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All Journal Arty: Jurnal Seni Rupa Texture : Art and Culture Journal Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Hastagina: Jurnal Kriya dan Indsutri Kreatif Dinamika Kerajinan dan Batik: Majalah Ilmiah
Affanti, Tiwi Bina
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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
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 LPPM ISI Bali

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

Abstract

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 LPPM ISI Bali

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

Abstract

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

Abstract

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.
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 | 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
Co-Authors Agustin, Dyah Anggraeni Ardina Putri, Tika Devita Hidayat, Sujadi Rahmad Insyafi, Mohammad Edo Intania, Nur Annisa Josef, Adji Isworo Lira Anindita Utami Marthaningrum, Idha Kusuma Nariswari, Syahda Putri Purnamasari, Siti Wahyu Rudianto, M. Sakuntalawati, LV Ratna Devi Santoso, Ratna Endah Sarwono - - Sarwono Sarwono sarwono, sarwono - Utami, Lira Anundita Wahyuningsih, Novita Widyastuti, Theresia