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EXPLORATION OF THE CROCHET TECHNIQUE INROOM DIVIDERS USING VETERBAN MATERIAL Agustin, Dyah Anggraeni; Affanti, Tiwi Bina
Arty: Jurnal Seni Rupa Vol 10 No 1 (2021): Arty
Publisher : Jurusan Seni Rupa Fakultas Bahasa dan Seni

Show Abstract | Download Original | Original Source | Check in Google Scholar

The room divider is a created situation to produce different areas in a room. Exploration of crochet techniques using vetterban material will be applied on the middle part of the room divider. The approach method used by the thesis werethe method of creating craft art according to Gustami, which includes three stages namely exploration stage(to seeking sources of ideas, to collect reference sources, to get the solution material in the design), planning stage visualization of ideas in the form of verbal descriptions with severa ldeliberation from various aspects including material aspect, technical aspect, aesthetic aspect, aspect of function and achieved in the form of 6 alternative sketches), embodiment stage (transforming1 alternative sketch into a work). Results of the exploration of the crochet technique in room dividers using veterban material, consist of 3 room dividing parts, plane 1 and 3 have the same design, plane 2 in the middle has a different plane. The colors used are bright colors.

EXPLORATION OF THE CROCHET TECHNIQUE INROOM DIVIDERS USING VETERBAN MATERIAL Agustin, Dyah Anggraeni; Affanti, Tiwi Bina
Arty: Jurnal Seni Rupa Vol 10 No 1 (2021): Arty
Publisher : Jurusan Seni Rupa Fakultas Bahasa dan Seni

Show Abstract | Download Original | Original Source | Check in Google Scholar

The room divider is a created situation to produce different areas in a room. Exploration of crochet techniques using vetterban material will be applied on the middle part of the room divider. The approach method used by the thesis werethe method of creating craft art according to Gustami, which includes three stages namely exploration stage(to seeking sources of ideas, to collect reference sources, to get the solution material in the design), planning stage visualization of ideas in the form of verbal descriptions with severa ldeliberation from various aspects including material aspect, technical aspect, aesthetic aspect, aspect of function and achieved in the form of 6 alternative sketches), embodiment stage (transforming1 alternative sketch into a work). Results of the exploration of the crochet technique in room dividers using veterban material, consist of 3 room dividing parts, plane 1 and 3 have the same design, plane 2 in the middle has a different plane. The colors used are bright colors.

Perancangan Batik Tulis Warna Alam Teknik Negative Painting Dengan Inspirasi Semanggi Surabaya Nariswari, Syahda Putri; Affanti, Tiwi Bina
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v3i01.2733

Perancangan berjudul “Perancangan Batik Tulis Warna Alam Teknik Negative Painting dengan Inspirasi Semanggi Surabaya” merupakan sebuah karya yang dilatarbelakangi oleh kurangnya minat masyarakat terhadap motif batik Semanggi Surabaya. Produk batik semanggi kurang berkembang dan berdaya saing dikarenakan adanya beberapa permasalahan salah satunya motif yang kurang variatif dan ketidakmampuan dalam menghadapi persaingan dengan produk batik lainnya. Tujuan dari perancangan ini adalah memberikan tampilan batik Semanggi Surabaya yang lebih menarik dan khas sesuai tren masa kini sehingga minat masyarakat terhadap motif batik ini dapat meningkat. Perancangan produk batik ini menerapkan metode pendekatan menurut SP. Gustami, yang mengemukakan 3 tahap 6 langkah. Ketiga tahap tersebut adalah tahap eksplorasi atau pengumpulan data, perancangan atau pembuatan sketsa dan desain, terakhir adalah perwujudan. Hasil perancangan ini sebagai berikut: (1) Motif semanggi, motif kerupuk, dan motif sambal. Perancangan ini berhasil membuat 6 desain panel. (2) Produk tersebut berupa kain panjang untuk wanita berusia 20-30 tahun kalangan menengah. Kain panjang tersebut menggunakan teknik batik tulis yang terinspirasi dari teknik negative painting pada cat air dan menggunakan pewarna alam berupa serbuk antara lain: tegeran, tingi, daun mangga, secang, dan teh hijau. Bahan untuk produk ini berupa kain katun sutra.

Perancangan Motif Topeng Dengan Teknik Batik Cap Berbahan Kertas Untuk Cardigan Intania, Nur Annisa; Affanti, Tiwi Bina
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i01.2735

This design is motivated by young people who currently have difficulty learning about batik and a culture that is almost extinct in Yogyakarta. Today's young people find batik difficult to work on considering the time it takes to make batik, especially written batik. One of the cultures in Yogyakarta which is currently almost extinct is Wayang Topeng Wayang. This culture is almost extinct due to the rarely played by the puppeteer's family. The purpose of this design is to provide an easy way for young people to learn batik and to make batik cardigans from paper stamps with motifs from Wayang Topeng Pedalangan Yogyakarta. The design of this cardigan product applies the art design approach according to SP. Gustami, who put forward 3 stages and 6 steps in the creative process. The three stages are the exploration or data collection stage, the design or sketching and design, the last is embodiment. The results of this design are as follows: (1) Dancer motifs, puppeteer motifs, and musician motifs are used as the main motifs with supporting motifs inspired by the ornaments in the saron in the form of leaves, flowers, and mlungker. (2) The product is made into a cardigan for middle class women aged 20-30 years. The cardigan uses stamped batik technique with remasol dab coloring. The cardigan material is Japanese cotton fabric.

