lingkungan hidup, karena dengan menyelamatkan hutan kita juga menyelamatkan semua komponen kehidupan. Batik tulis dengan corak Hutan Kalimantan adalah perancangan baru yang akan berbeda dari jenis motif yang ada dipasaran. Batik tulis dipilih dalam pembuatan karya ini karena memiliki nilai seni tinggi dengan tujuan agar tetap dapat melestarika budaya Indonesia. sesuai dengan pendekatan desain teori Gustami mengenai penciptaan karya ini mempertimbangkan dengan baik aspek nilai seni berupa material, keamanan, estetik, dan proses yang di visualisasikan di atas kain sutra viscose.
Pengembangan Bentuk Kebaya Bangaw dengan Sumber Ide Legenda Batoe Tinagat pada Perancangan Adibusana Anakirin, Nurin Fauhan; Santoso, Ratna Endah
BAJU: Journal of Fashion and Textile Design Unesa Vol. 5 No. 2 (2024)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/baju.v5n2.p219-226

Abstract

Foreign cultures that enter Indonesia are slowly eroding the existence of local culture. There is an urgency to preserve and introduce the Tidung Tribe to the community, by developing this traditional kebaya bangaw traditional clothing into a more modern and relevant form to attract the interest of the community today. This design applies the transforming tradition method with 7 stages, namely ATUMICS, with Artefact which is the design object and six basic elements, namely Technique, Utility, Material, Icon, Concept, and Shape to create product innovations or systems that are traditional products so that they can be accepted by modern society while maintaining the cultural values in it. This design produced 9 evening fashion designs, but from the 9 designs, 4 designs were selected to be realized. Based on this design, it can be concluded that the traditional clothing of the Bangaw kebaya can be developed into the design of the costume while maintaining its uniqueness and the source of the idea of the legend of Batoe Tinagat can be used as a source of inspiration in designing the motif of the costume to create an exploration of the more modern traditional clothing of the Tidung tribe through the stages of visual processing, construction, and surface processing.
PERUBAHAN NILAI DAN FILOSOFIS BUSANA KEBAYA DI JAWA TENGAH santoso, ratna endah; widyastuti, Theresia; Sakuntalawati, LV Ratna Devi; Josef, Adji Isworo; Affanti, Tiwi Bina
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (583.81 KB) | DOI: 10.33153/brikolase.v11i1.2479

Abstract

The Javanese who live in the Central Java region are known for their cultural strength. This can be seen from how they uphold the heritage traditions of their ancestors. Besides that, Central Javanese people are easily known through their typical costume. Kebaya and its equipment from head to toe, it is said that initially only used by the royal community had a quite interesting value and philosophy. For decades kebaya as part of history, experienced various changes in line with the era that continues to run. The most important thing is that kebaya is no longer an everyday outfit like in the past.This research paper uses qualitative research using a cultural approach. This study aims to find out (1) changes in values and philosophies such as what happened to kebaya clothing specifically used in the Central Java region; (2) whether today's kebaya can still be called traditional clothing, especially with various changes caused by current conditions.
APLIKASI TEKNIK HAPA ZOME PADA PAKAIAN SEBAGAI BAGIAN KAMPANYE GO GREEN -, sarwono -; Affanti, Tiwi Bina; santoso, ratna endah; Josef, adji Isworo
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 12 No. 2 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v12i2.3294

Abstract

The purpose this training activities is to provide skills for neglected and drop-out children at PPSA Taruna Yodha Sukoharjo in making clothing decorations with hapa zome techniques and marketplace marketing. Currently, there is an eco fashion trend in society. Clothes with hapa zome decorative techniques are considered unique but not many have made them. Hapa zome material can easily be obtained from plants in the environment which is usually as weeds. The activities carried out by the method of lectures, tutorials, practice and product evaluation. The activity ran smoothly, the atmosphere was fun and the participant’s interest in participating in the training was very high. The participants seemed able to develop various models of natural decoration on clothes and mix them with embroidery techniques. This training has the impact of increasing the participant's ability to make clothing decorations with the hapa zome technique and to understand several marketplace marketing techniques. The product was produced as part of the go green campaign and it predicted have a good market.  Key words: go green. hapa zome, Taruna Yodha,
PEWARNAAN MENGGUNAKAN ZAT WARNA DIREK DENGAN PENGENTAL DALAM PEMBUATAN ’KAIN TRITIK santoso, ratna endah; Josef, Adji Isworo; Affanti, Tiwi Bina; -, Sarwono -; Utami, Lira Anundita
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 14 No. 1 (2022): Brikolase Juli 2022
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i1.3938

