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Journal : SENI

PERANCANGAN MOTIF BATIK EKSPRESIONISME ABSTRAK DENGAN SUMBER IDE SISI EMOSIONAL UNTUK FASHION STYLE BAD GIRL Shafira Nabila; Mursidah; Yustiana Dwirainaningsih
Canthing Vol. 10 No. 2 (2024): V10N2
Publisher : Akademi Seni dan Desain Indonesia Surakarta

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Abstract

The most young people didn’t like batik that seems old-fashioned with colors that seems monotonous. This design is a from of innovation to foster like and interest for young people so that batik willn’t be immersed in foreign cultures and will countinue to exist in the future. This design is an innovation that develops abstract contemporary batik with more expressionism in which the depiction displays the emosional side experienced by female figure who became the ideas for this work. In terms of images that are randomly generaled with the appearance of expressions human. In addition, the color ascept is made to show the emosional side. Observation of motifs and colors is done through the media of the books and the internet. This batik is realize using the written batik technique, with the coloring using the dab technique. This batik work is packaged or realized in the form of Bad Girls Style which reflects the figure of feminine girl who became a new, tomboyish personality. The results of this design trial obtained 3 motifs with 7 fashion designs which are illustrated in the from of 3 motifs in 1 design and realized with the chosen motif, namely the Confundo motif on a bad girl outfit. Keyword : Bad Girl, Contemporary Batik, Ekspresionism
SEMIOTIKA BATIK PERANAKAN DI PEKALONGAN Andri Nur Cahyo; Yustiana Dwirainaningsih; Amin Sulistyowati
Canthing Vol. 8 No. 1 (2022)
Publisher : Akademi Seni dan Desain Indonesia Surakarta

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Abstract

Peranakan batik is the term for batiks produced by Indonesians of Chinese descent. The presence of Peranakan batik has contributed to the diversity and enriching of the Indonesian Batik repertoire. One of the centers producing Peranakan batik is Pekalongan. Peranakan batik in Pekalongan has its own uniqueness compared to other coastal batik. This uniqueness can be seen in the visualization of the motifs and the socio-cultural conditions of Pekalongan. This article examines the phenomenon of Peranakan batik in Pekalongan in terms of its visualization and aesthetic meaning. The approach used is Roland Barthes' semiotic theory. The focus of the reading is on three batik craftsmen of Chinese descent in Pekalongan, namely Oey Soe Tjoen, Ozzy, and Bulan. It is hoped that this article can provide information about the aesthetic elements of Peranakan batik in Pekalongan, as well as invite the public to better appreciate cultural diversity and the role of acculturation in the development of batik in Pekalongan. Keyword: Acculturation, Peranakan Batik, Pekalongan, Semiotic.