Inovasi Visual Motif Ecoprint Teknik Blanket Untuk Bahan Pakaian Marthaningrum, Idha Kusuma; Affanti, Tiwi Bina
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i01.2764

The background to this design is the lack of ecoprint pattern development using the blanket technique. In the market, most ecoprints with this technique come in the form of the same background color, although in fact it is still possible to develop patterns by utilizing the blanket application technique. So that new designs of ecoprint can be realized, engineered by the application of cloth blankets. The purpose of this design is to get a new visual pattern that is more varied than blanket technical textiles. as well as to satisfy the consumer tastes of ecoprint textile fans in particular. This design method uses the design approach Sp. Gustami explained that in the creation of craft works, it is carried out through three stages-six steps. The first stage of exploration which includes observation, and search for library sources. Second, the design stage, namely making several sketches, and making technical drawings. The third stage, embodiment, is the process of formation, and continued with the assessment and evaluation of the finished work” (Gustami, 2007:329). The result of this design is an ecoprint blanket fabric with a variety of different patterns from other blanket fabrics, with the result that several ecoprint fabric patterns have been engineered to apply blankets, namely in the form of 3 design ecoprint blankets which are included in the form of clothing textiles using natural dyes.

COMBINATION OF MACRAME AND ECO POUNDING WITH COCONUT FIBER DYEING FOR LAMP SHADE Ardina Putri, Tika Devita; Affanti, Tiwi Bina
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.5400

This design is motivated by the use of coconut fiber, which in general the community uses it as fuel and is considered a disturbing waste and causes buildup as coconut production increases. Technological developments and public awareness to return to natural materials will make coconut coir used as a natural dye for fibers (cloth or rope). The use of natural coconut fiber dyes is not widely known even though it has considerable potential to be developed and has a high selling value. The design method used in this design uses the theory of S.P Gustami which consists of 3 stages: namely exploration, design, and embodiment of the work. The exploration stage includes extracting sources of ideas about macrame, eco pounding, lamps and coconut coir. The design stage includes the selection of materials, techniques, and the visual form of the work. The final stage is the embodiment of the work. The final result of this design is in the form of six alternative designs, one of which was chosen to be realized. The realization of the work is in the form of a decorative lampshade on the table which has a function not only as lighting, but also as a decorative element and can beautify a room. This lampshade is presented by applying a combination of macrame and eco pounding techniques which are the novelty of this product. The use of natural coconut coir dyes is one way to preserve the environment.

Perancangan Makrame Pada Objek Rak Display Purnamasari, Siti Wahyu; Affanti, Tiwi Bina
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.v20i2.5424

Perancangan ini membahas tentang rak display yang menggunakan teknik makrame sebagai elemen utamanya. Makrame adalah seni merajut atau mengikat tali yang telah lama ada dan dikenal di berbagai budaya di seluruh dunia. Teknik makrame diterapkan dalam konteks desain rak display yang fungsional dan estetis. Rak display digunakan sebagai tempat penyimpanan berbagai barang seperti buku, barang dekoratif, atau koleksi pribadi lainnya. Desain ini juga menawarkan estetika yang menarik dan memberikan sentuhan unik pada ruangan. Metode perancangan yang digunakan dalam perancangan ini adalah metode penciptaan oleh Gustami, di mana proses penciptaan secara metodologis terbagi menjadi tiga tahapan utama, yaitu eksplorasi (perancangan ide, konsep, dan landasan), perancangan (rancangan desain karya), dan perwujudan (pembuatan karya). Perancangan ini memberikan kontribusi dalam menggabungkan seni tradisional seperti teknik makrame dengan desain modern yang fungsional. Dessain rak display dengan teknik makrame ini diharapkan dapat memperkaya ruang hidup pengguna dengan elemen dekoratif yang menarik dan dapat digunakan secara praktis.

TOKOH BIMA PADA LAKON DEWA RUCI SEBAGAI IDE PENCIPTAAN MOTIF BATIK WAYANG UNTUK FUNGSI HIASAN DINDING Insyafi, Mohammad Edo; Affanti, Tiwi Bina
TEXTURE Art and Culture Journal Vol. 7 No. 2 (2024)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v7i2.2967

The Dewa Ruci puppet play is one of the traditional wayang stories rich in values and teachings about achieving the perfection of life. This creation aims to revive moral values of virtue and nobility by reinterpreting the visuals from the Dewa Ruci story into wall decorations. The artwork creation employs Gustami's three-phase, six-step craft-making method, consisting of exploration, design, and realization phases. The resulting works serve as a medium of expression through batik painting techniques designed for premium wall decoration products. These artworks, created on marsoto canvas, exude expressive and abstract qualities, offering a fresh visual sensation, differentiation, and innovation.

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

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

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,

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