Abstract

This research was conducted to create a method for dyeing trick using Direct dyestuff. The developed coloring is staining using thickener but not used through printing. The study is concentrated on the results of the dyeing process on tricks with Direct dyestuff with thickener. The method used is descriptive qualitative in the discussion of the coloring results. From the results of this study, it was found that dyeing with Direct dyestuff using a thickener in the manufacture of tritik fabric produced tritik motifs. The sharpness of the resulting motif varies at each level of thickener concentration. The thickener concentrations used in this study were 5 g/l, 20 g/l, 35 g/l, 50 g/l, 65 g/l, and 80 g/l, for every 1 liter of dye solution. With a low thickener concentration, the tritik motif looks less sharp, the color aging is higher, and the staining results look more even. The unevenness that arises due to the use of high concentrations of thickener is seen to form a marble-like pattern. The sharpness of the resulting motif in this staining does not always correspond to the high concentration of the thickener. Variations in the non-sharpness of the colored motifs can also appear on one piece of tritik fabric that is produced.
PENGGUNAAN JUMPUTAN , TRITIK DALAM UPACARA ADAT DI SURAKARTA sarwono, sarwono -; Josef, Adji Isworo; Affanti, Tiwi Bina; Santoso, Ratna Endah; Wahyuningsih, Novita
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 13 No. 2 (2021): Brikolase Desember
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i2.3940

Abstract

ABSTRACTThe Javanese society has a harmony concept which has become an interesting tradition part in live. The Javanese people, especially  the Surakarta society, have a belief in the world philosophy (universe), consisting of the great universe ( macrocosmos) and small universe ( microcosmos). The microcosmos cannot be separated from the great macrocosmos which must be kept its harmony with  their lives, so the ritual elements of the small universe. Therefore, the art isi always connected with their lives, so the ritual elements consist in the traditional art. The art has three functions known in Javanese society, that is for a ritual purpose and a show purpose with entertaining characteristics for the inner satisfaction in the society. Moreover, the traditional artwhich is formed in the usage art, like the custom clothes, tools / instruments, ornaments and others functioning as ritual purposes, have definitely had the important value symbols in the society, or as the tools to support the ritual implementation in the society.The art of Tritik and Jumputan craft also contains the teachings of ethics and aesthetics in the form of visual appearances and symbolism of life which can basically lead humans to perfection and true identity.Keywords: Jumputan,Tritik, The custom ceremony, traditional  ABSTRAKMasyarakat Jawa memiliki konsep keselarasan yang merupakan bagian tradisi yang penting dalam kehidupan. Orang Jawa, khususnya masyarakat Surakarta memiliki keyakinan dalam pandangan dunia (jagat), yang terdiri dari jagat gede (makrokosmos) dan jagat cilik (mikrokosmos). Mikrokosmos menjadi yang tidak terpisahkan dengan makrokosmos yang harus dijaga keselarasannya dengan unsur-unsur jagat cilik. Oleh sebab itu, seni selalu dikaitkan dengan kehidupannya, sehingga unsur ritual terdapat dalam seni tradisional. Kesenian memiliki tiga fungsi yang dikenal dalam masyarakat Jawa, yaitu untuk tujuan ritual, untuk tujuan tontonan yang bersifat entertaintment kepuasan batin dalam masyarakat. Apalagi kesenian tradisional yang berbentuk seni pakai, seperti pakaian adat, peralatan, hiasan, dan sebagainya dalam fungsinya sebagai kepentingan ritual, sudah barang tentu memiliki simbol-simbol yang bernilai dalam masyarakat, ataupun sebagai sarana untuk mendukung pelaksanaan ritual dalam masyarakat. Seni kerajinan tritik dan jumputan ini juga termuat ajaran etika dan keindahan yang berbentuk  penampilan visual dan simbolisme hidup yang pada dasarnya dapat menuntun manusia menuju kesempurnaan dan jati diri yang sejati.Kata kunci : Jumputan, Tritik, Pakaian Adat, Tradisional
Peningkatan Teknik Pounding Terinspirasi Happa-Zome dalam Kegiatan Pembuatan Tekstil Ramah Lingkungan di PPSA “Taruna Yodha” Sukoharjo Affanti, Tiwi Bina; Santoso, Ratna Endah; Sarwono, Sarwono -; Josef, Adji Isworo; Utami, Lira Anindita
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v15i1.3941

Abstract

This community service is carried out with the participation of PPSA “Taruna Yodha” children-in-care, in Sukoharjo, Central Java. By creation of textile products, the activity that incorporates an eco-friendly production process inspired by the Japanese Happa-zome technique (manual leaf-printing decoration technique) is chosen and improved for motivating environmental awareness while strengthening the entrepreneurial capacity of the beneficiaries. The service program is conducted by (in)direct presentation and mentoring, a participatory and iterative process from the beginning to the end. Within the program, design survey activity in the form of exploring the potential of nature is to be involved for introducing the surrounding natural environment while collecting leaf material. The results are; (1) Providing environmental awareness for beneficiaries through textile-making, (2) Happa-zome technique for interior textile product development, (3) Entrepreneurial program covering story-making and on-line marketing strategy
Pemanfaatan Limbah Kain Tule dan Brokat dalam Perancangan Visual Kebaya dengan Pendekatan Desain Sirkular Ardhanareswari, Ardantiya Reine; Santoso, Ratna Endah
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v5i01.4443

Abstract

The potential growth of textile waste in Indonesia is highly concerning, with an anticipated increase of 70% from the current 2.3 tons per day over the next six years. This growth poses a significant threat as only 0.3 million tons of textile waste are successfully recycled out of the total generated. The kebaya industry contributes to this potential increase in textile waste, generating 0.5 to 1.5 kg of unprocessed tulle and brocade fabric waste each week. Tulle and brocade are synthetic fibers that do not biodegrade naturally and take a very long time to break down completely. This situation highlights the urgent need for the implementation of a circular economy system with a design approach within the kebaya industry. The objective of this project is to design kebayas using waste tulle and brocade fabric through a circular design approach without losing the unique characteristics of traditional Indonesian kebayas. The design method used is the circular design approach with the Close the Loop (CTL) framework, which consists of six stages: (1) Resources, (2) Design, (3) Production, (4) Retail, (5) Consumption, and (6) End of Life. The result is a kebaya inspired by the shapes and silhouettes of traditional kebayas, made from waste tulle and brocade fabric. By applying a circular design approach, the unprocessed tulle and brocade waste from the kebaya industry can be transformed into kebayas, indicating the potential for the industry to become more responsible by turning textile.
Peningkatan Teknik Pounding Terinspirasi Happa-Zome dalam Kegiatan Pembuatan Tekstil Ramah Lingkungan di PPSA “Taruna Yodha” Sukoharjo Affanti, Tiwi Bina Affanti Bina; Santoso, Ratna Endah; Sarwono, Sarwono; Josef, Adji Isworo; Utami, Lira Anindita
Abdi Seni Vol. 14 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v14i1.4445

Abstract

This community service is carried out with the participation of PPSA (orphanage) Taruna Yodha in Sukoharjo, Central Java. By creating textile products, the activity that incorporates an eco-friendly production process inspired by the Japanese Happa-zome technique (manual leaf-printing decoration technique) is chosen and improved to motivate environmental awareness while strengthening the entrepreneurial capacity of the beneficiaries. The service program is conducted by (in)direct presentation and mentoring, a participatory and iterative process from the beginning to the end. Within the program, design survey activity in the form of exploring nature's potential involves introducing the surrounding natural environment while collecting leaf material. The results are; (1) Providing environmental awareness for beneficiaries through textile-making, (2) the Happa-zome technique for interior textile product development, (3) creating an Entrepreneurial program including story-making and online marketing strategy
Co-Authors Affanti, Tiwi Bina Affanti, Tiwi Bina Affanti Bina Aisyi, Dalal Hibatul Anakirin, Nurin Fauhan Ardhanareswari, Ardantiya Reine Arief Iman Santoso, Arief Iman Ayasofia, Addina Aufa Emi Widiyanti Ertimi, Basem Hafidzah, Serena Herawati, Putri Siswi Heru Irianto Hidayat, Sujadi Rahmad Josef, Adji Isworo Lira Anindita Utami Malik Cahyadin Mataram, Sayid Pratama, Romi Puspa Wardani, Fernanda Rizky Rhina Uchyani Fajarningsih Rudianto, M. Sakuntalawati, LV Ratna Devi Salsabila, Azka Sarwono - - Sarwono Sarwono sarwono, sarwono - Suherlan, Yayan Sulistyono, IF Bambang Utami, Lira Anundita Wahyuningsih, Novita Widyamurti, Nidyah Widyastuti, Theresia Yuditira, Syafira Tasya Zakiyah, Naela Ni’matuz